Sarah Vaughan - Live at Rosy's (2016)

Resonance Records with the cooperation of National Public Radio (NPR) is proud to announce the release of Sarah Vaughan's Live At Rosy’s, New Orleans on March 25th, 2016 The deluxe 2-CD set is comprised exclusively of newly discovered recordings by “Sassy” capturing the legendary jazz singer’s live performance at Rosy’s Jazz Club on May 31, 1978.

Sarah Vaughan, along with Billie Holiday and Ella Fitzgerald, was a member of a triumvirate one of the three greatest female jazz singers in jazz history. She first attracted attention at 18 years of age in 1942, when she appeared at the Apollo Theater’s amateur night, first as a pianist accompanying another singer and then a few weeks later in her own right as a singer, when she won the contest. During her weeklong Apollo engagement, which was one of the prizes she earned for her victory, Billy Eckstine, who was then the featured singer with the Earl Hines big band, spotted her. Eckstine recommended her to Hines, who asked her to join his band. Other members of the Hines band were Dizzy Gillespie and Charlie Parker; it was widely regarded as one of the early breeding grounds for bebop. The musical ferment of that grouping of musical geniuses had an enormous influence on Vaughan.

Vaughan had an exceptionally broad vocal range; it extended from a coloratura soprano down to a low alto some might even say she sometimes made her way into the baritone range. Her tone was rich and lush. Vocalist Helen Merrill told Zev Feldman in his interview with her conducted for this release: “When Sarah sang, she might just as well have been a trumpet player playing. Her musical ability, her jazz phrasing . . . it was perfect.” She was a musicians’ singer, yet despite her extraordinary gifts, she was down to earth; she was always accepted by the musicians whom she worked with as one of them “she was like one of the fellas,” says Jimmy Cobb.

When these live recordings at Rosy’s Jazz Club were made in May of 1978, Sarah Vaughan was at her artistic peak (at age 54). That year, a kind of renaissance year for her, set her on a meteoric course during which she would win an Emmy and a Grammy and tour the world several times. Each time she released an album, Johnny Carson and Merv Griffin showcased her proudly on TV. For all the grand orchestras that backed her, Sarah Vaughan seemed happiest with her trio; they gave her the space to spread her wings and explore. I get ideas from all three of them while I’m singing,” she said. “We have a ball together, all of us, and wherever I go to work, they’re going with me.” In 1978, Vaughan and her band pianist Carl Schroeder, bassist Walter Booker, and drummer Jimmy Cobb performed at Rosy’s Jazz Club in New Orleans.

The founder/owner of Rosy’s, Rosalie Wilson, describes her impetus for opening a jazz club in New Orleans in the 1970s: “I was puzzled as to why one seldom experienced these musicians in club settings. Roland Kirk explained this phenomenon during an interview citing the continued reticence of many black artists to play clubs or smaller venues in the South for reasons of safety, treatment by club owners and the general negative conditions. I knew he was being truthful and I found this to be perverse, given the fact that New Orleans had long been anointed the birthplace of jazz. This angered me and provided the cause this rebel had long been seeking: to create a music club or venue in which the safety, respect and needs of the musicians were the first priority. One in which a “zero tolerance” policy would exist regarding any form of prejudice.”

James Gavin writes in his essay “Romance, Family & Heartbreak: The Divine One” within the liner notes of the package: “By the time of Vaughan’s performances at Rosy’s captured in this set, her dark-chocolate voice had more than survived 36 years of professional singing; her art had only grown in splendor. She took dusky plunges and glided up to fluty soprano highs; she colored the three octaves in between with a wealth of textures, from gravel to velvet. Vaughan controlled her famous vibrato like a concert violinist; she could make it swagger, pulse, or vanish entirely.”

Behind the vocal riches was a boundless musical mind. “As soon as I hear an arrangement I get ideas,” she said, “kind of like blowing a horn.” So many came to her that Vaughan was like a child let loose in a candy store. “She had tremendous harmonic conception,” says Carl Schroeder. “Most singers have none.” Her breath control enabled her to skitter tirelessly over daredevil bebop changes and to sing ballads at a luxurious crawl. All this came naturally to her. “I don’t know what I’m doin’!” she said. “I just get onstage and sing. I don’t think about how I’m going to do it—it’s too complicated.”

Journalist and critic Will Friedwald takes us through Live at Rosy’s track-by-track: Gershwin, as always, is a major staple of Vaughan’s repertoire, from her classic Gershwin double songbook in 1957 to her epic symphonic jazz concerts (and album) of 25 years later. “The Man I Love” was the Divine One’s signature ballad. As with Fitzgerald, there were some songs and some lyrics that meant to more to her than others, and this song always occupied an extra special place in her heart. You’ll often hear Vaughan take a serious ballad and completely jazz it up (as she does with “April” here), but when she does this particular song, you can tell she’s only thinking about the man she loves.

In 1978, “Send in the Clowns” was gradually evolving into her climactic, show-stopping number. The Sondheim song kept getting longer and longer, growing bigger and bigger as well as slower and slower, and being pushed farther and farther back in the program. Still, it would be hard to say that Vaughan ever sang it better than she did in New Orleans: She absolutely nails it, and makes it clear why, of all the songs and shows that Sondheim has written over almost 60 years, this is easily his most beloved piece of music.

When the request comes through for “A-Tisket, A-Tasket” which was, famously, her colleague Ella Fitzgerald’s first and biggest hit, Vaughan says, with mock exasperation, “Well, I’ll be damned!” Clearly, it was one thing for Vaughan to make a joke about being mistaken for another singer (earlier she had joked that she was Carmen McRae), and quite another for someone in the crowd to confuse her with Ella Fitzgerald. Yet not to be outdone, she takes it a step further, “[he] thinks I’m Lena Horne, huh?” thereby compounding the joke by dropping the name of yet a third iconic African-American vocal headliner. “Then I’ll tell you who I am when I finish,” she declares, “We got to do this,” and then flies into a whole chorus of the 1938 song.

Tracklist
01. I'll Remember April (3:45)
02. Anchors Aweigh: I fall In Love Too Easily (3:44)
03. Band Intro (1:27)
04. East Of The Sun (And West Of The Moon) (3:11)
05. Bye Bye Birdie: A Lot Of Livin 'To Do (2:14)
06. It Happened In Brooklyn: Time After Time (3:46)
07. George White's Scandals Of 1924: Somebody Loves Me (2:07)
08. The Big Show: Poor Butterfly (4:58)
09. A-Tisket, A-Tasket (1:49)
10. A Little Night Music: Send In The Clowns (6:01)
11. Sarah's Blues (7:46)
12. Lady, Be Good !: The Man I Love (4:45)
13. I Got It Bad (And That Ain't Good) (5:12)
14. Watch What Happens (2:44)
15. If You Went Away (Preciso Aprender A Ser Só) (5:39)
16. I Could Write A Book (3:01)
17. I Remember You (5:02)
18. Fascinating Rhythm(3:58)
19. Everything Must Change (6:47)
20. Belle Of The Yukon: Like Someone In Love (2:41)
21. Babes In Arms: My Funny Valentine (5:17)
22. Ending Theme ( 1:11)