Sarah Vaughan

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Album: Sarah Vaughan
#	Song Title		Time
1)	Lullaby Of Birdland	More Info...	4:00
2)	September Song	More Info...	5:44
3)	I'm Glad There Is You	More Info...	5:09
4)	You're Not The Kind	More Info...	4:42
5)	Jim	More Info...	5:50
6)	He's My Guy	More Info...	4:12
7)	April In Paris	More Info...	6:20
8)	It's Crazy	More Info...	4:55
9)	Embraceable You	More Info...	4:49
10)	Lullaby Of Birdland	More Info...	4:00

Album: Sarah Vaughan
#	Song Title		Time
1)	Lullaby Of Birdland	More Info...	4:00
2)	September Song	More Info...	5:44
3)	I'm Glad There Is You	More Info...	5:09
4)	You're Not The Kind	More Info...	4:42
5)	Jim	More Info...	5:50
6)	He's My Guy	More Info...	4:12
7)	April In Paris	More Info...	6:20
8)	It's Crazy	More Info...	4:55
9)	Embraceable You	More Info...	4:49
10)	Lullaby Of Birdland	More Info...	4:00

Tracks

Performer Notes

Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums).
Producer: Bob Shad.
Reissue producers: Richard Seidel, Paul Ramey.
Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne.
Digitally remastered by Kiyoshi Tokiwa.
Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums).
Producer: Bob Shad.
Reissue producers: Richard Seidel, Paul Ramey.
Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne.
This album joined the talents of legendary jazz singer Sarah Vaughan with those of 24-year-old wonder-trumpeter Clifford Brown for a December, 1954 released on Mercury Records subsidiary EmArcy. A warm and welcoming hiss washes over this album, giving it a graceful, familiar patina. One feels like a privileged listener let in on an intimate closed session.
Brown's playing is sharp and confident throughout, and at times even bears a bit of a racy, histrionic edge. But it is clearly Vaughan who steals the show in this set. The opening and closing strains of "Jim" demonstrate her peerless intonation, as her voice blends with the rest of the instruments to create a mellifluous whole. On "Lullaby of Birdland," Vaughan wallows around her soupy lower register only seconds before breaking into some bebop maneuvering. It is interesting to listen to what kind of interpretive character her tight vibrato and winsome pitch-modulation bring to standards like "September Song," and the Gershwins' "Embraceable You." This is a thoroughly representative collection from one of jazz's all-time greats.

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