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1963 Live Guard Sessions
 
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1963 Live Guard Sessions

19 Jan 2014 | Format: MP3

7.99 (VAT included if applicable)
Buy the CD album for 11.73 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
1
1:48
2
2:04
3
1:08
4
4:38
5
2:51
6
3:03
7
1:07
8
2:39
9
3:53
10
3:20
11
5:33
12
2:39
13
3:09
14
3:36
15
2:53
16
4:22
17
2:47
18
3:49
19
4:54

Product details

  • Original Release Date: 19 Jan 2014
  • Label: Flyright Records
  • Copyright: (c) 1991 Flyright Records
  • Total Length: 1:00:13
  • Genres:
  • ASIN: B00I2V7AUM
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By Mary Whipple HALL OF FAMETOP 100 REVIEWER on 26 May 2006
Format: Audio CD
A recording from a radio show in 1963, this is a unique CD--Sarah Vaughan and Woody Herman never made a commercial recording. Part of a radio series emceed by Martin Block specifically to promote a US National Guard recruiting effort, the program was broadcast live. In an effort to make the show sound like a cabaret performance, Block engages in artificial, scripted, and sometimes silly interview patter with both Vaughan and Herman, neither of whom sounds natural, and both of whom use "Well, Martin..." as an intro to their answers.

Once Block and the patter subside, however, the CD shows Vaughan and Herman at their musical peaks. The CD holds eight Vaughan solo tracks and seven Herman instrumentals, with one track featuring Herman singing. Vaughan's range is enormous, her upper register still very high and very strong. She can sing at any tempo, is enormously flexible with her phrasing, and can hold a note forever. Herman's "Midnight Sun," "Muskrat Ramble," "Don't Get Around Much Anymore," and "Woodchopper's Ball" are terrific, and the four longest tracks on the CD are his. As a singer on "Don't Go With Strangers," however, Herman is a great clarinetist.

Vaughan's solo tracks include "The More I See You," in which she slows the tempo, singing this as a very romantic ballad, before experimenting with phrasing and the melodic line. "Green Dolphin Street" has a syncopated beat and jazzy piano and clarinet (Herman) accompaniment. "I'll Be Seeing You," another song sung unusually slowly, allows Vaughan to showcase her range. On this track, she sings the highest notes I've ever heard her sing, then slides effortlessly into almost bass range. "I Cried for You" is her wildest number, and "Poor Butterfly," a trademark song, is her closer.
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