SARAH VAUGHAN - LIVE AT ROSY'S
Release Date: 3/25/16
Available now as Deluxe 2-CD
Digital Download - Available on iTunes now!
Mastered for iTunes version includes a complete digital booklet
- Newly discovered live recording from May 31, 1978 at RosyÂ’s Jazz Club in New Orleans.
- Deluxe 2-CD set with a 36-page booklet that includes essays by jazz writers James Gavin and Will Friedwald, club owner Rosy Wilson, and pianist Carl Schroeder; plus interviews with drummer Jimmy Cobb and vocalist Helen Merrill; and an intro by producer Zev Feldman.
- Over 100 minutes of music, originally recorded for NPR-syndicated radio program Jazz Alive with host Dr. Billy Taylor, some of which has never been aired before.
- Includes rare and unpublished photos from Herman Leonard, Ray Avery, Chuck Stewart, Riccardo Schwamenthal and Tom Copi.
- Cover art and package design by Burton Yount.
Angeles, Ca. - Resonance Records with the
cooperation of National Public Radio (NPR)
is proud to announce the release of Sarah
Vaughan Â– Live At Rosy's,
New Orleans on March 25th,
2016th. The deluxe 2-CD set
is comprised exclusively of newly discovered
recordings by "Sassy" capturing the legendary jazz singer's live
performance at Rosy's Jazz Club on May 31, 1978.
Just after the release of the album, The U.S. Postal
Service will honor Sarah Vaughan's legacy, by issuing a "Commemorative
Forever Stamp". The ceremony will take place
at the Sarah Vaughan Concert Hall at Newark Symphony Hall, 1020
Broad Street, Newark, N.J., @ 11:00am, March
Confirmed participants include: Tony Bennett, Rhonda
Hamilton, Host of WBGO Radio's Midday Jazz, Mayor Ras Baraka,
Mayor of Newark, Dr. Gloria White, Pastor of Mount Zion Baptist
Church, Ronald Stroman, Deputy Postmaster General and Melba
Moore, Grammy Award winning Jazz Vocalist and Tony Award Winning
Actress & Singer.
Confirmed Performances to include: Mount Zion
Baptist Church Choir, Carrie Jackson (A Tribute to Sarah
Vaughan, Newark's Own), NJPAC Jazz for Teen Ensemble
(educational program), Jazzmeia Horn, Winner 2013 Sarah Vaughan
Jazz Vocalist Competition and Melba Moore. In February 2011,
Resonance producer Zev Feldman
connected with Tim Owens, the
former producer of NPR's
weekly syndicated radio program, Jazz
Owens mentioned to Feldman that he had Sarah Vaughan
tapes of her stellar live 1978 concert performances at Rosy's.
Having performed together hundreds of times with Sassy around
the world, her rhythm section Â— or as she referred to them, "my
trio" Â— of pianist Carl Schroeder,
bassist Walter Booker and
legendary drummer Jimmy Cobb
was an extremely cohesive unit by the time they got to Rosy's in
May of 1978. As the recordings in this set demonstrate, they
were hand-in-glove with each other and with the great Sarah
Over the course of nearly four years, Feldman took
on the role of Indiana Jones in tracking down all of the
appropriate parties to ensure that this release would be fully
endorsed and cleared by the Sarah Vaughan estate, plus by Walter
Booker's widow Bertha Hope, as well as the living band members
Carl Schroeder and Jimmy Cobb and NPR Music in Washington, D.C.
Reflecting on the importance of this release in his introductory
essay from the liner notes, Feldman notes: "My
goal was to tell the whole story of this magical engagement
that fortunately has been preserved for future generations to
enjoy. These recordings celebrate the genius that was Sarah
Vaughan. I hope we'll all take the time to revisit the legacy
of this historic and pivotal figure in the history of jazz.
These recordings demonstrate for us why she was much more than
just a singer; she was a true artist."
Sarah Vaughan, along with Billie Holiday
and Ella Fitzgerald, was a member of a triumvirate Â– one of
the three greatest female jazz singers in jazz history. She
first attracted attention at 18 years of age in 1942, when she
appeared at the Apollo Theater's amateur night, first as a
pianist accompanying another singer and then a few weeks later
in her own right as a singer, when she won the contest. During
her weeklong Apollo engagement, which was one of the prizes
she earned for her victory, Billy Eckstine, who was then the
featured singer with the Earl Hines big band, spotted her.
