Jazzin' It Up! (And Jazzin' It Down): Choral Octavo SoundTrax CD

Robinson understands what choirs need to engage with jazz idioms without feeling lost. This octavo balances accessible ensemble writing with genuine opportunities for students to improvise and solo, giving every singer a moment to explore jazz vocabulary in a supported setting.

The piece swings with energy and humor. You'll hear crisp ensemble passages mixed with loose, playful improvisation, creating a conversational feel that keeps listeners on their toes. The scatting and solos land with personality rather than polish, inviting the audience into the joy of making jazz together.

Directors introducing vocal jazz to choirs that have strong fundamentals but limited experience with improvisation and jazz articulation. This works equally well for high school and community choirs looking to diversify their repertoire with something engaging and achievable.

• Work the scatting passages separately before full ensemble rehearsal. Have soloists practice their material while the rest of the choir learns the support lines, then combine once both are secure.
• Encourage improvisation during rehearsal, not just performance. Let singers try different scat syllables and melodic ideas so they develop ownership of their solo sections rather than simply reading what's written.
• Use the recorded accompaniment during rehearsals to establish groove and timing. Students will hear how their lines sit against the jazz rhythm section, which clarifies phrasing and swing feel.
• Shape dynamics thoughtfully in the ensemble sections. Jazz writing often relies on subtle dynamic variation to create space for soloists and to highlight the band-like quality of the arrangement.

Slot this into a concert that already includes jazz standards or contemporary pop arrangements. It works well as a lighter moment mid-program or as an entertaining finale that shows choir members having genuine fun. Since Robinson wrote two related vocal jazz selections, you could build an entire jazz-focused set or concert if your ensemble is ready.

• Scatting and jazz articulation (clear syllabic attack and swing feel)
• Solo improvisation within a chord structure
• Reading and executing syncopated rhythms in a jazz context
• Blend and balance in ensemble singing with active soloists
• Listening to and responding to a jazz rhythm section