Sarah Vaughan

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Sarah Lois Vaughan (March 27, 1924-1990) was an American jazz singer. Nicknamed "Sassy" and "The Divine One" received four Grammy Awards, including the Lifetime Achievement Award.

In 1989, she was given the NEA Jazz Masters Award.

"One of the twentieth century's most wondrous voices," critic Scott Yanow said.

Early life

Vaughan was born in Newark, New Jersey, to Asbury "Jake" Vaughan, a carpenter by trade, and Ada Vaughan, a laundress who performed in the church choir, and migrants from Virginia. For Vaughan's entire childhood, the Vaughans lived in a house on Brunswick Street in Newark. Jake was deeply religious. At 186 Thomas Street, the family was active in New Mount Zion Baptist Church. Vaughan began piano lessons at the age of seven, performed in the church choir, and played piano for rehearsals and services.

She began a love for popular music on both the record and radio. She appeared regularly at the Montgomery Street Skating Rink in the 1930s. She began partying illegally in Newark's night clubs and performing as a pianist and singer at the Piccadilly Club and Newark Airport by her mid-teens.

Vaughan attended East Side High School and then moved to Newark Arts High School, which opened in 1931. She dropped out of high school during her junior year to focus on music as her nocturnal adventures as a performer dominated her academic pursuits.

Personal life

Vaughan was married three times: George Treadwell (1946-1958), to Clyde Atkins (1959–1961), and Waymon Reed (1978-1981). In 1961, Vaughan adopted Deborah Lois Atkins, who was unable to reproduce children. Debra was active as an actress in the 1980s and 1990s as an actress under the name Paris Vaughan. Vaughan was the mother-in-law of former NHL star Russ Courtnall as a result of her daughter's marriage.

Vaughan dissolved her personal and career with Marshall Fisher in 1977. Although Fisher is occasionally referred to as Vaughan's third husband, they never officially married. Vaughan began a relationship with Waymon Reed, a trumpet player 16 years her junior who was playing with the Count Basie band. Reed began serving as a musical director and trumpet player, and it was her third husband when he arrived in 1978.

She was a founder of the Zeta Phi Beta sorority.

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Career

On her trips into New York City, Vaughan was often joined by a friend, Doris Robinson. Vaughan suggested that Robinson enter the Apollo Theater Amateur Night competition in 1942, when she was 18 years old. Robinson's piano accompaniment, Vaughan, was a second prize winner. Vaughan later decided to return and perform as a performer. She performed "Body and Soul" and gained, although the date of this triumphant appearance is uncertain. The prize, as Vaughan was recalled to Marian McPartland, was $10 and the promise of a week's service at the Apollo. Ella Fitzgerald opened the Apollo on November 20, 1942.

Vaughan was introduced to bandleader and pianist Earl Hines during her week of performances at the Apollo, but the particulars of her introduction are uncertain. Billy Eckstine, Hines' singer at the time, has been lauded by Vaughan and others for attending her at the Apollo and recommending her to Hines. Hines claimed to have discovered her herself and offered her a career on the job later. On April 4, 1943, Hines replaced his female singer with Vaughan after a brief tryout at the Apollo.

With the Earl Hines big band, which featured Billy Eckstine, Vaughan spent the remainder of 1943 and part of 1944 touring the country. Since she was hired as a pianist, Hines could employ her under the control of the musicians' union rather than the singers union (American Guild of Variety Artists). However, Cliff Smalls' role as a trombonist and pianist had been limited to singing. The Earl Hines band in this period is remembered as a bebop incubator, trumpeter Dizzy Gillespie, saxophone Charlie Parker (playing tenor saxophone rather than alto), and trombonist Bennie Green. Gillespie arranged for the group, but the band's union's new recording ban meant that no commercial recordings were released.

Eckstine left the Hines band in late 1943 and formed a major band with Gillespie, leaving Hines to become the band's musical director. Parker arrived in Eckstine, and the band's next few years included Gene Ammons, Art Blakey, Miles Davis, Kenny Dorham, Dexter Gordon, and Lucky Thompson. Vaughan accepted Eckstine's invitation to join his band in 1944, giving her the opportunity to record for the first time on De Luxe's song "I'll Wait and Pray" on December 5, 1944. Leonard Feather, a critic and producer, wanted to record Dizzy Gillespie and Georgie Auld later this month for Continental. She left the Eckstine band in late 1944 to pursue a solo career, but she stayed close to Eckstine and talked to him often.

John Malachi, a Pianist, is credited with the moniker "Sassy," a word that matched her character. She liked it, and its shortening "Sass" stuck with coworkers and the media. Sometimes in written communications, Vaughan spelled it "sassie."

