Ending Theme (1:08)
DISC TWO TOTAL PLAYING TIME
[46:18]
This 2-disc set features Sarah Vaughan performing live at Rosy’s
Jazz Club in New Orleans, recorded on May 31, 1978. This music was
originally recorded for the National Public Radio-syndicated radio
program Jazz Alive. Sarah’s long career began in 1943 at
the Apollo Theater Amateur Hour in New York, where she was
discovered by Billy Eckstein. She was an outstanding jazz singer
and a master of improvisation who had an amazing voice that covered
over three octaves, ranging from a female baritone to an operatic
soprano, and she displays it generously on this album. Rosy’s Jazz
Club was a legendary establishment in the 1970’s, and played host
to a number of top entertainers, including Count Basie, Stevie
Wonder, and Ella Fitzgerald. Sarah sings here accompanied by a
seasoned trio of musicians: bassist Walter Booker, drummer Jimmy
Cobb, and pianist Carl Schroeder, who also doubled as Sarah’s
musical director. Carl accompanied Sarah for many years in the
1960’s and 1970’s, and also played with Art Blakey, Joe Henderson,
and Chick Corea. Walter Booker was a “dancing” bass player, known
for swinging and swaying while he performed, and was famous for his
rhythmic, high-pitched bass runs. He played with Sarah from 1975 to
1981, and also worked with Stan Getz, Cannonball Adderly, and many
others. Drummer Jimmy Cobb worked with Sarah Vaughan for about nine
years, and also performed with Miles Davis’s bands, as well as
Dinah Washington, Dizzy Gillespie, and Nancy Wilson. This album
features the group performing an assortment of jazz and pop
standards. Sarah scats an upbeat version ofI’ll Remember April and follows it with a shuffling East of the Sun duet with Walter Booker on bass. She
demonstrates her vocal range and gifts singing the Jules
Styne-Sammy Cahn ballad Time After Time, reaching
unbelievably high notes that come so easily for her, and Stephen
Sondheim’s Send In The Clowns with impeccable tone color,
timing and voice control. Sarah’s Blues features Sarah
scatting on vocals, followed by instrumental solos by the band
members. Some other tunes are not quite as successful. The group
tries to swing their way through a slow arrangement of Michel
Legrande’s Watch What Happens, and the results are mixed.
The arrangement itself is poor, and the band sounds lost and
distracted by the drummer overplaying the cymbals.
A 36-page booklet is included with this set, with notes by Zev
Feldman, James Gavin, Will Friedwald, and Rosy Wilson. The original
recordings were produced by Timothy Owens for National Public
Radio. George Klabin and Fran Gala performed the mixing and sound
restoration, and Fran performed the mastering at Resonance Records
Studios in Los Angeles.
Bruce McCollum