Sarah Vaughan Biography and Discography

7/4/13 11:20 AM

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Sarah Vaughan Biography / Discography
The following is a substantial revision I wrote for a Vaughan's biography on on February 14, 2007. The primary reference for the biography and the following discography is Leslie Gourse's excellent biography, Sassy - The Life of Sarah Vaughan, first published in 1994 by Da Capo Press.

Early Life
Sarah Lois Vaughan was born on March 27, 1924 in Newark New Jersey. Her father, Asbury "Jake" Vaughan was a carpenter and amateur guitarist. Her mother, Ada, was a laundress. Jake and Ada Vaughan migrated to Newark from Virginia during the first World War. Sarah was their only natural child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan. The Vaughans lived in a house on Newark's Brunswick street for Sarah's entire childhood. Jake Vaughan was deeply religious and the family was very active in the New Mount Zion Baptist Church on 186 Thomas Street. Sarah began piano lessons at the age of seven. Vaughan sang in the church choir and occasionally played piano for rehearsals and services. Vaughan developed an early love for popular music on records and the radio. In the 1930s, Newark had a very active live music scene and Vaughan frequently saw local and touring bands that played in the city at venues like the Montgomery Street Skating Rink, Adams Theatre and Proctor's Theatre. By her mid-teens, Vaughan began venturing (illegally) into Newark's night clubs and performing as a pianist and, occasionally, singer, most notably at the Piccadilly Club and the Newark Airport USO. Vaughan initially attended Newark's East Side High School, later transferring to Arts High, which had opened in 1931 as the nation's first arts "magnet" high school. However, her nocturnal adventures as a performer began to overwhelm her academic pursuits and Vaughn dropped out of high school during her junior year to concentrate more fully on music. Around this time, Vaughan and her friends also began venturing across the Hudson River into New York City to hear big bands at Harlem's Savoy Ballroom and Apollo Theatre. Biographies of Vaughan frequently state that she was immediately thrust into stardom after a winning an Amateur Night performance at Harlem's Apollo Theatre. In fact, the story that biographer Leslie Gourse relates seems to be a bit more complex. Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. Sometime in the Fall of 1942 (when Sarah was 18 years old), Vaughan suggested that Robinson enter the Apollo Amateur Night contest. Vaughn played piano accompaniment Robinson, who won second prize. Vaughn later decided to go back and compete herself as a singer. Vaughan sang "Body and Soul" and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalled later to Marian McPartland, was $10 and the promise of a week's engagement at the Apollo. After a considerable delay, Vaughan was contacted by the Apollo in the Spring of 1943 to open for Ella Fitzgerald. Sometime during her week of performances at the Apollo, Vaughan was introduced to bandleader/pianist Earl Hines, although the exact details of that introduction are disputed. Singer Billy Eckstine, who was with Hines at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines also claimed to have discovered her himself and offered her a job on the spot. Regardless, after a brief tryout at the Apollo, Hines officially replaced his existing female singer with Vaughan April 4, 1943.

Earl Hines and Billy Eckstine: 1943 - 1944
Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band that also featured baritone Billy Eckstine. Vaughan was hired as a pianist, reputedly so Hines could hire her under the jurisdiction of the musicians union (AFM) rather than the singers union (AGVA), but after Cliff Smalls joined the band as a trombonist and pianist, Sarah's duties became limited exclusively to singing. Vaughan presented a visual paradox for audiences as a rail-thin 18-year-old waif with a remarkably mature voice. Up to that point in her life, Vaughan never had much concern for her physical appearance, so Hines and other members of the band had to provide assistance with attire and grooming appropriate for a female band singer. As a tough kid from the streets of Newark, Vaughan had no problem holding her own with her male co-workers and she often spoke very fondly in later years of the friendships built in during her brief time in the Hines band. This Earl Hines band is best remembered today as an incubator of bop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenor rather than the alto that he would become famous with later) and trombonist Benny Green. Gillespie also arranged for the band, although a recording ban by the musicians union prevented the band from recording and preserving its sound and style for posterity. Eckstine left the Hines band in late 1943 and formed his own big band with Gillespie leaving Hines to become the new band's musical director. Parker came along too, and the Eckstine band over the next few years would host a startling cast of jazz talent: Miles Davis, Kenny Dorham, Art Blakey, Lucky Thompson, Gene Ammons, Dexter Gordon, among others. Vaughan accepted Eckstine's invitation to join his new band in 1944, giving her an opportunity to develop her musicianship with the seminal figures in this era of jazz. Eckstine's band also afforded her first recording opportunity, a December 5, 1944 date that yielded the song, "I'll Wait and Pray" for the Deluxe label. That date led to critic and producer Leonard Feather to ask her to cut four sides under her own name later that month for the Continental label, backed by a septet that included Dizzy Gillespie and Georgie Auld.

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Sarah Vaughan Biography and Discography

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Band pianist John Malachi is credited with giving Vaughan the moniker "Sassy", a nickname that matched her personality. Vaughan liked it and the name (and its shortened variant "Sass") stuck with colleagues and, eventually, the press. In written communications, Vaughan often spelled it "Sassie". Vaughan officially left the Eckstine band in late 1944 to pursue a solo career, although she remained very close to Eckstine personally and recorded with him frequently throughout her life.

Early Solo Career: 1945 - 1948
Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd street like the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan also hung around the Braddock Grill, next door to the Apollo Theatre in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker with Al Haig on piano, Curly Russell on bass and Sid Catlett on drums. Later that month she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides. After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square. While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell also made significant positive changes in Vaughan's stage appearance. Aside from an improved wardrobe and hair style, Vaughn had her teeth capped, eliminating an unsightly gap between her two front teeth. Many of Vaughan's 1946 Musicraft recordings became quite well-known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have is Yours" and "Body and Soul." With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946. Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly" became an unexpected pop hit in late 1947. Her December 27, 1947 recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948 became a hit around the same time as the release of the famous Nat King Cole recording of the same song. Because of yet another recording ban by the musicians union, "Nature Boy" was recorded with an A Capella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody.

Stardom and The Columbia Years: 1948 - 1953
The musicians union ban pushed Musicraft to the brink of bankruptcy and Vaughan used the missed royalty payments as an opportunity to sign with the larger Columbia Record label. Following the settling of the legal issues, her chart successes continued with the charting of "Black Coffee" in the summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success: "That Lucky Old Sun", "Make Believe (You Are Glad When You're Sorry)", "I'm Crazy to Love You", "Our Very Own", "I Love the Guy", "Thinking of You" (with pianist Bud Powell), "I Cried for You", "These Things I Offer You", "Vanity", "I Ran All the Way Home", "Saint or Sinner", "My Tormented Heart", and "Time", among others. Vaughan also achieved substantial critical acclaim. Vaughan won Esquire magazine's New Star Award for 1947. Vaughan won awards from Down Beat magazine continuously from 1947 through 1952 and from Metronome magazine from 1948 through 1953. A handful of critics disliked her singing as being "over-stylized," reflecting the heated controversies of the time over the new musical trends of the late 40's. However the critical reception to the young singer was generally positive. Recording and critical success led to numerous performing opportunities, packing clubs around the country almost continuously throughout the years of the late 1940s and early 1950s. In the summer of 1949, Vaughan made her first appearance with a symphony in a benefit for the Philadelphia Orchestra entitled "100 Men and a Girl." Around this time, Chicago disk jockey Dave Garroway coined a second nickname for Vaughan, "The Divine One", that would follow her throughout her career. In 1951, Vaughan made her first tour of Europe. With improving finances, in 1949 Vaughan and Treadwell purchased a three-story house on 21 Avon Avenue in Newark, occupying the top floor during their increasingly rare off-hours at home and relocating Vaughan's parents to the lower two floors. However, the business pressures and personality conflicts lead to a cooling in the personal relationship between Treadwell and Vaughan. Treadwell hired a road manager to handle Vaughan's touring needs and opened a management office in Manhattan so he could work with clients in addition to Vaughan. Vaughan's relationship with Columbia records also soured as Vaughan became dissatisfied both with the commercial material she was required to record there and lackluster financial success of her records. A set of small group sides recorded in 1950 with Miles Davis and Benny Green are among the best of her career, but those were isolated moments in her Columbia ouvre. Frank Sinatra would face similar issues at the conclusion of his Columbia contract around the same time. As with Sinatra, Vaughan needed a change of setting that would give her talents the environment to fully blossom.

The Mercury Years: 1954 - 1958
In 1953, Treadwell negotiated a unique contract for her with Mercury Records. Vaughan would record commercial material for the Mercury label and more jazz-oriented material for Mercury's subsidiary EmArcy label. Vaughan was paired with producer Bob Shad and their excellent working relationship resulted in strong commercial and artistic success. Vaughan's first recording session for Mercury was in February of 1954 and she stayed with the label through 1959. After a stint at Roulette Records from 1960 to 1963, Vaughan returned to Mercury for an additional time from 1964 to 1967. Vaughan's commercial success at Mercury began with "Make Yourself Comfortable", recorded in the Fall of 1954. Other hits followed, including: "How Important Can It Be" (with Count Basie), "Whatever Lola Wants", "The Banana Boat Song", "You Ought to Have A Wife". Vaughan's commercial success peaked with "Broken Hearted Melody", a song she considered "corny", that nonetheless became her first gold record and a regular part of her concert Page 2 of 36

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repertoire for years to come. Vaughan was reunited with Billy Eckstine for a series of duet recordings in 1957 that yielded the hit "Passing Strangers". Vaughan's commercial recordings were handled by a number of different arrangers and conductors, the primary leaders being Hugo Peretti and Hal Mooney. Meanwhile, the jazz "track" of her recording career also proceeded apace, backed either by her working trio or various assemblages of illustrious jazz figures. One of her favorite albums of her whole career was an album recorded in December of 1954 featuring a sextet that included Clifford Brown. The album The Land of Hi-Fi was recorded at pair of October 1955 sessions featured a 12-piece band that was lead by Ernie Wilkins and included JJ Johnson, Kai Winding, and Cannonball Adderley augmenting Sarah's working trio. In 1958 Vaughan recorded the No 'Count Sarah album with members of the Count Basie Orchestra, minus Basie, who was under contract with another record company. Performances from this era often found Vaughan in the company of a veritable who's who of jazz figures from the mid-1950s during a schedule of almost non-stop touring. Vaughan was featured at the first Newport Jazz Festival in the Summer of 1954 and would star in subsequent editions of that festival at Newport and in New York City for the remainder of her life. In the Fall of 1954, Vaughan performed at Carnegie Hall with the Count Basie Orchestra on a bill that also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That Fall, Vaughan took another brief and highly successful tour of Europe. In early 1955, Vaughan set out on a "Big Show" tour, a grueling succession of start-studded one-nighters that included Count Basie, George Shearing, Errol Garner and Jimmy Rushing. In the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet, Horace Silver, Jimmy Smith, the Johnny Richards Orchestra Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached a breaking point at some time in 1958 and Vaughan filed for a divorce. Vaughan had entirely delegated financial matters to Treadwell, and despite stunning figures reported through the 1950s about Vaughan's record sales and performance income, at the settlement Treadwell said that only $16,000 was left. The couple evenly divided that amount and the personal assets and terminated their business relationship. Despite his questionable business practices, Treadwell had excellent taste and gave Vaughan the ability to just be herself. Treadwell's 12 years of management would ultimately prove to be the most focused of Vaughan's career and she would never have management that strong again.

