Sarah Vaughan Clifford Brown Rar Software
Sarah Vaughan with Clifford Brown (originally titled Sarah Vaughan) by Released 1955 Recorded December 18, 1954 ( 1954-12-18) chronology (1954) 1954 Sarah Vaughan with Clifford Brown (1954) (1955) 1955 Sarah Vaughan with Clifford Brown, also known as Sarah Vaughan, is a 1954 album featuring winning singer and influential trumpeter, released on the label. It was the only collaboration between the pair, and though originally eponymous was re-issued under a new title to emphasize the appearance of the popular trumpeter. Well received, though not without some criticism, the album was Vaughan's own favorite among her works through 1980. The album was inducted into the in 1999.
The album has been re-released on CD and LP many times, with its original nine-track listing and with an additional track. In 2005, the album was reissued under the title Complete Recordings with Clifford Brown by Lone Hill Records with 18 tracks. Contents. Critical reception Professional ratings Review scores Source Rating Sarah Vaughan with Clifford Brown was overwhelmingly a critical success. In Bebop: The Best Musicians and Recordings, jazz commentator notes simply of the album that 'everything works', making of it an 'essential acquisition'. Ink Blot Magazine, characterizing this as one of Vaughan's 'jazziest' albums, describes it also as one of her greatest.
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- Sarah Vaughan with Clifford Brown, also known as Sarah Vaughan, is a 1954 jazz album featuring Grammy Award winning singer Sarah Vaughan and influential trumpeter.
In its review, All Music states that 'Vaughan is arguably in the best voice of her career here' and praises Brown for 'displaying his incredible bop virtuosity', indicating that 'in whichever incarnation it's reissued, Sarah Vaughan With Clifford Brown is one of the most important jazz-meets-vocal sessions ever recorded'. The Blackwell Guide to Recorded Jazz, also praising Brown's 'brilliant' trumpeting, delves into Vaughan's vocal stylings in detail, encouraging listeners of the album to note how 'sometimes she stretches out a song so deliberately and so reconfigures its melody, that the lyrics lose sense, linguistic phrasing having been replaced by '. Blackwell author Barry Dean Kernfeld opines that 'it is perhaps this pure devotion to the exploration of sound that has made her such a favourite of jazz listeners'. In Jazz: A Critic's Guide to the 100 Most Important Recordings, New York Times jazz commentator Ben Ratliff placed the album as among Vaughan's best, indicating that the recording session seemed among those blessed sessions where 'even middle-level musicians can sound like gods'. Selected this album as part of its suggested 'Core Collection,' stating 'it is very difficult to find any flaw in what should be recognized as one of the great jazz vocal records,' and awarded it 'crown' status. But even while praising the album, some critics found elements of fault. Ratliff expresses distaste for the album's 'shizy moments, when.Vaughan rockets between hoity-toity.and so blues-singer earthy, in certain low-register moments, that she approaches vulgarity'.
Kernfeld suggests that is a weak element amongst the otherwise strong ensemble, 'completely overmatched'. ^ at. ^ at. Gourse, Leslie (1994). DeCapo Press.
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grammy.com. Retrieved on 2008-05-31. Yanow, Scott (2000).
Bebop: The Best Musicians and Recordings. Backbeat Books. Greilsamer, Marc.
Inkblotmagazine.com Retrieved on 2008-05-31. ^ Kernfeld, Barry Dean (1995).
The Blackwell Guide to Recorded Jazz. Blackwell Publishing.
Ratliff, Ben (2000). Jazz: A Critic's Guide to the 100 Most Important Recordings. New York Times Essential Library.; (2006) 1992. 'Sarah Vaughan'. The Penguin Guide to Jazz Recordings.
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New York: Penguin. Ratliff, 91. Additional track on some re-issues. at External links., with samples.