Sarah Vaughan Biography / Discography

The following is a substantial revision I wrote for a Vaughan's biography on Wikipedia.org 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.

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 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 conducted by Michel Legrand. Arrangers Legrand, Peter Matz, Jack Elliott and Allyn Ferguson teamed up for Vaughan's third Mainstream album, Feelin' Good. Vaughan also recorded a live album in Tokyo with her trio in September of 1973.

During her sessions with Legrand, Bob Shad presented "Send In The Clowns", a Stephen Sondheim song from the Broadway musical A Little Night Music, to Vaughan for consideration. The song would become Vaughan's signature, replacing the chestnut "Tenderly" that had been with her from the beginning of her solo career.

Unfortunately, Vaughan's relationship with Mainstream soured in 1974, allegedly in a conflict precipitated by Fisher over an album cover photograph and or unpaid royalties. This left Vaughan again without a recording contract for three years.

In December 1974, Vaughan played private concert for U.S. president Gerald Ford and French president Giscard d'Estaing during their summit on Martinique.

Also in 1974, 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. The arrangements were by Marty Paich and the orchestra would be augmented by established jazz artists Dave Grusin on piano, Ray Brown on bass, drummer Shelly Manne and saxophonists Bill Perkins and Pete Christlieb. The concert was a success and Thomas and Vaughn repeated the performance with Thomas' home orchestra in Buffalo, NY, followed by appearances in 1975 and 1976 with symphonies around the country. 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.

In 1977, Vaughan terminated her personal and professional relationship with Marshall Fisher. Although Fisher is occasionally referenced as Vaughan's third husband, they were never legally married. Vaughan began a relationship with Waymond Reed, a trumpet player 16 years her junior who was playing with the Count Basie band. Reed joined her working trio as a musical director and trumpet player and became Vaughan's third husband in 1978.

In the Summer of 1977, Tom Guy, a young filmmaker and public TV producer, followed Vaughan around on tour, interviewing numerous artists speaking about Vaughan and capturing both concert and behind-the-scenes footage. The resulting sixteen hours of footage was pared down into an hour-and-a-half documentary, Listen To The Sun, that aired on September 21, 1978 on New Jersey Public Television. As of this writing, the film has not been commercially released.

Finally in 1977, Norman Granz, who was also Ella Fitzgerald's manager, signed Vaughan to his Pablo record label. Vaughan had not had a recording contract for three years, 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's first release for Pablo was I Love Brazil, 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.

The Pablo contract would ultimately result in five albums. In the Spring of 1978, Vaughan recorded How Long Has This Been Going On? with a quartet that included pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louis Bellson. In the fall of 1979, Vaughan recorded material for two Duke Ellington Songbook albums. In the Spring of 1981, 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. Her contract concluded in March of 1982 with Crazy and Mixed Up, another quartet album featuring Sir Roland Hanna on piano, Joe Pass on guitar, Andy Simpkins on bass and Harold Jones on drums.

Vaughan and Waymond Reed divorced in 1981.

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. In the Summer of 1980, 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. 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 - Special Class". 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, Gershwin Live won Vaughan a Grammy award. In 1985 Vaughan received a star on the Hollywood Walk of Fame. In 1988 Vaughan was inducted into American Jazz Hall of Fame.

After the conclusion of her Pablo contract in 1982, Vaughan did only a limited amount studio recording. Vaughan made a guest appearance in 1984 on Barry Manilow's 2 A.M. Paradise Cafe, an odd album of original pastiche compositions that featured a number of established jazz artists. In 1984 Vaughan participated in one of the more unusual projects of her career, The Planet is Alive, Let It Live a symphonic piece composed by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wytola, the future Pope John Paul II. 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. In 1986, Vaughn sang two songs, "Happy Talk" and "Bali Ha'i", 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.

Vaughan's final complete album was Brazilian Romance, produced and composed by Sergio Mendez and recorded primarily in the early part of 1987 in New York and Detroit. In 1988, 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. In 1989, Quincy Jones' album Back on the Block featured Vaughan in a brief scatting duet with Ella Fitzgerald. This was Vaughan's final studio recording and, fittingly, 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.

Vaughan is featured in a number of video recordings from the 1980s. Sarah Vaughan Live from Monterrey was taped in 1984 or 1983 and featured her working trio with guest soloists. Sass and Brass was taped in 1986 in New Orleans and also features her working trio with guest soloists, including Dizzy Gillespie and Maynard Ferguson. Sarah Vaughan: The Divine One was featured in the American Masters series on PBS.

In 1989, Vaughan's health began to decline, although she rarely betrayed any hints in her performances. Vaughan canceled a series of engagements in Europe for the Fall of 1989 citing the need to seek treatment for arthritis in the hand, although she was able to complete a later series of performances in Japan. During a run at New York's Blue Note jazz club in the Fall of 1989, Vaughan received a diagnosis of lung cancer and was too ill to finish the final day of what would turn out to be her final series of public performances.

Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. Toward the end, Vaughan tired of the struggle and demanded to be taken home, where she passed away on the evening of April 4, 1990 while watching a television movie featuring her adopted daughter.

Vaughan's funeral was at the First Mount Zion Baptist Church in Newark, NJ, which was the same congregation she grew up in but which had relocated to a new building. Following the ceremony, a horse-drawn carriage transported her body to it's final resting place in Glendale Cemetery in Bloomfield, NJ.

Style and Influence

Although Vaughan is usually considered a "Jazz Singer," she avoided classifying herself as such. Indeed, her approach to her "Jazz" work and her commercial "Pop" material was not radically different. Vaughan stuck throughout her career to the jazz-infused style of music that she came of age with, only rarely dabbling in rock-era styles that usually did not suit her unique vocal talents. Vaughan discussed the label in an 1982 interview for Down Beat:

"I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer Betty Bebop (Carter) is a jazz singer, because that's all she does. I've even been called a blues singer. I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues - just a right-out blues - but I can put the blues in whatever I sing. I might sing 'Send in the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music."

While Vaughan was a proficient at scatting, the improvisatory aspect of her art was focused more on ornamentation, phrasing and variation on melodies, which were almost always jazz standards. Perhaps her most noticeable musical mannerism was the creative use of often widely "swooping" glissandi through her wide entire vocal range, which was most sonorous in a dark chest register that grew deeper as she aged. Vaughan approached her voice more as a melodic instrument than an vehicle for dramatic interpretation of lyrics, 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.

During her childhood in the 30s, Vaughan was strongly attracted to the popular music of the day, much to the consternation of her deeply-religious father. Vaughan was certainly influenced by the gospel traditions that she grew up with in a Baptist church, 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 was certainly influenced by (and an influence on) her friend and mentor, Billy Eckstine, which is obvious in the numerous duet recordings they made together. However, since there are no recordings of Vaughan prior to her joining Eckstine in the Earl Hines band (and, unfortunately, 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.

Perhaps because of the individuality of her style, she has rarely been overtly imitated by subsequent generations of singers. Unlike other mid-century singers like Ella Fitzgerald, Frank Sinatra or, later, Aretha Franklin, there are no prominent singers whose style is an obvious direct reflection of Vaughan's. However, even in death Vaughan retains a loyal following and attracts new fans through her recorded legacy, most of which remains in commercial release.

While Vaughan frequently performed and recorded with large ensembles, her live performances usually featured her accompanied by a piano-led working trio. The membership of this trio changed frequently over the years, although some of her "favorites" stayed with her for extended periods of time and often returned for multiple stints. Even in large-ensemble situations, this trio was often used as the rhythm section to provide continuity. Aside from economy, the trio configuration was flexible and adaptable to differing performing conditions and to Vaughan's improvisatory whims. This minimal instrumentation also provided a minimum of distraction from Vaughan's unique styling and rich vocal timbre.

Personal Life

Vaughan was married three times: George Treadwell (1946-1958), Clyde Atkins (1958-1961) and Waymond Reed (1978-1981). Being unable to have biological children, Vaughan adopted a baby daughter, Debra Lois, in 1961. Debra worked in the 1980s and 1990s as an actor under the name Paris Vaughan.

Sarah Vaughan's personal life was a jumble of paradoxes. She had a mercurial personality and could be extremely difficult to work with (especially in areas outside of music), but numerous fellow musicians recounted their experiences with her to be some of the best of their career. None of her marriages were successful, 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. Despite effusive public acclaim, Vaughan was insecure and suffered from stage fright that was, at times, almost incapacitating. While shy and often aloof with strangers, she was quite gregarious and generous with friends.

Vaughan's appetite for night life was legendary and after performances she regularly stayed out partying until well into the next day. Vaughan was a heavy drinker and but there are no reported incidents of obvious on-stage intoxication that hampered her ability to perform. Vaughan was, reputedly, a regular marijuana and cocaine user throughout her career, 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. Vaughan was also a life-long smoker, which almost certainly contributed to her slightly premature death from lung cancer at the age of 64. 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.

Sarah Vaughan Discography

Sarah Vaughan recorded extensively through all periods of her career and most recordings are of fairly high technical and artistic quality. While there are comprehensive box sets of her recordings for Mercury (1954 - 1959 and 1963 - 1967) and Musicraft (1946 - 1948), as of this writing there are only less comprehensive collections of her work available from her Columbia (1948 - 1953) and Roulette (1960 - 1963) years. Most of her later albums are available in commercial release in their original form as individual disks. 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.

