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Jazz vocal - Paru le 1 septembre 1998 | INA Mémoire vive

Distinctions 5 de Diapason
Sarah Vaughan, chant - Franck Collet, piano - Bob Maize, contrebasse - Harold Jones, batterie
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Jazz vocal - Paru le 19 mars 1954 | Emarcy

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Jazz vocal - Paru le 18 décembre 1954 | Emarcy

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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 one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards "April in Paris," "Jim," and "Lullaby of Birdland." As touching as Vaughan is, however, Brown almost equals her with his solos on "Lullaby of Birdland," "Jim," and "September Song," displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices. Quinichette's solos are magnificent as well, his feathery tone nearly a perfect match for Vaughan's voice. Ironically though, neither Brown nor Quinichette or Mann appear on the album's highlight, "Embraceable You," which Vaughan performs with close accompaniment from the rhythm section: Jimmy Jones on piano, Joe Benjamin on bass, and Roy Haynes on drums. Vaughan rounds the notes with a smile and even when she's steeping to reach a few low notes, she never loses the tremendous feeling conveyed by her voice. In whichever incarnation it's reissued, Sarah Vaughan is one of the most important jazz-meets-vocal sessions ever recorded. © John Bush /TiVo
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Jazz vocal - Paru le 1 décembre 1954 | Verve Reissues

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Jazz vocal - Paru le 1 janvier 1958 | Verve Reissues

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Jazz vocal - Paru le 19 mars 1954 | Verve Reissues

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Jazz vocal - Paru le 6 août 1957 | Verve

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During the mid-'50s, Sarah Vaughan spent most of her time recording songbook standards backed by a large orchestra in florid arrangements, with only the occasional breath of fresh air like her masterpiece, 1954's Sarah Vaughan with Clifford Brown. Four years after that milestone, another landed with the live album At Mister Kelly's. Recorded quite early in the days of the live LP, the album captured Vaughan at her best and most relaxed, stretching out on a set of late-night torch songs and ballads. With a trio including Jimmy Jones on piano, Roy Haynes on drums, and Richard Davis on bass, Vaughan is simply captivating, easily disproving the notion that, to be entertaining, singers needed inventive arrangements and multiple voices (instrumental or otherwise) behind them. Her unerring sense of rhythm carries her through every song on this set, whether the occasion calls for playfulness and wit ("Thou Swell," "Honeysuckle Rose") or a world-wise melancholia ("Willow Weep for Me"). Her accompanists are a valuable anchor, with Haynes' drumming just as precise as Sassy's vocals and Jones' piano solos adding additional vitality. © John Bush /TiVo
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Jazz vocal - Paru le 10 mars 2011 | BDMUSIC

Cette anthologie a beau ne se concentrer que sur la période 1954/1958, elle offre pourtant toute la palette vocale de l’une des plus grandes chanteuses de l’histoire du jazz : Sarah Vaughan. Alors trentenaire, la native de Newark possède un timbre incroyablement riche et chaud, une maîtrise technique totalement renversante et une diction plus que parfaite. Épaulée notamment par les pianistes Jimmy Jones, John Malachi et Ronnel Bright, le batteur Roy Haynes ou bien encore le génie de la trompette Clifford Brown, elle dompte chaque mot, chaque syllabe et chaque phrase. Même dans le scat (If I Knew Then (What I Know Now)), elle est unique ! Une fois écoulées les 36 pistes, on comprend aisément pourquoi Sarah Vaughan est considérée, avec Ella Fitzgerald, Nina Simone et Billie Holiday, comme l'une des plus grandes voix jazz du XXe siècle. © Max Dembo/Qobuz
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Jazz vocal - Paru le 16 avril 2021 | The Lost Recordings

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Jazz vocal - Paru le 19 juin 1997 | Parlophone UK

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Jazz vocal - Paru le 13 juin 2000 | Verve Reissues

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Jazz vocal - Paru le 1 janvier 1978 | Pablo

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Jazz vocal - Paru le 8 août 2014 | BnF Collection

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Jazz vocal - Paru le 1 décembre 1958 | Verve Reissues

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Sarah Vaughan recorded in a variety of settings while with Mercury and EmArcy in the 1950s, but this particular matchup with the Count Basie Orchestra (pianist Ronnell Bright substitutes for Count, thus the title) is pure jazz. During the classic encounter, Vaughan fits in comfortably with the band, whether singing lyrics (such as "Darn That Dream," "Cheek to Cheek," or "Doodlin'") or scatting sensuously on "No Count Blues." The wit and constant swing (in addition to the spontaneous creativity), makes this one of the best of all Sarah Vaughan recordings. Highly recommended. © Scott Yanow /TiVo
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Jazz vocal - Paru le 2 octobre 2006 | Parlophone UK

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Jazz vocal - Paru le 6 août 1957 | Verve Reissues

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Jazz vocal - Paru le 1 janvier 1950 | Columbia - Legacy

Even though Sarah Vaughan recorded for Columbia between 1949 and 1952, only two LPs were culled from the many tracks she produced during this period: the guitar-bass-vocal-only After Hours, and Sarah Vaughan in Hi-Fi, a more jazz-oriented collection featuring a young Miles Davis and tenor player Budd Johnson, among others. These are among Vaughan's finest recordings, and the stellar accompaniment is reminiscent of the Teddy Wilson's small groups backing Billie Holiday on her Columbia recordings of the '30s. Here the still youthful Vaughan applies her technical mastery to jazz classics like "East of the Sun," "Come Rain or Come Shine," and "The Nearness of You," complete with startlingly elastic phrasing and sheer loveliness of voice. © Rovi Staff /TiVo
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Jazz vocal - Paru le 11 mars 1997 | Parlophone UK

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Jazz vocal - Paru le 1 janvier 1982 | Pablo

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Jazz vocal - Paru le 13 mai 1981 | Rhino Atlantic

Union de la Brit-Pop et du jazz américain, Songs of the Beatles  incarne la rencontre entre les univers musicaux des deux rives de l’Atlantique. Rencontre improbable et tragiquement éphémère, Songs of the Beatles est le dernier album auquel contribuera le duo Lennon/McCartney (John Lennon fut assassiné l’année même de la composition de l’album). C’est donc sur les bourdonnements originaux des « scarabées » british que Sarah Vaughan pose son impressionnant vibrato, offrant quelques réinterprétations particulièrement impressionnantes de « Hey, Jude », « The Fool on The Hill » ou « Yesterday », se réappropriant totalement la grammaire orchestrale des Beatles, et offre quelques débouchés typiquement américains à quelques titres emblématiques de la pop britannique. © ©Copyright Music Story Laëtitia Gillot 2021