Sarah Vaughan: Lullaby Of Birdland - Jazz Reference (CD)

Sarah Vaughan (1924-1990)

CD

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

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Label:: Dreyfus
Aufnahmejahr ca.:: 1953-54
UPC/EAN:: 3460503679122
Erscheinungstermin:: 7.9.2007

Product Information

In the paradise of the divas the "Divine" - such is her nickname - appears for all eternity in the heart of the holy trinity : Billie – Ella – Sarah (by range of age…). Many others have come since, but nobody has managed to replace their memory. Famous and celebrated to such a point that we like to call them only by their first names, as we would for older sisters or mistresses, they possess each their own seduction, and one loves them for good reasons. Billie Holiday moves us, Fitzgerald enchants us, and Vaughan puts a whirl in the men without making the women jealous. No doubt because, beyond her charm, she has a one-of-a kind voice, a tessitura, a technique, a diction and a rhythmic sense which impose an absolute respect and disarm any critical sense. Here she is, in the middle of the fifties, a superb thirty-year-old woman, reaching a star status, having polished up her musical language with the big names of the jazz, from Parker to Gillespie, giving us some unforgettable masterpieces.

From the first tracks, let us remember Shulie A Bop, the singing of "scat" archetype (on the harmonic frame of Summertime by Gershwin), with the help of the drummer Roy Haynes, the master of suspense and elastic tempo, and the double bass player Joe Benjamin, who is still wondering why Sarah, in this record, has called him "crazy"…. Let us also remember the trescendent versions she offers of Body and Soul and Polka Dots and Moonbeams, standards she reinvents with a great nerve but without showing off.

Let us also listen to these few tracks in which the lavish strength of big bands with strings surrounds her, and let us agree that she sings to it with the same ease and lightness.

Recorded with Clifford Brown’s complicity, a brilliant trumpet player who was to disappear tragically less than two years later, the first nine tracks (except Embraceable You performed with rhythmics only) are one of the summits of the vocal jazz. Sarah feels perfectly relaxed. Clifford’s discants and solos are wonderful and seem to be perfectly appropriate for her voice, whether the trumpet is muted (April In Paris, September Song…) or open (You’re Not The Kind, Jim…).

Nevertheless, you need to notice that the other soloists, particularly Paul Quinichette, a tenor in the same spirit of Lester Young, are not outdone. And the arranger, Ernie Wilkins shows a great tact and nice elegance to stage the event : listen to the end of Jim or the early start of Lullaby of Birdland.

Let us greet finally the pianist Jimmy Jones, the modesty unbodied under the lignes of an accompanist…