Sarah Vaughan
Language available : englishBop's greatest diva, Sarah Vaughan was among jazz and popular music's supreme vocalists. She treated her voice as an instrument, improvising melodic and rhythmic embellishments, using her contralto range to make leaps and jumps, changing a song's mood or direction by enunication and delivery, and altering her timbre. She turned sappy novelty tunes and light pop into definitive, jazz-based treatments. She had a distinctive swinging quality and intensity in her style, and was also a great scat singer. Vaughan was a dominant performer from the late '40s until the '80s, when illness forced her to cut back her appearances. Vaughan's recorded legacy stands with anyone in modern jazz history. She sang in the Mt. Zion Baptist Church choir as a child and became its organist at 12. Vaughan won the famous Amateur Night At The Apollo talent contest in 1942, and by April of the next year had joined Earl Hines' band as a second pianist and vocalist. When Billy Eckstine left Hines and formed his own band in 1944, Vaughan soon joined and made her recording debut with his orchestra at the end of December. She went solo a year later, and remained that way the rest of her career, except for a brief stint with John Kirby in 1945 and 1946. She became a star by performing pop ballads and show tunes, though she made numerous jazz anthems. Eckstine was a frequent duet partner, and the two collaborated on a fine Irving Berlin repertory record in the mid-'50s. Vaughan showed her jazz capabilities early in her solo career, recording a remarkable version of "Lover Man" with Dizzy Gillespie and Charlie Parker in 1945. But from 1949 to 1954, when she was with Columbia, she made hit albums with studio orchestras and cut only one jazz date with Miles Davis and Budd Johnson. When Vaughan switched labels to Mercury in 1954 she won the right to make light pop and straight jazz recordings. She did jazz material for EmArcy, recording with Clifford Brown, Cannonball Adderley and Count Basie's sidemen, while cutting pop tracks for Mercury. These included the 1958 smash "Broken-hearted Melody." Vaughan maintained similiar relationships with Roulette, Mercury and Columbia from 1960 to 1967. After a five year break, she returned to recording in 1971, this time with Norman Granz's Pablo label. Granz made many sessions with Vaughan through the '70s, some excellent, others not so good. She made a Duke Ellington Songbook, worked with Count Basie and Oscar Peterson and even did an album of Afro-Latin and Brazilian material. There was a marvelous two-record live set recorded in Japan. Her health worsened in the '80s, but she recorded an album of Gershwin songs with The Los Angeles Philharmonic in 1982 and an interesting concept/vocal album The Planet is Alive..Let It Live! in 1985 on Gene Lees Jazzletter label. This was an album of poems by Pope John Paul II adapted by Lees with music by Tito Fontana and Sante Palumbo. It featured Vaughan's vocals backed by an orchestra that included such jazz veterans as Art Farmer, Benny Bailey and Sahib Shihab. When Vaughan died in 1990, there were tributes and worldwide outpourings of grief. Her albums are being steadily reissued, from the formative '40s dates to the '70s sets. Mercury has issued the mammoth Complete Sarah Vaughan On Mercury collection, which breaks down her career at the label into eras with multi-disc packages for each period. The songbooks have been reissued, and Columbia has a two-disc package of material from the late '40s and early '50s. Single album reissues are also available from the '50s,'60s, and '70s.
