sarah vaughan biography and discography

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Sarah Vaughan Biography / Discography

The following is a substantial revision I wrote for a Vaughan's biography on Wikipedia.org on February 14, 2007. The primary reference for thebiography and the following discography is Leslie Gourse's excellent biography, Sassy - The Life of Sarah Vaughan, first published in 1994 byDa Capo Press.

Early LifeSarah Lois Vaughan was born on March 27, 1924 in Newark New Jersey. Her father, Asbury "Jake" Vaughan was a carpenter and amateur guitarist. Hermother, Ada, was a laundress. Jake and Ada Vaughan migrated to Newark from Virginia during the first World War. Sarah was their only natural child,although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan.

The Vaughans lived in a house on Newark's Brunswick street for Sarah's entire childhood. Jake Vaughan was deeply religious and the family was veryactive in the New Mount Zion Baptist Church on 186 Thomas Street. Sarah began piano lessons at the age of seven. Vaughan sang in the church choir andoccasionally played piano for rehearsals and services.

Vaughan developed an early love for popular music on records and the radio. In the 1930s, Newark had a very active live music scene and Vaughanfrequently saw local and touring bands that played in the city at venues like the Montgomery Street Skating Rink, Adams Theatre and Proctor's Theatre. Byher mid-teens, Vaughan began venturing (illegally) into Newark's night clubs and performing as a pianist and, occasionally, singer, most notably at thePiccadilly Club and the Newark Airport USO.

Vaughan initially attended Newark's East Side High School, later transferring to Arts High, which had opened in 1931 as the nation's first arts "magnet" highschool. However, her nocturnal adventures as a performer began to overwhelm her academic pursuits and Vaughn dropped out of high school during herjunior year to concentrate more fully on music. Around this time, Vaughan and her friends also began venturing across the Hudson River into New York Cityto hear big bands at Harlem's Savoy Ballroom and Apollo Theatre.

Biographies of Vaughan frequently state that she was immediately thrust into stardom after a winning an Amateur Night performance at Harlem's ApolloTheatre. In fact, the story that biographer Leslie Gourse relates seems to be a bit more complex. Vaughan was frequently accompanied by a friend, DorisRobinson, on her trips into New York City. Sometime in the Fall of 1942 (when Sarah was 18 years old), Vaughan suggested that Robinson enter the ApolloAmateur Night contest. Vaughn played piano accompaniment Robinson, who won second prize. Vaughn later decided to go back and compete herself as asinger. Vaughan sang "Body and Soul" and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalledlater to Marian McPartland, was $10 and the promise of a week's engagement at the Apollo. After a considerable delay, Vaughan was contacted by theApollo in the Spring of 1943 to open for Ella Fitzgerald.

Sometime during her week of performances at the Apollo, Vaughan was introduced to bandleader/pianist Earl Hines, although the exact details of thatintroduction are disputed. Singer Billy Eckstine, who was with Hines at the time, has been credited by Vaughan and others with hearing her at the Apollo andrecommending her to Hines. Hines also claimed to have discovered her himself and offered her a job on the spot. Regardless, after a brief tryout at theApollo, Hines officially replaced his existing female singer with Vaughan April 4, 1943.

Earl Hines and Billy Eckstine: 1943 - 1944Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band that also featured baritone Billy Eckstine. Vaughanwas hired as a pianist, reputedly so Hines could hire her under the jurisdiction of the musicians union (AFM) rather than the singers union (AGVA), but afterCliff Smalls joined the band as a trombonist and pianist, Sarah's duties became limited exclusively to singing. Vaughan presented a visual paradox foraudiences as a rail-thin 18-year-old waif with a remarkably mature voice. Up to that point in her life, Vaughan never had much concern for her physicalappearance, so Hines and other members of the band had to provide assistance with attire and grooming appropriate for a female band singer. As a toughkid from the streets of Newark, Vaughan had no problem holding her own with her male co-workers and she often spoke very fondly in later years of thefriendships built in during her brief time in the Hines band.

This Earl Hines band is best remembered today as an incubator of bop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenorrather than the alto that he would become famous with later) and trombonist Benny Green. Gillespie also arranged for the band, although a recording ban bythe musicians union prevented the band from recording and preserving its sound and style for posterity.

Eckstine left the Hines band in late 1943 and formed his own big band with Gillespie leaving Hines to become the new band's musical director. Parker camealong too, and the Eckstine band over the next few years would host a startling cast of jazz talent: Miles Davis, Kenny Dorham, Art Blakey, LuckyThompson, Gene Ammons, Dexter Gordon, among others.

Vaughan accepted Eckstine's invitation to join his new band in 1944, giving her an opportunity to develop her musicianship with the seminal figures in thisera of jazz. Eckstine's band also afforded her first recording opportunity, a December 5, 1944 date that yielded the song, "I'll Wait and Pray" for the Deluxelabel. That date led to critic and producer Leonard Feather to ask her to cut four sides under her own name later that month for the Continental label, backedby a septet that included Dizzy Gillespie and Georgie Auld.

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Band pianist John Malachi is credited with giving Vaughan the moniker "Sassy", a nickname that matched her personality. Vaughan liked it and the name(and its shortened variant "Sass") stuck with colleagues and, eventually, the press. In written communications, Vaughan often spelled it "Sassie".

Vaughan officially left the Eckstine band in late 1944 to pursue a solo career, although she remained very close to Eckstine personally and recorded withhim frequently throughout her life.

Early Solo Career: 1945 - 1948Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd street like the Three Deuces, the Famous Door, the Downbeat and theOnyx Club. Vaughan also hung around the Braddock Grill, next door to the Apollo Theatre in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" forthe Guild label with a quintet featuring Gillespie and Parker with Al Haig on piano, Curly Russell on bass and Sid Catlett on drums. Later that month shewent into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.

After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft labelby owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handfulof recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's SheridanSquare.

While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated tohim most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years,Treadwell also made significant positive changes in Vaughan's stage appearance. Aside from an improved wardrobe and hair style, Vaughn had her teethcapped, eliminating an unsightly gap between her two front teeth.

Many of Vaughan's 1946 Musicraft recordings became quite well-known among jazz aficionados and critics, including "If You Could See Me Now" (writtenand arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have is Yours" and "Body and Soul." With Vaughan andTreadwell's professional relationship on solid footing, the couple married on September 16, 1946.

Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly" became an unexpected pop hit in late 1947. HerDecember 27, 1947 recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of"Nature Boy" from April 8, 1948 became a hit around the same time as the release of the famous Nat King Cole recording of the same song. Because of yetanother recording ban by the musicians union, "Nature Boy" was recorded with an A Capella choir as the only accompaniment, adding an ethereal air to asong with a vaguely mystical lyric and melody.

Stardom and The Columbia Years: 1948 - 1953The musicians union ban pushed Musicraft to the brink of bankruptcy and Vaughan used the missed royalty payments as an opportunity to sign with thelarger Columbia Record label. Following the settling of the legal issues, her chart successes continued with the charting of "Black Coffee" in the summer of1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chartsuccess: "That Lucky Old Sun", "Make Believe (You Are Glad When You're Sorry)", "I'm Crazy to Love You", "Our Very Own", "I Love the Guy", "Thinking ofYou" (with pianist Bud Powell), "I Cried for You", "These Things I Offer You", "Vanity", "I Ran All the Way Home", "Saint or Sinner", "My Tormented Heart",and "Time", among others.

Vaughan also achieved substantial critical acclaim. Vaughan won Esquire magazine's New Star Award for 1947. Vaughan won awards from Down Beatmagazine continuously from 1947 through 1952 and from Metronome magazine from 1948 through 1953. A handful of critics disliked her singing as being"over-stylized," reflecting the heated controversies of the time over the new musical trends of the late 40's. However the critical reception to the young singerwas generally positive.

Recording and critical success led to numerous performing opportunities, packing clubs around the country almost continuously throughout the years of thelate 1940s and early 1950s. In the summer of 1949, Vaughan made her first appearance with a symphony in a benefit for the Philadelphia Orchestra entitled"100 Men and a Girl." Around this time, Chicago disk jockey Dave Garroway coined a second nickname for Vaughan, "The Divine One", that would followher throughout her career. In 1951, Vaughan made her first tour of Europe.

With improving finances, in 1949 Vaughan and Treadwell purchased a three-story house on 21 Avon Avenue in Newark, occupying the top floor during theirincreasingly rare off-hours at home and relocating Vaughan's parents to the lower two floors. However, the business pressures and personality conflicts leadto a cooling in the personal relationship between Treadwell and Vaughan. Treadwell hired a road manager to handle Vaughan's touring needs and opened amanagement office in Manhattan so he could work with clients in addition to Vaughan.

Vaughan's relationship with Columbia records also soured as Vaughan became dissatisfied both with the commercial material she was required to recordthere and lackluster financial success of her records. A set of small group sides recorded in 1950 with Miles Davis and Benny Green are among the best ofher career, but those were isolated moments in her Columbia ouvre. Frank Sinatra would face similar issues at the conclusion of his Columbia contractaround the same time. As with Sinatra, Vaughan needed a change of setting that would give her talents the environment to fully blossom.

The Mercury Years: 1954 - 1958In 1953, Treadwell negotiated a unique contract for her with Mercury Records. Vaughan would record commercial material for the Mercury label and morejazz-oriented material for Mercury's subsidiary EmArcy label. Vaughan was paired with producer Bob Shad and their excellent working relationship resultedin strong commercial and artistic success. Vaughan's first recording session for Mercury was in February of 1954 and she stayed with the label through1959. After a stint at Roulette Records from 1960 to 1963, Vaughan returned to Mercury for an additional time from 1964 to 1967.