Early Recordings

New York City, December 5, 1944 for the Deluxe label

Billy Eckstine and His Orchestra
Trumpets: Dizzy Gillespie, Shorty McConnell, Gail Brockman, Marion "Boonie" Hazel
Trombones: Gerald Valentine, Taswell Baird, Howard Scott, Chips Outcalt
Reeds: John Jackson, Bill Frazer (alto); Dexter Gordon, Gene Ammons (tenor); Leo Parker (baritone)
Piano: John Malachi
Guitar: Connie Wainwright
Bass: Tommy Potter
Drums: Art Blakey

I'll Wait and Pray

New York City, December 31, 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.k.a. Night in Tunisia)
No Smokes Blues
East of the Sun (Gillespie for Feather on piano)

New York City, May 11, 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, May 25, 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, October 1, 1945, on the Musicraft label

Stuff Smith Trio
Violin: Stuff Smith
Piano: Freddie Jefferson
Drums: Pete Glover

Time and Again

New York City, January 9, 1946 for the Crown label

John Kirby Band
Trumpet: Clarence Brereton
Clarinet: Buster Bailey
Alto: Russell Procope
Piano: Billy Kyle
Bass: John Kirby
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, March 6, 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, March 21, 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 - 1949)

New York City, April 30, 1946

Georgie Auld Orchestra
Trumpet: Al Aaron, Danny Blue, Art House, Al Porcino
Trombone: Tracy Allen, Mike Datz, Rudy de Luca
Reeds: Georgie Auld (soprano), Lou Prisby, Gene Zononi (alto), Al Cohn, Irv Roth (tenor), 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, May 7, 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. Dameron)
You're Not the Kind

New York City, June 14, 1946.

Georgie Auld Orchestra
Trumpet: Neal Hefti, Al Porcino, Sonny Rich, George Schwartz
Trombone: Mike Datz, Gus Dixon, Johnny Mandel
Reeds: Georgie Auld, Gene Zanoni, Sam Zittman (alto), Al Cohn, Irv Roth (tenor), Serge Chaloff (baritone)
Piano: Harvey Leonard, Joe Pillicane
Drums: Art Mardigan
Arranger: Al Cohn

You're Blase

New York City, July 18, 1946.

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, August 19, 1946

Teddy Wilson Octet
Trumpet: Buck Clayton
Alto: Scoville Browne
Tenor: Don Byas
Baritone: George James
Piano: Teddy Wilson
Bass: Billy Taylor, Sr.
Drums: J. C. Heard
Guitar: Remo Palmier

Penthouse Serenade
Don't Worry 'Bout Me

New York City, November 19, 1946

Teddy Wilson Quartet
Tenor: Charlie Ventura
Piano: Teddy Wilson
Guitar: Remo Palmier
Bass: Billy Taylor, Sr.

Time After Time
September Song

New York City, July 2, 1947

Trumpet/Leader: George Treadwell
Trumpet: E. V. Perry, Roger Jones, Hal Mitchell, Jesse Drakes
Trombone: Ed Burke, Dickie Harris, Donald Coles
Reeds: Rupert Cole, Scoville Browne (alto), Budd Johnson, Lowell Hastings (tenor), Eddie de Verteuill (baritone)
Piano: Jimmy Jones
Bass: Al McKibbon
Drums: J. C. Heard
Arranger: Bill Doggett

I Cover the Waterfront
Ghost of a Chance
Tenderly
Don't Blame Me

New York City, October 10, 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, November 8, 1947

Ted Dale Orchestra
Clarinet: Sam Musiker
Piano: Nicholas Tagg
Guitar: Tony Mottola, Al Casey
Bass: Mack Shopnick
Drums: Cozy Cole
Arranger: Ted Dale
Additional strings, 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, December 27, 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, 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, April 8, 1948

Earl Rodgers Choir
The 1948 musician's union recording ban prevented professional instrumentalists from recording for almost a year. Aside from releases of recordings made before the ban, a number of singers released new recordings made with a capella choirs (which were not under AFM jurisdiction). 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.

Nature Boy
I'm Glad There Is You

CBS Records (1949 - 1953)

New York City, January 10, 1949

CBS Studio Orchestra
Conductor/Arranger: Joe Lippman
Trumpet: Jimmy Maxwell
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, January 25, 1949

CBS Studio Orchestra
Conductor/Arranger: Joe Lippman
Piano: Henry W. Rowland
Bass: Bob Haggart
Drums: Terry Snyder

While You Are Gone
Tonight I Shall Sleep
That Lucky Old Sun

Los Angeles, May 6, 1949.

Conductor/Arranger: Joe Lippman

Tonight I Shall Sleep
That Lucky Old Sun

Los Angeles, May 1949

Piano: Jimmy Jones
Studio orchestra

Everything I Have Is Yours
I Get a Kick Out of You
Tenderly

New York City, July 7, 1949.