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Bop's greatest diva, Sarah Vaughan was among jazz and popular music's supreme vocalists. She treated her voice as an instrument, improvising melodic and rhythmic embellishments, using her contralto range to make leaps and jumps, changing a song's mood or direction by enunication and delivery, and altering her timbre. She turned sappy novelty tunes and light pop into definitive, jazz-based treatments. She had a distinctive swinging quality and intensity in her style, and was also a great scat singer. Vaughan was a dominant performer from the late '40s until the '80s, when illness forced her to cut back her appearances. Vaughan's recorded legacy stands with anyone in modern jazz history. She sang in the Mt. Zion Baptist Church choir as a child and became its organist at 12. Vaughan won the famous Amateur Night At The Apollo talent contest in 1942, and by April of the next year had joined Earl Hines' band as a second pianist and vocalist. When Billy Eckstine left Hines and formed his own band in 1944, Vaughan soon joined and made her recording debut with his orchestra at the end of December. She went solo a year later, and remained that way the rest of her career, except for a brief stint with John Kirby in 1945 and 1946. She became a star by performing pop ballads and show tunes, though she made numerous jazz anthems. Eckstine was a frequent duet partner, and the two collaborated on a fine Irving Berlin repertory record in the mid-'50s. Vaughan showed her jazz capabilities early in her solo career, recording a remarkable version of "Lover Man" with Dizzy Gillespie and Charlie Parker in 1945. But from 1949 to 1954, when she was with Columbia, she made hit albums with studio orchestras and cut only one jazz date with Miles Davis and Budd Johnson. When Vaughan switched labels to Mercury in 1954 she won the right to make light pop and straight jazz recordings. She did jazz material for EmArcy, recording with Clifford Brown, Cannonball Adderley and Count Basie's sidemen, while cutting pop tracks for Mercury. These included the 1958 smash "Broken-hearted Melody." Vaughan maintained similiar relationships with Roulette, Mercury and Columbia from 1960 to 1967. After a five year break, she returned to recording in 1971, this time with Norman Granz's Pablo label. Granz made many sessions with Vaughan through the '70s, some excellent, others not so good. She made a Duke Ellington Songbook, worked with Count Basie and Oscar Peterson and even did an album of Afro-Latin and Brazilian material. There was a marvelous two-record live set recorded in Japan. Her health worsened in the '80s, but she recorded an album of Gershwin songs with The Los Angeles Philharmonic in 1982 and an interesting concept/vocal album The Planet is Alive..Let It Live! in 1985 on Gene Lees Jazzletter label. This was an album of poems by Pope John Paul II adapted by Lees with music by Tito Fontana and Sante Palumbo. It featured Vaughan's vocals backed by an orchestra that included such jazz veterans as Art Farmer, Benny Bailey and Sahib Shihab. When Vaughan died in 1990, there were tributes and worldwide outpourings of grief. Her albums are being steadily reissued, from the formative '40s dates to the '70s sets. Mercury has issued the mammoth Complete Sarah Vaughan On Mercury collection, which breaks down her career at the label into eras with multi-disc packages for each period. The songbooks have been reissued, and Columbia has a two-disc package of material from the late '40s and early '50s. Single album reissues are also available from the '50s,'60s, and '70s.
© TiVo
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BD Music & Cabu Present Sarah Vaughan, une anthologie 1954/1958
Sarah Vaughan
Vocale jazz - Released by BDMUSIC on 10 mrt. 2011
This anthology might only focus on the period 1954-1958, but it contains the full vocal range of one of the greatest singers in jazz history: Sarah Va ...
16-Bit CD Quality 44.1 kHz - Stereo -
Saga Jazz: Shulie a Bop (Modern Series)
Sarah Vaughan
Vocale jazz - Released by Saga on 16 aug. 2005
16-Bit CD Quality 44.1 kHz - Stereo -
Sarah Vaughan
Sarah Vaughan
Vocale jazz - Released by Emarcy on 18 dec. 1954
This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of o ...
24-Bit 96.0 kHz - Stereo -
The Lost Recordings (Live at the Berlin Philharmonie 1969)
Sarah Vaughan
Vocale jazz - Released by The Lost Recordings on 9 apr. 2021
16-Bit CD Quality 44.1 kHz - Stereo -
30 Essentials of Sarah Vaughan
Sarah Vaughan
Vocale jazz - Released by BnF Collection on 8 aug. 2014
24-Bit 96.0 kHz - Stereo -
Sassy Swings The Tivoli
Sarah Vaughan
Vocale jazz - Released by Verve Reissues on 1 okt. 1963
After four years on Roulette, Sarah Vaughan returned to Mercury (her main label of the 1950s) with this wonderful live session, one of her very best o ...
16-Bit CD Quality 44.1 kHz - Stereo -
In The Land Of Hi Fi
Sarah Vaughan
Vocale jazz - Released by Verve Reissues on 1 jan. 1955
In the Land of Hi-Fi is one of Sarah Vaughan's best jazz dates for EmArcy. Accompanied by an all-star orchestra arranged by Ernie Wilkins and featurin ...
