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| Linger Awhile - Live at Newport and More [ ÉLŐ ] |
| Sarah Vaughan |
| első megjelenés éve: 1982 |
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| (2007)
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CD |
| 6.537 Ft
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| 1. | If This Isn't Love
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| 2. | (I'm Afraid) The Masquerade Is Over
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| 3. | All Of Me
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| 4. | Black Coffee
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| 5. | Sometimes I'm Happy
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| 6. | Poor Butterfly
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| 7. | Linger Awhile
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| 8. | Time/tenderly
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| 9. | I Didn't Know What Time It Was
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| 10. | I Got It Bad (And That Ain't Good)
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| 11. | That's All (Vocal)
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| 12. | I Let A Song Go Out Of My Heart
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| 13. | I'm Just A Lucky So And So
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| 14. | Teach Me Tonight
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| 15. | Just Friends
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| 16. | I Hadn't Anyone Till You
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Jazz
Recorded live at the Newport Jazz Festival, Newport, Rhode Island on July 7, 1957; Group IV Studios, Hollywood, California between April 25, 1978 and March 1, 1982; RCA Studios, New York, New York on September 13, 1979
Digitally remastered by Kirk Felton (1999, Fantasy Studios, Berkeley, California)
Sarah Vaughan (vocals)
Billy Byers, Sammy Nestico (arranger, conductor); Frank Foster (tenor saxophone); Kenny Hing, Eric Dixon, Bobby Plater, Danny Turner, Johnny Williams (saxophone); Waymon Reed, Sonny Cohn, Frank Szabo, Willie Cook, Bob Summers, Dale Carley (trumpet); Mitchell "Booty" Wood, Bill Hughes, Dennis Wilson, Grover Mitchell (trombone); Jimmy Jones, Oscar Peterson, Roland Hanna, Mike Wofford, Jimmy Rowles, George Gaffney (piano); Joe Pass, Bucky Pizzarelli, Freddie Green (guitar); Andy Simpkins, Richard Davis, Ray Brown (bass); Grady Tate, Roy Haynes, Louie Bellson, Harold Jones, Louis Bellson (drums)
This collection contains various alternate takes from 1957 to 1982, as well as live tracks recorded at The Newport Jazz Festival, Newport, Rhode Island on July 7, 1957.
Producers: Norman Granz, Sarah Vaughan.
Compilation producer: Eric Miller.
Engineers include: Dennis Sands, Gregg Orloff, Val Valentin.
Includes liner notes by Richard S. Ginell.
In an ideal world, Sarah Vaughan's performance at the 1957 Newport Jazz Festival wouldn't have gone unreleased for 42 years. But because of various circumstances, that performance remained in Norman Granz's private collection until the release of this CD in late 1999. Here's what happened: At the 1957 Newport Festival, Granz taped sets by the Count Basie Orchestra and the Oscar Peterson Trio for release on his Verve label, and ended up taping Vaughan's set as well. But Vaughan was signed to an exclusive contract with Mercury at the time, and Mercury was close to doing some live taping of its own. (In fact, the singer's excellent live album At Mister Kelly's was recorded in Chicago only a month after her Newport appearance.) The same trio that backed a 33-year-old Sassy at that Chicago club (pianist Jimmy Jones, bassist Richard Davis, and drummer Roy Haynes) backs her at Newport, where she is in fine form on performances of familiar standards such as "Black Coffee," "All of Me," "The Masquerade Is Over," and "Sometimes I'm Happy." Because Vaughan's Newport set wasn't nearly long enough to fill up a CD, roughly half of this disc is devoted to eight alternate studio takes she recorded for Granz's Pablo label from 1978 to 1982. It's interesting to hear the older Vaughan on the same CD as the younger Vaughan: Alternates of "Just Friends," "That's All," and other standards show us just how much her voice had deepened since 1957. But she still had one of the most enviable and impressive ranges in jazz, and Vaughan in her 50s was every bit as expressive and charismatic as Vaughan at 33. As a rule, the alternates are only slightly inferior to the master takes that Pablo ended up choosing -- and they will undoubtedly be of interest to collectors. Although not essential and not recommended to casual listeners, Linger Awhile is a CD that seasoned Vaughan fans will be happy to add to their collections.
---Alex Henderson, All Music Guide
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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