The Sixties
The exit of Treadwell from Vaughan's life was also precipitated by the entry of Clyde "C.B." Atkins, a man of uncertain background that Vaughn met while while on tour in Chicago and married on September 4, 1958. Although Atkins had no experience in artist management or music, Vaughan wished to have a mixed professional/personal relationship like the one she had with Treadwell. Vaughan made Atkins her personal manager, although, she was still feeling the sting of the problems she had with Treadwell and initially kept a slightly closer eye on Atkins. Vaughan and Atkins moved into a house in Englewood Cliffs, New Jersey. Vaughan's contract with Mercury Records ended in late 1959 and she immediately signed on with Roulette Records, a small label owned by Morris Levy, one of the backers of the Birdland jazz club in New York where Vaughan had frequently appeared. Roulette's roster also included Count Basie, Joe Williams, Dinah Washington, Lambert Hendricks and Ross, and Maynard Ferguson, among others. Vaughan began recording for Roulette in April of 1960, making a string of strong large ensemble albums arranged and/or conducted by Billy May, Jimmy Jones, Joe Reisman, Quincy Jones, Benny Carter, Lalo Schifrin and Gerald Wilson. Surprisingly, Vaughan also had some success in 1960 on the pop charts with "Serenata" on Roulette and a couple of residual tracks from her Mercury contract, "Eternally" and "You're My Baby". Vaughan made a pair of intimate trio albums of jazz standards: After Hours in 1961 with guitarist Mundell Lowe and bassist George Duvivier and Sarah Plus Two in 1962 with guitarist Barney Kessell and bassist Joe Comfort. Vaughan was incapable of having biological children, so in 1961 Vaughan and Atkins adopted a daughter, Debra Lois. However the relationship with Atkins was difficult and violent and Vaughan filed for divorce in November of 1963 after a series of strange incidents. Vaughan turned to two friends to help sort out the financial wreckage of the marriage: John "Preacher" Wells, a childhood acquaintance and club owner, and Clyde "Pumpkin" Golden, Jr. Wells and Golden found that Atkins' gambling and profligate spending had put Vaughan around $150,000 in debt and the Englewood Cliffs house was ultimately seized by the IRS for nonpayment of taxes. Vaughan retained custody of the adopted child and Golden essentially took Atkins place as Vaughan's manager and lover for the remainder of the decade. Around the time of her second divorce, she also became disenchanted with Roulette Records. Roulette' finances were even more deceptive and opaque than usual in the record business and its recording artists often had little to show for their efforts other than some excellent records. When her contract with Roulette ended in 1963, Vaughan returned to the more familiar confines of Mercury Records. In the Summer of 1963, Vaughan went to Denmark with producer Quincy Jones to record four days of live performances with her trio that would be released on the album Sassy Swings the Tivoli that is an excellent example of Vaughan's life show from this period. Vaughan made her first appearance at the White House for President Johnson in 1964. Unfortunately, the Tivoli recording would be the brightest moment of her second stint with Mercury. Changing demographics and tastes in the 1960s left jazz artists with shrinking audiences and inappropriate material. While Vaughan retained a following large and loyal enough to maintain her performing career, the quality and quantity of her recorded output dwindled even as her voice darkened and her skill remained undiminished. At the conclusion of her Mercury deal in 1967 she was left without a recording contract for the remainder of the decade. In 1969 Vaughan terminated her professional relationship with Golden and relocated to the west coast, settling first into a house near Benedict Canyon in Los Angeles and then into what would end up being her final home in Hidden Hills.

Rebirth in the Seventies
Vaughan met Marshall Fisher after a 1970 performance at a casino in Las Vegas and Fisher soon fell in to the familiar dual role as Vaughan's lover and manager. Fisher was another man of uncertain background with no musical or entertainment business experience. However, unlike some of Vaughan's earlier associates, he was a genuine fan of Vaughan's and was devoted to furthering Vaughan's career. The seventies also heralded a rebirth in Vaughan's recording activity. In 1971, Bob Shad, who had worked as a producer with Vaughan during her contract with Mercury Records, asked Vaughan to record for his new record label, Mainstream Records. Basie veteran Ernie Wilkins arranged and conducted her first Mainstream album, A Time In My Life in November of 1971. In April of 1972, Vaughan recorded a lovely collection of ballads written, arranged and Page 3 of 36

Vaughan began a relationship with Waymond Reed. The arrangements were by Marty Paich and the orchestra would be augmented by established jazz artists Dave Grusin on piano. In December 1974. The song would become Vaughan's signature. Vaughan's first release for Pablo was I Love Brazil. produced and composed by Sergio Mendez and recorded primarily in the early part of 1987 in New York and Detroit. it was Vaughan's only formal studio recording with Fitzgerald in a career that had begun 46 years earlier opening for Fitzgerald at the Apollo. and drummer Louis Bellson. a trumpet player 16 years her junior who was playing with the Count Basie band. In 1988 Vaughan was inducted into American Jazz Hall of Fame. conductor Michael Tilson Thomas asked Vaughan to participate in an all-Gershwin show he was planning for a guest appearance with the Los Angeles Philharmonic at the Hollywood Bowl. During her sessions with Legrand. "Happy Talk" and "Bali Ha'i".com/vaughan/ Page 4 of 36 . Also in 1974. including Dizzy Gillespie and Maynard Ferguson. Unfortunately. that aired on September 21. Vaughan recorded material for two Duke Ellington Songbook albums. In 1985 Vaughan received a star on the Hollywood Walk of Fame. During a run at New York's Blue Note jazz club in the Fall of 1989. Tom Guy. Although Fisher is occasionally referenced as Vaughan's third husband. In 1986. although she recorded a 1977 album of Beatles songs with contemporary pop arrangements for the Atlantic record label that was eventually released in 1981. Vaughan canceled a series of engagements in Europe for the Fall of 1989 citing the need to seek treatment for arthritis in the hand. A performance of her symphonic Gershwin program with the New Jersey Symphony in the Fall of 1980 was broadcast on PBS and won her an Emmy Award in 1981 for "Individual Achievement . In 1989.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM conducted by Michel Legrand. followed by appearances in 1975 and 1976 with symphonies around the country. in the role of Bloody Mary on an otherwise stiff studio recording by opera stars Kiri Te Kanawa and Jose Carreras of the score of the Broadway musical South Pacific. the film has not been commercially released. In 1989. Vaughan is featured in a number of video recordings from the 1980s. The resulting sixteen hours of footage was pared down into an hour-and-a-half documentary. The recording was made in Germany with an English translation by writer Gene Lees and was released by Lees on his own private label after the recording was turned down by the major labels. replacing the chestnut "Tenderly" that had been with her from the beginning of her solo career. In 1984 Vaughan participated in one of the more unusual projects of her career. bassist Ray Brown. Bob Shad presented "Send In The Clowns". Vaughan received a plaque on 52nd street outside the CBS building commemorating the jazz clubs she had once frequented on "Swing Street" and which had long since been demolished and replaced with office buildings. Vaughan played private concert for U. In the Summer of 1977. which was recorded with an all-star cast of Brazilian musicians in Rio de Janeiro in the fall of 1977 and led to a Grammy nomination. NY. Her contract concluded in March of 1982 with Crazy and Mixed Up. 1978 on New Jersey Public Television. Paradise Cafe. The concert was a success and Thomas and Vaughn repeated the performance with Thomas' home orchestra in Buffalo. Feelin' Good. Finally in 1977. to Vaughan for consideration. Late Career Vaughan remained quite active as a performer during the 1980s and began receiving awards recognizing her contribution to American music and status as an important elder stateswoman of Jazz. This was Vaughan's final studio recording and. president Gerald Ford and French president Giscard d'Estaing during their summit on Martinique. She was reunited with Michael Tilson Thomas for slightly modified version of the Gershwin program with the Los Angeles Philharmonic and the CBS Records recording. Peter Matz. Joe Pass on guitar. Vaughan recorded How Long Has This Been Going On? with a quartet that included pianist Oscar Peterson. signed Vaughan to his Pablo record label. Jack Elliott and Allyn Ferguson teamed up for Vaughan's third Mainstream album. Vaughan contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah Symphony Orchestra and sold in Hallmark Cards stores. Vaughn sang two songs. allegedly in a conflict precipitated by Fisher over an album cover photograph and or unpaid royalties. Listen To The Sun. interviewing numerous artists speaking about Vaughan and capturing both concert and behind-the-scenes footage. In 1988.S. After the conclusion of her Pablo contract in 1982. Reed joined her working trio as a musical director and trumpet player and became Vaughan's third husband in 1978. As of this writing. a Stephen Sondheim song from the Broadway musical A Little Night Music. Vaughan also recorded a live album in Tokyo with her trio in September of 1973. Sass and Brass was taped in 1986 in New Orleans and also features her working trio with guest soloists. Quincy Jones' album Back on the Block featured Vaughan in a brief scatting duet with Ella Fitzgerald. Vaughan's final complete album was Brazilian Romance. Vaughan recorded the album Send In The Clowns with the Count Basie orchestra playing arrangements primarily by Sammy Nestico and including a second recording of what had become her signature song. In the Spring of 1981. they were never legally married. Vaughan made a guest appearance in 1984 on Barry Manilow's 2 A. Vaughan received a diagnosis of lung cancer and was too ill to finish the final day http://michaelminn. Norman Granz. In 1977. This left Vaughan again without a recording contract for three years. Vaughan had not had a recording contract for three years. These performances fulfilled a long-held interest by Vaughan in working with symphonies and she made orchestra performances without Thomas for the remainder of the decade. Vaughan's relationship with Mainstream soured in 1974. although she was able to complete a later series of performances in Japan. Let It Live a symphonic piece composed by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wytola. another quartet album featuring Sir Roland Hanna on piano. although she rarely betrayed any hints in her performances. In the Summer of 1980. Vaughan and Waymond Reed divorced in 1981. guitarist Joe Pass. fittingly. who was also Ella Fitzgerald's manager. Vaughan terminated her personal and professional relationship with Marshall Fisher. Sarah Vaughan: The Divine One was featured in the American Masters series on PBS. In the fall of 1979. a young filmmaker and public TV producer. an odd album of original pastiche compositions that featured a number of established jazz artists. the future Pope John Paul II. Ray Brown on bass. drummer Shelly Manne and saxophonists Bill Perkins and Pete Christlieb. Vaughan did only a limited amount studio recording. followed Vaughan around on tour. The Pablo contract would ultimately result in five albums. Vaughan's health began to decline. The Planet is Alive. Gershwin Live won Vaughan a Grammy award.M. Arrangers Legrand. In the Spring of 1978. Andy Simpkins on bass and Harold Jones on drums. Sarah Vaughan Live from Monterrey was taped in 1984 or 1983 and featured her working trio with guest soloists.Special Class".