Vaughan's commercial success at Mercury began with "Make Yourself Comfortable", recorded in the Fall of 1954. Other hits followed, including: "HowImportant Can It Be" (with Count Basie), "Whatever Lola Wants", "The Banana Boat Song", "You Ought to Have A Wife". Vaughan's commercial successpeaked with "Broken Hearted Melody", a song she considered "corny", that nonetheless became her first gold record and a regular part of her concert



repertoire for years to come. Vaughan was reunited with Billy Eckstine for a series of duet recordings in 1957 that yielded the hit "Passing Strangers".Vaughan's commercial recordings were handled by a number of different arrangers and conductors, the primary leaders being Hugo Peretti and HalMooney.

Meanwhile, the jazz "track" of her recording career also proceeded apace, backed either by her working trio or various assemblages of illustrious jazzfigures. One of her favorite albums of her whole career was an album recorded in December of 1954 featuring a sextet that included Clifford Brown. Thealbum The Land of Hi-Fi was recorded at pair of October 1955 sessions featured a 12-piece band that was lead by Ernie Wilkins and included JJ Johnson,Kai Winding, and Cannonball Adderley augmenting Sarah's working trio. In 1958 Vaughan recorded the No 'Count Sarah album with members of the CountBasie Orchestra, minus Basie, who was under contract with another record company.

Performances from this era often found Vaughan in the company of a veritable who's who of jazz figures from the mid-1950s during a schedule of almostnon-stop touring. Vaughan was featured at the first Newport Jazz Festival in the Summer of 1954 and would star in subsequent editions of that festival atNewport and in New York City for the remainder of her life. In the Fall of 1954, Vaughan performed at Carnegie Hall with the Count Basie Orchestra on a billthat also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That Fall, Vaughan took another brief and highly successfultour of Europe. In early 1955, Vaughan set out on a "Big Show" tour, a grueling succession of start-studded one-nighters that included Count Basie, GeorgeShearing, Errol Garner and Jimmy Rushing. In the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet,Horace Silver, Jimmy Smith, the Johnny Richards Orchestra

Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached abreaking point at some time in 1958 and Vaughan filed for a divorce. Vaughan had entirely delegated financial matters to Treadwell, and despite stunningfigures reported through the 1950s about Vaughan's record sales and performance income, at the settlement Treadwell said that only $16,000 was left. Thecouple evenly divided that amount and the personal assets and terminated their business relationship. Despite his questionable business practices,Treadwell had excellent taste and gave Vaughan the ability to just be herself. Treadwell's 12 years of management would ultimately prove to be the mostfocused of Vaughan's career and she would never have management that strong again.

The SixtiesThe exit of Treadwell from Vaughan's life was also precipitated by the entry of Clyde "C.B." Atkins, a man of uncertain background that Vaughn met whilewhile on tour in Chicago and married on September 4, 1958. Although Atkins had no experience in artist management or music, Vaughan wished to have amixed professional/personal relationship like the one she had with Treadwell. Vaughan made Atkins her personal manager, although, she was still feelingthe sting of the problems she had with Treadwell and initially kept a slightly closer eye on Atkins. Vaughan and Atkins moved into a house in EnglewoodCliffs, New Jersey.

Vaughan's contract with Mercury Records ended in late 1959 and she immediately signed on with Roulette Records, a small label owned by Morris Levy,one of the backers of the Birdland jazz club in New York where Vaughan had frequently appeared. Roulette's roster also included Count Basie, JoeWilliams, Dinah Washington, Lambert Hendricks and Ross, and Maynard Ferguson, among others.

Vaughan began recording for Roulette in April of 1960, making a string of strong large ensemble albums arranged and/or conducted by Billy May, JimmyJones, Joe Reisman, Quincy Jones, Benny Carter, Lalo Schifrin and Gerald Wilson. Surprisingly, Vaughan also had some success in 1960 on the popcharts with "Serenata" on Roulette and a couple of residual tracks from her Mercury contract, "Eternally" and "You're My Baby". Vaughan made a pair ofintimate trio albums of jazz standards: After Hours in 1961 with guitarist Mundell Lowe and bassist George Duvivier and Sarah Plus Two in 1962 withguitarist Barney Kessell and bassist Joe Comfort.

Vaughan was incapable of having biological children, so in 1961 Vaughan and Atkins adopted a daughter, Debra Lois. However the relationship with Atkinswas difficult and violent and Vaughan filed for divorce in November of 1963 after a series of strange incidents. Vaughan turned to two friends to help sort outthe financial wreckage of the marriage: John "Preacher" Wells, a childhood acquaintance and club owner, and Clyde "Pumpkin" Golden, Jr. Wells andGolden found that Atkins' gambling and profligate spending had put Vaughan around $150,000 in debt and the Englewood Cliffs house was ultimatelyseized by the IRS for nonpayment of taxes. Vaughan retained custody of the adopted child and Golden essentially took Atkins place as Vaughan's managerand lover for the remainder of the decade.

Around the time of her second divorce, she also became disenchanted with Roulette Records. Roulette' finances were even more deceptive and opaquethan usual in the record business and its recording artists often had little to show for their efforts other than some excellent records. When her contract withRoulette ended in 1963, Vaughan returned to the more familiar confines of Mercury Records. In the Summer of 1963, Vaughan went to Denmark withproducer Quincy Jones to record four days of live performances with her trio that would be released on the album Sassy Swings the Tivoli that is anexcellent example of Vaughan's life show from this period. Vaughan made her first appearance at the White House for President Johnson in 1964.

Unfortunately, the Tivoli recording would be the brightest moment of her second stint with Mercury. Changing demographics and tastes in the 1960s left jazzartists with shrinking audiences and inappropriate material. While Vaughan retained a following large and loyal enough to maintain her performing career,the quality and quantity of her recorded output dwindled even as her voice darkened and her skill remained undiminished. At the conclusion of her Mercurydeal in 1967 she was left without a recording contract for the remainder of the decade.

In 1969 Vaughan terminated her professional relationship with Golden and relocated to the west coast, settling first into a house near Benedict Canyon inLos Angeles and then into what would end up being her final home in Hidden Hills.

Rebirth in the SeventiesVaughan met Marshall Fisher after a 1970 performance at a casino in Las Vegas and Fisher soon fell in to the familiar dual role as Vaughan's lover andmanager. Fisher was another man of uncertain background with no musical or entertainment business experience. However, unlike some of Vaughan'searlier associates, he was a genuine fan of Vaughan's and was devoted to furthering Vaughan's career.

The seventies also heralded a rebirth in Vaughan's recording activity. In 1971, Bob Shad, who had worked as a producer with Vaughan during her contractwith Mercury Records, asked Vaughan to record for his new record label, Mainstream Records. Basie veteran Ernie Wilkins arranged and conducted herfirst Mainstream album, A Time In My Life in November of 1971. In April of 1972, Vaughan recorded a lovely collection of ballads written, arranged and



conducted by Michel Legrand. Arrangers Legrand, Peter Matz, Jack Elliott and Allyn Ferguson teamed up for Vaughan's third Mainstream album, Feelin'Good. Vaughan also recorded a live album in Tokyo with her trio in September of 1973.

During her sessions with Legrand, Bob Shad presented "Send In The Clowns", a Stephen Sondheim song from the Broadway musical A Little Night Music,to Vaughan for consideration. The song would become Vaughan's signature, replacing the chestnut "Tenderly" that had been with her from the beginning ofher solo career.

Unfortunately, Vaughan's relationship with Mainstream soured in 1974, allegedly in a conflict precipitated by Fisher over an album cover photograph and orunpaid royalties. This left Vaughan again without a recording contract for three years.

In December 1974, Vaughan played private concert for U.S. president Gerald Ford and French president Giscard d'Estaing during their summit onMartinique.

Also in 1974, conductor Michael Tilson Thomas asked Vaughan to participate in an all-Gershwin show he was planning for a guest appearance with the LosAngeles Philharmonic at the Hollywood Bowl. The arrangements were by Marty Paich and the orchestra would be augmented by established jazz artistsDave Grusin on piano, Ray Brown on bass, drummer Shelly Manne and saxophonists Bill Perkins and Pete Christlieb. The concert was a success andThomas and Vaughn repeated the performance with Thomas' home orchestra in Buffalo, NY, followed by appearances in 1975 and 1976 with symphoniesaround the country. These performances fulfilled a long-held interest by Vaughan in working with symphonies and she made orchestra performances withoutThomas for the remainder of the decade.

In 1977, Vaughan terminated her personal and professional relationship with Marshall Fisher. Although Fisher is occasionally referenced as Vaughan's thirdhusband, they were never legally married. Vaughan began a relationship with Waymond Reed, a trumpet player 16 years her junior who was playing withthe Count Basie band. Reed joined her working trio as a musical director and trumpet player and became Vaughan's third husband in 1978.

In the Summer of 1977, Tom Guy, a young filmmaker and public TV producer, followed Vaughan around on tour, interviewing numerous artists speakingabout Vaughan and capturing both concert and behind-the-scenes footage. The resulting sixteen hours of footage was pared down into an hour-and-a-halfdocumentary, Listen To The Sun, that aired on September 21, 1978 on New Jersey Public Television. As of this writing, the film has not been commerciallyreleased.

Finally in 1977, Norman Granz, who was also Ella Fitzgerald's manager, signed Vaughan to his Pablo record label. Vaughan had not had a recordingcontract for three years, although she recorded a 1977 album of Beatles songs with contemporary pop arrangements for the Atlantic record label that waseventually released in 1981. Vaughan's first release for Pablo was I Love Brazil, which was recorded with an all-star cast of Brazilian musicians in Rio deJaneiro in the fall of 1977 and led to a Grammy nomination.