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, September 25, 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, September 28, 1949

CBS Studio Orchestra,
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, December 21, 1949

Conductor/Arranger: Joe Lippman
Trumpet: Billy Butterfield, Taft Jordan
Trombone: Will Bradley
Reeds: Toots Mondello, Hymie Schertzer (alto), Art Drellinger, George Kelly (tenor), Stan Webb (baritone)
Piano: Jimmy Jones
Bass: Eddie Safranski
Drums: William "Cozy" Coles
Guitar: Al Caiola

You're Mine, You (arr. Tadd Dameron)
I'm Crazy to Love You
Summertime
The Nearness of You

New York City, December 21, 1949 for MGM Records

Vocal duet with Billy Eckstine
Reeds: Toots Mondello, Bernard Kaufmamn, Art Drellinger, 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, May 4, 1950.

Norman Leyden Orchestra (?)
Trumpet: Bob Cusumano, John Carroll, Bernie Privin
Trombone: Jack Satterfield, John D'Agostino
Reeds: Bill Versaci, Paul Ricci, Tom Parshley, Harry Terrill, G. Tudor
Piano: Bernie Leighton
Bass: Frank Carroll
Guitar: Art Ryerson
Drums: Terry Snyder

Our Very Own
Don't Be Afraid

Apollo Theatre, New York City, May 18, 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, Jr.
Drums: J. C. Heard
Guitar: Freddie Green

Ain't Misbehavin'
Goodnight, My Love
Can't Get out of This Mood
It Might as Well Be Spring

729 Seventh Avenue, New York City, May 19, 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, Jr.
Drums: J. C. 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, July 27, 1950.

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, 1950

Norman Leyden and His Orchestra

Perdido
Whippa Whippa Woo

New York City, December 6, 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, Joe

New York City, January 17, 1951

Norman Leyden and His Orchestra

Ave Maria
City Called Heaven

New York City, April 4, 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, June 1, 1951.

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, September 19, 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, March 19, 1952

Conductor/Arranger: Percy Faith
Piano: Robert Kitsis
Bass: Frank Carroll
Drums: Phil Kraus
Guitar: Art Ryerson
CBS Studio Orchestra

Street of Dreams
Time to Go
Corner to Corner
If Someone Had Told Me

New York City, July 28, 1952

CBS Studio Orchestra
Trumpets: Chris Griffin, Red Solomon, J. Milazzo
Trombones: L. Altpeter, R. Dupont, John D'Agostino
Reeds: Bernie Kaufman, Al Freistat, Bill Versaci, T. Gompers, 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, December 30, 1952

Leader: Percy Faith (?)
Trombones: Will Bradley, Jack Satterfield, 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, January 5, 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 - 1960)

New York, February 10, 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, March 29, 1954

Don Costa and His Studio Orchestra

Imagination
It's Easy to Remember
And This Is My Beloved
Easy Come, Easy Go Lover

New York, April 2, 1954

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, July 6, 1954

Hugo Peretti and His Studio Orchestra

Old Love
Old Devil Moon
Exactly Like You
Saturday

New York, September 24, 1954

Hugo Peretti and His Studio Orchestra

Idle Gossip
Make Yourself Comfortable

New York, October 20-21, 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, 1954

Hugo Peretti and His Studio Orchestra

How Important Can It Be?
The Touch of Your Lips
'S Wonderful
Tenderly

New York, December 16-18, 1954.

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, March 17, 1955

Hugo Peretti and His Studio Orchestra

Whatever Lola Wants

New York, March 20, 1955.

Hugo Peretti and His Studio Orchestra

Slowly with Feeling
Experience Unnecessary

New York, August 9, 1955.

Hugo Peretti and His Studio Orchestra

Fabulous Character
Johnny, Be Smart
Hey, Naughty Papa

New York, October 10, 1955

Hugo Peretti and His Studio Orchestra

The Other Woman
Never
C'est la Vie

New York, Mid-October, 1955

Hugo Peretti and His Studio Orchestra

Paradise
Time on My Hands
Gimme a Little Kiss

New York, October 22, 1955

Hugo Peretti and His Studio Orchestra

Mr. Wonderful
You Ought to Have a Wife

New York, October 25-27, 1955

Ernie Wilkins and His Studio Orchestra
Trumpet: Ernie Wilkins, Ernie Royal, Bernie Glow
Trombone: J. J. Johnson, Kai Winding
Alto: Julian "Cannonball" Adderley, 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, My

New York, April 1, 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

New York, April 2, 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, 1954.)

New York, April 8, 1956

Hal Mooney and His Studio Orchestra

My Romance
Lonely Woman
Only You Can Say
I Loved Him

New York, June 21, 1956

Hugo Peretti and His Studio Orchestra

It Happened Again
I Wanna Play House

New York, October 29, 1956

Hal Mooney and His Studio Orchestra.

You're My Everything
Autumn in New York
My Darling, My Darling
Little Girl Blue
Bewitched
Dancing in the Dark

New York, October 30, 1956.

Hal Mooney and His Studio Orchestra.

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, October 31, 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, November 1, 1956.

