Sarah Hopewell

Possessing one of the finest singing voices of the 20th century, Sarah Vaughan was already an established solo star when she signed with Mercury Records in 1954, and between then and 1958, she recorded pop material on the label's main imprint and jazz material on the subsidiary EmArcy Records, although there was some overlap between the two. This lovingly conceived box set collects all of the jazz sessions Vaughan did under the Mercury umbrella during this stay (she returned to the label for a second run between 1963 and 1967) spread over four discs, including Images, originally released as a 10" and then reissued as a full LP with the addition of five more cuts as Swingin' Easy, the self-titled Sarah Vaughan (with Clifford Brown, Herbie Mann, and Paul Quinichette), In the Land of Hi-Fi (with Cannonball Adderley), a live set, Sarah Vaughan & Her Trio at Mister Kelly's…

This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards "April in Paris," "Jim," and "Lullaby of Birdland." As touching as Vaughan is, however, Brown almost equals her with his solos on "Lullaby of Birdland," "Jim," and "September Song," displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices…

Jean-Marie Leclair was a master of fusing Italian and French idioms, conjoining the lyricism of the former with the dance momentum of the latter. Nowhere is this better exemplified than in his third book of violin sonatas. The sonatas in this album embody rich melodic beauty, drone and rustic elements – most vividly in the Tambourin of the C major sonata in which a hurdy-gurdy is employed – and demand tour de force virtuosity such as in the joyous Ciaccona of the G major sonata. Described by Gramophone as ‘technically and musically a marvel’ (Naxos 8.572866), Adrian Butterfield completes his acclaimed traversal of Leclair’s Violin Sonatas Books Nos. 1–3.

This double recital, recorded on 9 November 1969 at the Berlin Philharmonic, takes place at a very special time in Sarah Vaughan's life. To everyone's astonishment, the small, awkward 45-year-old gave one of the most masterful stage performances of her career that could be captured on tape. In almost two hours she silenced all misgivings by proving how her approach to music remained eminently topical. Surrounded with an elegance as discreet as it is stimulating by a trio that is a master in the art of understatement, free of mannerisms, still as virtuosic as ever, developing her vocal technique to its highest degree throughout her incredible tessitura, between naturalness and sophistication, simplicity and refinement, Sarah Vaughan shakes things up. Sarah Vaughan resolutely favours sentimental melodies, making her warm, supple, suave and swinging voice the ultra-sensitive seismograph of the whole range of mixed feelings.

Joining her equally stunning Compact Jazz entry, Sarah Vaughan's Autour De Minuit ('Round Midnight) disc makes for a very fine introduction to the singer's extensive catalog. As is the case with the entire 'Round Midnight series, the emphasis here is on the ballad-heavy, after-hours end of the spectrum, which Vaughan handled with the utmost class and skill. The 15 tracks mostly cover her prime '50s and '60s sessions, including combo, strings, and big band dates featuring Clifford Brown, Cannonball Adderley, J.J. Johnson, and top-notch arrangers like Ernie Wilkins and Thad Jones. So, turn down the lights, pour the Remy Martin, and enjoy.

In an almost overpowering gathering of jazz superstars, Sarah Vaughan, the greatest of jazz singers, is joined by the brass players Dizzy Gillespie, Maynard Ferguson, Don Cherry, Chuck Mangione, and Al Hirt - backed by the legendary Herbie Hancock on piano, Ron Carter on bass, and Billy Higgins on drums. The exciting concert that results is packed with unexpected moments, beautiful sounds, and of course the gorgeous singing of 'Sassy' herself. Variety abounds: Vaughan sings standards with her crack touring combo, including an amazing rendition of her signature 'Send in the Clowns.' The trumpeters pair off in various groupings that bring out their distinctive sounds. Vaughan joins the brass players for some jazz standards - including 'Take the 'A' Train' - adding beautiful vocal improvisations to the mix…

Sarah Vaughan was approximately three decades into her career when she stepped onto the stage at the Monterey Jazz Festival in September 1971 and still at the top of her game. Her voice swoops, sways and swings; it's a veritable roller coaster of pitch, tone and tempo, and Vaughan is in complete control of her instrument at all times. The voice is weightier than it was during her early days, but having recently taken a few years off from recording it was primed and ready for the remarkable push Vaughan was prepared to give it. Backed by the very capable trio of Bill Mays on piano (Vaughan introduces him as Willie Mays), Bob Magnusson on bass and Jimmy Cobb on drums, Vaughan wastes no time showing why she always appears on the short list of jazz's greatest singers…