The Pablo contract would ultimately result in five albums. In the Spring of 1978, Vaughan recorded How Long Has This Been Going On? with a quartet thatincluded pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louis Bellson. In the fall of 1979, Vaughan recorded material for twoDuke Ellington Songbook albums. In the Spring of 1981, Vaughan recorded the album Send In The Clowns with the Count Basie orchestra playingarrangements primarily by Sammy Nestico and including a second recording of what had become her signature song. Her contract concluded in March of1982 with Crazy and Mixed Up, another quartet album featuring Sir Roland Hanna on piano, Joe Pass on guitar, Andy Simpkins on bass and Harold Joneson drums.

Vaughan and Waymond Reed divorced in 1981.

Late CareerVaughan remained quite active as a performer during the 1980s and began receiving awards recognizing her contribution to American music and status asan important elder stateswoman of Jazz. In the Summer of 1980, Vaughan received a plaque on 52nd street outside the CBS building commemorating thejazz clubs she had once frequented on "Swing Street" and which had long since been demolished and replaced with office buildings. A performance of hersymphonic Gershwin program with the New Jersey Symphony in the Fall of 1980 was broadcast on PBS and won her an Emmy Award in 1981 for"Individual Achievement - Special Class". She was reunited with Michael Tilson Thomas for slightly modified version of the Gershwin program with the LosAngeles Philharmonic and the CBS Records recording, Gershwin Live won Vaughan a Grammy award. In 1985 Vaughan received a star on the HollywoodWalk of Fame. In 1988 Vaughan was inducted into American Jazz Hall of Fame.

After the conclusion of her Pablo contract in 1982, Vaughan did only a limited amount studio recording. Vaughan made a guest appearance in 1984 on BarryManilow's 2 A.M. Paradise Cafe, an odd album of original pastiche compositions that featured a number of established jazz artists. In 1984 Vaughanparticipated in one of the more unusual projects of her career, The Planet is Alive, Let It Live a symphonic piece composed by Tito Fontana and SantePalumbo on Italian translations of Polish poems by Karol Wytola, the future Pope John Paul II. The recording was made in Germany with an Englishtranslation by writer Gene Lees and was released by Lees on his own private label after the recording was turned down by the major labels. In 1986,Vaughn sang two songs, "Happy Talk" and "Bali Ha'i", in the role of Bloody Mary on an otherwise stiff studio recording by opera stars Kiri Te Kanawa andJose Carreras of the score of the Broadway musical South Pacific.

Vaughan's final complete album was Brazilian Romance, produced and composed by Sergio Mendez and recorded primarily in the early part of 1987 in NewYork and Detroit. In 1988, Vaughan contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah SymphonyOrchestra and sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block featured Vaughan in a brief scatting duet with Ella Fitzgerald.This was Vaughan's final studio recording and, fittingly, it was Vaughan's only formal studio recording with Fitzgerald in a career that had begun 46 yearsearlier opening for Fitzgerald at the Apollo.

Vaughan is featured in a number of video recordings from the 1980s. Sarah Vaughan Live from Monterrey was taped in 1984 or 1983 and featured herworking trio with guest soloists. Sass and Brass was taped in 1986 in New Orleans and also features her working trio with guest soloists, including DizzyGillespie and Maynard Ferguson. Sarah Vaughan: The Divine One was featured in the American Masters series on PBS.

In 1989, Vaughan's health began to decline, although she rarely betrayed any hints in her performances. Vaughan canceled a series of engagements inEurope for the Fall of 1989 citing the need to seek treatment for arthritis in the hand, although she was able to complete a later series of performances inJapan. During a run at New York's Blue Note jazz club in the Fall of 1989, Vaughan received a diagnosis of lung cancer and was too ill to finish the final day



of what would turn out to be her final series of public performances.

Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. Toward theend, Vaughan tired of the struggle and demanded to be taken home, where she passed away on the evening of April 4, 1990 while watching a televisionmovie featuring her adopted daughter.

Vaughan's funeral was at the First Mount Zion Baptist Church in Newark, NJ, which was the same congregation she grew up in but which had relocated to anew building. Following the ceremony, a horse-drawn carriage transported her body to it's final resting place in Glendale Cemetery in Bloomfield, NJ.

Style and InfluenceAlthough Vaughan is usually considered a "Jazz Singer," she avoided classifying herself as such. Indeed, her approach to her "Jazz" work and hercommercial "Pop" material was not radically different. Vaughan stuck throughout her career to the jazz-infused style of music that she came of age with, onlyrarely dabbling in rock-era styles that usually did not suit her unique vocal talents. Vaughan discussed the label in an 1982 interview for Down Beat:

"I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm notputting jazz down, but I'm not a jazz singer Betty Bebop (Carter) is a jazz singer, because that's all she does. I've even been called a bluessinger. I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues - just a right-out blues - but Ican put the blues in whatever I sing. I might sing 'Send in the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do,music-wise, is all kinds of music that I like, and I like all kinds of music."

While Vaughan was a proficient at scatting, the improvisatory aspect of her art was focused more on ornamentation, phrasing and variation on melodies,which were almost always jazz standards. Perhaps her most noticeable musical mannerism was the creative use of often widely "swooping" glissandithrough her wide entire vocal range, which was most sonorous in a dark chest register that grew deeper as she aged. Vaughan approached her voice moreas a melodic instrument than an vehicle for dramatic interpretation of lyrics, although the expressive qualities of her style did accentuate lyrical meaning andshe would often find unique and memorable ways of articulating and coloring individual key words in a lyric.

During her childhood in the 30s, Vaughan was strongly attracted to the popular music of the day, much to the consternation of her deeply-religious father.Vaughan was certainly influenced by the gospel traditions that she grew up with in a Baptist church, but the more radically melismatic elements of thoseinfluences are less obvious than they would be in later generations of singers in the R&B and hip-hop genres. Vaughan was certainly influenced by (and aninfluence on) her friend and mentor, Billy Eckstine, which is obvious in the numerous duet recordings they made together. However, since there are norecordings of Vaughan prior to her joining Eckstine in the Earl Hines band (and, unfortunately, no recordings of her with the Hines band) it is difficult to knowwith any certainty what stylistic nuances she absorbed during the critical first years of her performing career.

Perhaps because of the individuality of her style, she has rarely been overtly imitated by subsequent generations of singers. Unlike other mid-centurysingers like Ella Fitzgerald, Frank Sinatra or, later, Aretha Franklin, there are no prominent singers whose style is an obvious direct reflection of Vaughan's.However, even in death Vaughan retains a loyal following and attracts new fans through her recorded legacy, most of which remains in commercial release.

While Vaughan frequently performed and recorded with large ensembles, her live performances usually featured her accompanied by a piano-led workingtrio. The membership of this trio changed frequently over the years, although some of her "favorites" stayed with her for extended periods of time and oftenreturned for multiple stints. Even in large-ensemble situations, this trio was often used as the rhythm section to provide continuity. Aside from economy, thetrio configuration was flexible and adaptable to differing performing conditions and to Vaughan's improvisatory whims. This minimal instrumentation alsoprovided a minimum of distraction from Vaughan's unique styling and rich vocal timbre.

Personal LifeVaughan was married three times: George Treadwell (1946-1958), Clyde Atkins (1958-1961) and Waymond Reed (1978-1981). Being unable to havebiological children, Vaughan adopted a baby daughter, Debra Lois, in 1961. Debra worked in the 1980s and 1990s as an actor under the name ParisVaughan.

Sarah Vaughan's personal life was a jumble of paradoxes. She had a mercurial personality and could be extremely difficult to work with (especially in areasoutside of music), but numerous fellow musicians recounted their experiences with her to be some of the best of their career. None of her marriages weresuccessful, yet she maintained close long-running friendships with a number of male colleagues in the business and was devoted to her parents andadopted daughter. Despite effusive public acclaim, Vaughan was insecure and suffered from stage fright that was, at times, almost incapacitating. While shyand often aloof with strangers, she was quite gregarious and generous with friends.

Vaughan's appetite for night life was legendary and after performances she regularly stayed out partying until well into the next day. Vaughan was a heavydrinker and but there are no reported incidents of obvious on-stage intoxication that hampered her ability to perform. Vaughan was, reputedly, a regularmarijuana and cocaine user throughout her career, but she was apparently discreet about her usage and never suffered the debilitating addictions or run-inswith the law that derailed many of her colleagues. Vaughan was also a life-long smoker, which almost certainly contributed to her slightly premature deathfrom lung cancer at the age of 64. But her tobacco usage did not have a deleterious effect on her voice and may have even contributed to the attractivedarkness that was characteristic of her sound in her later years.

Sarah Vaughan DiscographySarah Vaughan recorded extensively through all periods of her career and most recordings are of fairly high technical and artistic quality. While there arecomprehensive box sets of her recordings for Mercury (1954 - 1959 and 1963 - 1967) and Musicraft (1946 - 1948), as of this writing there are only lesscomprehensive collections of her work available from her Columbia (1948 - 1953) and Roulette (1960 - 1963) years. Most of her later albums are available incommercial release in their original form as individual disks. There are numerous collections of individual songs of varying quality and sequencing coherenceand buyers would be well advised to do research before investing in an unfamiliar collection.

