{"id":1217,"date":"2018-11-24T01:58:32","date_gmt":"2018-11-24T01:58:32","guid":{"rendered":"http:\/\/testing.doreendagostinomedia.com:8888\/?post_type=project&#038;p=1217"},"modified":"2021-04-21T17:19:07","modified_gmt":"2021-04-21T17:19:07","slug":"sarah-vaughan","status":"publish","type":"project","link":"https:\/\/doreendagostinomedia.com\/wordpress\/project\/sarah-vaughan\/","title":{"rendered":"Sarah Vaughan"},"content":{"rendered":"\n[et_pb_section bb_built=&#8221;1&#8243;][et_pb_row][et_pb_column type=&#8221;1_3&#8243;][et_pb_image _builder_version=&#8221;3.17.6&#8243; src=&#8221;https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_LiveAtRosies.jpeg&#8221; \/][et_pb_button _builder_version=&#8221;3.18.2&#8243; button_text=&#8221;Label website&#8221; button_url=&#8221;https:\/\/resonancerecords.org\/shop\/sarah-vaughanlive-at-rosys\/&#8221; url_new_window=&#8221;on&#8221; \/][\/et_pb_column][et_pb_column type=&#8221;2_3&#8243;][et_pb_text _builder_version=&#8221;3.17.6&#8243;]\r\n\r\n<h1>Resonance Records is Proud to Present Sarah Vaughan \u2013 <em>Live At Rosy\u2019s<\/em><\/h1>\r\n<ul>\r\n<li>Recorded Live at New Orleans&#8217;s Iconic &#8217;70s Music Venue Rosy&#8217;s Jazz Club on May 31, 1978<\/li>\r\n<li>Previously Unreleased Deluxe 2-CD Set Available March 25, 2016<\/li>\r\n<li>Offers Almost 90 Minutes of Music Originally Recorded for The National Public Radio (NPR) Program <em>Jazz Alive!<\/em><\/li>\r\n<li>Includes 36-Page Book of Liner Notes with Essays by Producer Zev Feldman, Jazz Journalists\u00a0James Gavin and Will Friedwald, Sarah Vaughan&#8217;s Music Director\/Pianist Carl Schroeder, and Rosy&#8217;s Impresario, Rosalie Wilson, Plus Interviews with Legendary Drummer Jimmy Cobb and\u00a0Sarah Vaughan&#8217;s Colleague and Friend, Vocalist Helen Merrill<\/li>\r\n<li>The U.S. Postal Service To Issue Sarah Vaughan Commemorative Forever Stamp<\/li>\r\n<\/ul>\r\n<p><img loading=\"lazy\" class=\"size-medium wp-image-1218 alignleft\" src=\"https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_portrait-300x200.jpg\" alt=\"Sarah Vaughan\" width=\"300\" height=\"200\" srcset=\"https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_portrait-300x200.jpg 300w, https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_portrait-768x512.jpg 768w, https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_portrait-1024x683.jpg 1024w, https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_portrait-400x267.jpg 400w, https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_portrait-1080x720.jpg 1080w, https:\/\/doreendagostinomedia.com\/wordpress\/wp-content\/uploads\/2018\/11\/SarahVaughan_portrait.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>Los Angeles, CA. &#8211; Resonance Records with the cooperation of National Public Radio (NPR) is proud to announce the release of Sarah Vaughan \u2013 Live At Rosy&#8217;s, on March 25th, 2016th. The deluxe 2-CD set is comprised exclusively of newly discovered recordings by \u201cSassy\u201d capturing the legendary jazz singer&#8217;s live performance at Rosy&#8217;s Jazz Club in New Orleans on May 31, 1978.<\/p>\r\n<p>Just after the release of the album, The U.S. Postal Service will honor Sarah Vaughan\u2019s legacy, by issuing a \u201cCommemorative Forever Stamp\u201d. The ceremony will take place at the Sarah Vaughan Concert Hall at Newark Symphony Hall, 1020 Broad Street, Newark, N.J., @ 11:00am, March 29th, 2016th.<\/p>\r\n<p>Confirmed participants include: <strong>Tony Bennett<\/strong>, <strong>Rhonda Hamilton<\/strong>, host of WBGO Radio\u2019s <em>Midday Jazz<\/em>, Mayor <strong>Ras Baraka<\/strong>, Mayor of Newark, <strong>Dr. Gloria White<\/strong>, pastor of Mount Zion Baptist Church, <strong>Ronald Stroman<\/strong>, deputy postmaster general, Grammy Award-winning jazz vocalist and\u00a0 Tony Award-winning actress &amp; singer,<strong> Melba Moore<\/strong>.