Born Today - Sarah Vaughan https://t.co/f7b0k7tooY— All About Jazz (@AllAboutJazz) March 27, 2019
Thursday, March 28, 2019
Born Today - Sarah Vaughan
Tuesday, September 20, 2016
The 5th annual James Moody Jazz Festival,
The 5th annual James Moody Jazz Festival, featuring an all-star tribute to Sarah Vaughan and performances by... https://t.co/A04LWBntfZ— JazzTimes Magazine (@JazzTimes) September 20, 2016
Friday, April 1, 2016
Sarah Vaughan at Rosy's: 1978
Reprinted from http://jazzwax.com
Online today at WSJ.com, I review Sarah Vaughan: Live at Rosy's, a two-CD set of newly discovered material unearthed by producer Zev Feldman for Resonance Records (go here). The recording features Vaughan at her late-'70s best—in command, inventive and playful.
Here are my first three paragraphs:
Sarah Vaughan didn’t sing songs so much as curl up with them. Often mistaken for a jazz and pop vocalist, Vaughan was neither in the traditional sense. Rather, she was an entity unto herself, a matchless interpreter of standards who seemingly had little interest in the stories related by the lyrics. For Vaughan, words were a formality—things she had to sing as she sculpted melodies into undulating vocal expressions.
The year 1978 was a busy one for Vaughan. The singer, who turned 54 and was beginning the autumn of her career, recorded two studio albums that year and was on the road constantly, performing at clubs, concert halls and festivals in the U.S. and Europe. During this period, her operatic powers grew more muscular, with an ever-widening octave range and a timbre that was increasingly warm and enveloping.
Vaughan’s late-’70s vocal gifts are fully exposed on “Sarah Vaughan: Live at Rosy’s” (Resonance), a newly released two-CD set. Recorded on May 31, 1978, at a New Orleans jazz club, the album features previously unreleased material as well as tracks heard only once during a live radio broadcast.
Here are a two more paragraphs further down:
The new album is notable for its sterling sound and unexpected surprises. There’s a “Fever”-paced “East of the Sun (and West of the Moon)” with just Vaughan and bassist Booker. There’s also a “Fascinating Rhythm” that sounds as if Vaughan is jumping Double Dutch with the musicians swinging the ropes. But the album’s high point is “Time After Time,” when Vaughan’s voice sweeps down at the end and then climbs the final chord’s notes to falsetto heights.
Among the album’s other highlights are contemporary songs of the 1960s and ’70s, including Michel Legrand’s “Watch What Happens,” Marcos Valle’s “If You Went Away,” Benard Ighner’s “Everything Must Change,” and “A Lot of Livin’ to Do” from “Bye, Bye Birdie.” All gave Vaughan an updated feel in 1978.
JazzWax tracks: You'll find Sarah Vaughan: Live at Rosy's (Resonance) here.
JazzWax clip: Here's Vaughan singing Marcos Valle's If You Went Away from Sarah Vaughan: Live at Rosy's...
Used with permission by Marc Myers
Wednesday, May 22, 2013
Sarah Vaughan: A New Box Set Revels In Glorious Imperfections
by Kevin Whitehead, May 20, 201312:58 PM
Singer Sarah Vaughan came up in the 1940s alongside bebop lions Dizzy Gillespie and Charlie Parker, starting out in Earl Hines' big band. Hines had hired her as his singer and deputy pianist, while Gillespie praised her fine ear for chords as she grasped the arcane refinements of bebop harmony. Vaughan put them to good use as a singer, picking notes other vocalists wouldn't.
A lot of jazz singing is about consonants — the percussive attacks from which the music swings. With Vaughan, it's also about the way she rolled out her vowels, reveling in a held note like Miles Davis. Later, her vibrato could get excessive, but in the mid-'50s her taste and control were a marvel. That much is clear from a new anthology of Vaughan titled Divine: The Jazz Albums 1954-1958. (In that period, she was recording pop albums with strings, using some of the same tunes.) It's six albums-plus on four CDs, recorded live or in the studio with bands big and small. All but one session is sparked by another bebop institution, drummer Roy Haynes. He achieves a springy beat using brushes, and doesn't overplay.