Eckstine recommended her to Hines, who asked her to join his
band. Other members of the Hines band were Dizzy Gillespie and Charlie
Parker; it was
widely regarded as one of the early breeding grounds for
bebop. The musical ferment of that grouping of musical
geniuses had an enormous influence on Vaughan.
Vaughan had an exceptionally broad vocal range; it
extended from a coloratura soprano down to a low alto Â— some might
even say she sometimes made her way into the baritone range. Her
tone was rich and lush. Vocalist Helen Merrill told Zev Feldman in
his interview with her conducted for this release: "When Sarah
sang, she might just as well have been a trumpet player playing.
Her musical ability, her jazz phrasing . . . it was perfect." She
was a musicians' singer, yet despite her extraordinary gifts, she
was down to earth; she was always accepted by the musicians whom
she worked with as one of them Â— "she was like one of the fellas,"
says Jimmy Cobb.
these live recordings at Rosy's Jazz Club were made in May of
1978, Sarah Vaughan was at her artistic peak (at age 54). That
year, a kind of renaissance year for her, set her on a meteoric
course during which she would win an Emmy and a Grammy and tour
the world several times. Each time she released an album, Johnny
Carson and Merv Griffin showcased her proudly on TV. For all the
grand orchestras that backed her, Sarah Vaughan seemed happiest
with her trio; they gave her the space to spread her wings and
explore. I get ideas from all three of them while I'm singing,"
she said. "We have a ball together, all of us, and wherever I go
to work, they're going with me." In 1978, Vaughan and her band Â—
pianist Carl Schroeder, bassist Walter Booker, and drummer Jimmy
Cobb Â— performed at Rosy's Jazz Club in New Orleans.
The founder/owner of Rosy's, Rosalie Wilson,
describes her impetus for opening a jazz club in New Orleans
in the 1970s: "I
was puzzled as to why one seldom experienced these musicians
in club settings. Roland Kirk explained this phenomenon
during an interviewÂ…citing the continued reticence of many
black artists to play clubs or smaller venues in the South
for reasons of safety, treatment by club owners and the
general negative conditions. I knew he was being truthful
and I found this to be perverse, given the fact that New
Orleans had long been anointed the birthplace of jazz. This
angered me and provided the cause this rebel had long been
seeking: to create a music club or venue in which the
safety, respect and needs of the musicians were the first
priority. One in which a "zero tolerance" policy would exist
regarding any form of prejudice."
writes in his essay "Romance, Family & Heartbreak: The
Divine One" within the liner notes of the package: "By the
time of Vaughan's performances at Rosy's captured in this set,
her dark-chocolate voice had more than survived 36 years of
professional singing; her art had only grown in splendor. She
took dusky plunges and glided up to fluty soprano highs; she
colored the three octaves in between with a wealth of
textures, from gravel to velvet. Vaughan controlled her famous
vibrato like a concert violinist; she could make it swagger,
pulse, or vanish entirely."
Behind the vocal riches was a boundless
musical mind. "As soon as I hear an arrangement I get ideas,"
she said, "kind of like blowing a horn." So many came to her
that Vaughan was like a child let loose in a candy store. "She
had tremendous harmonic conception," says Carl Schroeder.
"Most singers have none." Her breath control enabled her to
skitter tirelessly over daredevil bebop changes and to sing
ballads at a luxurious crawl. All this came naturally to her.
"I don't know what I'm doin'!" she said. "I just get onstage
and sing. I don't think about how I'm going to do itÂ—it's too
Journalist and critic Will Friedwald
takes us through Live
at Rosy's track-by-track:
Gershwin, as always, is a major staple of Vaughan's
repertoire, from her classic Gershwin double songbook in 1957
to her epic symphonic jazz concerts (and album) of 25 years
later. "The Man
I Love" was
the Divine One's signature ballad. As with Fitzgerald, there
were some songs and some lyrics that meant to more to her than
others, and this song always occupied an extra special place
in her heart. You'll often hear Vaughan take a serious ballad
and completely jazz it up (as she does with "April" here), but
when she does this particular song, you can tell she's only
thinking about the man she loves.