<\/p>\r\n<p>Confirmed Performances to include: <strong>Mount Zion Baptist Church Choir<\/strong>,<strong> Carrie Jackson<\/strong> (A Tribute to Sarah Vaughan, Newark\u2019s Own), <strong>NJPAC Jazz for Teen Ensemble<\/strong> (educational program), <strong>Jazzmeia Horn<\/strong>, Winner 2013 Sarah Vaughan Jazz Vocalist Competition and <strong>Melba Moore<\/strong>.<\/p>\r\n<p>In February 2011, Resonance producer <strong>Zev Feldman<\/strong> connected with <strong>Tim Owens<\/strong>, the former producer of NPR&#8217;s weekly syndicated radio program, <em>Jazz Alive!<\/em>. Owens mentioned to Feldman that he had tapes of\u00a0Sarah Vaughan&#8217;s stellar live 1978 concert performance at Rosy\u2019s. Feldman went through the music of Sarah Vaughan&#8217;s stellar live 1978 concert performance at Rosy\u2019s. Having performed together hundreds of times with Sassy around the world, her rhythm section \u2014 or as she referred to them, &#8220;my trio&#8221; \u2014 of pianist <strong>Carl Schroeder,<\/strong> bassist <strong>Walter Booker<\/strong> and legendary drummer <strong>Jimmy Cobb<\/strong> was an extremely cohesive unit by the time they got to Rosy&#8217;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 Vaughan.<\/p>\r\n<p>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\u2019s widow <strong>Bertha Hope<\/strong>, 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: \u201cMy 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\u2019ll 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.\u201d<\/p>\r\n<p>Sarah Vaughan, along with <strong>Billie Holiday<\/strong> and <strong>Ella Fitzgerald<\/strong>, was a member of a triumvirate \u2013 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&#8217;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, <strong>Billy Eckstine<\/strong>, who was then the featured singer with the<strong> Earl Hines Big Band<\/strong>, spotted her. Eckstine recommended her to Hines, who asked her to join his band. Other members of the Hines band were <strong>Dizzy Gillespie<\/strong> and <strong>Charlie Parker<\/strong>; 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.<\/p>\r\n<p>Vaughan had an exceptionally broad vocal range; it extended from a <em>coloratura<\/em> soprano down to a low alto \u2014 some might even say she sometimes made her way into the baritone range. Her tone was rich and lush. Vocalist <strong>Helen Merrill<\/strong> told Zev Feldman in his interview with her conducted for this release: \u201cWhen Sarah sang, she might just as well have been a trumpet player playing. Her musical ability, her jazz phrasing . . . it was perfect.\u201d She was a musicians&#8217; 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 \u2014 \u201cshe was like one of the fellas,\u201d says Jimmy Cobb.<\/p>\r\n<p>When these live recordings at Rosy&#8217;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, <strong>Johnny Carson<\/strong> and <strong>Merv Griffin<\/strong> 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&#8217;m singing,&#8221; she said. &#8220;We have a ball together, all of us, and wherever I go to work, they&#8217;re going with me.&#8221; In 1978, Vaughan and her band \u2014 pianist <strong>Carl Schroeder<\/strong>, bassist <strong>Walter Booker<\/strong>, and drummer <strong>Jimmy Cobb<\/strong> \u2014 performed at Rosy&#8217;s Jazz Club in New Orleans.<\/p>\r\n<p>The founder\/owner of Rosy\u2019s, <strong>Rosalie Wilson<\/strong>, describes her impetus for opening a jazz club in New Orleans in the 1970s: \u201cI was puzzled as to why one seldom experienced these musicians in club settings. <strong>Roland Kirk<\/strong> explained this phenomenon during an interview\u2026citing 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 \u201czero tolerance\u201d policy would exist regarding any form of prejudice.