where she passed away on the evening of April 4. Vaughan was strongly attracted to the popular music of the day. I might sing 'Send in the Clowns' and I might stick a little bluesy part in it. although some of her "favorites" stayed with her for extended periods of time and often returned for multiple stints." she avoided classifying herself as such. What I want to do. and I like all kinds of music. None of her marriages were successful.1953) and Roulette (1960 . NJ. I'm not putting jazz down. much to the consternation of her deeply-religious father." While Vaughan was a proficient at scatting. Sarah Vaughan Discography Sarah Vaughan recorded extensively through all periods of her career and most recordings are of fairly high technical and artistic quality. most of which remains in commercial release. While there are comprehensive box sets of her recordings for Mercury (1954 . Despite effusive public acclaim. which was the same congregation she grew up in but which had relocated to a new building. but I'm not a jazz singer Betty Bebop (Carter) is a jazz singer. Frank Sinatra or. a regular marijuana and cocaine user throughout her career. Vaughan approached her voice more as a melodic instrument than an vehicle for dramatic interpretation of lyrics. but numerous fellow musicians recounted their experiences with her to be some of the best of their career. a horse-drawn carriage transported her body to it's final resting place in Glendale Cemetery in Bloomfield. this trio was often used as the rhythm section to provide continuity. However. Vaughan discussed the label in an 1982 interview for Down Beat: "I don't know why people call me a jazz singer. Unlike other mid-century singers like Ella Fitzgerald. Billy Eckstine. Most of her later albums are available in commercial release in their original form as individual disks. the trio configuration was flexible and adaptable to differing performing conditions and to Vaughan's improvisatory whims. almost incapacitating. but (to them) I'm either a jazz singer or a blues singer. Indeed. I've even been called a blues singer. Clyde Atkins (1958-1961) and Waymond Reed (1978-1981). or any song. However. Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. Personal Life Vaughan was married three times: George Treadwell (1946-1958). Vaughan's funeral was at the First Mount Zion Baptist Church in Newark. because that's all she does. but she was apparently discreet about her usage and never suffered the debilitating addictions or run-ins with the law that derailed many of her colleagues. as of this writing there are only less comprehensive collections of her work available from her Columbia (1948 .just a right-out blues . reputedly. Debra Lois. although the expressive qualities of her style did accentuate lyrical meaning and she would often find unique and memorable ways of articulating and coloring individual key words in a lyric. phrasing and variation on melodies. Vaughan was certainly influenced by (and an influence on) her friend and mentor. Perhaps because of the individuality of her style. her approach to her "Jazz" work and her commercial "Pop" material was not radically different. Following the ceremony. only rarely dabbling in rock-era styles that usually did not suit her unique vocal Page 5 of 36 . She had a mercurial personality and could be extremely difficult to work with (especially in areas outside of music).1967) and Musicraft (1946 . which almost certainly contributed to her slightly premature death from lung cancer at the age of 64. This minimal instrumentation also provided a minimum of distraction from Vaughan's unique styling and rich vocal timbre. no recordings of her with the Hines band) it is difficult to know with any certainty what stylistic nuances she absorbed during the critical first years of her performing career. The membership of this trio changed frequently over the years. While Vaughan frequently performed and recorded with large ensembles. There are numerous collections of individual songs of varying quality and sequencing coherence and buyers would be well advised to do research before investing in an unfamiliar collection. Toward the end. Vaughan's appetite for night life was legendary and after performances she regularly stayed out partying until well into the next day.but I can put the blues in whatever I sing. During her childhood in the 30s. since there are no recordings of Vaughan prior to her joining Eckstine in the Earl Hines band (and. which were almost always jazz standards. Debra worked in the 1980s and 1990s as an actor under the name Paris Vaughan. music-wise. Vaughan was also a life-long smoker. which is obvious in the numerous duet recordings they made together.1963) years. in 1961. later. Vaughan was certainly influenced by the gospel traditions that she grew up with in a Baptist church.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM of what would turn out to be her final series of public performances. there are no prominent singers whose style is an obvious direct reflection of Vaughan's. even in death Vaughan retains a loyal following and attracts new fans through her recorded legacy. she has rarely been overtly imitated by subsequent generations of singers. Vaughan was. Vaughan adopted a baby daughter. Aside from economy. Vaughan was a heavy drinker and but there are no reported incidents of obvious on-stage intoxication that hampered her ability to perform. Aretha Franklin. Vaughan was insecure and suffered from stage fright that was. from way back. But her tobacco usage did not have a deleterious effect on her voice and may have even contributed to the attractive darkness that was characteristic of her sound in her later years. http://michaelminn. NJ. Sarah Vaughan's personal life was a jumble of paradoxes. at times. the improvisatory aspect of her art was focused more on ornamentation. though I guess people associate me with jazz because I was raised in it. Being unable to have biological children. she was quite gregarious and generous with friends. 1990 while watching a television movie featuring her adopted daughter. Vaughan stuck throughout her career to the jazz-infused style of music that she came of age with. yet she maintained close long-running friendships with a number of male colleagues in the business and was devoted to her parents and adopted daughter. Even in large-ensemble situations. which was most sonorous in a dark chest register that grew deeper as she aged. While shy and often aloof with strangers. unfortunately. I can't sing a blues . I've recorded all kinds of music.1959 and 1963 .1948). Style and Influence Although Vaughan is usually considered a "Jazz Singer. but the more radically melismatic elements of those influences are less obvious than they would be in later generations of singers in the R&B and hip-hop genres. Vaughan tired of the struggle and demanded to be taken home. her live performances usually featured her accompanied by a piano-led working trio. is all kinds of music that I like. Perhaps her most noticeable musical mannerism was the creative use of often widely "swooping" glissandi through her wide entire vocal range.

May 11.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Early Recordings New York City. January 9. Night in Tunisia) No Smokes Blues East of the Sun (Gillespie for Feather on piano) New York City. May 25. Taswell Baird. December 31. on the Musicraft label Stuff Smith Trio Violin: Stuff Smith Piano: Freddie Jefferson Drums: Pete Glover Time and Again New York City. Chips Outcalt Reeds: John Jackson. 1946 for the Crown label John Kirby Band Trumpet: Clarence Brereton Clarinet: Buster Bailey Alto: Russell Procope Piano: Billy Kyle Bass: John Kirby http://michaelminn. 1944 for the Continental label Sarah Vaughan and Her All-Stars Trumpet/Piano: Dizzy Gillespie Clarinet: Aaron Sachs Tenor: Georgie Auld Bass: Jack Lesberg Guitar: Chuck Wayne Piano/Producer: Leonard Feather Drums: Morey Feld Signing Off Interlude (a. Leo Parker (baritone) Piano: John Malachi Guitar: Connie Wainwright Bass: Tommy Potter Drums: Art Blakey I'll Wait and Pray New York City. Dexter Gordon. Shorty McConnell. December 5. 1944 for the Deluxe label Billy Eckstine and His Orchestra Trumpets: Dizzy Gillespie. Gail Brockman. 1945 for the Guild label Dizzy Gillespie All-Star Quintet Trumpet: Dizzy Gillespie Alto: Charlie Parker Piano: Al Haig Bass: Curly Russell Drums: Sid Catlett Lover Man New York City. Bill Frazer (alto).com/vaughan/ Page 6 of 36 . 1945.a.k. October 1. 1945 Trumpet: Dizzy Gillespie Alto: Charlie Parker Tenor: Flip Phillips Piano: Nat Jaffe Piano: Tadd Dameron Bass: Curly Russell Drums: Max Roach Guitar: Bill De Arango What More Can a Woman Do? I'd Rather Have a Memory Than a Dream (Dameron for Jaffe) Mean to Me New York City. Gene Ammons (tenor). Marion "Boonie" Hazel Trombones: Gerald Valentine. Howard Scott.

