Interlude 1944-1947

構成数 : 1枚
合計収録時間 : 00:51:34
Personnel includes: Sarah Vaughan (vocals); Dizzy Gillespie & His Orchestra; Billy Eckstine & His Orchestra; John Kirby & His Orchestra; Teddy Wilson Quartet; George Treadwell & His Orchestra; Jimmy Jones Quartet; Dicky Well' Big Seven; Georgie Auld & His Orchestra. Recorded in New York, New York between 1944 & 1947. Includes liner notes by Peter Dempsey. All tracks have been digitally remastered. Personnel: Chuck Wayne, John Collins, Remo Palmieri, Barry Galbraith, Bill DeArango, Connie Wainwright (guitar); Al Gibson (clarinet, alto saxophone); Scoville Brown, Aaron Sachs, Buster Bailey (clarinet); Georgie Auld (saxophone, tenor saxophone); Gene Zanoni, Al Cohn, Serge Chaloff (saxophone); Eddie de Verteuill (alto saxophone, baritone saxophone); John Jackson, Russell Procope, Charlie Parker (alto saxophone); Dexter Gordon, Don Byas, Flip Phillips, Bud Johnson, Gene Ammons, George Nicholas , Bill Frazier, Charlie Ventura (tenor saxophone); George James, Cecil Scott, Leo Parker (baritone saxophone); Dizzy Gillespie (trumpet, piano); Danny Blue, Boonie Hazel, Clarence Brereton, George Treadwell, Shorty McConnell, Al Porcino, Buck Clayton (trumpet); Taswell Baird, Dicky Wells, Gerald Valentine, Howard H. Scott , Rudy DeLuca, Chips Outcalt (trombone); Curly Russell, Nat Jaffe, Harry Biss, Jimmy Jones , Leonard Feather, Teddy Wilson, Billy Kyle , John Malachi (piano); Buddy Christian's Creole Five, J.C. Heard , William Barker, Jimmy Crawford , Kenny Clarke, Max Roach, Morey Feld, Art Blakey, Big Sid Catlett, Bill Beason (drums). Liner Note Author: Peter Dempsey. Recording information: 12/05/1944-12/29/1947. Arranger: Tadd Dameron. Here, Naxos takes listeners on a fascinating tour through Miss Sassy's earliest sides via a plethora of small, now-defunct labels and a galaxy of fabled bop and swing bandleaders and players. This was not the husky-voiced, swooping diva who much of the world came to know later; rather, Vaughan was a lighter, silkier soprano in the mid-'40s, more in the manner of the species of big band voices which an older generation of journalists used to call "thrushes." The disc opens with six tunes for the Continental label and one for Guild with various combos led by Dizzy Gillespie. You know you're in good hands on the very first track, "Mean to Me," which opens promisingly to the instantly recognizable flurries of Charlie Parker, with Flip Phillips and Gillespie to follow, no less. Vaughan has the temerity to take on the Billie Holiday signature song "Lover Man," and doesn't sound unseasoned or superficial in the least. Next is Sassy's recorded debut, "I'll Wait and Pray," a majestic performance on the DeLuxe label from December 5, 1944, with hints of the gliding, sassy contralto of the future. Her backing is no less newsworthy, a rare recorded appearance by the fabled Billy Eckstine big band that helped incubate the forthcoming bop revolution. Four ballad sides for Crown with John Kirby's combo from 1946 follow, with a lovely rendition of the then-brand-new standard "It Might As Well Be Spring" being the most alluring. The disc concludes with five examples of her work for Musicraft, including a hypnotic "September Song" and one for HRS, "We're Through," that also contains hints of the older Sassy's style. Anyone who wants to trace the evolution of Sarah Vaughan should start right here at the beginning. ~ Richard S. Ginell
録音 : モノラル (Studio)