Jazz in Paris: Vaughan and Violins

Performer: Sarah Vaughan
Artist: Quincy Jones
Producer: Quincy Jones
Distributor: Universal Distribution

Notes: 2 LPs on 1 CD: VAUGHAN AND VIOLINS (1958)/VAUGHAN AND VOICES (1963). Personnel includes: Sarah Vaughan (vocals); Quincy Jones (arranger); Seven Saaby Choir. Recorded in Paris, France on July 7 & 12, 1958, and Copenhagen, Denmark on October 12, 1963. Includes liner notes by Michael Bourne. All tracks have been digitally remastered. Personnel includes: Sarah Vaughan, Quincy Jones. During the 1950s, Sarah Vaughan wowed the public with her lush, rich vocals, especially in ballad settings. She is backed by a string section for most of this collection of ballads recorded in Paris with conductor/arranger Quincy Jones. This 1958 recording is notable as it is one of the first albums to feature Erroll Garner's mega-hit "Misty" with Johnny Burke's brand new lyrics; this version is notable for its simplicity and lack of gimmicky vocal effects. Many of the tracks add a rhythm section (usually pianist Ronnell Bright, bassist Richard Davis, and drummer Kenny Clarke, though other drummers also took part), along with a saxophone quartet for backgrounds, with tenor saxophonist Zoot Sims providing occasional brief solos or counterpoint, though the saxophone credits in the booklet don't match up very well with the music. Vaughan is in top form throughout the disc; only the use of excessive reverb on the closing to "Gone with the Wind" dates these magical sessions. ~ Ken Dryden A compilation of two albums recorded in Europe under the direction of Quincy Jones, these sessions catch Sarah Vaughan at her magnificent best. There may be claims of overdoing it or garishness. But her set of pipes and her willingness to use them dramatically, and sometimes coyly, to bring out the best of everything she sings brushes aside such criticisms as unjustified. Classic standard or novelty tune, she had full command of the vocal art. The 1958 session took place in Paris with Jones doing the arrangements and leading a 55-piece orchestra. To match up this large aggregation would be daunting for most singers. But with Vaughan's powerful operatic voice, it's no problem at all. Although the notes don't identify personnel, Zoot Sims was present backing Vaughan and soloing on such cuts as "Misty." Also present was the rhythm section of Ronnell Bright on piano, Kenny Clarke on drums, and Richard Davis and Pierre Michelot sharing bass. This set was originally issued under the title of Vaughan and Violins. The other session took place in Copenhagen in 1963 and was issued with a similar alliterative title, Vaughan and Voices. Jones was again in charge, but Robert Farnon conducted and arranged, which meant there would be no upbeat material. Farnon never met a string section he didn't love. But in no way does this circumstance impede Vaughan. An audacious full-voiced treatment of "It Could Happen to You" not only makes one forget most other versions, but reveals how little the Sevend Saaby Danish Choir is needed here. Conversely, the way Vaughan rides their voices at the outset of "Days of Wine and Roses" pays their way. This compilation is vintage Sarah Vaughan, which means this is a dazzling exploration of the possibilities of the human voice as a vocal instrument. Recommended. ~ Dave Nathan

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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