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Sarah Vaughan
Albums
This CD contains 24 selections, so one cannot complain about its brevity, but it would have been preferable to have Sarah Vaughan's Roulette albums reissued in full (a few have been) [more]
- List Price: $16.99
- Member Price: $11.98
![After Hours [Columbia]](/cache/JS/c5/130x130_on-sale_c524070mwal.png)
From 1961-1962, Sarah Vaughan recorded two albums while accompanied by just guitar and bass. Her 1962 outing for the obscure Reactivation label (with guitarist Barney Kessel [more]
- List Price: $16.99
- Member Price: $11.98
Sarah Vaughan's years on Mercury (and its subsidiary EmArcy) feature inspired jazz performances, commercial recordings with string orchestras, and big-band [more]
- Member Price: $107.88
Most of Sarah Vaughan's Columbia recordings were on the commercial side, but not the memorable selections on this wonderful CD reissue. She recorded eight selections in 1950 [more]
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- Member Price: $11.98
- List Price: $20.98
- Member Price: $18.90
This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the [more]
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- List Price: $12.98
- Member Price: $11.68
- List Price: $12.98
- Member Price: $11.68
The careers of trumpeter Clifford Brown and vocalist Sarah Vaughan reached a pivot point in 1954, the former peaking before tragically passing away in a car accident, the latter a [more]
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- Member Price: $11.68
Sarah Vaughan's recordings of the 1940s tend to be with big bands and string sections. Depending on your taste for the symphonic or operatic Vaughan, this collection of [more]
- List Price: $13.98
- Member Price: $13.36
Appearances
The classic songs of Richard Rodgers and Lorenz Hart are rendered on this outstanding three-disc set, which features vocalists like Billie Holiday, Ella Fitzgerald, [more]
- Member Price: $49.98
This is not and cannot be the Complete Cole Porter Songbooks, but it's a marvelous collection of 48 timeless jazz interpretations drawn from the Verve catalog. [more]
- Member Price: $49.98
The Complete Irving Berlin Songbooks combines the three individual discs in the Irving Berlin Songbook series -- Blue Skies, Cheek to Cheek, and the instrumental [more]
- Member Price: $49.98
One of the giants of American popular song gets his due with this three-disc Verve box, comprising a trio of separately released compilations. Though Mercer's [more]
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In jazz, ballads have a way of separating the men from the boys and the women from the girls. They show what an improviser is made of emotionally. On ballads, [more]
- List Price: $71.96
- Member Price: $47.92
This CD contains 24 selections, so one cannot complain about its brevity, but it would have been preferable to have Sarah Vaughan's Roulette albums reissued in full (a few have been) [more]
- List Price: $16.99
- Member Price: $11.98
In the pantheon of jazz singers, the great tunes of George and Ira Gershwin have always been favorites. Special vocalists can make these [more]
- List Price: $16.99
- Member Price: $11.98
This CD sampler draws its 18 selections from the Blue Note, Pacific Jazz, Roulette, Solid State and Capitol vaults. There are two selections apiece [more]
- List Price: $16.99
- Member Price: $11.98
From 1961-1962, Sarah Vaughan recorded two albums while accompanied by just guitar and bass. Her 1962 outing for the obscure Reactivation label (with guitarist Barney Kessel [more]
- List Price: $16.99
- Member Price: $11.98
In conjunction with documentary filmmaker Ken Burns' ten-part 2000 PBS special, Columbia/Legacy and Verve teamed up to issue a special series of [more]
- Member Price: $59.98
Biography
- Born Mar 27th 1924 in Newark, NJ
- Died Apr 3rd 1990 in Los Angeles, CA
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 Mercury/Emarcy 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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