In 1978, "Send
in the Clowns"
was gradually evolving into her climactic, show-stopping
number. The Sondheim song kept getting longer and longer,
growing bigger and bigger as well as slower and slower, and
being pushed farther and farther back in the program. Still,
it would be hard to say that Vaughan ever sang it better than
she did in New Orleans: She absolutely nails it, and makes it
clear why, of all the songs and shows that Sondheim has
written over almost 60 years, this is easily his most beloved
piece of music.
When the request comes through for "A-Tisket, A-Tasket" which was, famously, her colleague Ella
Fitzgerald's first and biggest hit, Vaughan says, with mock
exasperation, "Well, I'll be damned!" Clearly, it was one
thing for Vaughan to make a joke about being mistaken for
another singer (earlier she had joked that she was Carmen
McRae), and quite another for someone in the crowd to confuse
her with Ella Fitzgerald. Yet not to be outdone, she takes it
a step further, "[he] thinks I'm Lena Horne, huh?"Â— thereby
compounding the joke by dropping the name of yet a third
iconic African-American vocal headliner. "Then I'll tell you
who I am when I finish," she declares, "We got to do this,"
and then flies into a whole chorus of the 1938 song.
Resonance Records Â– a multi-GRAMMYÂ® Award
winning label (most recently for John Coltrane's Offering: Live at Temple University for "Best Album Notes") Â– prides itself
in creating beautifully designed, informative packaging to
accompany previously unreleased recordings by the jazz icons
who grace Resonance's catalog. Such is the case with Sarah Vaughan Â– Live At Rosy's. Released as a
deluxe 2-CD set on March
25, 2016, this
release includes nearly 90 minutes of music from
National Public Radio's series then dedicated to showcasing
live jazz performances by elite jazz stars, Jazz Alive!,
some of which has never been previously broadcast, along with
book, and is presented in a
6-panel digi-pak beautifully designed by Burton Yount.
Elaborate album books replete with rare photos, and
newly commissioned essays and interviews have become a trademark
of Resonance Records' historic releases. 2015's Wes
Montgomery Â– In the
a 56-page book, and 2016's Larry Young Â– In
Paris: The ORTF Recordings and Thad
Jones/Mel Lewis Orchestra Â– All My Yesterdays: The Debut
1966 Recordings at The Village Vanguard
come in at 68 and 92 pages respectively.
The Live at
Rosy's book will also serve as new
reference material for Sarah Vaughan fans providing historic
essays, interviews and memoirs by producer
Zev Feldman, author and
journalist James Gavin
(author of iconic biographies of Peggy Lee, Chet Baker and
Lena Horne, among others), journalist, author, critic and
expert on jazz and popular singers Will
Friedwald (Jazz Singing:
America's Great Voices from Bessie Smith to Bebop and Beyond;
Sinatra! and many others; jazz
critic regularly featured in The Wall Street
Journal), Sarah Vaughan's music director and
pianist, Carl Schroeder,
Rosy's Jazz Club impresario, Rosalie Wilson
and interviewees, the legendary drummer Jimmy
Cobb (Miles Davis Kind of
Blue) and Sarah Vaughan's esteemed colleague
and early Emarcy Records stablemate, Helen
Merrill. The album book also features a collection
of rare photos by Herman
Leonard, Ray Avery,
Chuck Stewart, Riccardo
and Tom Copi, as well as ephemera from Rosy's Jazz
Club at the time these recordings were made.
- I'll Remember April (3:45)
- I Fall In Love Too Easily (3:43)
- Band Intro (1:30)
- East of The Sun (3:09)
- I've Got A Lot of Living To Do (2:14)
- Time After Time (3:46)
- Somebody Loves Me (2:06)
- Poor Butterfly (4:58)
- A Tisket, A Tasket (1:47)
- Send In The Clowns (6:00)
- Sarah's Blues (7:47)
- The Man I Love (4:45)
- I Got It Bad (and That Ain't Good) (5:07)
- Watch What Happens (2:44)
- If You Went Away (5:40)
- I Could Write A Book (3:01)
- I Remember You (5:02)
- Fascinating Rhythm (4:01)
- Everything Must Change (6:47)
- Like Someone In Love (2:41)
- My Funny
- Ending Theme (1:08)