Hal Mooney and His Studio Orchestra.

But Not for Me
Poor Butterfly
Love Is a Random Thing
If I Loved You
September Song
Lost in the Stars

New York, November 2, 1956.

Hal Mooney and His Studio Orchestra.

If This Isn't Love
It's Delovely
It's Love
Lucky in Love
It's Got To Be Love
Comes Love

New York, Mid-November, 1956.

Hal Mooney and His Studio Orchestra

The Bashful Matador
Leave It to Love
Don't Let Me Love You
The Second Time

New York, November 29, 1956.

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, February 14, 1957.

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, March 20, 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, March 21, 1957.

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, April 24, 1957.

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, April 24-26, 1957

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, June 3, 1957

Hal Mooney and His Studio Orchestra

You'll Find Me There
Please Mr. Brown
Band of Angels
Slow Down

New York, July 12, 1957.

Hal Mooney and His Studio Orchestra.
Vocal Duet: Billy Eckstine

Goodnight Kiss
No Limit

Mister Kelly's, Chicago, Illinois, August 6-8, 1957.

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, October 29, 1957

Hal Mooney and His Studio Orchestra

Sweet Affection
Meet Me Half Way
What's So Bad About It?

New York, November 11, 1957.

Hal Mooney and His Studio Orchestra

Gone Again
The Next Time Around

New York, November 26, 1957.

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, December 18, 1957.

Hal Mooney and His Studio Orchestra

Friendly Enemies
Are You Certain?

New York, November-December 1957.

Ray Ellis and His Studio Orchestra.

Careless

January 5, 1958.

Count Basie Orchestra
Leader/Trumpet: Thad Jones
Piano: Ronnell Bright
Trumpet: Wendell Culley, Snooky Young, Joe Newman
Trombone: Henry Coker, Al Grey, 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, 1958

Ray Ellis Studio Orchestra

Mary Contrary
Separate Ways
Broken Hearted Melody

March 29, 1958

Hal Mooney and His Studio Orchestra and Chorus

Too Much Too Soon
Padre
Spin Little Bottle

December 15, 23, 1958

Count Basie Orchestra
Leader/Trumpet: Thad Jones
Piano: Ronnell Bright
Trumpet: Wendell Culley, Snooky Young, Joe Newman
Trombone: Henry Coker, Al Grey, 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

Smoke Gets in Your Eyes
Moonlight in Vermont
Cheek to Cheek
Missing You
Just One of Those Things
No 'Count Basie

London House, Chicago, Illinois, March 7, 1958.

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, France, July 7, 1958.

Conductor/Arranger: Quincy Jones
Reeds: Zoot Sims, Jo and Marcel Hrasko, William Boucaya
Vibes: Michel Hausser
Piano: Ronnell Bright
Bass: Richard Davis, 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, France, July 12, 1958

Conductor/Arranger: Quincy Jones
Piano: Maurice Vander, 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, September 26, 1958.

Hal Mooney and His Studio Orchestra.

Cool Baby
Everything
I Ain't Hurtin'
Disillusioned Heart

New York City, September 2, 1959

Belford Hendricks and his orchestra.

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
Close to You
Eternally

New York City, 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, Late 1959

Belford Hendricks and his studio orchestra

I'll Never Be the Same
Through the Years

Roulette Records (1960 - 1963)

Vaughan's work for Roulette Records has poor public documentation and no complete box set of her Roulette releases exists. Therefore, the listings for this section are incomplete and of questionable accuracy.

Los Angeles, October 1960

Arranger: Billy May

The Green Leaves of Summer
Them There Eyes
Don't Go to Strangers
Love

New York, January 1961

Arranger: Joe Reisman

What's the Use?
Wallflower Waltz
True Believer
April
If Not For You
Oh, Lover

February 1962

Arranger: Quincy Jones

One Mint Julep
Mama, He Treats Your Daughter Mean

New York City, April 19, 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
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, May 5, 1960

Joe Reisman Orchestra.

Serenata
My Dear Little Sweetheart
Let's
Ooh, What a Day

New York City, July 19, 1960.

Count Basie Orchestra
Vocal duet: Joe Williams

If I Were a Bell
Teach Me Tonight

Los Angeles, California, October 8, 1960

Billy May Orchestra

Green Leaves of Summer
Them There Eyes
Don't Go to Strangers
Love

October 12, 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, October 13, 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 City, October 19, 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, January 5, 1961

Joe Reisman Orchestra

What's the Use?
Wallflower Waltz
True Believer

New York City, January 9, 1961

Joe Reisman Orchestra

April
If Not for You
Oh, Lover

New York City, January 10, 1961

Count Basie Orchestra

You Go to My Head
You Turned the Tables on Me

January 11, 1961

Count Basie Orchestra

The Gentleman Is a Dope

January 12, 1961

Count Basie Orchestra

Mean to Me
Lover Man
Alone

January 13, 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, June 1961

Marty Manning Orchestra

Untouchable
Sleepy
The Hills of Assisi

New York City, 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, February 1962

Quincy Jones Orchestra.

