Here are the three most common reasons I hear to justify not programming jazz with choirs.
1. I don’t understand the complicated theory.
I’m happy to let you know that (a) it’s not as complicated as you think! and (b) I wrote the book to prove it.
2. I don’t feel comfortable with improvisation.
First, there’s plenty of vocal jazz without improvisation. Both The Real Group and The Singers Unlimited have only occasionally included true jazz improvisation on their groundbreaking recordings. Second, a search of the NAfME Music Standards for Ensembles document finds 49 occurrences of improvisation – this is one of the things we should all inspire to teach in ensembles. Third, this is a learnable skill with many online and print resources.
3. I can’t afford a sound system.
While close-miking is a hallmark of high-level jazz group singing, it shouldn’t be a barrier to entry. Get started with whatever you’ve got, even if that’s nothing!
4. I didn’t get the performance practice training in school that I need to teach it confidently.
Most choral conductors didn’t study performance practice for yoik, for Xhosa song, for Bulgarian women’s sound, for Indian raga, for historically accurate Spirtuals, and for any number of other world music traditions. And yet we program this music because we see its value and we take the time to learn what we need to know.