\u201d<\/p>\r\n<p><strong>James Gavin<\/strong> writes in his essay \u201cRomance, Family &amp; Heartbreak: The Divine One\u201d within the liner notes of the package: \u201cBy the time of Vaughan&#8217;s performances at Rosy&#8217;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.\u201d<\/p>\r\n<p>Behind the vocal riches was a boundless musical mind. &#8220;As soon as I hear an arrangement I get ideas,&#8221; she said, &#8220;kind of like blowing a horn.&#8221; So many came to her that Vaughan was like a child let loose in a candy store. &#8220;She had tremendous harmonic conception,&#8221; says Carl Schroeder. &#8220;Most singers have none.&#8221; 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. &#8220;I don&#8217;t know what I&#8217;m doin&#8217;!&#8221; she said. &#8220;I just get onstage and sing. I don&#8217;t think about how I&#8217;m going to do it\u2014it&#8217;s too complicated.&#8221;<\/p>\r\n<p>Jazz journalist and critic<strong> Will Friedwald<\/strong> takes us through <em>Live at Rosy\u2019s<\/em> track-by-track: Gershwin, as always, is a major staple of Vaughan&#8217;s repertoire, from her classic Gershwin double songbook in 1957 to her epic symphonic jazz concerts (and album) of 25 years later. &#8220;The Man I Love&#8221; was the Divine One&#8217;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&#8217;ll often hear Vaughan take a serious ballad and completely jazz it up (as she does with &#8220;April&#8221; here), but when she does this particular song, you can tell she&#8217;s only thinking about the man she loves.<\/p>\r\n<p>In 1978, &#8220;Send in the Clowns&#8221; 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.<\/p>\r\n<p>When the request comes through for \u201cA-Tisket, A-Tasket\u201d which was, famously, her colleague Ella Fitzgerald\u2019s first and biggest hit, Vaughan says, with mock exasperation, \u201cWell, I\u2019ll be damned!\u201d Clearly, it was one thing for Vaughan to make a joke about being mistaken for another singer (earlier she had joked that she was <strong>Carmen McRae<\/strong>), 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, \u201c[he] thinks I\u2019m Lena Horne, huh?\u201d\u2014 thereby compounding the joke by dropping the name of yet a third iconic African-American vocal headliner. \u201cThen I\u2019ll tell you who I am when I finish,\u201d she declares, \u201cWe got to do this,\u201d and then flies into a whole chorus of the 1938 song.<\/p>\r\n<p>Resonance Records \u2013 a multi-GRAMMY\u00ae Award winning label (most recently for <strong>John Coltrane<\/strong>\u2019s <em>Offering: Live at Temple University<\/em> for &#8220;Best Album Notes&#8221;) \u2013 prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace Resonance&#8217;s catalog. Such is the case with <em>Sarah Vaughan \u2013 Live At Rosy&#8217;s<\/em>. Released as a deluxe 2-CD set on March 25, 2016, this release includes nearly 90 minutes of music from National Public Radio&#8217;s series then dedicated to showcasing live jazz performances by elite jazz stars, <em>Jazz Alive!<\/em>, some of which has never been previously broadcast, along with a 36-page book, and is presented in a 6-panel digi-pak designed by<strong> Burton Yount<\/strong>.<\/p>\r\n<p>Elaborate album books replete with rare photos, and newly commissioned essays and interviews have become a trademark of Resonance Records\u2019 historic releases. 