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Early RecordingsNew York City, December 5, 1944 for the Deluxe label

Billy Eckstine and His Orchestra Trumpets: Dizzy Gillespie, Shorty McConnell, Gail Brockman, Marion "Boonie" Hazel Trombones: Gerald Valentine, Taswell Baird, Howard Scott, Chips Outcalt Reeds: John Jackson, Bill Frazer (alto); Dexter Gordon, Gene Ammons (tenor); Leo Parker (baritone) Piano: John Malachi Guitar: Connie Wainwright Bass: Tommy Potter Drums: Art Blakey

I'll Wait and Pray

New York City, December 31, 1944 for the Continental label

Sarah Vaughan and Her All-Stars Trumpet/Piano: Dizzy Gillespie Clarinet: Aaron Sachs Tenor: Georgie Auld Bass: Jack Lesberg Guitar: Chuck Wayne Piano/Producer: Leonard Feather Drums: Morey Feld

Signing Off Interlude (a.k.a. Night in Tunisia) No Smokes Blues East of the Sun (Gillespie for Feather on piano)

New York City, May 11, 1945 for the Guild label

Dizzy Gillespie All-Star Quintet Trumpet: Dizzy Gillespie Alto: Charlie Parker Piano: Al Haig Bass: Curly Russell Drums: Sid Catlett

Lover Man

New York City, May 25, 1945

Trumpet: Dizzy Gillespie Alto: Charlie Parker Tenor: Flip Phillips Piano: Nat Jaffe Piano: Tadd Dameron Bass: Curly Russell Drums: Max Roach Guitar: Bill De Arango

What More Can a Woman Do? I'd Rather Have a Memory Than a Dream (Dameron for Jaffe) Mean to Me

New York City, October 1, 1945, on the Musicraft label

Stuff Smith Trio Violin: Stuff Smith Piano: Freddie Jefferson Drums: Pete Glover

Time and Again

New York City, January 9, 1946 for the Crown label

John Kirby Band Trumpet: Clarence Brereton Clarinet: Buster Bailey Alto: Russell Procope Piano: Billy Kyle Bass: John Kirby



Drums: Bill Beason

I'm Scared You Go to My Head I Can Make You Love Me It Might as Well Be Spring

New York City, March 6, 1946 for the Gotham label

Tony Scott and His Down Beat Septet Alto/Clarinet: Tony Scott Trumpet: Dizzy Gillespie Trombone: Trummy Young Tenor: Ben Webster Piano: Jimmy Jones Bass: Gene Ramey Drums: Ed Nicholson

All Too Soon

New York City, March 21, 1946

Dicky Wells's Big Seven Trumpet: George Treadwell Trombone: Dicky Wells Tenor: Budd Johnson Baritone: Cecil Scott Piano: Jimmy Jones Bass: Al McKibbon Drums: Jimmy Crawford

We're Through

Musicraft Records (1946 - 1949)New York City, April 30, 1946

Georgie Auld Orchestra Trumpet: Al Aaron, Danny Blue, Art House, Al Porcino Trombone: Tracy Allen, Mike Datz, Rudy de Luca Reeds: Georgie Auld (soprano), Lou Prisby, Gene Zononi (alto), Al Cohn, Irv Roth (tenor), Serge Chaloff (baritone) Piano: Roy Kral Guitar: Barry Galbraith Bass: Ed Cunningham Drums: Art Mardigan Arranger: Tadd Dameron

A Hundred Years from Today


Conductor: Tadd Dameron Trumpet: Freddie Webster Alto: Leroy Harris Baritone: Leo Parker Piano: Bud Powell Bass: Ted Sturgis Drums: Kenny Clarke Clarinet: Hank Ross plus strings

My Kinda Love I Can Make You Love Me If You'll Let Me If You Could See Me Now (arr. Dameron) You're Not the Kind

New York City, June 14, 1946.

Georgie Auld Orchestra Trumpet: Neal Hefti, Al Porcino, Sonny Rich, George Schwartz Trombone: Mike Datz, Gus Dixon, Johnny Mandel Reeds: Georgie Auld, Gene Zanoni, Sam Zittman (alto), Al Cohn, Irv Roth (tenor), Serge Chaloff (baritone) Piano: Harvey Leonard, Joe Pillicane Drums: Art Mardigan



Arranger: Al Cohn

You're Blase

New York City, July 18, 1946.

Trumpet/Leader: George Treadwell Clarinet/Alto: Al Gibson Tenor: George "Big Nick" Nicholas Alto/Baritone: Eddie de Verteuill Piano: Jimmy Jones Bass: Al McKibbon Drums: William Barker Guitar: Jimmy Smith

I'm Through with Love Everything I Have Is Yours Body and Soul I've Got a Crush on You

New York City, August 19, 1946

Teddy Wilson Octet Trumpet: Buck Clayton Alto: Scoville Browne Tenor: Don Byas Baritone: George James Piano: Teddy Wilson Bass: Billy Taylor, Sr. Drums: J. C. Heard Guitar: Remo Palmier

Penthouse Serenade Don't Worry 'Bout Me

New York City, November 19, 1946

Teddy Wilson Quartet Tenor: Charlie Ventura Piano: Teddy Wilson Guitar: Remo Palmier Bass: Billy Taylor, Sr.

Time After Time September Song

New York City, July 2, 1947

Trumpet/Leader: George Treadwell Trumpet: E. V. Perry, Roger Jones, Hal Mitchell, Jesse Drakes Trombone: Ed Burke, Dickie Harris, Donald Coles Reeds: Rupert Cole, Scoville Browne (alto), Budd Johnson, Lowell Hastings (tenor), Eddie de Verteuill (baritone) Piano: Jimmy Jones Bass: Al McKibbon Drums: J. C. Heard Arranger: Bill Doggett

I Cover the Waterfront Ghost of a Chance Tenderly Don't Blame Me

New York City, October 10, 1947

Ted Dale Orchestra

The Lord's Prayer Sometimes I Feel Like a Motherless Child I Can't Get Started Trouble Is a Man

New York City, November 8, 1947

Ted Dale Orchestra Clarinet: Sam Musiker



Piano: Nicholas Tagg Guitar: Tony Mottola, Al Casey Bass: Mack Shopnick Drums: Cozy Cole Arranger: Ted Dale Additional strings, instruments

Love Me or Leave Me I'll Wait and Pray I Get a Kick Out of You The Man I Love I'm Gonna Sit Right Down and Write Myself a Letter The One I Love Belongs to Somebody Else Button Up Your Overcoat I Feel So Smoochie Blue Grass

New York City, December 27, 1947 (date and personnel uncertain)

Richard Maltby and His Studio Orchestra

It's You or No One It's Magic I Can't Get Started

New York City, December 29, 1947

Piano/Musical Director: Jimmy Jones Bass: Al McGibbon Drums: Kenny Clarke Guitar: John Collins

What a Diffrence a Day Makes Gentleman Friend Once in a While How Am I to Know

New York City, April 8, 1948

Earl Rodgers Choir The 1948 musician's union recording ban prevented professional instrumentalists from recording for almost a year. Aside from releases of recordingsmade before the ban, a number of singers released new recordings made with a capella choirs (which were not under AFM jurisdiction). The recordingban essentially drove Musicraft into bankruptcy and gave Vaughan the chance to invalidate her contract and move to the more profitable environs ofCBS records.

Nature Boy I'm Glad There Is You

CBS Records (1949 - 1953)New York City, January 10, 1949

CBS Studio Orchestra Conductor/Arranger: Joe Lippman Trumpet: Jimmy Maxwell Piano: Henry W. Rowland Bass: Bob Haggart Drums: Norris "Bunny" Shawker Strings and additional instruments

Black Coffee As You Desire Me Bianca

New York City, January 25, 1949

CBS Studio Orchestra Conductor/Arranger: Joe Lippman Piano: Henry W. Rowland Bass: Bob Haggart Drums: Terry Snyder

While You Are Gone Tonight I Shall Sleep



That Lucky Old Sun

Los Angeles, May 6, 1949.

Conductor/Arranger: Joe Lippman

Tonight I Shall Sleep That Lucky Old Sun

Los Angeles, May 1949

Piano: Jimmy Jones Studio orchestra

Everything I Have Is Yours I Get a Kick Out of You Tenderly


Conductor/Arranger: Joe Lippman Piano: Jimmy Jones Bass: Jack Lesberg Drums: Bunny Shawker Guitar: Al Caiola Strings and vocal group

Just Friends Give Me a Song with a Beautiful Melody Make Believe You Taught Me to Love Again

New York City, September 25, 1949

CBS Studio Orchestra, Conductor/Arranger: Hugo Winterhalter Piano: Jimmy Jones Bass: Bob Haggart Drums: Terry Snyder Guitar: Tony Mottola Strings and additional instruments

Lonely Girl


CBS Studio Orchestra, Conductor/Arranger: Hugo Winterhalter Piano: Jimmy Jones Bass: Bob Haggart Drums: Terry Snyder Guitar: Tony Mottola Strings and additional instruments

I Cried for You You Say You Care Fool's Paradise


Conductor/Arranger: Joe Lippman Trumpet: Billy Butterfield, Taft Jordan Trombone: Will Bradley Reeds: Toots Mondello, Hymie Schertzer (alto), Art Drellinger, George Kelly (tenor), Stan Webb (baritone) Piano: Jimmy Jones Bass: Eddie Safranski Drums: William "Cozy" Coles Guitar: Al Caiola

You're Mine, You (arr. Tadd Dameron) I'm Crazy to Love You Summertime The Nearness of You

New York City, December 21, 1949 for MGM Records



Vocal duet with Billy Eckstine Reeds: Toots Mondello, Bernard Kaufmamn, Art Drellinger, Hank Ross Piano: Jimmy Jones Bass: Sid Weiss Drums: Bunny Shawker Strings

Dedicated to You You're All I Need I Love You Every Day

New York City, May 4, 1950.

