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| Sarah Vaughan Sings for Lovers |
| Sarah Vaughan |
| első megjelenés éve: 1982 |
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| (2007)
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CD |
| 3.324 Ft
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| 1. | In A Sentimental Mood (Vocal)
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| 2. | Easy Living
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| 3. | You Are Too Beautiful
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| 4. | Love Dance
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| 5. | More Than You Know
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| 6. | I Didn't Know What Time It Was
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| 7. | Prelude To A Kiss
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| 8. | My Old Flame
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| 9. | Day-dream
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| 10. | Like A Lover (O Cantador)
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| 11. | Tonight I Shall Sleep (With A Smile On My Face)
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Jazz
Recorded: 1978-1982
Sarah Vaughan (vocals)
Joe Pass (guitar); Oscar Peterson, Roland Hanna (piano); Ray Brown (upright bass); Louie Bellson (drums)
Liner Note Author: Scott Yanow.
These 11 romantic Sarah Vaughan recordings, made between 1977 and 1982, feature the singer at her smoothly sophisticated best in a variety of musical settings. She's accompanied by a string quartet on a couple of Duke Ellington standards, including "In a Sentimental Mood," as well as the pianist Oscar Peterson on "More Than You Know," and the guitarist Joe Pass on "My Old Flame."
Sarah Vaughan (1924-1990) was blessed with a singularly remarkable vocal instrument, a four-octave contralto capable of shaking down the stars or plumbing oceanic depths. From 1977 to 1982, Vaughan recorded for Pablo Records, and her work for that label, a balladic cross-section of which is presented herein, is some of the finest of her long and distinguished career. Most of these eleven love songs are prime entries from the Great American Songbook, one exception being "Like a Lover", a captivating Brazilian import whose co-composer, Dori Caymmi, joins Vaughan on voice and guitar. Whether backed by full orchestra, all-star small groups, or a complement of Brazil's best, Sarah Vaughan sings not solely for lovers, but for lovers of singing at its most musicianly.
Sarah Vaughan
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Mar 27, 1924 in Newark, NJ
Died: Apr 03, 1990 in Los Angeles, CA
Genre: Vocal; Jazz
Styles: Bop, Cool, Ballads, Standards, Traditional Pop, Vocal Jazz
Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.
Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.
Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of "A Night in Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.
During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the MercuryEmarcy years, and Sarah Vaughan is as famous today as she was during her most active years.
---Scott Yanow, All Music Guide |
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