Al Cohn. Sonny Rich. Danny Blue. June 14. Lou Prisby. Al Cohn. May 7. Rudy de Luca Reeds: Georgie Auld (soprano). Gene Zononi (alto). April 30. Mike Datz. 1946 Conductor: Tadd Dameron Trumpet: Freddie Webster Alto: Leroy Harris Baritone: Leo Parker Piano: Bud Powell Bass: Ted Sturgis Drums: Kenny Clarke Clarinet: Hank Ross plus strings My Kinda Love I Can Make You Love Me If You'll Let Me If You Could See Me Now (arr. Irv Roth (tenor). Sam Zittman (alto). Gus Dixon. Johnny Mandel Reeds: Georgie Auld. Serge Chaloff (baritone) Piano: Harvey Leonard. Joe Pillicane Drums: Art Mardigan http://michaelminn. March Page 7 of 36 . George Schwartz Trombone: Mike Datz. Al Porcino. March 6. Al Porcino Trombone: Tracy Allen. Georgie Auld Orchestra Trumpet: Neal Hefti.1949) New York City. 1946 Georgie Auld Orchestra Trumpet: Al Aaron. Gene Zanoni. 1946. Serge Chaloff (baritone) Piano: Roy Kral Guitar: Barry Galbraith Bass: Ed Cunningham Drums: Art Mardigan Arranger: Tadd Dameron A Hundred Years from Today New York City. 1946 Dicky Wells's Big Seven Trumpet: George Treadwell Trombone: Dicky Wells Tenor: Budd Johnson Baritone: Cecil Scott Piano: Jimmy Jones Bass: Al McKibbon Drums: Jimmy Crawford We're Through Musicraft Records (1946 . Irv Roth (tenor). Art House.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Drums: Bill Beason I'm Scared You Go to My Head I Can Make You Love Me It Might as Well Be Spring New York City. Dameron) You're Not the Kind New York City. 1946 for the Gotham label Tony Scott and His Down Beat Septet Alto/Clarinet: Tony Scott Trumpet: Dizzy Gillespie Trombone: Trummy Young Tenor: Ben Webster Piano: Jimmy Jones Bass: Gene Ramey Drums: Ed Nicholson All Too Soon New York City.

1947 Ted Dale Orchestra Clarinet: Sam Musiker http://michaelminn. Sr. Page 8 of 36 . 1947 Ted Dale Orchestra The Lord's Prayer Sometimes I Feel Like a Motherless Child I Can't Get Started Trouble Is a Man New York City. Trumpet/Leader: George Treadwell Clarinet/Alto: Al Gibson Tenor: George "Big Nick" Nicholas Alto/Baritone: Eddie de Verteuill Piano: Jimmy Jones Bass: Al McKibbon Drums: William Barker Guitar: Jimmy Smith I'm Through with Love Everything I Have Is Yours Body and Soul I've Got a Crush on You New York City. Budd Johnson. November 8. July 2. C. 1946 Teddy Wilson Octet Trumpet: Buck Clayton Alto: Scoville Browne Tenor: Don Byas Baritone: George James Piano: Teddy Wilson Bass: Billy Taylor. Heard Guitar: Remo Palmier Penthouse Serenade Don't Worry 'Bout Me New York City. August 19. Jesse Drakes Trombone: Ed Burke. July 18. Dickie Harris. Lowell Hastings (tenor). 1946. Sr. Eddie de Verteuill (baritone) Piano: Jimmy Jones Bass: Al McKibbon Drums: J. November 19. C. Perry. Scoville Browne (alto). Drums: J.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Arranger: Al Cohn You're Blase New York City. Donald Coles Reeds: Rupert Cole. 1946 Teddy Wilson Quartet Tenor: Charlie Ventura Piano: Teddy Wilson Guitar: Remo Palmier Bass: Billy Taylor. Roger Jones. 1947 Trumpet/Leader: George Treadwell Trumpet: E. Hal Mitchell. Heard Arranger: Bill Doggett I Cover the Waterfront Ghost of a Chance Tenderly Don't Blame Me New York City. October 10. Time After Time September Song New York City.

a number of singers released new recordings made with a capella choirs (which were not under AFM jurisdiction). 1949 CBS Studio Orchestra Conductor/Arranger: Joe Lippman Piano: Henry W. Rowland Bass: Bob Haggart Drums: Norris "Bunny" Shawker Strings and additional instruments Black Coffee As You Desire Me Bianca New York City. December 29. 1947 Piano/Musical Director: Jimmy Jones Bass: Al McGibbon Drums: Kenny Clarke Guitar: John Collins What a Diffrence a Day Makes Gentleman Friend Once in a While How Am I to Know New York City. Aside from releases of recordings made before the ban. The recording ban essentially drove Musicraft into bankruptcy and gave Vaughan the chance to invalidate her contract and move to the more profitable environs of CBS records. Al Casey Bass: Mack Shopnick Drums: Cozy Cole Arranger: Ted Dale Additional strings. Nature Boy I'm Glad There Is You CBS Records (1949 .1953) New York City. instruments Love Me or Leave Me I'll Wait and Pray I Get a Kick Out of You The Man I Love I'm Gonna Sit Right Down and Write Myself a Letter The One I Love Belongs to Somebody Else Button Up Your Overcoat I Feel So Smoochie Blue Grass New York City. 1947 (date and personnel uncertain) Richard Maltby and His Studio Orchestra It's You or No One It's Magic I Can't Get Started New York City. January 10.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Piano: Nicholas Tagg Guitar: Tony Mottola. 1948 Earl Rodgers Choir The 1948 musician's union recording ban prevented professional instrumentalists from recording for almost a year. 1949 CBS Studio Orchestra Conductor/Arranger: Joe Lippman Trumpet: Jimmy Maxwell Piano: Henry W. December 27. April 8. January Page 9 of 36 . Rowland Bass: Bob Haggart Drums: Terry Snyder While You Are Gone Tonight I Shall Sleep http://michaelminn.

December 21. December 21. Taft Jordan Trombone: Will Bradley Reeds: Toots Mondello. May 1949 Piano: Jimmy Jones Studio orchestra Everything I Have Is Yours I Get a Kick Out of You Tenderly New York City. You (arr. Hymie Schertzer (alto). 1949 for MGM Records http://michaelminn. September 28. Conductor/Arranger: Joe Lippman Tonight I Shall Sleep That Lucky Old Sun Los Angeles. September Page 10 of 36 . Conductor/Arranger: Hugo Winterhalter Piano: Jimmy Jones Bass: Bob Haggart Drums: Terry Snyder Guitar: Tony Mottola Strings and additional instruments I Cried for You You Say You Care Fool's Paradise New York City. 1949 CBS Studio Orchestra. Conductor/Arranger: Hugo Winterhalter Piano: Jimmy Jones Bass: Bob Haggart Drums: Terry Snyder Guitar: Tony Mottola Strings and additional instruments Lonely Girl New York City. 1949 CBS Studio Orchestra. 1949. George Kelly (tenor). July 7. Art Drellinger. 1949 Conductor/Arranger: Joe Lippman Trumpet: Billy Butterfield.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM That Lucky Old Sun Los Angeles. May 6. Conductor/Arranger: Joe Lippman Piano: Jimmy Jones Bass: Jack Lesberg Drums: Bunny Shawker Guitar: Al Caiola Strings and vocal group Just Friends Give Me a Song with a Beautiful Melody Make Believe You Taught Me to Love Again New York City. Stan Webb (baritone) Piano: Jimmy Jones Bass: Eddie Safranski Drums: William "Cozy" Coles Guitar: Al Caiola You're Mine. Tadd Dameron) I'm Crazy to Love You Summertime The Nearness of You New York City. 1949.

Norman Leyden Orchestra (?) Trumpet: Bob Cusumano. July 27. May 18. Bernard Kaufmamn. Heard Guitar: Freddie Green Ain't Misbehavin' Goodnight. Jr. 1950. Bernie Privin Trombone: Jack Satterfield. C. Jr. My Love Can't Get out of This Mood It Might as Well Be Spring 729 Seventh Avenue. 1950 George Treadwell and His All-Stars Trumpet: Miles Davis Tenor: Budd Johnson Trombone: Benny Green Clarinet: Tony Scott Piano: Jimmy Jones Bass: Billy Taylor. May Page 11 of 36 . Paul Ricci. Drums: J. 1950. New York City. Art Drellinger. Harry Terrill. 1950 http://michaelminn. 1950 George Treadwell and His All-Stars Trumpet: Miles Davis Tenor: Budd Johnson Trombone: Benny Green Clarinet: Tony Scott Piano: Jimmy Jones Bass: Billy Taylor. G. John Carroll. Tom Parshley. C. Drums: J. John D'Agostino Reeds: Bill Versaci. Hank Ross Piano: Jimmy Jones Bass: Sid Weiss Drums: Bunny Shawker Strings Dedicated to You You're All I Need I Love You Every Day New York City. New York City. Tudor Piano: Bernie Leighton Bass: Frank Carroll Guitar: Art Ryerson Drums: Terry Snyder Our Very Own Don't Be Afraid Apollo Theatre. Heard Guitar: Mundell Lowe Mean to Me Come Rain or Come Shine Nice Work If You Can Get It East of the Sun (and West of the Moon) New York City. May 4. CBS Studio Orchestra Conductor/Arranger: Norman Leyden Piano: Bud Powell Bass: Frank Carroll Drums: Terry Synder Guitar: Mundell Lowe Trumpet: Jimmy Maxwell Eleven others on brass and reeds Thinking of You I Love the Guy September 5.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Vocal duet with Billy Eckstine Reeds: Toots Mondello.