Norman Leyden Orchestra (?) Trumpet: Bob Cusumano, John Carroll, Bernie Privin Trombone: Jack Satterfield, John D'Agostino Reeds: Bill Versaci, Paul Ricci, Tom Parshley, Harry Terrill, G. Tudor Piano: Bernie Leighton Bass: Frank Carroll Guitar: Art Ryerson Drums: Terry Snyder

Our Very Own Don't Be Afraid

Apollo Theatre, New York City, May 18, 1950

George Treadwell and His All-Stars Trumpet: Miles Davis Tenor: Budd Johnson Trombone: Benny Green Clarinet: Tony Scott Piano: Jimmy Jones Bass: Billy Taylor, Jr. Drums: J. C. Heard Guitar: Freddie Green

Ain't Misbehavin' Goodnight, My Love Can't Get out of This Mood It Might as Well Be Spring

729 Seventh Avenue, New York City, May 19, 1950

George Treadwell and His All-Stars Trumpet: Miles Davis Tenor: Budd Johnson Trombone: Benny Green Clarinet: Tony Scott Piano: Jimmy Jones Bass: Billy Taylor, Jr. Drums: J. C. Heard Guitar: Mundell Lowe

Mean to Me Come Rain or Come Shine Nice Work If You Can Get It East of the Sun (and West of the Moon)


CBS Studio Orchestra Conductor/Arranger: Norman Leyden Piano: Bud Powell Bass: Frank Carroll Drums: Terry Synder Guitar: Mundell Lowe Trumpet: Jimmy Maxwell Eleven others on brass and reeds

Thinking of You I Love the Guy

September 5, 1950



Norman Leyden and His Orchestra

Perdido Whippa Whippa Woo


Conductor/Arranger: Norman Leyden Piano: Jimmy Jones Bass: Frank Carroll Drums: Bunny Shawker Guitar: Mundell Lowe Bongos: Jose Luis Mangual Studio Orchestra

I'll Know De Gas Pipe She's Leaking, Joe


Norman Leyden and His Orchestra

Ave Maria City Called Heaven


CBS Studio Orchestra Conductor/Arranger: Percy Faith Piano: Stan Freeman Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson Strings

Deep Purple These Things I Offer You

New York City, June 1, 1951.

CBS Studio Orchestra Conductor/Arranger: Paul Weston Piano: Milton Raskin Bass: John Ryan Drums: Nick Fatool Guitar: George Van Eps Trumpet: Ziggy Elman Additional brass and strings

My Reverie After Hours Vanity Out of Breath


Conductor/Arranger: Percy Faith Piano: Stan Freeman Bass: Frank Carroll Drums/Vibraphone: Phil Kraus Guitar: Art Ryerson CBS Studio Orchestra

Pinky Just a Moment More I Ran All the Way Home A Miracle Happened

New York City, March 19, 1952

Conductor/Arranger: Percy Faith Piano: Robert Kitsis Bass: Frank Carroll Drums: Phil Kraus Guitar: Art Ryerson



CBS Studio Orchestra

Street of Dreams Time to Go Corner to Corner If Someone Had Told Me

New York City, July 28, 1952

CBS Studio Orchestra Trumpets: Chris Griffin, Red Solomon, J. Milazzo Trombones: L. Altpeter, R. Dupont, John D'Agostino Reeds: Bernie Kaufman, Al Freistat, Bill Versaci, T. Gompers, Harold Freedman Piano: Lou Stein Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson Strings

Say You'll Wait for Me Sinner or Saint My Tormented Heart Mighty Lonesome Feeling


Leader: Percy Faith (?) Trombones: Will Bradley, Jack Satterfield, Al Godlis Piano: Lou Stein Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson Strings

I Confess Lover's Quarrel Time After Time


Arranger/Conductor: Percy Faith CBS Studio Orchestra Piano: Louis Stein Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson

Linger Awhile Spring Will Be a Little Late This Year A Blues Serenade Oo Whatcha Doin' to Me?

Mercury Records (1953 - 1960)New York, February 10, 1954

Richard Hayman and His Studio Orchestra

I Still Believe in You My Funny Valentine My One and Only Love Come Along with Me

New York, March 29, 1954

Don Costa and His Studio Orchestra

Imagination It's Easy to Remember And This Is My Beloved Easy Come, Easy Go Lover

New York, April 2, 1954



Piano: John Malachi Bass: Joe Benjamin Drums: Roy Haynes

Lover Man Shulie a Bop Polka Dots and Moonbeams Body and Soul They Can't Take That Away from Me Prelude to a Kiss You Hit the Spot If I Knew Then What I Know Now

New York, July 6, 1954

Hugo Peretti and His Studio Orchestra

Old Love Old Devil Moon Exactly Like You Saturday

New York, September 24, 1954


Idle Gossip Make Yourself Comfortable

New York, October 20-21, 1954


Oh Yeah I'm in the Mood for Love I Don't Know Why Let's Put out the Lights Waltzing Down the Aisle It's Magic Honey

New York, Circa November-December, 1954


How Important Can It Be? The Touch of Your Lips 'S Wonderful Tenderly

New York, December 16-18, 1954.

Leader/Arranger: Ernie Wilkins Trumpet: Clifford Brown Flute: Herbie Mann Tenor: Paul Quinichette Piano: Jimmy Jones Bass: Joe Benjamin Drums: Roy Haynes

September Song Lullaby of Birdland (two takes) I'm Glad There Is You You're Not the Kind Jim He's My Guy April in Paris It's Crazy Embraceable You



Whatever Lola Wants



New York, March 20, 1955.


Slowly with Feeling Experience Unnecessary

New York, August 9, 1955.


Fabulous Character Johnny, Be Smart Hey, Naughty Papa

New York, October 10, 1955


The Other Woman Never C'est la Vie

New York, Mid-October, 1955


Paradise Time on My Hands Gimme a Little Kiss



Mr. Wonderful You Ought to Have a Wife

New York, October 25-27, 1955

Ernie Wilkins and His Studio Orchestra Trumpet: Ernie Wilkins, Ernie Royal, Bernie Glow Trombone: J. J. Johnson, Kai Winding Alto: Julian "Cannonball" Adderley, Sam Marowitz Tenor/Flute: Jerome Richardson Piano: Jimmy Jones Guitar: Turk Van Lake Bass: Joe Benjamin Drums: Roy Haynes

Sometimes I'm Happy I'll Never Smile Again Don't Be on the Outside It Shouldn't Happen to a Dream An Occasional Man Soon Cherokee Maybe Why Can't I? How High the Moon Over the Rainbow Oh, My


Hal Mooney and His Studio Orchestra

The Boy Next Door Shake Down the Stars I'm Afraid the Masquerade Is Over Lush Life A Sinner Kissed an Angel Old Folks The House I Live In I'm the Girl





Hot and Cold Runnin' Tears The Edge of the Sea I've Got Some Crying to Do That's Not the Kind of Love I Want Old Love (Brown says date is July 6, 1954.)



My Romance Lonely Woman Only You Can Say I Loved Him

New York, June 21, 1956


It Happened Again I Wanna Play House


Hal Mooney and His Studio Orchestra.

You're My Everything Autumn in New York My Darling, My Darling Little Girl Blue Bewitched Dancing in the Dark

New York, October 30, 1956.


Can't We Be Friends? All the Things You Are It Never Entered My Mind Homework They Say It's Wonderful The Touch of Your Hand

New York, October 31, 1956.


My Heart Stood Still Let's Take an Old-Fashioned Walk My Ship A Tree in the Park A Ship Without a Sail He's Only Wonderful

New York, November 1, 1956.


But Not for Me Poor Butterfly Love Is a Random Thing If I Loved You September Song Lost in the Stars



If This Isn't Love It's Delovely



It's Love Lucky in Love It's Got To Be Love Comes Love

New York, Mid-November, 1956.


The Bashful Matador Leave It to Love Don't Let Me Love You The Second Time


David Carroll and His Studio Orchestra

April Gave Me One More Day I've Got a New Heartache Don't Look at Me That Way The Banana Boat Song

New York, February 14, 1957.

Piano: Jimmy Jones Bass: Richard Davis Drums: Roy Haynes

Words Can't Describe Pennies from Heaven All of Me I Cried for You Linger Awhile


Hal Mooney and His Studio Orchestra Piano: Jimmy Jones

Someone to Watch Over Me A Foggy Day Bidin' My Time He Loves and She Loves Love Walked In Looking for a Boy I've Got a Crush on You Isn't It a Pity Do It Again How Long Has This Been Going On? Aren't You Kinda Glad We Did? The Man I Love

New York, March 21, 1957.


Let's Call the Whole Thing Off They All Laughed Lorelei I'll Build a Stairway to Paradise

New York, April 24, 1957.


Summertime Things Are Looking Up I Won't Say I Will Of Thee I Sing My One and Only

New York, April 24-26, 1957



Hal Mooney and His Studio Orchestra Vocal Duet: Billy Eckstine

Isn't This a Lovely Day? Easter Parade Now It Can Be Told Alexander's Ragtime Band I've Got My Love to Keep Me Warm You're Just in Love My Man's Gone Now (no Eckstine) Cheek to Cheek Remember Always Passing Strangers The Door Is Open

New York, June 3, 1957


You'll Find Me There Please Mr. Brown Band of Angels Slow Down

New York, July 12, 1957.

Hal Mooney and His Studio Orchestra. Vocal Duet: Billy Eckstine

Goodnight Kiss No Limit

Mister Kelly's, Chicago, Illinois, August 6-8, 1957.

Piano: Jimmy Jones Bass: Richard Davis Drums: Roy Haynes

September in the Rain Willow Weep for Me Just One of Those Things Be Anything but Darling Be Mine Thou Swell Stairway to the Stars Honeysuckle Rose Just a Gigolo How High the Moon Dream I'm Gonna Sit Right Down and Write Myself a Letter It's Got to Be Love Alone It's Got to Be Love If This Isn't Love Embraceable You Lucky in Love Dancing in the Dark Poor Butterfly Sometimes I'm Happy I Cover the Waterfront



Sweet Affection Meet Me Half Way What's So Bad About It?



