Sarah Vaughan -《The Quintessence Of Sarah Vaughan》[APE]

Sarah Vaughan -《The Quintessence Of Sarah Vaughan》[APE]
  • 片  名  Sarah Vaughan -《The Quintessence Of Sarah Vaughan》[APE]
  • 简  介  发行时间: 2004年地区: 美国语言: 英语
  • 类  别  音乐
  • 小  类  欧美音乐

  • 详细介绍简介: 专辑介绍:
    Sarah Vaughan 生於1924年3月27日 in NewJersey,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 12岁就开始弹风琴与加入唱诗班。1942年,就像前辈Ella Fitzgerald一样,Sarah在阿波罗剧院的业餘歌唱比赛中夺魁,从此开始职业演唱的生涯,她原本的希望是当个美髮师。
    1944年 Sarah 在 Billy Eckstine 的推荐下,加入 Earl Hines 的乐队,Sarah 会弹钢琴而 BillyEckstine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 and Budd Johnson
    。当时正处於【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。1945年,Vaughan 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
    Jazz critic Leonard Feather called her the most important singer to emerge from the bop era. Ella Fitzgerald called her the world’s greatest singing talent. During the course of a career that spanned nearly fifty years, she was the singer’s singer, influencing everyone from Mel Torme to Anita Baker. She was among the musical elite identified by their first names. She was Sarah, Sassy -- the incomparable Sarah Vaughan.
    Born in Newark, New Jersey, in 1924, Vaughan was immediately surrounded by music: her carpenter father was an amateur guitarist and her laundress mother was a church vocalist. Young Sarah studied piano from the age of seven, and before entering her teens had become an organist and choir soloist at the Mount Zion Baptist Church. When she was eighteen, friends dared her to enter the famed Wednesday Night Amateur Contest at Harlem’s Apollo Theater. She gave a sizzling rendition of Body and Soul, and won first prize. In the audience that night was the singer Billy Eckstine. Six months later, she had joined Eckstine in Earl Hines’s big band along with jazz legends Dizzy Gillespie and Charlie Parker.
    When Eckstine formed his own band soon after, Vaughan went with him. Others including Miles Davis and Art Blakey, were eventually to join the band as well. Within a year, however, Vaughan wanted to give a solo career a try. By late 1947, she had topped the charts with Tenderly, and as the 1940s gave way to the 1950s, Vaughan expanded her jazz repertoire to include pop music. As a result, she enlarged her audience, gained increased attention for her formidable talent, and compiled additional hits, including the Broadway show tunes Whatever Lola Wants and Mr. Wonderful. While jazz purists balked at these efforts, no one could deny that in any genre, Vaughan had one of the greatest voices in the business.
    In the late 1960s, Vaughan returned to jazz music, performing and making regular recordings. Throughout the 1970s and 80s she recorded with such jazz notables as Oscar Peterson, Louie Bellson, Zoot Sims, Herbie Hancock, Ron Carter, Don Cherry, and J.J. Johnson. Her recordings of the Duke Ellington Song Book (1 and 2) are considered some of the finest recordings of the time. While for many years her signature song had been Misty, by the mid-70’s, she was closing every show with Sondheim’s Bring In The Clowns. In 1982, while in her late fifties, Vaughan won the Grammy for Best Jazz Vocalist for her album, Gershwin Live
    While she continued to work without the massive commercial success enjoyed by colleagues such as Peggy Lee, Rosemary Clooney, and Ella Fitzgerald, Sarah Vaughan consistently retained a special place in the hearts of fellow musicians and audiences alike. She continually performed at top venues, playing to adoring sell-out crowds well into her sixties. Remarkabl
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