1951 Norman Leyden and His Orchestra Ave Maria City Called Heaven New York City. April 4. 1951 Conductor/Arranger: Percy Faith Piano: Stan Freeman Bass: Frank Carroll Drums/Vibraphone: Phil Kraus Guitar: Art Ryerson CBS Studio Orchestra Pinky Just a Moment More I Ran All the Way Home A Miracle Happened New York City. 1951 CBS Studio Orchestra Conductor/Arranger: Percy Faith Piano: Stan Freeman Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson Strings Deep Purple These Things I Offer You New York City. 1951. January 17. September 19. 1950 Conductor/Arranger: Norman Leyden Piano: Jimmy Jones Bass: Frank Carroll Drums: Bunny Shawker Guitar: Mundell Lowe Bongos: Jose Luis Mangual Studio Orchestra I'll Know De Gas Pipe She's Leaking. March 19. December 6. 1952 Conductor/Arranger: Percy Faith Piano: Robert Kitsis Bass: Frank Carroll Drums: Phil Kraus Guitar: Art Ryerson Page 12 of 36 . CBS Studio Orchestra Conductor/Arranger: Paul Weston Piano: Milton Raskin Bass: John Ryan Drums: Nick Fatool Guitar: George Van Eps Trumpet: Ziggy Elman Additional brass and strings My Reverie After Hours Vanity Out of Breath New York City. June 1. Joe New York City.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Norman Leyden and His Orchestra Perdido Whippa Whippa Woo New York City.

February 10. 1952 CBS Studio Orchestra Trumpets: Chris Griffin.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM CBS Studio Orchestra Street of Dreams Time to Go Corner to Corner If Someone Had Told Me New York City. Red Solomon. 1952 Leader: Percy Faith (?) Trombones: Will Bradley. T. 1954 Don Costa and His Studio Orchestra Imagination It's Easy to Remember And This Is My Beloved Easy Come. 1954 Richard Hayman and His Studio Orchestra I Still Believe in You My Funny Valentine My One and Only Love Come Along with Me New York. Dupont. 1954 http://michaelminn. John D'Agostino Reeds: Bernie Kaufman. January 5.1960) New York. Al Freistat. Milazzo Trombones: L. Bill Versaci. Al Godlis Piano: Lou Stein Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson Strings I Confess Lover's Quarrel Time After Time New York City. April 2. Jack Satterfield. July 28. Gompers. Easy Go Lover New York. 1953 Arranger/Conductor: Percy Faith CBS Studio Orchestra Piano: Louis Stein Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson Linger Awhile Spring Will Be a Little Late This Year A Blues Serenade Oo Whatcha Doin' to Me? Mercury Records (1953 . Altpeter. March 29. R. December Page 13 of 36 . Harold Freedman Piano: Lou Stein Bass: Frank Carroll Drums: Terry Snyder Guitar: Art Ryerson Strings Say You'll Wait for Me Sinner or Saint My Tormented Heart Mighty Lonesome Feeling New York City. J.

1954 Hugo Peretti and His Studio Orchestra Oh Yeah I'm in the Mood for Love I Don't Know Why Let's Put out the Lights Waltzing Down the Aisle It's Magic Honey New York. Circa November-December. December 16-18. March 17. 1954 Hugo Peretti and His Studio Orchestra Idle Gossip Make Yourself Comfortable New York. 1954 Hugo Peretti and His Studio Orchestra Old Love Old Devil Moon Exactly Like You Saturday New York. July 6. October 20-21. 1955 Hugo Peretti and His Studio Orchestra Whatever Lola Wants http://michaelminn. 1954 Hugo Peretti and His Studio Orchestra How Important Can It Be? The Touch of Your Lips 'S Wonderful Tenderly New Page 14 of 36 . September 24. 1954.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Piano: John Malachi Bass: Joe Benjamin Drums: Roy Haynes Lover Man Shulie a Bop Polka Dots and Moonbeams Body and Soul They Can't Take That Away from Me Prelude to a Kiss You Hit the Spot If I Knew Then What I Know Now New York. Leader/Arranger: Ernie Wilkins Trumpet: Clifford Brown Flute: Herbie Mann Tenor: Paul Quinichette Piano: Jimmy Jones Bass: Joe Benjamin Drums: Roy Haynes September Song Lullaby of Birdland (two takes) I'm Glad There Is You You're Not the Kind Jim He's My Guy April in Paris It's Crazy Embraceable You New York.

Mid-October. 1955. Hugo Peretti and His Studio Orchestra Fabulous Character Johnny. Wonderful You Ought to Have a Wife New York. October 25-27. 1955 Ernie Wilkins and His Studio Orchestra Trumpet: Ernie Wilkins. 1955 Hugo Peretti and His Studio Orchestra The Other Woman Never C'est la Vie New York. Hugo Peretti and His Studio Orchestra Slowly with Feeling Experience Unnecessary New York. Sam Marowitz Tenor/Flute: Jerome Richardson Piano: Jimmy Jones Guitar: Turk Van Lake Bass: Joe Benjamin Drums: Roy Haynes Sometimes I'm Happy I'll Never Smile Again Don't Be on the Outside It Shouldn't Happen to a Dream An Occasional Man Soon Cherokee Maybe Why Can't I? How High the Moon Over the Rainbow Oh. Ernie Royal. October 10. March 20. Kai Winding Alto: Julian "Cannonball" Adderley. 1955 Hugo Peretti and His Studio Orchestra Mr. April 1. Naughty Papa New York. 1956 Hal Mooney and His Studio Orchestra The Boy Next Door Shake Down the Stars I'm Afraid the Masquerade Is Over Lush Life A Sinner Kissed an Angel Old Folks The House I Live In I'm the Girl http://michaelminn. Be Smart Hey. Johnson. October 22. 1955 Hugo Peretti and His Studio Orchestra Paradise Time on My Hands Gimme a Little Kiss New York. Bernie Glow Trombone: Page 15 of 36 . August 9. My New York.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM New York. 1955. J.

October 29. Hal Mooney and His Studio Orchestra. 1956 Hugo Peretti and His Studio Orchestra It Happened Again I Wanna Play House New York. April 2. 1956. 1956. November 2.) New York. 1956. 1956 Hal Mooney and His Studio Orchestra. My Heart Stood Still Let's Take an Old-Fashioned Walk My Ship A Tree in the Park A Ship Without a Sail He's Only Wonderful New York. My Darling Little Girl Blue Bewitched Dancing in the Dark New York. October 31. Hal Mooney and His Studio Orchestra.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM New Page 16 of 36 . 1954. November 1. October 30. But Not for Me Poor Butterfly Love Is a Random Thing If I Loved You September Song Lost in the Stars New York. You're My Everything Autumn in New York My Darling. Hal Mooney and His Studio Orchestra. 1956 Hal Mooney and His Studio Orchestra My Romance Lonely Woman Only You Can Say I Loved Him New York. 1956. June 21. Hal Mooney and His Studio Orchestra. If This Isn't Love It's Delovely http://michaelminn. Can't We Be Friends? All the Things You Are It Never Entered My Mind Homework They Say It's Wonderful The Touch of Your Hand New York. April 8. 1956 Hal Mooney and His Studio Orchestra Hot and Cold Runnin' Tears The Edge of the Sea I've Got Some Crying to Do That's Not the Kind of Love I Want Old Love (Brown says date is July 6.

Hal Mooney and His Studio Orchestra Piano: Jimmy Jones Summertime Things Are Looking Up I Won't Say I Will Of Thee I Sing My One and Only New York. Hal Mooney and His Studio Orchestra The Bashful Matador Leave It to Love Don't Let Me Love You The Second Time New York. February 14.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM It's Love Lucky in Love It's Got To Be Love Comes Love New York. April 24. 1957. March Page 17 of 36 . 1957 Hal Mooney and His Studio Orchestra Piano: Jimmy Jones Someone to Watch Over Me A Foggy Day Bidin' My Time He Loves and She Loves Love Walked In Looking for a Boy I've Got a Crush on You Isn't It a Pity Do It Again How Long Has This Been Going On? Aren't You Kinda Glad We Did? The Man I Love New York. 1957 http://michaelminn. Piano: Jimmy Jones Bass: Richard Davis Drums: Roy Haynes Words Can't Describe Pennies from Heaven All of Me I Cried for You Linger Awhile New York. Hal Mooney and His Studio Orchestra Piano: Jimmy Jones Let's Call the Whole Thing Off They All Laughed Lorelei I'll Build a Stairway to Paradise New York. Mid-November. March 20. 1957. David Carroll and His Studio Orchestra April Gave Me One More Day I've Got a New Heartache Don't Look at Me That Way The Banana Boat Song New York. 1957. 1956. April 24-26. November 29. 1956.

1957 Hal Mooney and His Studio Orchestra Sweet Affection Meet Me Half Way What's So Bad About It? New York. November 11. June 3. Hal Mooney and His Studio Orchestra Gone Again The Next Time Around Page 18 of 36 .Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Hal Mooney and His Studio Orchestra Vocal Duet: Billy Eckstine Isn't This a Lovely Day? Easter Parade Now It Can Be Told Alexander's Ragtime Band I've Got My Love to Keep Me Warm You're Just in Love My Man's Gone Now (no Eckstine) Cheek to Cheek Remember Always Passing Strangers The Door Is Open New York. August 6-8. 1957. October 29. July 12. 1957. Brown Band of Angels Slow Down New York. Illinois. 1957. Chicago. Vocal Duet: Billy Eckstine Goodnight Kiss No Limit Mister Kelly's. Hal Mooney and His Studio Orchestra. 1957 Hal Mooney and His Studio Orchestra You'll Find Me There Please Mr. Piano: Jimmy Jones Bass: Richard Davis Drums: Roy Haynes September in the Rain Willow Weep for Me Just One of Those Things Be Anything but Darling Be Mine Thou Swell Stairway to the Stars Honeysuckle Rose Just a Gigolo How High the Moon Dream I'm Gonna Sit Right Down and Write Myself a Letter It's Got to Be Love Alone It's Got to Be Love If This Isn't Love Embraceable You Lucky in Love Dancing in the Dark Poor Butterfly Sometimes I'm Happy I Cover the Waterfront New York.

