Sarah Vaughan It's A Man's World (1967)

This set features the great Sarah Vaughan in a typically spontaneous Norman Granz production for Pablo with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louie Bellson. Sassy sounds wonderful stretching out on such songs as "Midnight Sun," "More Than You Know," "Teach Me Tonight," and "Body and Soul," among others. All ten of the melodies are veteran standards that she knew backwards but still greeted with enthusiasm. A very good example of late-period Sarah Vaughan.

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.

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…

From the start of her career, Sarah Vaughan had a wondrous voice. She never declined and her voice remained a miracle throughout her career. She learned about bop phrasing during 1943-1944 when she was with the orchestras of Earl Hines and Billy Eckstine (singing alongside Dizzy Gillespie and Charlie Parker) and, although she would perform many pop tunes throughout her life, she always phrased like a jazz singer and was never shy to change notes and improvise…

The unforgettable sound of Sarah Vaughan is captured in this collection of essential recordings. From the swinging hits, "Lullaby Of Birdland" and "It's Crazy", to her best-loved recordings, including "Misty" and "Broken-Hearted Melody", this album highlights Vaughan's impeccable phrasing, emotional depth and remarkable range. Whether backed by a trio or a full orchestra, singing hits of the day or jazz standards, every track serves to remind us why Sarah Vaughan is still known as 'The Divine One'.

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.

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…