I'd have to say in response that when the newer vocalists try
to ape the classic performers in scat singing etc, it usually
come out pretty lame.

And I think it is due to inexperience as you do. But I also
think that the market for vocalists is greatly different that
in the hey day of the big bands.

Many of the tunes on this album I avoid like the plague
such as "My Funny Valentine."

But when a really good arrangement comes along like the
new(er) one of a chestnut--- but a sort of secret chestnut---
like Cole Porter's "Miss Otis Regrets" done up in a jazz
waltz tempo by someone whom I would call effortless then
it gives new life to the music. I'll look up the "Miss Otis
Regrets" vocalist if you want-- sounds like Marlena Shaw but isn't
her.

As to repertoire, I think that jazz vocalists are guardians
of the style in the same way that barbershop quartets are
guardians of the style. The HiLos under Gene Purling made it big
by using a variation on barbershop by putting the tenor on
the melody line and using orchestrations rather than accappella.
The Hilos are not barbershop even in that Forever Plaid period
of the early 60's.

I love voice and spoken word of all kinds.

Pamela Luss just seems to be better than some of the
other lounge singers which I hear over the air. I don't
know how they do it.

I'm not in radio anymore even as volunteer community
radio. But I've always wanted to play "That's Show Biz"
by The Reverend Horton Heat (Martini Time album) for a radio
audience. Find it if you can, broadcast it if you are able.
If I were doing a prog today, I'd probably use that as a closer.

Last time we did regular sign-off for a number of months
we used "My Way." Not the Sinatra "My Way", the Sid Vicious
"My Way." I can still hear my partner reading the station
sign off with Sid in the background and then going into the
National Anthem.