Sarah Vaughan Biography and Discography 7/4/13 11:20 AM New York. November-December 1957. Joe Newman Trombone: Henry Coker. Careless January 5. 1958 Ray Ellis Studio Orchestra Mary Contrary Separate Ways Broken Hearted Melody March 29. Joe Newman Trombone: Henry Coker. December 18. 1958 Count Basie Orchestra Leader/Trumpet: Thad Jones Piano: Ronnell Bright Trumpet: Wendell Culley. Count Basie Orchestra Leader/Trumpet: Thad Jones Piano: Ronnell Bright Trumpet: Wendell Culley. Snooky Page 19 of 36 . Hal Mooney and His Studio Orchestra Friendly Enemies Are You Certain? New York. Benny Powell Alto/Clarinet: Marshall Royal Alto/Tenor/Flute: Frank Wess Tenor: Frank Foster. Billy Mitchell Baritone: Charlie Fowlkes Bass: Richard Davis Drums: Sonny Payne Guitar: Freddie Green Stardust Doodlin' Darn That Dream January 7. Al Grey. 1958 Hal Mooney and His Studio Orchestra and Chorus Too Much Too Soon Padre Spin Little Bottle December 15. 23. Benny Powell Alto/Clarinet: Marshall Royal Alto/Tenor/Flute: Frank Wess Tenor: Frank Foster. 1957. 1957. 1958. Hal Mooney and His Studio Orchestra That Old Black Magic I've Got the World on a String Hit the Road to Dreamland New York. Snooky Young. Al Grey. November 26. Billy Mitchell Baritone: Charlie Fowlkes Bass: Richard Davis Drums: Sonny Payne Guitar: Freddie Green Smoke Gets in Your Eyes Moonlight in Vermont Cheek to Cheek Missing You http://michaelminn. Ray Ellis and His Studio Orchestra.

September 26. 1959 Belford Hendricks and his orchestra. Ronnell Bright Bass: Richard Davis Drums: Roger Paraboschi / Kansas Fields Additional strings and woodwinds Day by Day Gone with the Wind I'll Close My Eyes The Thrill Is Gone New York City. Pierre Michelot Drums: Kenny Clarke Guitar: Pierre Cullaz Strings Please Be Kind The Midnight Sun Will Never Set Live for Love Misty I'm Lost Love Me That's All Paris. I Should Care For All We Know My Ideal You're My Baby Smooth Operator Maybe It's Because I Love You Too Much Our Waltz Never in a Million Years http://michaelminn. 1958. July 12. September 2. Illinois. Conductor/Arranger: Quincy Jones Reeds: Zoot Sims. March 7. July 7. 1958. France. Jo and Marcel Hrasko. Hal Mooney and His Studio Page 20 of 36 . France. Chicago. 1958 Conductor/Arranger: Quincy Jones Piano: Maurice Vander. 1958.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Just One of Those Things No 'Count Basie London House. William Boucaya Vibes: Michel Hausser Piano: Ronnell Bright Bass: Richard Davis. Cool Baby Everything I Ain't Hurtin' Disillusioned Heart New York City. Trumpet: Thad Jones Trumpet: Wendell Culley Trombone: Henry Coker Tenor: Frank Wess Piano: Ronnell Bright Bass: Richard Davis Drums: Roy Haynes Detour Ahead Three Little Words Speak Low Like Someone in Love You'd Be So Nice to Come Home To I'll String Along with You All of You Thanks for the Memory Paris.

com/vaughan/ Page 21 of 36 . January 1961 Arranger: Joe Reisman What's the Use? Wallflower Waltz True Believer April If Not For You Oh. Late 1959 Fred Norman and his studio orchestra Say It Isn't So If You Are But a Dream Maybe You'll Be There All of a Sudden My Heart Sings There Is No You Missing You Please Funny I've Got to Talk to My Heart Out of This World Last Night When We Were Young Through a Long and Sleepless Night New York City. April 19. He Treats Your Daughter Mean New York City. the listings for this section are incomplete and of questionable accuracy. 1960 Jimmy Jones Orchestra Trumpet: Harry "Sweets" Edison Tenor: Gerald Sanfino Harp: Janet Soyer Piano: Ronnell Bright Guitar: Barry Galbraith Bass: Richard Davis or George Duvivier Drums: Percy Brice Strings My Ideal Hands Across the Table http://michaelminn. Late 1959 Belford Hendricks and his studio orchestra I'll Never Be the Same Through the Years Roulette Records (1960 . October 1960 Arranger: Billy May The Green Leaves of Summer Them There Eyes Don't Go to Strangers Love New York.1963) Vaughan's work for Roulette Records has poor public documentation and no complete box set of her Roulette releases exists.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Close to You Eternally New York City. Therefore. Los Angeles. Lover February 1962 Arranger: Quincy Jones One Mint Julep Mama.

What a Day New York City. Count Basie Orchestra Vocal duet: Joe Williams If I Were a Bell Teach Me Tonight Los Angeles. 1960 Jimmy Jones Orchestra Trumpet: Harry "Sweets" Edison When Your Lover Has Gone Ain't No Use Gloomy Sunday Somebody Else's Dream New York Page 22 of 36 . 1960 Jimmy Jones Orchestra Jump for Joy You Stepped Out of a Dream Wrap Your Troubles in Dreams Have You Met Miss Jones? New York City.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM You've Changed Crazy He Calls Me I'll Be Seeing You Stormy Weather The More I See You Star Eyes Trees Moon over Miami Dreamy Why Was I Born New York City. 1960 Billy May Orchestra Green Leaves of Summer Them There Eyes Don't Go to Strangers Love October 12. October 8. January 9. July 19. January 5. 1960 Joe Reisman Orchestra. October 13. 1961 http://michaelminn. May 5. 1960 Jimmy Jones Orchestra Trumpet: Harry "Sweets" Edison What Do You See in Her? Trouble Is a Man I'm Gonna Laugh You Right Out of My Life Every Time I See You New York City. 1961 Joe Reisman Orchestra What's the Use? Wallflower Waltz True Believer New York City. October 19. California. 1960. Serenata My Dear Little Sweetheart Let's Ooh.

Lover New York City.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Joe Reisman Orchestra April If Not for You Oh. 1961 Count Basie Orchestra The Gentleman Is a Dope January 12. July 1961 Guitar: Mundell Lowe Bass: George Duvivier Just Squeeze Me Body and Soul Through the Years After Hours My Favorite Things Great Day Sophisticated Lady Every Time We Say Goodbye Ill Wind In a Sentimental Mood If Love Is Good to Me Easy to Love Vanity New York City. January 10. and Beads So Long I Could Write a Book Moonglow Witchcraft On Green Dolphin Street Maria http://michaelminn. 1961 Count Basie Orchestra I Cried for You Little Man You've Had a Busy Day Until I Met You There Are Such Things Perdido New York City. The Best Is Yet to Come Baubles. Bangles. 1961 Count Basie Orchestra You Go to My Head You Turned the Tables on Me January 11. June 1961 Marty Manning Orchestra Untouchable Sleepy The Hills of Assisi New York Page 23 of 36 . 1961 Count Basie Orchestra Mean to Me Lover Man Alone January 13. February 1962 Quincy Jones Orchestra.

1962 Don Costa Orchestra I Remember You I Fall in Love Too Easily I Hadn't Anyone Till You Glad to Be Unhappy Oh.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM The Second Time Around Invitation You're Mine You Fly Me to the Moon Baubles. August 7. Page 24 of 36 . and Beads One Mint Julep Mama. August 1962 Benny Carter Orchestra Nobody Else But Me Falling in Love with Love I Believe in You A Garden in the Rain I'm Gonna Live 'Till I Die I Can't Give You Anything but Love After You've Gone Moonlight on the Ganges The Lady's in Love with You The Trolley Song Honeysuckle Rose Great Day February 13. Sweetheart Los Angeles. You Crazy Moon Snowbound Look to Your Heart Stella by Starlight Blab. Blab What's Good About Goodbye Spring Can Really Hang You Up the Most Los Angeles. California. 1962 Guitar: Barney Kessel Bass: Joe Comfort I Understand Key Largo The Very Thought of You Just Squeeze Me When Sunny Gets Blue Baby. 1963. Won't You Please Come Home When Lights Are Low All I Do Is Dream of You Just in Time All or Nothing at All Goodnight. Marty Manning Orchestra Star Eyes Do You Remember? I'll Never Be the Same I Was Telling Him About You http://michaelminn. 1963 Marty Manning Orchestra There'll Be Other Times Don't Go to Strangers Enchanted Wall Call Me Irresponsible February 27. Bangles. He Treats Your Daughter Mean New York City. July 23-27. California.

1963. Illinois. Sweet Mystery of Life Because Be My Love Intermezzo My Reverie Moonlight Love I Give to You Los Angeles. 1963 Benny Carter Orchestra If I Had You What'll I Do? You're Driving Me Crazy Always on My Mind Solitude I'll Never Be the Same So Long. late June 1963 Lalo Schifrin Orchestra http://michaelminn.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM March 5. Marty Manning Orchestra Full Moon and Empty Arms Ah. June 13-16. 1963. Won't You Please Come Home Los Angeles. Marty Manning Orchestra Icy Stone As Long as He Needs Me Once Upon a Summertime Bewildered Within Me I Know March 11. 1963. I'll Be Around Friendless The Man I Love Chicago. 1963. California. 1963 Gerald Wilson Orchestra I Guess I'll Hang My Tears Out to Dry 'Round Midnight Midnight Sun Easy Street In Love in Vain May 31. California. Gerald Wilson Orchestra Sermonette The Gravy Waltz Baby. 1963. My Love The Lonely Hours These Foolish Things Look for Me. May Page 25 of 36 . Gerald Wilson Orchestra A Taste of Honey Moanin' June 6. Gerald Wilson Orchestra What Kind of Fool Am I? The Good Life June 12.

1963 Arranger/Conductor: Robert Farnon Leader: Quincy Jones Svend Saaby Choir Page 26 of 36 .1967) Copenhagen. July 18-21.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM More Than You Know Something I Dreamed Last Night Lazy Afternoon I Didn't Know About You I Got Rhythm I Wish I Were in Love Again This Can't Be Love Just Married Today Come Spring Slowly July 1963 Marty Manning Orchestra Til the End of Time None But the Lonely Heart If You Are But a Dream Only Experience Unnecessary Mercury Records (1963 . Denmark. 1963 Piano: Kirk Stuart Bass: Charles "Buster" Williams Drums: Georges Hughes I Feel Pretty Misty What Is This Thing Called Love? Lover Man Sometimes I'm Happy Won't You Come Home. Bangles. Copenhagen. October 12. Day Out Fly Me to the Moon Baubles. Denmark. Bill Bailey? Tenderly Sassy's Blues Polka Dots and Moonbeams I Cried for You Poor Butterfly I Could Write a Book Time After Time All of Me I Hadn't Anyone Till You I Can't Give You Anything But Love I'll Be Seeing You Maria Day In. July 1963 Conductor: Quincy Jones He Never Mentioned Love Gone Right or Wrong Show Me a Man Tivoli. Denmark. and Beads The Lady's in Love with You Honeysuckle Rose The More I See You Say It Isn't So Black Coffee Just One of Those Things On Green Dolphin Street Over the Rainbow Copenhagen.

