Sarah Vaughan & the Count Basie Orchestra

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Performer: Sarah Vaughan
Distributor: Universal Distribution

Notes: /Count Basie Orchestra. Personnel: Sarah Vaughan (vocals). Count Basie Orchestra: Sam Nestico (arranger, conductor); Danny Turner, Bobby Plater (alto saxophone); Kenny Hing, Eric Dixon (tenor saxophone); Johnny Williams (baritone saxophone); Sonny Cohn, Frank Szabo, Willie Cook, Bob Summers, Dale Carley (trumpet); Mitchell "Booty" Wood, Bill Hughes, Dennis Wilson, Grover Mitchell (trombone); George Gaffney (piano); Freddie Green (guitar); Andy Simpkins (bass); Harold Jones (drums). Recorded at Group IV Studios, Hollywood, California on February 16 & 18 and May 16, 1981. Includes liner notes by Dan Morgenstern. Digitally remastered using 20-bit K2 Super Coding System technology. Personnel: Sarah Vaughan (vocals). Count Basie Orchestra: Sam Nestico (arranger, conductor); Danny Turner, Bobby Plater (alto saxophone); Kenny Hing, Eric Dixon (tenor saxophone); Johnny Williams (baitone saxophone); Sonny Cohn, Frank Szabo, Willie Cook, Bob Summers, Dale Carley (trumpet); Mitchell "Booty" Wood, Bill Hughes, Dennis Wilson, Grover Mitchell (trombone); George Gaffney (piano); Freddie Green (guitar); Andy Simpkins (bass); Harold Jones (drums). Recorded at Group IV Studios, Hollywood, California on February 16 & 18 and May 16, 1981. Includes liner notes by Dan Morgenstern. Digitally remastered by JVC using XRCD (Extended Resolution Compact Disc) technology. Sarah Vaughan is accompanied by her regular rhythm section of the early '80s (with pianist George Gaffney, bassist Andy Simpkins, and drummer Harold Jones), guitarist Freddie Green, and the Count Basie horn sections on this enjoyable date, which has been reissued on CD. The arrangements by Sammy Nestico and Allyn Ferguson unfortunately do not leave much room for any of the Basie sidemen to solo, but Sassy is in superb form. She is at her best on "I Gotta Right to Sing the Blues," a remake of "If You Could See Me Now," and a rapid "When Your Lover Has Gone," although some listeners may enjoy her overly dramatic rendition of "Send in the Clowns." ~ Scott Yanow

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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