The Best Is Yet to Come
Baubles, Bangles, and Beads
So Long
I Could Write a Book
Moonglow
Witchcraft
On Green Dolphin Street
Maria
The Second Time Around
Invitation
You're Mine You
Fly Me to the Moon
Baubles, Bangles, and Beads
One Mint Julep
Mama, He Treats Your Daughter Mean

New York City, July 23-27, 1962

Don Costa Orchestra

I Remember You
I Fall in Love Too Easily
I Hadn't Anyone Till You Glad to Be Unhappy
Oh, You Crazy Moon
Snowbound
Look to Your Heart
Stella by Starlight
Blab, Blah, Blab
What's Good About Goodbye
Spring Can Really Hang You Up the Most

Los Angeles, California, August 7, 1962

Guitar: Barney Kessel
Bass: Joe Comfort

I Understand
Key Largo
The Very Thought of You
Just Squeeze Me
When Sunny Gets Blue
Baby, 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, Sweetheart

Los Angeles, California, 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, 1963

Marty Manning Orchestra

There'll Be Other Times
Don't Go to Strangers
Enchanted Wall
Call Me Irresponsible

February 27, 1963.

Marty Manning Orchestra

Star Eyes
Do You Remember?
I'll Never Be the Same
I Was Telling Him About You

March 5, 1963.

Marty Manning Orchestra

Icy Stone
As Long as He Needs Me
Once Upon a Summertime
Bewildered
Within Me I Know

March 11, 1963.

Marty Manning Orchestra

Full Moon and Empty Arms
Ah, Sweet Mystery of Life
Because
Be My Love
Intermezzo
My Reverie
Moonlight Love
I Give to You

Los Angeles, California, May 29, 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, 1963.

Gerald Wilson Orchestra

A Taste of Honey
Moanin'

June 6, 1963.

Gerald Wilson Orchestra

What Kind of Fool Am I?
The Good Life

June 12, 1963.

Gerald Wilson Orchestra

Sermonette
The Gravy Waltz
Baby, Won't You Please Come Home

Los Angeles, California, June 13-16, 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, My Love
The Lonely Hours
These Foolish Things
Look for Me, I'll Be Around
Friendless
The Man I Love

Chicago, Illinois, late June 1963

Lalo Schifrin Orchestra

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 - 1967)

Copenhagen, Denmark, July 1963

Conductor: Quincy Jones

He Never Mentioned Love
Gone
Right or Wrong
Show Me a Man

Tivoli, Copenhagen, Denmark, July 18-21, 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, 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, Day Out
Fly Me to the Moon
Baubles, Bangles, 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, Denmark, October 12, 1963

Arranger/Conductor: Robert Farnon
Leader: Quincy Jones
Svend Saaby Choir

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, California, February 13 and 14, 1964

Producer: Quincy Jones

How's the World Treating You
My Darling, My Darling
Bluesette
You Got It Made
Make Someone Happy
Sole Sole
The Other Half of Me

New York City, August 23, 1964

Producer: Quincy Jones
Arranger/Director: Frank Foster
Trombones: Richard Hixon, Billy Byers, Britt Woodman, Wayne Andre, Benny Powell
Flute: Jerome Richardson
Piano: Bob James
Guitar: Barry Galbraith
Bass: George Duvivier
Drums: Bobby Donaldson
Percussion: Willie Rodrigues
Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff, Gene Orloff, Bernard Eichen, Harry Lookofsky

Mr. Lucky
The Boy from Ipanema

New York City, August 14, 1964

Producer: Quincy Jones
Arranger/Director: Frank Foster
Trombones: Richard Hixon, Billy Byers, Britt Woodman, Wayne Andre
Flute: Jerome Richardson
Piano: Bob James
Drums: Bobby Donaldson
Percussion: Jose Mangual, Juan Cadavieco, Rafael Sierra
Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff, Gene Orloff, Bernard Eichen, Harry Lookofsky

Quiet Nights
Jive Samba

New York City, August 15, 1964

Arranger/Conductor: Frank Foster
Producer: Quincy Jones
Trombones: Kai Winding, Richard Hixon, Billy Byers, Wayne Andre, Benny Powell
Flute: Jerome Richardson
Bass: Robert Rodriguez
Percussion: Bobby Donaldson, William Correa, Juan Cadavieco, Jose Mangual, Rafael Sierra
Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff,
Bernard Eichen, David Nadien, Harry Lookofsky

A Taste of Honey
Shiny Stockings
Night Song
Stompin' at the Savoy
Fascinating Rhythm
The Moment of Truth
Tea for Two

New York City, August 18, 1964.