August 23. Gene Orloff. Wayne Andre. Emanuel Green. Billy Byers. August 14. Lucky The Boy from Ipanema New York City. Britt Woodman. Leo Kruczek. Wayne Andre. Charles Libove. Charles Libove. Jose Mangual.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Charade It Could Happen to You Blue Orchids This Heart of Mine Then I'll Be Tired Of You Funny My Coloring Book How Beautiful Is the Night Hey There Deep Purple I'll Be Around The Days of Wine and Roses Los Angeles. Bernard Eichen. 1964 Producer: Quincy Jones How's the World Treating You My Darling. Harry Lookofsky A Taste of Honey Shiny Stockings Night Song Stompin' at the Savoy Fascinating Rhythm The Moment of Truth Tea for Two http://michaelminn. Leo Kruczek. Juan Cadavieco. February 13 and 14. 1964 Producer: Quincy Jones Arranger/Director: Frank Foster Trombones: Richard Hixon. Tosha Samaroff. William Correa. Tosha Page 27 of 36 . Emanuel Green. Harry Lookofsky Quiet Nights Jive Samba New York City. Rafael Sierra Violins: Lewis Eley. Charles Libove. Benny Powell Flute: Jerome Richardson Bass: Robert Rodriguez Percussion: Bobby Donaldson. Juan Cadavieco. Tosha Samaroff. Bernard Eichen. My Darling Bluesette You Got It Made Make Someone Happy Sole Sole The Other Half of Me New York City. David Nadien. Emanuel Green. Richard Hixon. Leo Kruczek. Britt Woodman. Harry Lookofsky Mr. Wayne Andre Flute: Jerome Richardson Piano: Bob James Drums: Bobby Donaldson Percussion: Jose Mangual. Gene Orloff. Bernard Eichen. 1964 Arranger/Conductor: Frank Foster Producer: Quincy Jones Trombones: Kai Winding. California. Rafael Sierra Violins: Lewis Eley. Billy Byers. Billy Byers. August 15. 1964 Producer: Quincy Jones Arranger/Director: Frank Foster Trombones: Richard Hixon. Benny Powell Flute: Jerome Richardson Piano: Bob James Guitar: Barry Galbraith Bass: George Duvivier Drums: Bobby Donaldson Percussion: Willie Rodrigues Violins: Lewis Eley.

com/vaughan/ Page 28 of 36 . 1965 Arranger: Luchi De Jesus Make It Easy on Yourself What the World Needs Now Is Love I Know a Place Little Hands Yesterdays A Lover's Concerto He Touched Me If I Ruled the World Waltz For Debbie On a Clear Day You Can See Forever The First Thing Every Morning April 7-8 1966 Arranger: Luchi De Jesus Who Can I Turn To? (arr. 1966 Arranger: Luchi De Jesus With These Hands Dominique's Discotheque Everybody Loves Somebody What Now My Love Love January 1967 Jim The Man That Got Away My Man http://michaelminn. Jose Mangual. Leo Kruczek. Emanuel Green. Three Michelle Sneaking Up on You April 11. Arranger/Conductor: Frank Foster Producer: Quincy Jones Trombones: Kai Winding. Benny Powell Flute: Jerome Richardson Bass: Robert Rodriguez Percussion: Bobby Donaldson. Bob James) I Should Have Kissed Him More Call Me One. Tosha Samaroff. Charles Libove. Richard Hixon. 1965 Darling I'll Never Be Lonely Again Habibi (love song from Sallah) November 10-12. Rafael Sierra Violins: Lewis Eley.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM New York City. Bob James) The Shadow of Your Smile (arr. Juan Cadavieco. Two. Bernard Eichen. Harry Lookofsky Fever Avalon December 1964 We Almost Made It How Soon Dear Heart Too Little Time Dreamsville Bye Bye (theme from Peter Gunn) Moon River (I Love You and) Don't You Forget It Slow Hot Wind It Had Better Be Tonight October 10. 1964. August 18. Bill Watrous. Wayne Andre. David Nadien. William Correa.

details and dates for her work on Mainstream are incomplete and of questionable accuracy. Peter Matz) When You Think of It (arr. Gene Coe Trombone: George Bohanon. 1969 (?) Bob and Carol and Ted and Alice (film soundtrack) Arranger: Quincy Jones Aria from Handel's Messiah Los Angeles. Peter Matz) Take a Love Song (arr. California. 1969 (?) Album: Cactus Flower (film soundtrack) A Time for Love Is Anytime Mainstream Records (1971 . Jones) S'posin' (arr. Joe Newman. 1971. Johnson) All Alone (arr. Charlie Shavers. J. 1972 (?) Album: Feelin' Good Alone Again Naturally (arr. Kai Winding Reeds: Phil Woods. Thad Jones) I Want to Be Happy (arr Thad.J. Bob James) Los Angeles. Benny Powell Reeds: Jerome Richardson.J.1973) As with Vaughan's Roulette recordings. Peter Matz) And the Feeling's Good ( Page 29 of 36 . Jimmy Cobb Percussion: Alan Estes Imagine On Thinking It Over Inner City Blues Sweet Gingerbread Man Magical Connection That's the Way I Heard It Should Be Tomorrow City Universal Prisoner Trouble If Not for You Los Angeles.J. Al Vescovo Bass: Bob Magnusson Drums: Earl Palmer. Bill Green. Trumpets: Clark Terry. Johnson) I Left My Heart in San Francisco (arr. Thad Jones) The Sweetest Sounds (arr.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Happiness Is Just a Thing Called Joe Trouble Is a Man He's Funny That Way For Every Man There's a Woman I'm Just Wild About Harry Danny Boy Alfie January 23-24. November 16-20. J. Johnson. Jackie Kelso Piano: Bill Mays Guitars: Joe Pass. Peter Matz) http://michaelminn. J. Freddie Hubbard Trombones: J. Benny Golson Piano: Bob James Strings On the Other Side of the Tracks (arr. Peter Matz) Easy Evil (arr. 1967. J. Al Aarons. Johnson) Take the `A' Train (arr. Ernie Wilkins Orchestra Trumpet: Buddy Childers. Manny Albam) I Had a Ball (arr. Los Angeles. California.

Dick Page 30 of 36 . Grover Mitchell. Jerome Richardson. Sinclair Lott. 1973 Piano: Carl Schroeder Bass: John Cianelli Drums: Jimmy Cobb A Foggy Day Poor Butterfly The Lamp Is Low 'Round Midnight Willow Weep for Me There Will Never Be Another You Misty Wave Like Someone in Love My Funny Valentine All of Me Love Story Over the Rainbow I Could Write a Book The Nearness of You I'll Remember April Watch What Happens Bye-Bye Blackbird Rainy Days and Mondays Sarah's Tune. Paul Griffin) Love Don't Live Here Anymore (arr. Jack Elliott and Allyn Ferguson) April 17-20. Bob Magnusson Electric Bass: Chuck Rainey Drums: Shelly Manne. Al Aarons Trombones: Lloyd Ulyate. Number One On a Clear Day http://michaelminn. Peter Matz) Deep in the Night (arr. Wade Marcus) Sun Plaza Hotel. Artie Kane Bass: Ray Brown. Frank Rosolino.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Promise Me (arr. 1972. Michel Legrand) Got to See If I Can't Get Daddy to Come Back Home (arr. Jack Elliott and Allyn Ferguson) Just a Little Lovin' (arr. Chuck Berghofer. Bob Knight. Gray. Gary Barone. Bill Hinshaw. Charlie Loper. Michel Legrand) Run to Me (arr. Bill Hood. Dick Macker Reeds: Bud Shank. Mike Wofford. Japan. Gene Page) Frasier (the Sensuous Lion) (arr. Pete Christlieb. 1973/1974 Send in the Clowns (arr. John Guerin Percussion: Larry Bunker Guitar: Tom Tedesco Strings The Summer Knows What Are You Doing the Rest of Your Life? Once You've Been in Love Hands of Time (Brian's Song) I Was Born in Love with You I Will Say Goodbye Summer Me. Her Eyes Pieces of Dreams Blue. Bernie Fleischer Keyboards: Dave Grusin. Gene Page) On Thinking It Over (arr. Ernie Wilkins) Do Away with April (arr. Art Maebe. and Gone New York / Los Angeles. Chuck Findley. Tokyo. Green. Bob Cooper. Gene Page) I Need You More (Than Ever Now) (arr. Conte Condoli. Ralph Pyle. Gene Page) Right in the Next Room (arr. Winter Me His Eyes. Gene Page) Wave (arr. Jack Elliott and Allyn Ferguson) Greatest Show on Earth (arr. September 24. George Roberts Tuba: Tommy Johnson French Horns: Vince De Rosa. Arranger/Conductor: Michel Legrand Trumpets: Buddy Childers. Gene Page) That'll Be Johnny (arr. Peter Matz) Rainy Days and Mondays (arr. George Price.