Listen > http://www.npr.org/2013/05/20/179869404/sarah-vaughan-a-new-box-set-revels-in-glorious-imperfections
Two live albums from Chicago nightclubs are standouts, partly for their glorious imperfections. Vaughan didn't know some of the material so well, taking lyric sheets on stage, and she sometimes had to improvise her way out of trouble. Recording in the wee hours at the London House, she keeps bobbling the start of the last tune of the night, "Thanks for the Memory" — particularly when she hits the word "Parthenon." But with every take, her entrance gets more elaborate.
Photo: Raph Gatti/AFP/Getty Images
Read more: http://www.npr.org/2013/05/20/179869404/sarah-vaughan-a-new-box-set-revels-in-glorious-imperfections?ft=1&f=1039
Friday, August 19, 2011
Sarah Vaughan: Roulette Years
Reprinted from http://jazzwax.com
Jazz artists' recordings in the late 1950s and early '60s were 
often a direct reflection of their labels' budgets, producers' visions and arrangers' whims. Count Basie, for example, sounded a bit stiff and buttoned up on Verve but unleashed on Roulette. Sonny Stitt sounded thought out and on point on Roost but a bit let's-get-this-over-with on his mid-'60s Prestige sessions. In keeping with this line of thinking, I've always loved Sarah Vaughan on Roulette. Working with producers Teddy Reig and Henry Glover, Vaughan had a relaxed, shimmering jazz-pop sound on those albums—more in control than her earlier Mercury recordings and more youthful than her LPs for same label afterward.
often a direct reflection of their labels' budgets, producers' visions and arrangers' whims. Count Basie, for example, sounded a bit stiff and buttoned up on Verve but unleashed on Roulette. Sonny Stitt sounded thought out and on point on Roost but a bit let's-get-this-over-with on his mid-'60s Prestige sessions. In keeping with this line of thinking, I've always loved Sarah Vaughan on Roulette. Working with producers Teddy Reig and Henry Glover, Vaughan had a relaxed, shimmering jazz-pop sound on those albums—more in control than her earlier Mercury recordings and more youthful than her LPs for same label afterward.
Recorded between April 1960 and July 1963, this is "Sassy in the Land of JFK." On the 16 LPs she recorded during this tight 
three-year period, you can hear a soaring sense of optimism in her voice, a jazz sound that adapted perfectly to the modern era. By 1960, Vaughan no longer had anything to prove. She was established as both a jazz legend and a pop vixen. Comfortable in her own skin, Vaughan weaves through songs with a clear sense of herself as a songstress and storyteller who was on par with Nat Cole.
three-year period, you can hear a soaring sense of optimism in her voice, a jazz sound that adapted perfectly to the modern era. By 1960, Vaughan no longer had anything to prove. She was established as both a jazz legend and a pop vixen. Comfortable in her own skin, Vaughan weaves through songs with a clear sense of herself as a songstress and storyteller who was on par with Nat Cole.
The reason I mention all of this is that Mosaic it appears is still selling The Complete Roulette Sarah Vaughan Studio Sessions. This is one of those boxes that once it disappears, buyers will be telling themselves two things: "I didn't know it was still in print, and now that it's gone I wish I had grabbed it when I could."
The best thing about the Roulette years is the wide range
of arrangers who were teamed with her. The list included Jimmy Jones, Ernie Wilkins, Quincy Jones, Don Costa [pictured], Benny Carter, Gerald Wilson and Lalo Schifrin.
of arrangers who were teamed with her. The list included Jimmy Jones, Ernie Wilkins, Quincy Jones, Don Costa [pictured], Benny Carter, Gerald Wilson and Lalo Schifrin.
