"Jazz is not what you do, but the way you do it," says Fats Waller's excellent word. Jazz vocal offers you to understand this "way of doing" from a double angle. • From a technical angle on the one hand, with many examples and exercises to develop his sense of rhythm, his harmonic ear, his melodic imagination, his freedom of interpretation, his vocal technique. Because as "natural" as it is, the voice can not be exonerated from the learning and the control of codes, to better release the emotion. Parts I - Rhythm and II - Harmony / Melody propose to develop your musicality and your autonomy, by getting closer to what the instrumentalists realize • Part III - Improvisation relies on the work of the first two parts to experiment the improvisation in a harmo-rhythmic framework - it also evokes modal improvisation and "free" improvisation • Part IV - Interpretation deals with the acquisition of a repertoire, the link to the text and what follows from it in terms of phrasing • Part V - Jazz and Techniques deals with vocal technique and reading of scores • Part VI - The scene evokes the question of the choice of musicians, the organization of a repetition, the arrangement of the pieces, the presence scenic, etc. • Part VII addresses teachers with group exercises and tips on how to transmit this music. • From a "poetic" angle, on the other hand, through pages of reflections that seek to express the "spirit" of this music. This book is addressed to: - all those who want to sing jazz (beginner to confirmed singer), and who are looking for tools to work on this music - - teachers in vocal jazz, who will find something to build their course, as well as 'a reflection on the music they teach - to professional or semi-professional singers, who will find something to go further in their mastery, as well as advice on the stage - to jazz musicians (instrumentalists) who ask "how does it work a singer" ... "Open the voice (x) e to more than one voice" - as David Linx writes in his preface - this is the intention, this is the ambition of this book which strives, by its very complete character, to tackle all the facets of solo vocal jazz. A CD (play-backs and sung examples) accompanies the book to experiment the proposals over the pages.