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Sarah Vaughan: The Divine One - A Centenary Tribute, Her 50 finest 1944-1962
£10.99
In stock
Catalogue Number
RTS4417
To celebrate the centenary of the divine Sarah Vaughan (1924-1990) here is the best double-CD survey available of her career during her golden heyday, displaying the full range of her phenomenal artistry in both jazz and popular settings. “The Divine One” (as she was known) was quite simply one of the great vocalists of the last century. As a jazz singer of the post-war era, Ella Fitzgerald was her only rival, yet she achieved even greater success when she breathed life into romantic ballads. With her wide vocal range, precise timing, perfect pitch, command of colour, effortless swing and ability to interpret a lyric she was indeed a phenomenon.
Retrospective’s tribute presents 50 of the classic recordings Sarah Vaughan made between 1944 and 1962 Her greatest popular successes are here of course, including notable duets with Billy Eckstine (Passing Strangers), her exquisite Serenata and the million-selling Broken-Hearted Melody. Here was a truly divine voice – let’s celebrate it.
Manufacturer: Wyastone Estate Limited, Wyastone Leys, Monmouth, NP25 3SR
Email: sales@wyastone.co.uk
Reviews:
"In Sarah Vaughan's centenary year, it's great to have a reminder of her route to stardom, and this collection manages to bring lesser-known tracks to sit alongside her very well-known early collaborations with Miles Davis and Clifford Brown, as well as her own trio from the fine Swingin' Easy album. A delicate 'Lover Man' with Dizzy's quintet from 1945, the previous year's ballad version with Diz of 'Night in Tunisia', and an almost sloppily romantic version of 'You Go To My Head' with John Kirby's sextet, are cases in point. A revelation is the 1946 Teddy Wilson version of 'Don't Worry 'Bout Me' which compares with his backings to Billie, as Buck Clayton 'Fills the windows' behind her vocal. Hearing her joust with Charlie Ventura on 'September Song' is a treat, as are the 1950 collaborations with George Treadwell's band, with Budd Johnson and Tony Scott playing behind her vocals, and opening up solo space for Miles Davis. As we move to the mid-1950s, the Clifford Brown / Ernie Wilkins tracks are a highlight (with great playing from regular drummer Roy Haynes) as are the selections from her work with Jimmy Jones' trio and the 'No Count' sessions with the Basie Band, with Ronnel Bright subbing for the Count. The more commerical fare with Hal Mooney's orchestra is very mich of its time, including a syrupy duet with Billy Eckstine, as is her pop-oriented 'Broken Hearted Melody' with Ray Ellis. But if we ever need a reminder of the great artst she was, then the chamber trios with Mundell Lowe and George Duvivier from 1961 break the heart, a gorgeous version of 'Sophisticated Lady' and a reflective 'Every Time We Say Goodbye'. It's a beautifully curated and remastered collection." Alyn Shipton, Jazzwise
"...Sarah Vaughan would have turned 100 this year. She had astonishing range, pitching and tone (comparable to Cleo Laine or vice versa) and played with all the early jazz modernists. She went “Las Vegas” later and I remember regretting paying an arm and leg to see her squander her talent at the Festival Hall in London. There’s a good mix here of early and late Sarah, including the famous vocal duets with Billy Eckstine, who had also turned his jazz skills as a boppish trumpeter to pop richesse. The Retrospective jazz catalogue is packed with goodies like these three releases." Barry Fox, Jazz News