This set kicks off with a grandly remastered Dreamy (April 1960) andThe Divine One (October 1960),
which are among Jimmy Jones' finest vocal arranging dates. Vaughan is at her meowing best here, working patiently through gems like The More I See You, Crazy He Calls Me, Serenataand I'm Gonna Laugh You Right Out of My Life.
which are among Jimmy Jones' finest vocal arranging dates. Vaughan is at her meowing best here, working patiently through gems like The More I See You, Crazy He Calls Me, Serenataand I'm Gonna Laugh You Right Out of My Life.
Next was Count Basie-Sarah Vaughan(January 1961), which featured mostly Thad Jones arrangements. Interestingly, the best chart on the session (and perhaps in the box) is Frank Foster's Little Man You've Had a Busy Day. Then again I'm a sucker for flutes on top. It's so beautifully arranged you'd swear there were strings.
After Hours (July 1961) featured only guitarist Mundell Lowe 
and bassist George Duvivier. Instead of working harder than necessary to sing instrumentally, Vaughan relaxes and lets her enormous range and hearth-like timbre rule. Mundy and Duvivier here provide exceptional accompanist lines. The highlight is the touchingMy Favorite Things, my personal favorite rendition of this standard.
and bassist George Duvivier. Instead of working harder than necessary to sing instrumentally, Vaughan relaxes and lets her enormous range and hearth-like timbre rule. Mundy and Duvivier here provide exceptional accompanist lines. The highlight is the touchingMy Favorite Things, my personal favorite rendition of this standard.
Quincy Jones' You're Mine You session (January 1962) is massively big, draping Vaughan in the musical equivalent of 
mink. There are French horns, strings—the works. The influence of Nelson Riddle is strong—particularly onWitchcraft, The Second Time Around and The Best Is Yet to Come(listen how she turns this one inside out melodically). Baubles, Bangles and Beadsalso is dynamic. Interestingly, Jones seems to have used the same One Mint Julepchart he wrote for Ray Charles on Genius + Soul = Jazz a year earlier.
mink. There are French horns, strings—the works. The influence of Nelson Riddle is strong—particularly onWitchcraft, The Second Time Around and The Best Is Yet to Come(listen how she turns this one inside out melodically). Baubles, Bangles and Beadsalso is dynamic. Interestingly, Jones seems to have used the same One Mint Julepchart he wrote for Ray Charles on Genius + Soul = Jazz a year earlier.
Snowbound (July 1962), arranged by Don Costa, was a 
sweeping orchestral album aimed at cold-weather, candlelight-and-drinks couples. The title track is twinkly and impossibly cuddly. The same goes for Glad to Be Unhappy and one of the most exciting versions of Spring Can Really Hang You Up the Most. And dig the oddly interesting Blah, Blah Blah by the Gershwins.
sweeping orchestral album aimed at cold-weather, candlelight-and-drinks couples. The title track is twinkly and impossibly cuddly. The same goes for Glad to Be Unhappy and one of the most exciting versions of Spring Can Really Hang You Up the Most. And dig the oddly interesting Blah, Blah Blah by the Gershwins.
There are only two musicians 
behind Vaughan on Sarah + 2 (August 1962)—guitarist Barney Kessel and bassist Joe Comfort. Vaughan works incredibly well here in a setting that's on par with After Hours. But rather than offering a late night romantic mood, things are a little peppier. Just in Time, When Lights Are Lowand Key Largo are prime examples.
behind Vaughan on Sarah + 2 (August 1962)—guitarist Barney Kessel and bassist Joe Comfort. Vaughan works incredibly well here in a setting that's on par with After Hours. But rather than offering a late night romantic mood, things are a little peppier. Just in Time, When Lights Are Lowand Key Largo are prime examples.
The Explosive Side (August 1962) was a Benny Carter date, 
with Vaughan handing a mix of pop and jazz material with carefully chosen Los Angeles jazz players. The arrangements are novel and challenging, with intricate intros offering little clue about the songs ahead. What's most noticeable here is how effortlessly Vaughan double-clutches and wriggles through traffic vocally—particularly onMoonlight on the Ganges, A Garden in the Rain and The Trolley Song.
with Vaughan handing a mix of pop and jazz material with carefully chosen Los Angeles jazz players. The arrangements are novel and challenging, with intricate intros offering little clue about the songs ahead. What's most noticeable here is how effortlessly Vaughan double-clutches and wriggles through traffic vocally—particularly onMoonlight on the Ganges, A Garden in the Rain and The Trolley Song.
