I Get Along Without You Very Well

From Wikipedia

    

"I Get Along Without You Very Well" is a popular song composed by Hoagy Carmichael in 1939, with lyrics based on a poem written by Jane Brown Thompson.^[1] Thompson's identity as the author of the poem was for many years unknown, she died the night before it was introduced on radio by Dick Powell.^[1]
The biggest-selling version was a 1939 recording by Red Norvo and his orchestra (vocal by Terry Allen).^[2]
It was performed by Carmichael and Jane Russell in the 1952 film noir The Las Vegas Story

I get along without you very well,
Of course I do,
Except when soft rains fall
And drip from leaves, then I recall
The thrill of being sheltered in your arms.
Of course, I do,
But I get along without you very well.

I've forgotten you just like I should,
Of course I have,
Except to hear your name,
Or someone's laugh that is the same,
But I've forgotten you just like I should.

What a guy, what a fool am I,
To think my breaking heart could kid the moon.
What's in store? Should I phone once more?
No, it's best that I stick to my tune.

I get along without you very well,
Of course I do,
Except perhaps in Spring,
But I should never think of Spring,
For that would surely break my heart in two.

BODY & SOUL

This is a tremendous jazz classic written circa 1930.

lyrics by Edward Heyman,  Robert Sour and Frank Eyton; and music by Johnny Green. ...

Body and Soul was written in London for Gertrude Lawrence and was first recorded by Jack Hylton and his orchestra.^[1] Rising quickly to popularity, Libby Holman introduced it in the U.S. in the 1930 Broadway revue Three's a Crowd and it was used as the theme to the 1947 film, Body and Soul.^[1] Like many pop songs of the time, it became a jazz standard, with hundreds of versions performed and recorded by dozens of artists. Recently the late Amy Winehouse dueted this song with the legendary Tony Bennett,giving a very different flavour. This is my take on the number,shadowing the relaxed style Tony expresses so well.

BODY & SOUL

lyrics:

My heart is sad and lonely
For you I sigh, for you dear only
Why haven't you seen it
I'm all for you body and soul

I spend my days in longing
And wondering why it's me you're wronging
I tell you I mean it
I'm all for you body and soul

I can't believe it
It's hard to conceive it
That you'd turn away romance
Are you pretending
It looks like the ending
Unless I could have one more chance to prove, dear

My life a wreck you're making
You know I'm yours for just the taking
I'd gladly surrender myself to you body and soul

Are you pretending
It looks like the ending
Unless I could have one more chance to prove, dear

My life a wreck you're making
You know I'm yours for the very taking
I'd gladly surrender myself to you body and soul

Tips For Jazz Singers

TIPS FOR JAZZ SINGERS

by Ken Eden

Many jazz singers desire a vibrato in their voice because it lends a distinctive quality. The question is, if you do' not have it naturally-can it be acquired? If so, how is it controlled and what areas of the "vocal apparatus" does     it use?  Well, it can be a difficult quality to master. As a matter of fact, there is a lot of controversy over what it even is exactly and why it even exists! Let us at least tell you what we know about it:

VIBRATO

Vibrato is a vocal tone that has an even fluctuation. The diaphragm is involved in some way,but we are not sure how. You can expel the breath from the diaphragm forcibly,and you can influence the throat and mouth opening too to sort of "fake it". It is really quite difficult to describe.
We feel,however,that force is never good,or any kind of manipulation which,invariably,will lead to excessive straining of the voice.Many rock singers know this to their cost! What we want to see ideally is freedom of voice-focussed and clear- which will have, inherently, the minor vocal fluctuation which gives automatically,a slight vibrato.

 NATURAL

The way to get vibrato is to learn natural singing techniques which will not push your voice too much,and which focusses more on tone and control than power. We need to explain that what some call "vibrato" is in fact really a "tremolo,"which comes from forcing the voice,and feels and sounds totally unnatural.

BREATHING

If you,as a student of singing really desire a beautiful vibrato,all you need do is focus on getting control of your voice,which can only come from much practice under the tutelage of a qualified vocal coach. Listen to the vibrato in,for example the voice of Sinatra. He was taught the Italian Bel-Canto method,which concentrates on tonal quality more than power.
The major areas that need your attention are; Correct breathing,coupled with Tonal quality (resonance training--humming.. scales etc...) and diaphragmatic support.

BILLY ECKSTINE

All this may sound daunting when you read it in cold print,but the truth is it is easy and even fun when you have training and support.   A trick I myself learned from a master  jazz singer,the late Billy Eckstine,is as he put it, 'focus as you sing- on the waist area-where you would wear a belt.' It seems bizarre,but by doing so,I found more vibrato on extended notes! Try it yourself.

TRAINING

My final piece of advice is; whatever you do, get solid training in voice production from some who are themselves quality singers. It might seem obvious,but many poor or even non-singing "tutors" are out to snare the unwary.I would call that "the blind leading the blind"!