2015\u2019s <strong>Wes Montgomery<\/strong> \u2013 <em>In the Beginning<\/em> included a 56-page book, and 2016\u2019s <strong>Larry Young<\/strong> \u2013 I<em>n Paris: The ORTF Recordings<\/em> and <strong>Thad Jones\/Mel Lewis Orchestra<\/strong> \u2013 <em>All My Yesterdays: The Debut 1966 Recordings at The Village Vanguard<\/em> come in at 68 and 92 pages respectively.<\/p>\r\n<p><em>The Live at Rosy&#8217;s<\/em> 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 <strong>Peggy Lee<\/strong>,<strong> Chet Baker<\/strong> and<strong> Lena Horne<\/strong>, among others), journalist, author, critic and expert on jazz and popular singers <strong>Will Friedwald<\/strong> (<em>Jazz Singing: America&#8217;s Great Voices from Bessie Smith to Bebop<\/em> <em>and Beyond<\/em>; <em>Sinatra!<\/em> and many others; jazz critic regularly featured in<em> The Wall Street Journal<\/em>), Sarah Vaughan&#8217;s music director and pianist, Carl Schroeder, Rosy&#8217;s Jazz Club impresario, Rosalie Wilson and interviewees, the legendary drummer Jimmy Cobb (<strong>Miles Davis<\/strong> <em>Kind of Blue<\/em>) and Sarah Vaughan&#8217;s esteemed colleague and early Emarcy Records stablemate, Helen Merrill. The album book also features a collection of rare photos by <strong>Herman Leonard<\/strong>, <strong>Ray Avery<\/strong>, <strong>Chuck Stewart<\/strong>, <strong>Riccardo Schwamenthal<\/strong> and <strong>Tom Copi<\/strong>, as well as ephemera from Rosy&#8217;s Jazz Club at the time these recordings were made.<\/p>\r\n<hr \/>\r\n<p><strong>Disc One:<\/strong><br \/>I&#8217;ll Remember April (3:45)<br \/>I Fall In Love Too Easily (3:43)<br \/>Band Intro (1:30)<br \/>East of The Sun (3:09)<br \/>I\u2019ve Got A Lot of Living To Do (2:14)<br \/>Time After Time (3:46)<br \/>Somebody Loves Me (2:06)<br \/>Poor Butterfly (4:58)<br \/>A Tisket, A Tasket (1:47)<br \/>Send In The Clowns (6:00)<br \/>Sarah&#8217;s Blues (7:47)<\/p>\r\n<p><strong>Disc Two:<\/strong><br \/>The Man I Love (4:45)<br \/>I Got It Bad (and That Ain&#8217;t Good) (5:07)<br \/>Watch What Happens (2:44)<br \/>If You Went Away (5:40)<br \/>I Could Write A Book (3:01)<br \/>I Remember You (5:02)<br \/>Fascinating Rhythm (4:01)<br \/>Everything Must Change (6:47)<br \/>Like Someone In Love (2:41)<br \/>My Funny Valentine (5:17)<br \/>Ending Theme (1:08)<\/p>\r\n<p>&nbsp;<\/p>\r\n\r\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"<p><div class=\"et_pb_row et_pb_row_0 et_pb_row_empty\">\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div> Resonance Records is Proud to Present Sarah Vaughan \u2013 Live At Rosy\u2019s Recorded Live at New Orleans&#8217;s Iconic &#8217;70s Music Venue Rosy&#8217;s Jazz Club on May 31, 1978 Previously Unreleased Deluxe 2-CD Set Available March 25, 2016 Offers Almost 90 Minutes of Music Originally Recorded for The National Public Radio (NPR) Program Jazz Alive! [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1625,"comment_status":"open","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":""},"project_category":[21],"project_tag":[],"_links":{"self":[{"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/project\/1217"}],"collection":[{"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/comments?post=1217"}],"version-history":[{"count":5,"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/project\/1217\/revisions"}],"predecessor-version":[{"id":1627,"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/project\/1217\/revisions\/1627"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/media\/1625"}],"wp:attachment":[{"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/media?parent=1217"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/project_category?post=1217"},{"taxonomy":"project_tag","embeddable":true,"href":"https:\/\/doreendagostinomedia.com\/wordpress\/wp-json\/wp\/v2\/project_tag?post=1217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}