小简介
Sarah Vaughan天生有很好的嗓音，宽广的音域，她可以唱出四个八度的音域，这样的能力和最出色的歌剧演员相比也毫不逊色。她对爵士乐的即兴演唱，进入一种自发性的独唱领域。
父亲是木匠，会弹吉它与唱民谣，母亲是洗衣妇，会弹钢琴与唱教会圣歌，所以Sarah在12岁就开始弹风琴与加入唱诗班。 1942年时，就像前辈Ella Fitzgerald一样，Sarah在阿波罗剧院的业余歌唱比赛中夺魁，从此开始职业演唱的生涯，她原本的希望是当个美发师。
1944年Sarah在Billy Eckstine的推荐下，加入Earl Hines的乐队，Sarah会弹钢琴，Billy Eckstine会吹管小喇叭，伸缩喇叭与弹吉他。 Billy Eckstine接着就和Sarah单飞自组乐队，他们的合作对象有Charlie Parker、DizzyGillespie、Mile Davis、Art Blakey、Budd Johnson等。当时正处于Be-Bop的蕴酿期，更自由更随兴的新音乐风格，使得Sarah的演唱风格更是弹性与自我。也就是和这些即兴演奏的大师学习到scat唱法，这是一种没有歌词的即兴演唱，他哼唱出一些音符来和乐手的即兴演奏做对话。
1945年，她离开Eckstine和他的乐团，之后便与Musicraft唱片公司签约，市场反应还算不错。 1946年，Vaughan在Musicraft唱片公司出版" If You Could See Me Now"，深获乐评们的肯定。 1955年之后，她跳槽至Mercury Records，在唱片公司的引导下，她翻唱许多经典作品，也得以再和Billy Eckstine合作，他们的合唱作品颇受市场欢迎。 1963年，Sarah Vaughan和Quincy Jones合作，录制更多商业性的作品。 Sarah之后也跟交响乐团合作现场演出，她的音乐越来越精致，她在Quincy Jones专辑BackOn The Block中所演唱的"September"，是Sarah最后的录音作品。
by Scott Yanow
Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughans legacy as a performer and a recording artist will be very difficult to match in the future.
Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstines orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.
Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of A Night in Tunisia, which was called Interlude, and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included If You Could See Me Now, Tenderly and Its Magic) that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, Sassy continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.
During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including a memorable collaboration with Clifford Brown) for the labels subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughans voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granzs Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years.
Sarah Vaughan天生有很好的嗓音，宽广的音域，她可以唱出四个八度的音域，这样的能力和最出色的歌剧演员相比也毫不逊色。她对爵士乐的即兴演唱，进入一种自发性的独唱领域。
父亲是木匠，会弹吉它与唱民谣，母亲是洗衣妇，会弹钢琴与唱教会圣歌，所以Sarah在12岁就开始弹风琴与加入唱诗班。 1942年时，就像前辈Ella Fitzgerald一样，Sarah在阿波罗剧院的业余歌唱比赛中夺魁，从此开始职业演唱的生涯，她原本的希望是当个美发师。
1944年Sarah在Billy Eckstine的推荐下，加入Earl Hines的乐队，Sarah会弹钢琴，Billy Eckstine会吹管小喇叭，伸缩喇叭与弹吉他。 Billy Eckstine接着就和Sarah单飞自组乐队，他们的合作对象有Charlie Parker、DizzyGillespie、Mile Davis、Art Blakey、Budd Johnson等。当时正处于Be-Bop的蕴酿期，更自由更随兴的新音乐风格，使得Sarah的演唱风格更是弹性与自我。也就是和这些即兴演奏的大师学习到scat唱法，这是一种没有歌词的即兴演唱，他哼唱出一些音符来和乐手的即兴演奏做对话。
1945年，她离开Eckstine和他的乐团，之后便与Musicraft唱片公司签约，市场反应还算不错。 1946年，Vaughan在Musicraft唱片公司出版" If You Could See Me Now"，深获乐评们的肯定。 1955年之后，她跳槽至Mercury Records，在唱片公司的引导下，她翻唱许多经典作品，也得以再和Billy Eckstine合作，他们的合唱作品颇受市场欢迎。 1963年，Sarah Vaughan和Quincy Jones合作，录制更多商业性的作品。 Sarah之后也跟交响乐团合作现场演出，她的音乐越来越精致，她在Quincy Jones专辑BackOn The Block中所演唱的"September"，是Sarah最后的录音作品。
by Scott Yanow
Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughans legacy as a performer and a recording artist will be very difficult to match in the future.
Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstines orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.
Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of A Night in Tunisia, which was called Interlude, and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included If You Could See Me Now, Tenderly and Its Magic) that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, Sassy continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.
During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including a memorable collaboration with Clifford Brown) for the labels subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughans voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granzs Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years.
