BLACK SOCIAL HISTORY : AFRICAN AMERICAN VOCAL VIRTUOSO " BOBBY McFERRIN " HE IS EQUALLY ADEPT IN JAZZ, POP AND CLASSICAL SETTINGS : GOES INTO THE " HALL OF BLACK GENIUS "

                                    BLACK                 SOCIAL                  HISTORY                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          Vocal virtuoso Bobby McFerrin ranks among the most distinctive and original singers in contemporary music -- equally adept in jazz, pop, and classical settings, his octave-jumping trademark style, with its rhythmic inhalations and stop-on-a-dime shifts from falsetto to deep bass notes often sounds like the work of at least two or three singers at once, while at the same time sounding quite unlike anyone else. The son of husband-and-wife classical singers, McFerrin was born in New York City on March 11, 1950, later studying piano at California State College at Sacramento and Cerritos College. After touring behind the Ice Follies, he performed with a series of cover bands, cabaret acts, and dance troupes before making his vocal debut in 1977. While living in New Orleans, he sang with the group Astral Projection before relocating to San Francisco. There he met legendary comedian Bill Cosby, who arranged for McFerrin to appear at the 1980 Playboy Jazz Festival.

A performance at the 1981 Kool Jazz Festival led to a contract with Elektra, and the following year, McFerrin issued his self-titled debut LP. With 1984's The Voice, he made jazz history, recording the first-ever solo vocal album (sans accompaniment or overdubbing) to be released on a major label. His Blue Note debut, Spontaneous Inventions, followed in 1985 and featured contributions from Herbie Hancock, the Manhattan Transfer (on the Grammy-winning "Another Night in Tunisia"), and comic Robin Williams;McFerrin also earned mainstream exposure through his unique performance of the theme song to the television hit The Cosby Show, as well as a number of commercial spots. With 1988's Simple Pleasures, he scored a chart-topping pop smash with "Don't Worry, Be Happy"; around that time, he also formed the ten-member a cappella group Voicestra, featured on 1990's Medicine Music.

With 1992's Hush, McFerrin shifted gears to team with acclaimed cellist Yo-Yo Ma; the record remained on the Billboard Classical Crossover charts for over two years. The jazz release Play, a collaboration with pianist Chick Corea, appeared in 1992 as well. McFerrin returned to classical territory in 1995 with Paper Music, a collection of interpretations of works by Mozart,Bach, and Tchaikovsky recorded with the Saint Paul Chamber Orchestra, (which he joined as Creative Chair a year prior). For 1996's Bang! Zoom he teamed with members of the Yellowjackets; a second collaboration with Corea, The Mozart Sessions, appeared later that same year. With 1997's Circlesongs, McFerrin returned to his roots, recording an entire album of improvised vocal performances. He then recorded a collaborative album of classical and jazz standards for Sony Music Special Products in 2001. It teamed him with such esteemed musicians as Herbie Hancock, Yo-Yo Ma, and the Saint Paul Chamber Orchestra. A year later, Blue Note released his Beyond Words album, McFerrin's first work for the label in nearly a decade. It featured a band comprised of Chick Corea,Richard Bona, Omar Hakim, Cyro Baptista, and Gil Goldstein. Supported by a choir, McFerrin released VOCAbuLarieS in 2010. spirityouall, released in the spring of 2013, was a tribute to McFerrin's father, Robert McFerrin, whose 1957 album Deep River brought black spirituals into the world of high art.