Sarah Vaughan Biography and Discography 7/4/13 11:20 AM I Remember You I Cried for You Tenderly Summertime The Blues There Is No Greater Love Tonight Los Angeles. 1975 Album: Jazz Jamboree (Pronit Records) Piano: Carl Schroeder Bass: Bob Magnusson Drums: Jimmy Cobb On a Clear Day You Can See Forever 'Round Midnight What Are You Doing the Rest of Your Life? Sassy's Blues They Long to Be Close to You A Foggy Day My Funny Valentine Tenderly Won't You Come Home. David Paich Guitars: Lee Ritenour. Louis Shelton Keyboards: Mike Lang. October 24. Steve Porcaro Piano: Davis Hungate Percussion/Drums: Jeff Porcaro Percussion: Bobbye Hall. Jim Gilstrap Concertmaster: Sid Sharp Strings Get Back And I Love Her Eleanor Rigby Fool on the Hill You Never Give Me Your Money Come Together I Want You Blackbird Something Here. California. California. circa 1974 Jimmy Rowles Quintet Trumpet: Al Aarons Tenor: Teddy Edwards Piano: Jimmy Rowles Bass: Monte Budwig Drums: Donald Bailey The Folks Who Live on the Hill (minus Aarons and Edwards) That Face That Sunday A House Is Not a Home Frasier Morning Star (music: Jimmy Rowles. Dean Parks. There. Bill Bailey? The Nearness of You Daven Sound Studios. Poland. Universal City. Cherie (unreleased) Cherie (unreleased) Too Late Now (unreleased) Bewitched (unreleased) Warsaw. Joe Porcaro. and Everywhere http://michaelminn. 1977 Album: Sarah Vaughan: Songs of the Beatles (released by Atlantic Records in 1981) Conductor: Billy Thetford Arrangers: Marty Paich. lyrics: Johnny Mercer) I Can't Escape from You (unreleased) There's Danger in Your Page 31 of 36 . Steve Forman Harmonica: Toots Thielemans Tenor: John Smith Bass: Bob Magnusson Singers: Perry Morgan.

Triste Vera Cruz The Face I Love Cantador Courage If You Went Away Roses and Roses I Live to Love You The Day It Rained A Little Tear Hollywood. Darling (unissued) Golden Slumbers (unissued) Pablo Records (1977 . October 31. April 25. 4. 1977 Album: I Love Brazil (Grammy nominee) Arranger/Piano: Edson Federico Producer: Aloysio de Oliveira Creative Director/Composer: Durval Ferreira Keyboards: Antonio Carlos Jobim Guitar/Vocal: Milton Nascimento Electric Piano: Jose Roberto Bertrami. California. Claudio Bertrami Guitar: Helio Delmiro Harmonica: Mauricio Einhorn Vocal: Dori Caymmi Someone to Light Up My Life.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM The Long and Winding Road Yesterday Hey Jude Honey (unissued) Oh. Johnson Tenor: Frank Foster. California. Paulo Jobim Percussion: Chico Batera. January 18. Wilson Das Neves Flutes: Danilo Caymmi. Brazil. Arivoldo Bass: Sergio Barroso. 1978.1982) Rio de Page 32 of 36 . Zoot Sims Tenor/Flute: Frank Wess http://michaelminn. Album: Milt Jackson and Count Basie and the Big Band. 2 Arranger: Quincy Jones For Lena and Lennie Hollywood. 1978 Piano: Oscar Peterson Bass: Ray Brown Drums: Louis Bellson Guitar: Joe Pass (guitar) I've Got the World on a String Midnight Sun How Long Has This Been Going On? You're Blase Easy Living More Than You Know My Old Flame Teach Me Tonight Body and Soul When Your Lover Has Gone Hollywood. November 3. J. Vol. and 7. August 15 and 16. 1979 Album: Sarah Vaughan: Duke Ellington Song Book One Conductor/Arranger: Billy Byers Trumpet/Flugelhorn: Waymon Reed Trombone: J. 5. California. Tom Jobim Electric Bass: Novelli Electric Guitar: Nelson Angelo Drums: Roberto Silva.

Charles Randell. October 1-5. Lloyd Glenn Bass: Andy Page 33 of 36 . Jimmy Rowles. September 12 and 13. 1979. 1979 Album: Sarah Vaughan: Duke Ellington Song Book One Conductor/Arranger: Billy Byers Trumpet/Flugelhorn: Waymon Reed Trombone: J. 1979 Album: Sarah Vaughan: Duke Ellington Song Book Two Trumpet/Flugelhorn: Waymon Reed Flute: Frank Wess Alto/Vocals: Eddie "Cleanhead" Vinson Piano: Mike Wofford. Zoot Sims Tenor/Flute: Frank Wess Piano: Mike Wofford Guitar: Bucky Pizzarelli Bass: Andy Simpkins Drums: Grady Tate Additional studio musicians In a Sentimental Mood I Let a Song Go Out of My Heart Lush Life In a Mellow Tone Hollywood. Bill Walker Drums: Grady Tate. 1979.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Piano: Jimmy Rowles Guitar: Joe Pass Bass: Andy Simpkins Drums: Grady Tate Additional studio musicians I'm Just a Lucky So and So Solitude I Didn't Know About You All Too Soon Sophisticated Lady Day Dream New York City. and New York City. Pee Wee Crayton Additional studio musicians Chelsea Bridge What Am I Here For? Tonight I Shall Sleep Rocks in My Bed I Got It Bad and That Ain't Good Everything But You Mood Indigo It Don't Mean a Thing (If It Ain't Got That Swing) Prelude to a Kiss I Ain't Got Nothing But the Blues Black Butterfly Rio de Janeiro. September 12 and 13. California. August 15 and 16. Bucky Pizzarelli. Roy McCurdy Guitars: Joe Pass. J. Johnson Tenor: Frank Foster. Brazil. Album: Copacabana Arranger: Edison Federico Guitar: Helio Delmiro Bass: Andy Simpkins Drums: Grady Tate Percussion: Wilson Das Neves Additional musicians Dindi Bonita Double Rainbow Copacabana To Say Goodbye Gentle Rain Dreamer Tete http://michaelminn.

Sarah Vaughan Biography and Discography 7/4/13 11:20 AM The Smiling Hour Hollywood. Dennis Wilson. 1981 (?) Sharkey's Machine (Film soundtrack . 1982 Album: Gershwin Live! (CBS Records .Warner Brothers Records) Love Theme Before You (duet with Joe Williams) Hollywood. Grover Mitchell Reeds: Kenny Page 34 of 36 . California. Dale Carley Trombones: Mitchell "Booty" Wood. Bobby Plater. 1984 http://michaelminn. Frank Szabo. Porgy Medley: But Not for Me / Love Is Here to Stay / Embraceable You Someone to Watch Over Me Sweet and Low Down Fascinating Rhythm Do It Again My Man's Gone Now The Man I Love Medley: Nice Work If You Can Get It / They Can't Take That Away from Me / 'S Wonderful / Sewanee / Strike Up the Band Encore: I've Got a Crush on You/A Foggy Day Los Angeles. Johnny Williams Piano: George Gaffney Bass: Andy Simpkins (possibly Cleveland Eaton) Drums: Harold Jones (possibly Greg Field) Guitar: Freddie Green I Gotta Right to Sing the Blues Just Friends If You Could See Me Now (arr. Danny Turner. California. Eric Dixon. 1981 Count Basie Orchestra Conductor/Arranger: Sam Nestico Trumpets: Sonny Cohn.Grammy winner) Los Angeles Philharmonic Orchestra Arranger: Marty Paich Conducter: Michael Tilson Thomas Piano: George Gaffney Bass: Andy Simpkins Drums: Harold Jones Overture: Porgy and Bess Medley: Summertime / It Ain't Necessarily So / I Loves You. February 16 and 18. 1982 Album: Crazy and Mixed Up Piano: Sir Roland Hanna Bass: Andy Simpkins Drums: Harold Jones Guitar: Joe Pass I Didn't Know What Time It Was That's All Autumn Leaves Love Dance The Island Seasons In Love in Vain You Are Too Beautiful Final Recordings Los Angeles. Willie Cook. Bob Summers. California. March 1 and 2. Allyn Ferguson) Indian Summer From This Moment On Los Angeles. Bill Hughes. Allyn Ferguson) Ill Wind When Your Lover Has Gone Send in the Clowns I Hadn't Anyone Till You All the Things You Are (arr.

Chuck Domanico Guitar: Dan Huff Guitar/Arranger/Composer: Dori Caymmi Drums: Carlos Vega Percussion: Paulinho DaCosta Vocals: Siedah Garrett. I pay them to leave. (Charlie Sheen on prostitutes) http://michaelminn. 1984 Album: The Planet Is Alive. 1989 Album: Back on the Block (Qwest Records) Producer: Quincy Jones Wee B.Sarah Vaughan Biography and Discography 7/4/13 11:20 AM Album: 2 AM Paradise Cafe (Arista Records) Vocal Duet: Barry Manilow Baritone: Gerry Mulligan Piano: Bill Mays Bass: George Duvivier Drums: Shelly Manne Guitar: Mundell Lowe Blue Dusseldorf. West Page 35 of 36 . Sante Palumbo Lyrics: Karol Wytola (Pope John Paul II) Translation: Gene Lees London. Gracinha Leporace. Kate Markowitz Strings Make This City Ours Tonight Romance Love and Passion So Many Stars Photograph Nothing Will Be as It Was Obsession Wanting More Your Smile Summer 1988 Mormon Tabernacle Choir and Utah Symphony Orchestra Christmas carol collection for Hallmark Cards Los Angeles. Let It Live (Jazzletter Records) Studio orchestra Conductor: Lalo Schifrin Arranger: Francy Boland Composers: Tito Fontana. January . California. 1986 Album: South Pacific (CBS Records) London Symphony Orchestra Director: Jonathan Tunick Happy Talk Bali Ha'i New York City / Detroit.February 1987 (recording location uncertain) Album: Brazilian Romance (CBS Records) Producer/Composer: Sergio Mendes Vocals/Composer: Milton Nascimento Flute: Hubert Laws Lyricon/Tenor: Tom Scott Alto: Ernie Watts Trumpet/Flugelhorn: Marcio Montarroyos Keyboards: George Duke Bass: Alphonso Johnson. Michigan. Dooinit Jazz Corner of the World Birdland I don't pay them to come. England. June 30. January 27-31.

7/4/13 11:20 AM http://michaelminn.Sarah Vaughan Biography and Discography All content on this site (c) 2000-2013 by Michael Minn or the respective copyright Page 36 of 36 .