Gone Again The Next Time Around





That Old Black Magic I've Got the World on a String Hit the Road to Dreamland

New York, December 18, 1957.


Friendly Enemies Are You Certain?

New York, November-December 1957.

Ray Ellis and His Studio Orchestra.

Careless

January 5, 1958.

Count Basie Orchestra Leader/Trumpet: Thad Jones Piano: Ronnell Bright Trumpet: Wendell Culley, Snooky Young, Joe Newman Trombone: Henry Coker, Al Grey, Benny Powell Alto/Clarinet: Marshall Royal Alto/Tenor/Flute: Frank Wess Tenor: Frank Foster, Billy Mitchell Baritone: Charlie Fowlkes Bass: Richard Davis Drums: Sonny Payne Guitar: Freddie Green

Stardust Doodlin' Darn That Dream

January 7, 1958

Ray Ellis Studio Orchestra

Mary Contrary Separate Ways Broken Hearted Melody

March 29, 1958

Hal Mooney and His Studio Orchestra and Chorus

Too Much Too Soon Padre Spin Little Bottle

December 15, 23, 1958

Count Basie Orchestra Leader/Trumpet: Thad Jones Piano: Ronnell Bright Trumpet: Wendell Culley, Snooky Young, Joe Newman Trombone: Henry Coker, Al Grey, Benny Powell Alto/Clarinet: Marshall Royal Alto/Tenor/Flute: Frank Wess Tenor: Frank Foster, Billy Mitchell Baritone: Charlie Fowlkes Bass: Richard Davis Drums: Sonny Payne Guitar: Freddie Green

Smoke Gets in Your Eyes Moonlight in Vermont Cheek to Cheek Missing You



Just One of Those Things No 'Count Basie

London House, Chicago, Illinois, March 7, 1958.

Trumpet: Thad Jones Trumpet: Wendell Culley Trombone: Henry Coker Tenor: Frank Wess Piano: Ronnell Bright Bass: Richard Davis Drums: Roy Haynes

Detour Ahead Three Little Words Speak Low Like Someone in Love You'd Be So Nice to Come Home To I'll String Along with You All of You Thanks for the Memory

Paris, France, July 7, 1958.

Conductor/Arranger: Quincy Jones Reeds: Zoot Sims, Jo and Marcel Hrasko, William Boucaya Vibes: Michel Hausser Piano: Ronnell Bright Bass: Richard Davis, Pierre Michelot Drums: Kenny Clarke Guitar: Pierre Cullaz Strings

Please Be Kind The Midnight Sun Will Never Set Live for Love Misty I'm Lost Love Me That's All

Paris, France, July 12, 1958

Conductor/Arranger: Quincy Jones Piano: Maurice Vander, Ronnell Bright Bass: Richard Davis Drums: Roger Paraboschi / Kansas Fields Additional strings and woodwinds

Day by Day Gone with the Wind I'll Close My Eyes The Thrill Is Gone

New York City, September 26, 1958.


Cool Baby Everything I Ain't Hurtin' Disillusioned Heart


Belford Hendricks and his orchestra.

I Should Care For All We Know My Ideal You're My Baby Smooth Operator Maybe It's Because I Love You Too Much Our Waltz Never in a Million Years



Close to You Eternally

New York City, Late 1959

Fred Norman and his studio orchestra

Say It Isn't So If You Are But a Dream Maybe You'll Be There All of a Sudden My Heart Sings There Is No You Missing You Please Funny I've Got to Talk to My Heart Out of This World Last Night When We Were Young Through a Long and Sleepless Night

New York City, Late 1959

Belford Hendricks and his studio orchestra

I'll Never Be the Same Through the Years

Roulette Records (1960 - 1963)Vaughan's work for Roulette Records has poor public documentation and no complete box set of her Roulette releases exists. Therefore, the listings for thissection are incomplete and of questionable accuracy.

Los Angeles, October 1960

Arranger: Billy May

The Green Leaves of Summer Them There Eyes Don't Go to Strangers Love

New York, January 1961

Arranger: Joe Reisman

What's the Use? Wallflower Waltz True Believer April If Not For You Oh, Lover

February 1962

Arranger: Quincy Jones

One Mint Julep Mama, He Treats Your Daughter Mean


Jimmy Jones Orchestra Trumpet: Harry "Sweets" Edison Tenor: Gerald Sanfino Harp: Janet Soyer Piano: Ronnell Bright Guitar: Barry Galbraith Bass: Richard Davis or George Duvivier Drums: Percy Brice Strings

My Ideal Hands Across the Table



You've Changed Crazy He Calls Me I'll Be Seeing You Stormy Weather The More I See You Star Eyes Trees Moon over Miami Dreamy Why Was I Born


Joe Reisman Orchestra.

Serenata My Dear Little Sweetheart Let's Ooh, What a Day


Count Basie Orchestra Vocal duet: Joe Williams

If I Were a Bell Teach Me Tonight

Los Angeles, California, October 8, 1960

Billy May Orchestra

Green Leaves of Summer Them There Eyes Don't Go to Strangers Love

October 12, 1960

Jimmy Jones Orchestra Trumpet: Harry "Sweets" Edison

What Do You See in Her? Trouble Is a Man I'm Gonna Laugh You Right Out of My Life Every Time I See You


Jimmy Jones Orchestra Trumpet: Harry "Sweets" Edison

When Your Lover Has Gone Ain't No Use Gloomy Sunday Somebody Else's Dream


Jimmy Jones Orchestra

Jump for Joy You Stepped Out of a Dream Wrap Your Troubles in Dreams Have You Met Miss Jones?


Joe Reisman Orchestra

What's the Use? Wallflower Waltz True Believer




Joe Reisman Orchestra

April If Not for You Oh, Lover


Count Basie Orchestra

You Go to My Head You Turned the Tables on Me

January 11, 1961


The Gentleman Is a Dope

January 12, 1961


Mean to Me Lover Man Alone

January 13, 1961


I Cried for You Little Man You've Had a Busy Day Until I Met You There Are Such Things Perdido

New York City, June 1961

Marty Manning Orchestra

Untouchable Sleepy The Hills of Assisi

New York City, July 1961

Guitar: Mundell Lowe Bass: George Duvivier

Just Squeeze Me Body and Soul Through the Years After Hours My Favorite Things Great Day Sophisticated Lady Every Time We Say Goodbye Ill Wind In a Sentimental Mood If Love Is Good to Me Easy to Love Vanity

New York City, February 1962

Quincy Jones Orchestra.

The Best Is Yet to Come Baubles, Bangles, and Beads So Long I Could Write a Book Moonglow Witchcraft On Green Dolphin Street Maria



The Second Time Around Invitation You're Mine You Fly Me to the Moon Baubles, Bangles, and Beads One Mint Julep Mama, He Treats Your Daughter Mean

New York City, July 23-27, 1962

Don Costa Orchestra

I Remember You I Fall in Love Too Easily I Hadn't Anyone Till You Glad to Be Unhappy Oh, You Crazy Moon Snowbound Look to Your Heart Stella by Starlight Blab, Blah, Blab What's Good About Goodbye Spring Can Really Hang You Up the Most

Los Angeles, California, August 7, 1962

Guitar: Barney Kessel Bass: Joe Comfort

I Understand Key Largo The Very Thought of You Just Squeeze Me When Sunny Gets Blue Baby, Won't You Please Come Home When Lights Are Low All I Do Is Dream of You Just in Time All or Nothing at All Goodnight, Sweetheart

Los Angeles, California, August 1962

Benny Carter Orchestra

Nobody Else But Me Falling in Love with Love I Believe in You A Garden in the Rain I'm Gonna Live 'Till I Die I Can't Give You Anything but Love After You've Gone Moonlight on the Ganges The Lady's in Love with You The Trolley Song Honeysuckle Rose Great Day

February 13, 1963


There'll Be Other Times Don't Go to Strangers Enchanted Wall Call Me Irresponsible

February 27, 1963.


Star Eyes Do You Remember? I'll Never Be the Same I Was Telling Him About You



March 5, 1963.


Icy Stone As Long as He Needs Me Once Upon a Summertime Bewildered Within Me I Know

March 11, 1963.


Full Moon and Empty Arms Ah, Sweet Mystery of Life Because Be My Love Intermezzo My Reverie Moonlight Love I Give to You

Los Angeles, California, May 29, 1963

Gerald Wilson Orchestra

I Guess I'll Hang My Tears Out to Dry 'Round Midnight Midnight Sun Easy Street In Love in Vain

May 31, 1963.


A Taste of Honey Moanin'

June 6, 1963.


What Kind of Fool Am I? The Good Life

June 12, 1963.


