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Complete on Mercury 1: 54-56
Genres: Jazz, Pop, Broadway & Vocalists
Sarah Vaughan recorded extensively for Mercury/EmArcy during the 1950s and 1960s. Through much of that time, Vaughan's operatic voice was matched against overripe orchestrations or arrangements more suitable to a pop icon ... more »
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Sarah Vaughan recorded extensively for Mercury/EmArcy during the 1950s and 1960s. Through much of that time, Vaughan's operatic voice was matched against overripe orchestrations or arrangements more suitable to a pop icon than one of the most versatile instruments in history. The exhaustive 4 CD box set overview of Vaughan's work with Mercury/EmArcy is essential only to completists or the most avid fans. Vol. 1, however, which collects material from 1954-1956 over six CDs, shows Vaughan at her best, including sessions with trumpeter Clifford Brown and drummer Roy Haynes. Most of the excellent performances from Swingin' Easy are included here. --John Swenson
Sarah Vaughan's finest
Tom Klein | International Falls, MN USA | 06/15/2000
(5 out of 5 stars)
"Sarah Vaughan is one of a handful of jazz vocalists (Ella Fitzgerald, Mel Torme) who is familiar to the general public but remains true to the jazz spirit. Although her tenure at Mercury/Emarcy was marred by too much pop and too little jazz, this first volume is a winner. It collects some of the most swinging Vaughn committed to vinyl as well as some of her most tender and touching performances. It's a must-buy for jazz aficiandos or just plain music lovers."
Tom Klein | 12/27/2000
(5 out of 5 stars)
"I ended up getting all three volumes of "The Complete." Volume 4, which covers the period after Vaughan went to Roulette, then returned to Mercury, I have never seen and never seen offered. Was it released even? All three of the volumes covering Vaughan's Mercury years before Roulette are simply wonderful. Particularly interesting are the unreleased sides and, on Volume 2, a version of "Please Mr. Brown" done ala Vivian Blaine as Adelaide in "Guys and Dolls." The alternate versions of familiar Vaughan recordings are often intriguing but what is most notable is that, doing either the greatest American standards or the most forgettable single B side, Sassy gives her all. She never throws a song away. Endlessly enjoyable listening and true music history."