Vaughan began freelancing on 52nd Street, New York City, in 1945, the Three Deuces, the Downbeat, and the Onyx Club all began her career. She stayed at Braddock Grill in Harlem, next to the Apollo Theater. Sid Catlett on drums, and Gillespie and Parker on piano, Al Haig on double bass, and Sid Catlett on drums, she recorded "Lover Man" for Guild on May 11, 1945. She stepped into the studio later that month with a slightly different and larger Gillespie/Parker group, which had three more sides.

Vaughan was given a contract for Musicraft by violinist Stuff Smith in October 1945, but she would not begin recording as a leader for Musicraft until May 7, 1946. She performed for Crown and Gotham during the intervening years and began performing at Café Society Downtown, an integrated club in New York's Sheridan Square.

Vaughan became a colleague of trumpeter George Treadwell, who became her boss while at Café Society. She delegated the majority of the musical director's duties for her recording sessions to him, allowing her to focus on singing. Treadwell made improvements in Vaughan's stage appearance over the next two years. She had her teeth capped, closing the void between her two front teeth, as well as a new wardrobe and hairstyle.

"If You Could See Me Now" (written and edited by Tadd Dameron), "Don't Blame Me Now," "I Have a Crush on You"), "Everything I Have Is Yours" and "Body and Soul" were among her Musicraft songs. The couple married on September 16, 1946, with Vaughan and Treadwell's professional relationship on solid footing.

Vaughan appeared at the third Cavalcade of Jazz concert at Wrigley Field in Los Angeles, which was produced by Leon Hefflin, Sr., on September 7, 1947. The Valdez Orchestra, The Blenders, T-Bone Walker, Slim Gaillard, The Honeydrippers, Johnny Otis and his Orchestra, Woody Herman, and the Three Blazers all appeared on the same day.

Through 1947 and 1948, Vaughan's musical success for Musicraft continued. "Tenderly"—she was proud to be the first to have recorded that jazz standard — became a surprise pop hit in late 1947. "It's Magic" was released on December 27, 1947, 1947, 1947, (from the Doris Day film Romance on the High Seas) found chart success in early 1948. "Nature Boy" by her mother, who was born on April 8, 1948, became a hit right around the time when the popular Nat King Cole version was introduced. "Nature Boy" was recorded with a cappella choir as a result of a second recording ban by the musicians' union.

Musicraft was pushed to the brink of bankruptcy by the musicians' union ban. Vaughan used the missed royal payments as an opportunity to sign with Columbia's larger Columbia brand. Following the settlement of legal issues, her chart successes with "Black Coffee" continued in the summer of 1949. "I Love You," "You Are Blessed When You're Sorry," "I'm Crazy to Love You," "I'm Mad About You," "I'm Happiness Before You Go," "I'm Sorry to Love You," "I'm Sorry For You," "My Tormented Heart," and "Time" is a popular pop star on the radio, and "I'm Sure."

She was named the New Star Award for 1947 from Down Beat magazine from 1947 to 1952, and Metronome magazine from 1948 to 1953. During the late 1940s and early 1950s, recording and critical success resulted in performing opportunities, with Vaughan performing to huge audiences in clubs around the country. "100 Men and a Girl" was the first appearance by a symphony orchestra in the summer of 1949 in a Philadelphia Orchestra benefit. Dave Garroway, a Chicago disk jockey, coined a second name for her, "The Divine One," which would follow her throughout her career. In which she performed "My Funny Valentine" and "Linger Awhile," one of her first television appearances was on DuMont's variety show Stars on Parade (1953-54), one of her early television appearances.

Vaughan and Treadwell bought a three-story house on 21 Avon Avenue in Newark in 1949, occupying the top floor during their increasingly rare off-hours at home and moving Vaughan's parents to the lower two floors. However, Treadwell and Vaughan's relationship soured as a result of work pressures and personal conflicts. Treadwell also hired a road manager to handle her touring needs and opened a Manhattan office to work with other clients.

Vaughan's relationship with Columbia ended when she became dissatisfied with the company's marketing content and its lackluster financial results. In 1950, she and Miles Davis and Bennie Green made some small-group recordings, but they were not representative of what she saw for Columbia.

On WMGM in New York City in 1949, Vaughan had a radio show named Songs by Sarah Vaughan. The 15-minute shows were broadcast in the evenings from The Clique Club on Wednesday to Sunday, and was described as the "rendezvous of the bebop crowd." George Shearing on piano, Oscar Pettiford on double bass, and Kenny Clarke on drums were all accompanying her.

