At Mister Kelly's (Mono Remastered) Sarah Vaughan

• 1 September In The Rain (Live At Mister Kelly's, Chicago / 1957) 03:34
• 2 Willow Weep For Me (Live At Mister Kelly's, Chicago / 1957) 05:18
• 3 Just One Of Those Things (Live At Mister Kelly's, Chicago / 1957) 03:10
• 4 Be Anything But Darling Be Mine (Live At Mister Kelly's, Chicago / 1957) 04:49
• 5 Thou Swell (Live At Mister Kelly's, Chicago / 1957) 02:51
• 6 Stairway To The Stars (Live At Mister Kelly's, Chicago / 1957 / Long Edit) 05:05
• 7 Honeysuckle Rose (Live At Mister Kelly's, Chicago / 1957) 03:45
• 8 Just A Gigolo (Live At Mister Kelly's, Chicago / 1957) 04:11
• 9 How High The Moon (Live At Mister Kelly's, Chicago / 1957) 02:59
• Total Runtime 35:42

Info zu At Mister Kelly's (Mono Remastered)

Nach einem ziemlich wackeligen Start (sie findet nicht die richtige Tonlage bei "September In The Rain", wirft einen Mikrofonständer um, stolpert über einige Textstellen bei "Willow Weep For Me"), aber Sarah Vaughan braucht nicht lange, um diese Macken zu überwinden und eine nuancierte, intime Darbietung bei diesem Liveauftritt zu liefern. Diese Aufnahme entstand im August 1957 mit dem Pianisten Jimmy Jones, dem Bassisten Richard Davis und dem Schlagzeuger Roy Haynes. Wie zu erwarten war sind deren solide Leistungen strikt als Begleitung angelegt und sind daher zum größten Teil wenig spektakulär. Die Show gehört natürlich Sassy. Sie legt mit Elan los, lässt ihre Stimme ansteigen, flüstert und schmettert dann drauf los. Ihre Bandbreite von Möglichkeiten ist verblüffend: Sie lenkt ihre Stimme und lässt sie vibrieren, wie dies sonst niemand kann. Sie bittet zwar im Laufe der Vorstellung ständig darum, das Mikrophon lauter zu stellen, aber sie ist bei der Aufnahme eindeutig da, wo sie hingehört: Ganz vorne und ganz deutlich zu hören.

Sarah Vaughan, Gesang
Jimmy Jones, Klavier
Richard Davis, Kontrabass
Roy Haynes, Schlagzeug

Digitally remastered

Sarah Vaughan
Jazz critic Leonard Feather called her “the most important singer to emerge from the bop era.” Ella Fitzgerald called her the world’s “greatest singing talent.” During the course of a career that spanned nearly fifty years, she was the singer’s singer, influencing everyone from Mel Torme to Anita Baker. She was among the musical elite identified by their first names. She was Sarah, Sassy — the incomparable Sarah Vaughan.

Born in Newark, New Jersey, in 1924, Vaughan was immediately surrounded by music: her carpenter father was an amateur guitarist and her laundress mother was a church vocalist. Young Sarah studied piano from the age of seven, and before entering her teens had become an organist and choir soloist at the Mount Zion Baptist Church. When she was eighteen, friends dared her to enter the famed Wednesday Night Amateur Contest at Harlem’s Apollo Theater. She gave a sizzling rendition of “Body and Soul,” and won first prize. In the audience that night was the singer Billy Eckstine. Six months later, she had joined Eckstine in Earl Hines’s big band along with jazz legends Dizzy Gillespie and Charlie Parker.

When Eckstine formed his own band soon after, Vaughan went with him. Others including Miles Davis and Art Blakey, were eventually to join the band as well. Within a year, however, Vaughan wanted to give a solo career a try. By late 1947, she had topped the charts with “Tenderly,” and as the 1940s gave way to the 1950s, Vaughan expanded her jazz repertoire to include pop music. As a result, she enlarged her audience, gained increased attention for her formidable talent, and compiled additional hits, including the Broadway show tunes “Whatever Lola Wants” and “Mr. Wonderful.” While jazz purists balked at these efforts, no one could deny that in any genre, Vaughan had one of the greatest voices in the business.

In the late 1960s, Vaughan returned to jazz music, performing and making regular recordings. Throughout the 1970s and ’80s she recorded with such jazz notables as Oscar Peterson, Louie Bellson, Zoot Sims, Herbie Hancock, Ron Carter, Don Cherry, and J.J. Johnson. Her recordings of the “Duke Ellington Song Book (1 and 2)” are considered some of the finest recordings of the time. While for many years her signature song had been “Misty,” by the mid-70’s, she was closing every show with Sondheim’s “Send In The Clowns.” In 1982, while in her late fifties, Vaughan won the Grammy for Best Jazz Vocalist for her album, “Gershwin Live”!

While she continued to work without the massive commercial success enjoyed by colleagues such as Peggy Lee, Rosemary Clooney, and Ella Fitzgerald, Sarah Vaughan consistently retained a special place in the hearts of fellow musicians and audiences alike. She continually performed at top venues, playing to adoring sell-out crowds well into her sixties. Remarkably, unlike many singers, she lost none of her extraordinary talent as time went on. Her multi-octave range, with its swooping highs and sensual lows, and the youthful suppleness of her voice shaded by a luscious timbre and executed with fierce control, all remained intact. In 1990, at the age sixty-six, Sarah Vaughan passed away. Shortly after her death, Mel Torme summed up the feelings of all who had seen her, saying “She had the single best vocal instrument of any singer working in the popular field.” (Source: http://www.pbs.org)

Dieses Album enthält kein Booklet