Arranger/Conductor: Frank Foster
Producer: Quincy Jones
Trombones: Kai Winding, Richard Hixon, Bill Watrous, Wayne Andre, Benny Powell
Flute: Jerome Richardson
Bass: Robert Rodriguez
Percussion: Bobby Donaldson, William Correa, Juan Cadavieco, Jose Mangual, Rafael Sierra
Violins: Lewis Eley, Emanuel Green, Charles Libove, Leo Kruczek, Tosha Samaroff, Bernard Eichen, David Nadien, 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, 1965

Darling
I'll Never Be Lonely Again
Habibi (love song from Sallah)

November 10-12, 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. Bob James)
The Shadow of Your Smile (arr. Bob James)
I Should Have Kissed Him More
Call Me
One, Two, Three
Michelle
Sneaking Up on You

April 11, 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
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, 1967.

Trumpets: Clark Terry, Charlie Shavers, Joe Newman, Freddie Hubbard
Trombones: J. J. Johnson, Kai Winding
Reeds: Phil Woods, Benny Golson
Piano: Bob James
Strings

On the Other Side of the Tracks (arr. J.J. Johnson)
All Alone (arr. Thad Jones)
I Want to Be Happy (arr Thad. Jones)
S'posin' (arr. Manny Albam)
I Had a Ball (arr. J.J. Johnson)
Take the `A' Train (arr. J.J. Johnson)
I Left My Heart in San Francisco (arr. Thad Jones)
The Sweetest Sounds (arr. Bob James)

Los Angeles, 1969 (?)

Bob and Carol and Ted and Alice (film soundtrack)
Arranger: Quincy Jones

Aria from Handel's Messiah

Los Angeles, 1969 (?)

Album: Cactus Flower (film soundtrack)

A Time for Love Is Anytime

Mainstream Records (1971 - 1973)

As with Vaughan's Roulette recordings, details and dates for her work on Mainstream are incomplete and of questionable accuracy.

Los Angeles, California, November 16-20, 1971.

Ernie Wilkins Orchestra
Trumpet: Buddy Childers, Al Aarons, Gene Coe
Trombone: George Bohanon, Benny Powell
Reeds: Jerome Richardson, Bill Green, Jackie Kelso
Piano: Bill Mays
Guitars: Joe Pass, Al Vescovo
Bass: Bob Magnusson
Drums: Earl Palmer, 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, California, 1972 (?)

Album: Feelin' Good

Alone Again Naturally (arr. Peter Matz)
Easy Evil (arr. Peter Matz)
When You Think of It (arr. Peter Matz)
Take a Love Song (arr. Peter Matz)
And the Feeling's Good (arr. Peter Matz)
Promise Me (arr. Peter Matz)
Rainy Days and Mondays (arr. Peter Matz)
Deep in the Night (arr. Michel Legrand)
Run to Me (arr. Jack Elliott and Allyn Ferguson)
Greatest Show on Earth (arr. Jack Elliott and Allyn Ferguson)
Just a Little Lovin' (arr. Jack Elliott and Allyn Ferguson)

April 17-20, 1972.

Arranger/Conductor: Michel Legrand
Trumpets: Buddy Childers, Chuck Findley, Conte Condoli, Gary Barone, Al Aarons
Trombones: Lloyd Ulyate, Charlie Loper, Frank Rosolino, Grover Mitchell, Bob Knight, George Roberts
Tuba: Tommy Johnson
French Horns: Vince De Rosa, Bill Hinshaw, Art Maebe, George Price, Sinclair Lott, Ralph Pyle, Dick Perissi, Dick Macker
Reeds: Bud Shank, Pete Christlieb, Jerome Richardson, Bob Cooper, Bill Hood, Bernie Fleischer
Keyboards: Dave Grusin, Mike Wofford, Artie Kane
Bass: Ray Brown, Chuck Berghofer, Bob Magnusson
Electric Bass: Chuck Rainey
Drums: Shelly Manne, 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, Winter Me
His Eyes, Her Eyes
Pieces of Dreams
Blue, Green, Gray, and Gone

New York / Los Angeles, 1973/1974

Send in the Clowns (arr. Paul Griffin)
Love Don't Live Here Anymore (arr. Gene Page)
That'll Be Johnny (arr. Gene Page)
Right in the Next Room (arr. Gene Page)
I Need You More (Than Ever Now) (arr. Gene Page)
On Thinking It Over (arr. Ernie Wilkins)
Do Away with April (arr. Gene Page)
Wave (arr. Michel Legrand)
Got to See If I Can't Get Daddy to Come Back Home (arr. Gene Page)
Frasier (the Sensuous Lion) (arr. Wade Marcus)

Sun Plaza Hotel, Tokyo, Japan, September 24, 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, Number One
On a Clear Day
I Remember You
I Cried for You
Tenderly
Summertime
The Blues
There Is No Greater Love
Tonight