Sermonette The Gravy Waltz Baby, Won't You Please Come Home

Los Angeles, California, June 13-16, 1963

Benny Carter Orchestra

If I Had You What'll I Do? You're Driving Me Crazy Always on My Mind Solitude I'll Never Be the Same So Long, My Love The Lonely Hours These Foolish Things Look for Me, I'll Be Around Friendless The Man I Love

Chicago, Illinois, late June 1963

Lalo Schifrin Orchestra



More Than You Know Something I Dreamed Last Night Lazy Afternoon I Didn't Know About You I Got Rhythm I Wish I Were in Love Again This Can't Be Love Just Married Today Come Spring Slowly

July 1963


Til the End of Time None But the Lonely Heart If You Are But a Dream Only Experience Unnecessary

Mercury Records (1963 - 1967)Copenhagen, Denmark, July 1963

Conductor: Quincy Jones

He Never Mentioned Love Gone Right or Wrong Show Me a Man

Tivoli, Copenhagen, Denmark, July 18-21, 1963

Piano: Kirk Stuart Bass: Charles "Buster" Williams Drums: Georges Hughes

I Feel Pretty Misty What Is This Thing Called Love? Lover Man Sometimes I'm Happy Won't You Come Home, Bill Bailey? Tenderly Sassy's Blues Polka Dots and Moonbeams I Cried for You Poor Butterfly I Could Write a Book Time After Time All of Me I Hadn't Anyone Till You I Can't Give You Anything But Love I'll Be Seeing You Maria Day In, Day Out Fly Me to the Moon Baubles, Bangles, and Beads The Lady's in Love with You Honeysuckle Rose The More I See You Say It Isn't So Black Coffee Just One of Those Things On Green Dolphin Street Over the Rainbow

Copenhagen, Denmark, October 12, 1963

Arranger/Conductor: Robert Farnon Leader: Quincy Jones Svend Saaby Choir



Charade It Could Happen to You Blue Orchids This Heart of Mine Then I'll Be Tired Of You Funny My Coloring Book How Beautiful Is the Night Hey There Deep Purple I'll Be Around The Days of Wine and Roses

Los Angeles, California, February 13 and 14, 1964

Producer: Quincy Jones

How's the World Treating You My Darling, My Darling Bluesette You Got It Made Make Someone Happy Sole Sole The Other Half of Me


Producer: Quincy Jones Arranger/Director: Frank Foster Trombones: Richard Hixon, Billy Byers, Britt Woodman, Wayne Andre, Benny Powell Flute: Jerome Richardson Piano: Bob James Guitar: Barry Galbraith Bass: George Duvivier Drums: Bobby Donaldson Percussion: Willie Rodrigues Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff, Gene Orloff, Bernard Eichen, Harry Lookofsky

Mr. Lucky The Boy from Ipanema


Producer: Quincy Jones Arranger/Director: Frank Foster Trombones: Richard Hixon, Billy Byers, Britt Woodman, Wayne Andre Flute: Jerome Richardson Piano: Bob James Drums: Bobby Donaldson Percussion: Jose Mangual, Juan Cadavieco, Rafael Sierra Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff, Gene Orloff, Bernard Eichen, Harry Lookofsky

Quiet Nights Jive Samba


Arranger/Conductor: Frank Foster Producer: Quincy Jones Trombones: Kai Winding, Richard Hixon, Billy Byers, Wayne Andre, Benny Powell Flute: Jerome Richardson Bass: Robert Rodriguez Percussion: Bobby Donaldson, William Correa, Juan Cadavieco, Jose Mangual, Rafael Sierra Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff, Bernard Eichen, David Nadien, Harry Lookofsky

A Taste of Honey Shiny Stockings Night Song Stompin' at the Savoy Fascinating Rhythm The Moment of Truth Tea for Two



New York City, August 18, 1964.

Arranger/Conductor: Frank Foster Producer: Quincy Jones Trombones: Kai Winding, Richard Hixon, Bill Watrous, Wayne Andre, Benny Powell Flute: Jerome Richardson Bass: Robert Rodriguez Percussion: Bobby Donaldson, William Correa, Juan Cadavieco, Jose Mangual, Rafael Sierra Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff, Bernard Eichen, David Nadien, Harry Lookofsky

Fever Avalon

December 1964

We Almost Made It How Soon Dear Heart Too Little Time Dreamsville Bye Bye (theme from Peter Gunn) Moon River (I Love You and) Don't You Forget It Slow Hot Wind It Had Better Be Tonight

October 10, 1965

Darling I'll Never Be Lonely Again Habibi (love song from Sallah)

November 10-12, 1965

Arranger: Luchi De Jesus

Make It Easy on Yourself What the World Needs Now Is Love I Know a Place Little Hands Yesterdays A Lover's Concerto He Touched Me If I Ruled the World Waltz For Debbie On a Clear Day You Can See Forever The First Thing Every Morning

April 7-8 1966


Who Can I Turn To? (arr. Bob James) The Shadow of Your Smile (arr. Bob James) I Should Have Kissed Him More Call Me One, Two, Three Michelle Sneaking Up on You

April 11, 1966


With These Hands Dominique's Discotheque Everybody Loves Somebody What Now My Love Love

January 1967

Jim The Man That Got Away My Man



Happiness Is Just a Thing Called Joe Trouble Is a Man He's Funny That Way For Every Man There's a Woman I'm Just Wild About Harry Danny Boy Alfie

January 23-24, 1967.

Trumpets: Clark Terry, Charlie Shavers, Joe Newman, Freddie Hubbard Trombones: J. J. Johnson, Kai Winding Reeds: Phil Woods, Benny Golson Piano: Bob James Strings

On the Other Side of the Tracks (arr. J.J. Johnson) All Alone (arr. Thad Jones) I Want to Be Happy (arr Thad. Jones) S'posin' (arr. Manny Albam) I Had a Ball (arr. J.J. Johnson) Take the `A' Train (arr. J.J. Johnson) I Left My Heart in San Francisco (arr. Thad Jones) The Sweetest Sounds (arr. Bob James)

Los Angeles, 1969 (?)

Bob and Carol and Ted and Alice (film soundtrack) Arranger: Quincy Jones

Aria from Handel's Messiah


Album: Cactus Flower (film soundtrack)

A Time for Love Is Anytime

Mainstream Records (1971 - 1973)As with Vaughan's Roulette recordings, details and dates for her work on Mainstream are incomplete and of questionable accuracy.

Los Angeles, California, November 16-20, 1971.

Ernie Wilkins Orchestra Trumpet: Buddy Childers, Al Aarons, Gene Coe Trombone: George Bohanon, Benny Powell Reeds: Jerome Richardson, Bill Green, Jackie Kelso Piano: Bill Mays Guitars: Joe Pass, Al Vescovo Bass: Bob Magnusson Drums: Earl Palmer, Jimmy Cobb Percussion: Alan Estes

Imagine On Thinking It Over Inner City Blues Sweet Gingerbread Man Magical Connection That's the Way I Heard It Should Be Tomorrow City Universal Prisoner Trouble If Not for You

Los Angeles, California, 1972 (?)

Album: Feelin' Good

Alone Again Naturally (arr. Peter Matz) Easy Evil (arr. Peter Matz) When You Think of It (arr. Peter Matz) Take a Love Song (arr. Peter Matz) And the Feeling's Good (arr. Peter Matz)



Promise Me (arr. Peter Matz) Rainy Days and Mondays (arr. Peter Matz) Deep in the Night (arr. Michel Legrand) Run to Me (arr. Jack Elliott and Allyn Ferguson) Greatest Show on Earth (arr. Jack Elliott and Allyn Ferguson) Just a Little Lovin' (arr. Jack Elliott and Allyn Ferguson)

April 17-20, 1972.

Arranger/Conductor: Michel Legrand Trumpets: Buddy Childers, Chuck Findley, Conte Condoli, Gary Barone, Al Aarons Trombones: Lloyd Ulyate, Charlie Loper, Frank Rosolino, Grover Mitchell, Bob Knight, George Roberts Tuba: Tommy Johnson French Horns: Vince De Rosa, Bill Hinshaw, Art Maebe, George Price, Sinclair Lott, Ralph Pyle, Dick Perissi, Dick Macker Reeds: Bud Shank, Pete Christlieb, Jerome Richardson, Bob Cooper, Bill Hood, Bernie Fleischer Keyboards: Dave Grusin, Mike Wofford, Artie Kane Bass: Ray Brown, Chuck Berghofer, Bob Magnusson Electric Bass: Chuck Rainey Drums: Shelly Manne, John Guerin Percussion: Larry Bunker Guitar: Tom Tedesco Strings

The Summer Knows What Are You Doing the Rest of Your Life? Once You've Been in Love Hands of Time (Brian's Song) I Was Born in Love with You I Will Say Goodbye Summer Me, Winter Me His Eyes, Her Eyes Pieces of Dreams Blue, Green, Gray, and Gone

New York / Los Angeles, 1973/1974

Send in the Clowns (arr. Paul Griffin) Love Don't Live Here Anymore (arr. Gene Page) That'll Be Johnny (arr. Gene Page) Right in the Next Room (arr. Gene Page) I Need You More (Than Ever Now) (arr. Gene Page) On Thinking It Over (arr. Ernie Wilkins) Do Away with April (arr. Gene Page) Wave (arr. Michel Legrand) Got to See If I Can't Get Daddy to Come Back Home (arr. Gene Page) Frasier (the Sensuous Lion) (arr. Wade Marcus)

Sun Plaza Hotel, Tokyo, Japan, September 24, 1973

Piano: Carl Schroeder Bass: John Cianelli Drums: Jimmy Cobb

A Foggy Day Poor Butterfly The Lamp Is Low 'Round Midnight Willow Weep for Me There Will Never Be Another You Misty Wave Like Someone in Love My Funny Valentine All of Me Love Story Over the Rainbow I Could Write a Book The Nearness of You I'll Remember April Watch What Happens Bye-Bye Blackbird Rainy Days and Mondays Sarah's Tune, Number One On a Clear Day



I Remember You I Cried for You Tenderly Summertime The Blues There Is No Greater Love Tonight

Los Angeles, California, circa 1974

Jimmy Rowles Quintet Trumpet: Al Aarons Tenor: Teddy Edwards Piano: Jimmy Rowles Bass: Monte Budwig Drums: Donald Bailey

