Winter Driving Best Books of the Month Men's Leather Watches Learn more nav_sap_SWP_6M_fly_beacon Nothing But Thieves All-New Amazon Fire TV Subscribe & Save Valentine's Day Cards Bring a little greenery into your home Amazon Gift Card Offer jstfd6 jstfd6 jstfd6  Amazon Echo All-New Fire Kindle Paperwhite Lisa Loeb AMO Winter Sports on Amazon.com SnS
Listen for $0.00 with
Join Amazon Prime now
You get unlimited access to over a million songs, curated playlists, and ad-free stations with Amazon Prime.

Sarah Vaughan

February 29, 2000 | Format: MP3

$0.00
Join Amazon Prime to get unlimited streaming of this album.
$7.99 to buy
Song Title Artist
Time
Popularity Prime  
30
1
4:00
30
2
6:14
30
3
4:13
30
4
5:54
30
5
4:44
30
6
4:51
30
7
5:12
30
8
5:47
30
9
5:06
30
10
3:58
Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to Amazon.com (US).
  

Product Details

  • Original Release Date: February 29, 2000
  • Release Date: February 29, 2000
  • Label: Verve Records
  • Copyright: (C) 2000 PolyGram Records Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 49:59
  • Genres:
  • ASIN: B000V6MSJO
  • Average Customer Review: 4.7 out of 5 stars 49 customer reviews
  • Amazon Best Sellers Rank: #15,148 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Top Customer Reviews

Format: Audio CD
Sarah Vaughan's self-titled album featuring Clifford Brown has always been a landmark of her recording career; her warm, lush voice was in absolute top form and the musical backing was nothing short of stellar. And whereas most jazz vocalists of the 50's focused mainly on their own singing, this album explains why musicians considered Sarah one of their own; this isn't so much a singer's release as it is a project by a jazz combo that happens to feature a human voice as one of its counterparts. Generous solos are given throughout, and the album has an earthy, jam-session quality. "You're Not the Kind" and "Lullaby of Birdland" show Sarah at the height of her swinging abilities ("Birdland" even boasts what is arguably the best scat of her career) and "I'm Glad There is You," "April in Paris," and "Embraceable You" rank among the most moving and emotional ballads she's ever recorded.
Additionally, this release single-handedly justifies the remastering and reissuing process. This album has been available on CD for years and sounded just fine; the reissue, however, adds a texture to the music (especially noticeable on sax and drums) that is priceless. Amazingly, Sarah's voice sounds even more beautiful and the project as a whole no longer sounds like it was recorded decades ago. For artistic jazz standards of yesteryear and the sound technology of today, you can't find a better release than "Sarah Vaughan."
1 Comment 104 of 104 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD
Subtle Sarah
There's no one like the young Sarah Vaughan; on this album she has a beautifully smooth and supple voice (in addition to her famous "head tones"). She's not quite as operatic or showy (the long tremolos, for example) here as on some of her work. Despite the relative understatement, however, her tonal changes and swoops are dramatic.
She's wonderful on "Lullaby of Birdland," scatting as well as Ella, and she excels on "September Song," almost defining the vocal ballad. The great Clifford Brown has a sweet extended trumpet solo, rapid and soft at the same time. While I'm not a fan of jazz flute, Herbie Mann adds dimension to the album (and is used sparingly), and he stays away from pyrotechnics. "He's My Guy" has almost an R and B sound, with an excellent sax solo, and memorable work by Brown and Jones. But, ouch... there's a high-pitched flute solo that I could have done without. "Guy" is one of the faster songs on this album of ballads.
There's an excellent selection of standards here, from "I'm Glad There is You," to "April in Paris" and "Embraceable You," with subtle comping by Paul Quinichette (ts), Jimmy Jones (p), and Joe Benjamin (b). "I'm Glad There is You" is tender and romantic, and Sarah provides some tremendous vocals, shifting tones in mid-stream and adding tremolos to good effect. Her sentimental "April in Paris" is perhaps the best version I've heard- she elevates its emotional power without saccharine effects. "Embraceable You" is not quite as appealing; Brownie's trumpet would have increased the impact. While I can never get enough of Clifford Brown, there's enough here to satisfy, especially his full-ground, powerful, cuttingly smooth work on "Jim," "He's My Guy," and the aforementioned "September Song.
Read more ›
Comment 42 of 42 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD
This is another album ranking in my top-ten personal favorites, and damned if it doesn't feature Clifford Brown too, just like Helen Merrill's classic...he draws your heartstrings and accents these recordings naturally, perfectly. Beautiful songs, beautiful lady, nobody has more gorgeous phrasing or heart-lifting vocals than Sarah. Can you live without this album in regular rotation? I can't.
Comment 26 of 26 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD
At this stage of her career Vaughan was often put in front of larger bands; here, however, she's working just with Jimmy Jones's trio plus three horns: tenor saxophonist Paul Quinichette, flautist Herbie Mann & the great trumpeter Clifford Brown. The arrangements are by Ernie Wilkins, though the tracks aren't in fact highly "arranged" in feel.
Sarah Vaughan's voice was of course at its freshest & loveliest at this point, & it's truly mesmerizing no matter what the material. Or perhaps I should say "despite the material": there's an odd mix of classic songs like "September Song", "April in Paris" & "Embraceable You" with material that hardly was up to that calibre. "Lullaby of Birdland" is a great tune, but it's an instrumental: the lyrics superadded to Shearing's melody are truly atrocious, & Vaughan's near-operatic voice can't do much with rhymes like "birdland" and "word-land", or phrases like "magic music we make with our lips when we kiss". "Jim"'s lyrics mine the same kind of helpless pathos one associates with some of Billie Holiday's setpieces, & Vaughan's reading has some noticeable Holiday inflections, but it's not exactly a great tune, with a wretchedly clumsy B section lyric (rhyming "call it quits" with "breaking my heart in bits"....ouch!). -- All that said, Vaughan's superb on the material which actually can sustain some interpretive weight. "April in Paris" & "Embraceable You" are both done at dead-slow tempos & are very lovely; "Lullaby of Birdland", despite the rotten lyrics, also has an excellent bit of scatting on it.
The band is rather mixed.
Read more ›
Comment 25 of 27 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse

Most Recent Customer Reviews


What Other Items Do Customers Buy After Viewing This Item?


Look for Similar Items by Category