Everything I Have Is Yours

Performer: Sarah Vaughan
Artist: Dizzy Gillespie; Teddy Wilson; Charlie Parker; Georgie Auld; Kenny Clarke; Sid Catlett; Buck Clayton; Billy Taylor; Ted Dale Orchestra; Georgie Auld & His Orchestra; Teddy Wilson Octet; George Treadwell Orchestra; Teddy Wilson Quartet
Distributor: Sony Music Distribution (

Notes: Personnel includes: Sarah Vaughan (vocals); Georgie Auld (soprano & tenor saxophone); Al Gibson (alto saxophone, clarinet); Charlie Parker (alto saxophone); Charlie Ventura (tenor saxophone); Dizzy Gillespie, Buck Clayton, George Treadwell (trumpet); Jimmy Jones (piano, celeste); Teddy Wilson, Al Haig, Billy Taylor (piano); Remo Palmerri (guitar); Curly Russell, Al McKibbon (bass); Sid Catlett, Kenny Clarke (drums); Ted Dale Orchestra. Recorded between 1945 and 1947. Personnel: Remo Palmieri (guitar); Al Gibson (alto clarinet); Georgie Auld (soprano saxophone); Charlie Parker (alto saxophone); Charlie Ventura (tenor saxophone); Dizzy Gillespie, George Treadwell, Buck Clayton (trumpet); Jimmy Jones (piano, celesta); Al Haig, Teddy Wilson, Billy Taylor (piano); Curly Russell, Al McKibbon (bass instrument); Kenny Clarke, Big Sid Catlett (drums). Audio Remasterer: Randy Perry . Sarah Vaughan began her fruitful career as a singer in the big band era and lasted many decades afterwards, collecting fans and Grammys. EVERYTHING I HAVE IS YOURS is an important disc in her discography, as it's Sassy Sarah relatively early in the game (she was 20 or so when these sessions were done, circa mid-1940s) and at her most cutting-edge. Vaughan enthusiatically adapted to the then-revolutionary movement in jazz called bebop, and EVERYTHING. features the cream of bebop talent, including icons-to-be Charlie Parker, Dizzy Gillespie, and Kenny Clarke. Vaughan's masterfully smoky voice soars and swings with confidence and cool with these master musicians. For fans of jazz singing (and early bebop), this disc is virtually essential!

Sarah Vaughan's name was synonymous with jazz singing for two generations. She probably ranks as a close second only to Ella Fitzgerald in terms of influence, vocal range, and sheer, consistent brilliance. Her knowledge of bebop, gained during her '40s stint with Billy Eckstine, enabled her to advance the harmonic side of her work beyond that of her contemporaries. Throughout the '50s, she produced a torrent of albums in either a popular vein for Mercury Records, or more jazz-oriented material for subsidiary label EmArcy.

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