The Folks Who Live on the Hill (minus Aarons and Edwards) That Face That Sunday A House Is Not a Home Frasier Morning Star (music: Jimmy Rowles, lyrics: Johnny Mercer) I Can't Escape from You (unreleased) There's Danger in Your Eyes, Cherie (unreleased) Cherie (unreleased) Too Late Now (unreleased) Bewitched (unreleased)

Warsaw, Poland, October 24, 1975

Album: Jazz Jamboree (Pronit Records) Piano: Carl Schroeder Bass: Bob Magnusson Drums: Jimmy Cobb

On a Clear Day You Can See Forever 'Round Midnight What Are You Doing the Rest of Your Life? Sassy's Blues They Long to Be Close to You A Foggy Day My Funny Valentine Tenderly Won't You Come Home, Bill Bailey? The Nearness of You

Daven Sound Studios, Universal City, California, 1977

Album: Sarah Vaughan: Songs of the Beatles (released by Atlantic Records in 1981) Conductor: Billy Thetford Arrangers: Marty Paich, David Paich Guitars: Lee Ritenour, Dean Parks, Louis Shelton Keyboards: Mike Lang, Steve Porcaro Piano: Davis Hungate Percussion/Drums: Jeff Porcaro Percussion: Bobbye Hall, Joe Porcaro, Steve Forman Harmonica: Toots Thielemans Tenor: John Smith Bass: Bob Magnusson Singers: Perry Morgan, Jim Gilstrap Concertmaster: Sid Sharp Strings

Get Back And I Love Her Eleanor Rigby Fool on the Hill You Never Give Me Your Money Come Together I Want You Blackbird Something Here, There, and Everywhere



The Long and Winding Road Yesterday Hey Jude Honey (unissued) Oh, Darling (unissued) Golden Slumbers (unissued)

Pablo Records (1977 - 1982)Rio de Janeiro, Brazil, October 31, November 3, 4, 5, and 7, 1977

Album: I Love Brazil (Grammy nominee) Arranger/Piano: Edson Federico Producer: Aloysio de Oliveira Creative Director/Composer: Durval Ferreira Keyboards: Antonio Carlos Jobim Guitar/Vocal: Milton Nascimento Electric Piano: Jose Roberto Bertrami, Tom Jobim Electric Bass: Novelli Electric Guitar: Nelson Angelo Drums: Roberto Silva, Wilson Das Neves Flutes: Danilo Caymmi, Paulo Jobim Percussion: Chico Batera, Arivoldo Bass: Sergio Barroso, Claudio Bertrami Guitar: Helio Delmiro Harmonica: Mauricio Einhorn Vocal: Dori Caymmi

Someone to Light Up My Life, Triste Vera Cruz The Face I Love Cantador Courage If You Went Away Roses and Roses I Live to Love You The Day It Rained A Little Tear

Hollywood, California, January 18, 1978.

Album: Milt Jackson and Count Basie and the Big Band, Vol. 2 Arranger: Quincy Jones

For Lena and Lennie

Hollywood, California, April 25, 1978

Piano: Oscar Peterson Bass: Ray Brown Drums: Louis Bellson Guitar: Joe Pass (guitar)

I've Got the World on a String Midnight Sun How Long Has This Been Going On? You're Blase Easy Living More Than You Know My Old Flame Teach Me Tonight Body and Soul When Your Lover Has Gone

Hollywood, California, August 15 and 16, 1979

Album: Sarah Vaughan: Duke Ellington Song Book One Conductor/Arranger: Billy Byers Trumpet/Flugelhorn: Waymon Reed Trombone: J. J. Johnson Tenor: Frank Foster, Zoot Sims Tenor/Flute: Frank Wess



Piano: Jimmy Rowles Guitar: Joe Pass Bass: Andy Simpkins Drums: Grady Tate Additional studio musicians

I'm Just a Lucky So and So Solitude I Didn't Know About You All Too Soon Sophisticated Lady Day Dream

New York City, September 12 and 13, 1979

Album: Sarah Vaughan: Duke Ellington Song Book One Conductor/Arranger: Billy Byers Trumpet/Flugelhorn: Waymon Reed Trombone: J. J. Johnson Tenor: Frank Foster, Zoot Sims Tenor/Flute: Frank Wess Piano: Mike Wofford Guitar: Bucky Pizzarelli Bass: Andy Simpkins Drums: Grady Tate Additional studio musicians

In a Sentimental Mood I Let a Song Go Out of My Heart Lush Life In a Mellow Tone

Hollywood, California, August 15 and 16, 1979, and New York City, September 12 and 13, 1979

Album: Sarah Vaughan: Duke Ellington Song Book Two Trumpet/Flugelhorn: Waymon Reed Flute: Frank Wess Alto/Vocals: Eddie "Cleanhead" Vinson Piano: Mike Wofford, Jimmy Rowles, Lloyd Glenn Bass: Andy Simpkins, Bill Walker Drums: Grady Tate, Charles Randell, Roy McCurdy Guitars: Joe Pass, Bucky Pizzarelli, Pee Wee Crayton Additional studio musicians

Chelsea Bridge What Am I Here For? Tonight I Shall Sleep Rocks in My Bed I Got It Bad and That Ain't Good Everything But You Mood Indigo It Don't Mean a Thing (If It Ain't Got That Swing) Prelude to a Kiss I Ain't Got Nothing But the Blues Black Butterfly

Rio de Janeiro, Brazil, October 1-5, 1979.

Album: Copacabana Arranger: Edison Federico Guitar: Helio Delmiro Bass: Andy Simpkins Drums: Grady Tate Percussion: Wilson Das Neves Additional musicians

Dindi Bonita Double Rainbow Copacabana To Say Goodbye Gentle Rain Dreamer Tete



The Smiling Hour

Hollywood, California, February 16 and 18, 1981

Count Basie Orchestra Conductor/Arranger: Sam Nestico Trumpets: Sonny Cohn, Frank Szabo, Willie Cook, Bob Summers, Dale Carley Trombones: Mitchell "Booty" Wood, Bill Hughes, Dennis Wilson, Grover Mitchell Reeds: Kenny Hing, Eric Dixon, Bobby Plater, Danny Turner, Johnny Williams Piano: George Gaffney Bass: Andy Simpkins (possibly Cleveland Eaton) Drums: Harold Jones (possibly Greg Field) Guitar: Freddie Green

I Gotta Right to Sing the Blues Just Friends If You Could See Me Now (arr. Allyn Ferguson) Ill Wind When Your Lover Has Gone Send in the Clowns I Hadn't Anyone Till You All the Things You Are (arr. Allyn Ferguson) Indian Summer From This Moment On


Sharkey's Machine (Film soundtrack - Warner Brothers Records)

Love Theme Before You (duet with Joe Williams)

Hollywood, California, March 1 and 2, 1982

Album: Crazy and Mixed Up Piano: Sir Roland Hanna Bass: Andy Simpkins Drums: Harold Jones Guitar: Joe Pass

I Didn't Know What Time It Was That's All Autumn Leaves Love Dance The Island Seasons In Love in Vain You Are Too Beautiful

Final RecordingsLos Angeles, 1982

Album: Gershwin Live! (CBS Records - Grammy winner) Los Angeles Philharmonic Orchestra Arranger: Marty Paich Conducter: Michael Tilson Thomas Piano: George Gaffney Bass: Andy Simpkins Drums: Harold Jones

Overture: Porgy and Bess Medley: Summertime / It Ain't Necessarily So / I Loves You, Porgy Medley: But Not for Me / Love Is Here to Stay / Embraceable You Someone to Watch Over Me Sweet and Low Down Fascinating Rhythm Do It Again My Man's Gone Now The Man I Love Medley: Nice Work If You Can Get It / They Can't Take That Away from Me / 'S Wonderful / Sewanee / Strike Up the Band Encore: I've Got a Crush on You/A Foggy Day

Los Angeles, California, 1984



Album: 2 AM Paradise Cafe (Arista Records) Vocal Duet: Barry Manilow Baritone: Gerry Mulligan Piano: Bill Mays Bass: George Duvivier Drums: Shelly Manne Guitar: Mundell Lowe

Blue

Dusseldorf, West Germany, June 30, 1984

Album: The Planet Is Alive, Let It Live (Jazzletter Records) Studio orchestra Conductor: Lalo Schifrin Arranger: Francy Boland Composers: Tito Fontana, Sante Palumbo Lyrics: Karol Wytola (Pope John Paul II) Translation: Gene Lees

London, England, January 27-31, 1986

Album: South Pacific (CBS Records) London Symphony Orchestra Director: Jonathan Tunick

Happy Talk Bali Ha'i

New York City / Detroit, Michigan, January - February 1987 (recording location uncertain)

Album: Brazilian Romance (CBS Records) Producer/Composer: Sergio Mendes Vocals/Composer: Milton Nascimento Flute: Hubert Laws Lyricon/Tenor: Tom Scott Alto: Ernie Watts Trumpet/Flugelhorn: Marcio Montarroyos Keyboards: George Duke Bass: Alphonso Johnson, Chuck Domanico Guitar: Dan Huff Guitar/Arranger/Composer: Dori Caymmi Drums: Carlos Vega Percussion: Paulinho DaCosta Vocals: Siedah Garrett, Gracinha Leporace, Kate Markowitz Strings

Make This City Ours Tonight Romance Love and Passion So Many Stars Photograph Nothing Will Be as It Was Obsession Wanting More Your Smile

Summer 1988

Mormon Tabernacle Choir and Utah Symphony Orchestra Christmas carol collection for Hallmark Cards

Los Angeles, California, 1989

Album: Back on the Block (Qwest Records) Producer: Quincy Jones

Wee B. Dooinit Jazz Corner of the World Birdland

I don't pay them to come; I pay them to leave. (Charlie Sheen on prostitutes)

sarah vaughan biography and discography

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