16-Bit CD Quality 44.1 kHz - Stereo -
Sarah Vaughan
Sarah Vaughan
Vocale jazz - Released by Verve Reissues on 1 dec. 1954
This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of o ...
16-Bit CD Quality 44.1 kHz - Stereo -
Images (Remastered)
Sarah Vaughan
Vocale jazz - Released by Emarcy on 19 mrt. 1954
24-Bit 192.0 kHz - Stereo -
Images
Sarah Vaughan
Vocale jazz - Released by Verve Reissues on 19 mrt. 1954
24-Bit 96.0 kHz - Stereo -
How Long Has This Been Going On?
Sarah Vaughan
Vocale jazz - Released by Pablo on 1 jan. 1978
This set features the great Sarah Vaughan in a typically spontaneous Norman Granz production for Pablo with pianist Oscar Peterson, guitarist Joe Pass ...
16-Bit CD Quality 44.1 kHz - Stereo -
Sarah Vaughan At Mister Kelly's (Live / Expanded Edition)
Sarah Vaughan
Vocale jazz - Released by Verve Reissues on 6 aug. 1957
During the mid-'50s, Sarah Vaughan spent most of her time recording songbook standards backed by a large orchestra in florid arrangements, with only t ...
16-Bit CD Quality 44.1 kHz - Stereo -
Crazy And Mixed Up
Sarah Vaughan
Vocale jazz - Released by Pablo on 1 jan. 1982
Sarah Vaughan had complete control over the production of this album, Crazy and Mixed Up (which would be her last small-group recording) and, even if ...
16-Bit CD Quality 44.1 kHz - Stereo -
Send In The Clowns
Sarah Vaughan
Vocale jazz - Released by Pablo on 1 jan. 1981
Sarah Vaughan is accompanied by her regular rhythm section of the early '80s (with pianist George Gaffney, bassist Andy Simpkins, and drummer Harold J ...
16-Bit CD Quality 44.1 kHz - Stereo -
The Divine One (2007 Remaster)
Sarah Vaughan
Vocale jazz - Released by Parlophone UK on 1 jan. 1961
Recorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent ...
16-Bit CD Quality 44.1 kHz - Stereo -
After Hours
Sarah Vaughan
Vocale jazz - Released by Parlophone UK on 1 jun. 1961
From 1961-1962, Sarah Vaughan recorded two albums while accompanied by just guitar and bass. Her 1962 outing for the obscure Reactivation label (with ...
16-Bit CD Quality 44.1 kHz - Stereo -
You're Mine You
Sarah Vaughan
Vocale jazz - Released by Parlophone UK on 1 jan. 1962
This LP finds Sarah Vaughan backed by big-band and string arrangements from Quincy Jones that could easily have been used for a Frank Sinatra date. Va ...
16-Bit CD Quality 44.1 kHz - Stereo -
The Complete Sarah Vaughan On Mercury Vol. 4 - 1963-1967
Sarah Vaughan
Vocale jazz - Released by Verve Reissues on 1 jan. 1977
The fourth of four box sets reissuing every recording Sarah Vaughan made for the Mercury and EmArcy labels (including many previously unreleased perfo ...
16-Bit CD Quality 44.1 kHz - Stereo -
Sarah + 2 (2006 Remaster)
Sarah Vaughan
Vocale jazz - Released by Parlophone UK on 1 jan. 1962
Roulette, the same label that brought the world Jimmie F. Rodgers' "Kisses Sweeter Than Wine" and Joey Dee's "Peppermint Twist," also recorded some wo ...
16-Bit CD Quality 44.1 kHz - Stereo -
Divine: The Jazz Albums 1954-1958
Sarah Vaughan
Vocale jazz - Released by Verve Reissues on 19 mrt. 2013
Possessing one of the finest singing voices of the 20th century, Sarah Vaughan was already an established solo star when she signed with Mercury Recor ...
16-Bit CD Quality 44.1 kHz - Stereo -
Live in Berlin, 1969 (Live)
Sarah Vaughan
Vocale jazz - Released by Jazzline on 1 nov. 2016
16-Bit CD Quality 44.1 kHz - Stereo