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Track Listings
| 1. Lullaby Of Birdland - Bob Shad, Sarah Vaughan, Clifford Brown, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes, Ernie Wilkins |
| 2. September Song - Bob Shad, Sarah Vaughan, Clifford Brown, Herbie Mann, Ernie Wilkins, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
| 3. I'm Glad There Is You - Sarah Vaughan, Clifford Brown, Ernie Wilkins, Bob Shad, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
| 4. You're Not The Kind - Bob Shad, Sarah Vaughan, Clifford Brown, Ernie Wilkins, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
| 5. Jim - Bob Shad, Sarah Vaughan, Clifford Brown, Ernie Wilkins, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
| 6. He's My Guy - Bob Shad, Sarah Vaughan, Clifford Brown, Ernie Wilkins, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
| 7. April In Paris - Bob Shad, Sarah Vaughan, Ernie Wilkins, Clifford Brown, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
| 8. It's Crazy - Bob Shad, Sarah Vaughan, Clifford Brown, Ernie Wilkins, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
| 9. Embraceable You - Bob Shad, Sarah Vaughan, Clifford Brown, Jimmy Jones, Ernie Wilkins, Joe Benjamin, Roy Haynes, Herbie Mann, Paul Quinichette |
| 10. Lullaby Of Birdland - Sarah Vaughan, Clifford Brown, Ernie Wilkins, Bob Shad, Herbie Mann, Paul Quinichette, Jimmy Jones, Joe Benjamin, Roy Haynes |
Product Description
CD
Customer Reviews
Most Helpful Customer Reviews
16 of 16 people found the following review helpful
By A Customer
Format:Audio CD
From the very opening bars of "Lullaby of Birdland", the sweet interplay of Vaughan's velvet voice and Brownie's mellifluous trumpet make this recording truly wonderful. Brownie took a break from the illustrious Max Roach Quintet to play with Vaughan and a band put together for the date.
It exudes the aura of great occasions - collective confidence, fluid ideas and the chemistry of a fresh association. It's one of those records that leave you yearning for more; her later After Hours (1961) is similarly frustrating in length. But a concentrated selection of superbly executed songs is like a little treat. Her command of the material's harmonic intricacies is all the more remarkable for the ease and grace with which she delivers it. On this recording Sarah Vaughan exhibited her elegant phrasing with awesome mastery.
10 of 10 people found the following review helpful
By M. Cockerham
Format:Audio CD
The strength of this album lies in the fact that "Sassy" sings with such a small group of instrumentalists. Consequently her tremendous vocal range shines through. With devine attention to detail she picks-up every nuance of mood, but never looses her ease of delivery. Where others who might follow her sound clinical, Sassy is never anything less than sublime perfection. If you love jazz but don't have this record, shame on you. One the other hand, if you only have room in your collection for one vocal jazz offering, this really should be it.
4 of 4 people found the following review helpful
Format:Audio CD
This 2003 release of Vaughan's December, 1954, album (previously released in 1991 as "Sarah Vaughan with Clifford Brown") is one of her most brilliant collaborations and a fine memorial to the work of Brown, who died eighteen months after recording this, at age twenty-six. With Brown on trumpet, Paul Quinichette on tenor sax, Jimmy Jones on piano, Roy Haynes on drums, and Herbie Mann on jazz flute, the album is a sophisticated partnership among musicians, all of whom are thinking of the whole sound and the whole effect, rather than their own star turns. The mood varies from light to poignantly tender, the tempo is usually slow, and the volume is kept low, highlighting the creativity of each performer's variations while remaining true to the songs and their meanings.
"Lullaby of Birdland" is lightly swingy in Vaughan's hands, with minimal accompaniment and a restrained mood. Vaughan's voice ranges widely, with a lovely contrast between her lowest range and the flute of Mann, as Brown plays a muted trumpet and remains in the background. "April in Paris" is sweetly tender, with Vaughan hesitating as she asks "What have you done to my heart," her accompanists keeping their solos soft. Both "Embraceable You" and "September Song," slow-tempo songs long associated with Vaughan, allow for much improvisation and highlight Vaughan's enormous range while allowing Brown to soar. The "partial alternative take" of "Lullaby of Birdland" features Vaughan's best scat.
"Jim" and "I'm Glad There Is You" are personal favorites.... Read more ›
"Lullaby of Birdland" is lightly swingy in Vaughan's hands, with minimal accompaniment and a restrained mood. Vaughan's voice ranges widely, with a lovely contrast between her lowest range and the flute of Mann, as Brown plays a muted trumpet and remains in the background. "April in Paris" is sweetly tender, with Vaughan hesitating as she asks "What have you done to my heart," her accompanists keeping their solos soft. Both "Embraceable You" and "September Song," slow-tempo songs long associated with Vaughan, allow for much improvisation and highlight Vaughan's enormous range while allowing Brown to soar. The "partial alternative take" of "Lullaby of Birdland" features Vaughan's best scat.
"Jim" and "I'm Glad There Is You" are personal favorites.... Read more ›
1 of 1 people found the following review helpful
Format:Audio CD
This collaboration between Vaughan and an impressive "back-up" group is essential listening for all jazz fans and all those who have at least passing interest in jazz. Sarah shows why she was not one of the greatest singers, but also one of the most remarkable jazz musicians, and the group she works with is a dream come true.
Naturally, Clifford Brown (on trumpet) is the main attraction for the contemporary listener but, if you want my humble opinion, tenorist Paul Quinichette ("Colorado's coolest") is not only influenced by Lester Young - he also plays on the similar level, while the flutist Herbie Mann gives very ellegant and yet swining contributions... With the rhythm section of Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (dm) and Ernie Wilkins aiding with arrangements, things could hardly have gone wrong... This album is at least equal if not better than her collaboration with Miles Davis on Sarah Vaughan in Hi-Fi ; a jazz masterpiece.
If you're not a jazz fan, you might very well become one after listening to this...
Naturally, Clifford Brown (on trumpet) is the main attraction for the contemporary listener but, if you want my humble opinion, tenorist Paul Quinichette ("Colorado's coolest") is not only influenced by Lester Young - he also plays on the similar level, while the flutist Herbie Mann gives very ellegant and yet swining contributions... With the rhythm section of Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (dm) and Ernie Wilkins aiding with arrangements, things could hardly have gone wrong... This album is at least equal if not better than her collaboration with Miles Davis on Sarah Vaughan in Hi-Fi ; a jazz masterpiece.
If you're not a jazz fan, you might very well become one after listening to this...
4 of 5 people found the following review helpful
By Big A
Format:Audio CD|Amazon Verified Purchase
She is undoubtedly one of the great jazz singers. And this is one of her best. The main reason being that her vocal acrobatics are kept in service of the tune. Clifford Brown is very good as is Paul Quinichette, but Herbie Mann does not rise above his average fare. The company is too good for him. I particularly like April in Paris, but all the tunes are superbly well sung and emotionally engaging - something Ella Fitzgerald never seemed to manage. Great.
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