Marty Manning's Star Eyes (February 1963) string session leads with Vaughan's great version of the title track. Here you also have spectacular renditions of Don't Go to Strangers, Call Me Irresponsible and I Was Telling Him About You.
Slightly Classical (March 1963) shouldn't work but it does, to a
certain extent. These are classically based songs with lyrics. The lineup includes transgenre effforts such as My Reverie andIntermezzo. A strange fit for Vaughan, but you do get to hear her chops in a completely different milieu. And there's something so relaxing about the tracks. And dig I Give to You, which is arranged like Theme From A Summer Place.
certain extent. These are classically based songs with lyrics. The lineup includes transgenre effforts such as My Reverie andIntermezzo. A strange fit for Vaughan, but you do get to hear her chops in a completely different milieu. And there's something so relaxing about the tracks. And dig I Give to You, which is arranged like Theme From A Summer Place.
Vaughan shifts gears on Sings Soulfully (May 1963). Supported 
by Gerald Wilson's arrangements, the singer is backed by a sextet with the Hammond organ (Ernie Freeman) playing a prominent role. Vaughan digs deep on smart choices such asA Taste of Honey, What Kind of Fool Am I, Sermonette, The Good Life, 'Round Midnight and Easy Street. All have a loping ballad feel.
by Gerald Wilson's arrangements, the singer is backed by a sextet with the Hammond organ (Ernie Freeman) playing a prominent role. Vaughan digs deep on smart choices such asA Taste of Honey, What Kind of Fool Am I, Sermonette, The Good Life, 'Round Midnight and Easy Street. All have a loping ballad feel.
The Lonely Hours (June 1963) was arranged by Benny Carter, 
who again serves up unusual twists to songs, as though purposefully challenging Vaughan. Dig the interaction between Vaughan and the French horns and tuba on Always on My Mind. Or the embracing string writing on The Man I Love. Or the dramatic build onFriendless.
who again serves up unusual twists to songs, as though purposefully challenging Vaughan. Dig the interaction between Vaughan and the French horns and tuba on Always on My Mind. Or the embracing string writing on The Man I Love. Or the dramatic build onFriendless.
Sweet 'n' Sassy (June 1963) is the final LP session. Handled by Lalo Schifrin, the album was probably the most uneven matching between the singer and arranger. However, there are a few highlights such as Just You Just Me and Thanks for the Ride.
To be fair, there are some duds in this set—but they are few. In between her album sessions, Roulette recorded her for singles. Most were a complete miss. These were arranged by Billy May, Joe Reisman and Marty Manning. Neither jazz, pop or soul, 
they emerge as rough fits.
they emerge as rough fits.
For too long, Sarah Vaughan's Roulette LPs have been largely dismissed like polyester upholstery or low-cal soda. In truth, these are solid works in the stereo age, when Vaughan was at her late jazz peak and just before her diva years. In fact, she was age 36-38 during the sessions. Like the cars of this period, think of the recordings as Vaughan with fins.
JazzWax tracks: You'll find the eight-CD set The Complete Roulette Sarah Vaughan Studio Sessions (Mosaic) here.
JazzWax clip: Here's Sarah Vaughan with Mundell Lowe and George Duvivier on In a Sentimental Mood from After Hours...
Used with permission by Marc Myers
Sunday, December 19, 2010
William P. Gottlieb....photographer
Sarah Vaughan, Society Café(Downtown), New York, N.Y., August 1946
Monday, July 26, 2010
Sarah Vaughan ♫ Peter Gunn (Max Sedgley Remix)
Sarah Vaughan - Peter Gunn (Max Sedgley Remix) / Verve Remixed Vol.3
Music by Henry Mancini
Lyrics by Jay Livingston and Ray Evans
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