Los Angeles, 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, lyrics: Johnny Mercer)
I Can't Escape from You (unreleased)
There's Danger in Your Eyes, Cherie (unreleased)
Cherie (unreleased)
Too Late Now (unreleased)
Bewitched (unreleased)

Warsaw, Poland, October 24, 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, Bill Bailey?
The Nearness of You

Daven Sound Studios, Universal City, California, 1977

Album: Sarah Vaughan: Songs of the Beatles (released by Atlantic Records in 1981)
Conductor: Billy Thetford
Arrangers: Marty Paich, David Paich
Guitars: Lee Ritenour, Dean Parks, Louis Shelton
Keyboards: Mike Lang, Steve Porcaro
Piano: Davis Hungate
Percussion/Drums: Jeff Porcaro
Percussion: Bobbye Hall, Joe Porcaro, Steve Forman
Harmonica: Toots Thielemans
Tenor: John Smith
Bass: Bob Magnusson
Singers: Perry Morgan, 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, There, and Everywhere
The Long and Winding Road
Yesterday
Hey Jude
Honey (unissued)
Oh, Darling (unissued)
Golden Slumbers (unissued)

Pablo Records (1977 - 1982)

Rio de Janeiro, Brazil, October 31, November 3, 4, 5, and 7, 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, Tom Jobim
Electric Bass: Novelli
Electric Guitar: Nelson Angelo
Drums: Roberto Silva, Wilson Das Neves
Flutes: Danilo Caymmi, Paulo Jobim
Percussion: Chico Batera, Arivoldo
Bass: Sergio Barroso, Claudio Bertrami
Guitar: Helio Delmiro
Harmonica: Mauricio Einhorn
Vocal: Dori Caymmi

Someone to Light Up My Life,
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, California, January 18, 1978.

Album: Milt Jackson and Count Basie and the Big Band, Vol. 2
Arranger: Quincy Jones

For Lena and Lennie

Hollywood, California, April 25, 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, California, August 15 and 16, 1979

Album: Sarah Vaughan: Duke Ellington Song Book One
Conductor/Arranger: Billy Byers
Trumpet/Flugelhorn: Waymon Reed
Trombone: J. J. Johnson
Tenor: Frank Foster, Zoot Sims
Tenor/Flute: Frank Wess
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, September 12 and 13, 1979

Album: Sarah Vaughan: Duke Ellington Song Book One
Conductor/Arranger: Billy Byers
Trumpet/Flugelhorn: Waymon Reed
Trombone: J. J. Johnson
Tenor: Frank Foster, 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, California, August 15 and 16, 1979, and New York City, September 12 and 13, 1979

Album: Sarah Vaughan: Duke Ellington Song Book Two
Trumpet/Flugelhorn: Waymon Reed
Flute: Frank Wess
Alto/Vocals: Eddie "Cleanhead" Vinson
Piano: Mike Wofford, Jimmy Rowles, Lloyd Glenn
Bass: Andy Simpkins, Bill Walker
Drums: Grady Tate, Charles Randell, Roy McCurdy
Guitars: Joe Pass, Bucky Pizzarelli, 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, Brazil, October 1-5, 1979.

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
The Smiling Hour

Hollywood, California, February 16 and 18, 1981

Count Basie Orchestra
Conductor/Arranger: Sam Nestico
Trumpets: Sonny Cohn, Frank Szabo, Willie Cook, Bob Summers, Dale Carley
Trombones: Mitchell "Booty" Wood, Bill Hughes, Dennis Wilson, Grover Mitchell
Reeds: Kenny Hing, Eric Dixon, Bobby Plater, Danny Turner, 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. 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. Allyn Ferguson)
Indian Summer
From This Moment On

Los Angeles, 1981 (?)

Sharkey's Machine (Film soundtrack - Warner Brothers Records)

Love Theme
Before You (duet with Joe Williams)

Hollywood, California, March 1 and 2, 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, 1982

Album: Gershwin Live! (CBS Records - 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, 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, California, 1984

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 Germany, June 30, 1984

Album: The Planet Is Alive, Let It Live (Jazzletter Records)
Studio orchestra
Conductor: Lalo Schifrin
Arranger: Francy Boland
Composers: Tito Fontana, Sante Palumbo
Lyrics: Karol Wytola (Pope John Paul II)
Translation: Gene Lees

London, England, January 27-31, 1986

Album: South Pacific (CBS Records)
London Symphony Orchestra
Director: Jonathan Tunick

Happy Talk
Bali Ha'i

New York City / Detroit, Michigan, January - 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, Chuck Domanico
Guitar: Dan Huff
Guitar/Arranger/Composer: Dori Caymmi
Drums: Carlos Vega
Percussion: Paulinho DaCosta
Vocals: Siedah Garrett, 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, California, 1989

Album: Back on the Block (Qwest Records)
Producer: Quincy Jones

Wee B. Dooinit
Jazz Corner of the World
Birdland