Treadwell began working with Mercury in 1953, arranging commercial content for Mercury, Mercury's Vaughan, and jazz-oriented content for its subsidiary, EmArcy. She was paired with producer Bob Shad, and their professional and artistic relationship resulted in commercial and artistic success. In February 1954, she was attending her first recording session at Mercury. She was with Mercury from 1959 to 1959. She returned to Mercury from 1964 to 1967 after being on staff for Roulette from 1960 to 1963.

Mercury's commercial success began in 1954 with the song "Make Yourself Comfortable" (with Count Basie), "How Important Is It Be," "You Shouldn't Have a Wife," and "Misty." "Broken Hearted Melody," a song she called "corny" that later became her first gold record and a regular fixture of her concert repertoire for years to come, reached its high point in 1959. In 1957, Vaughan and Billy Eckstine were reunited for a series of duet recordings that culminated in the hit "Passing Strangers." Hugo Peretti and Hal Mooney handled her commercial recordings.

The jazz "track" of her recording career progressed apace, befound either by her playing trio or a group of jazz players. Clifford Brown was one of her favorite albums from 1954, which included Clifford Brown.

She kept a non-stop touring schedule in the second half of the 1950s. She appeared at the first Newport Jazz Festival in 1954 and appeared in subsequent iterations of the festival in Newport and New York City for the remainder of her life. Billie Holiday, Charlie Parker, Lester Young, and the Modern Jazz Quartet were among the Count Basie Orchestra's fall concerts. She toured Europe later this fall before embarking on a "Big Show" tour in the United States, featuring Count Basie, George Shearing, Erroll Garner, and Jimmy Rushing. Vaughan volunteered for the bill with Horace Silver, Jimmy Smith, and the Johnny Richards Orchestra at the 1955 New York Jazz Festival on Randalls Island.

Although the professional relationship between Vaughan and Treadwell was fruitful through the 1950s, their personal life came to a breaking point, with her filing for divorce in 1958. Despite significant income figures reported through the 1950s, Treadwell had entirely delegated financial affairs to Treadwell, and Treadwell said only $16,000 remained. The couple divorced the amount and their personal assets, effectively ending their employment relationship.

She made her UK debut in 1958 at the London Palladium on Sunday Night with the song "Who's Got the Last Laugh Now" on the list.

The departure of Treadwell from Vaughan's life was prompted by the birth of Clyde "C.B." Atkins, a man of uncertain origins who had met in Chicago and married on September 4, 1959, was a woman of uncertain origins. Although Atkins had no expertise in artist management or music, Vaughan wanted a mixed career and personal relationship like the one with Treadwell. Though she was still suffering from the pains of Treadwell's illness and kept a closer eye on Atkins, she made Atkins her boss. In Englewood, New Jersey, Vaughan and Atkins remodeled into a house.

When Vaughan's deal with Mercury came to an end in late 1959, she continued with Roulette, a small label operated by Morris Levy, who was one of Birdland's backers. She appeared on a few times. She began playing Roulette in April 1960, making a number of large ensemble albums arranged or conducted by Billy May, Jimmy Jones, Joe Reisman, Quincy Jones, Benny Carter, Lalo Schifrin, and Gerald Wilson. "Serenata" on Roulette and "Eternally" and "You're My Baby" are two of her Mercury contracts' residual tracks from her 1960 debut, she had a huge success on the pop charts in 1960. After Hours (1961) with guitarist Mundell Lowe and double bassist George Duvivier and Sarah +2 (1962) with guitarist Barney Kessel and double bassist Joe Comfort, she appeared on After Hours (1961).

Deborah Lois Atkins, who was known as Paris Vaughan, was adopted by Vaughan and Atkins in 1961. However, their Atkinson friendship was difficult and strife. She applied for divorce in November 1963 after a string of events. She turned to two friends to help sort out the marriage's financial problems. John "Preacher" Wells, a childhood friend, and Clyde "Pumpkin" Golden Jr. learned that Atkins' gambling and investing had put Vaughan $150,000 in debt. The IRS confiscated the Englewood house for non-payment of taxes. Vaughan retained custody of their children, while Golden took Atkins' position as Vaughan's boss and lover for the remainder of the decade.

Vaughan returned to Mercury's more familiar confines after her 1963 stint as a member of Roulette. She and her trio went to Denmark in the summer of 1963 to record Sassy Swings the Tivoli, an album of live performances with her trio. She made her first appearance at the White House for President Lyndon Johnson last year. The Tivoli recording will be her best moment of her second time with Mercury. Jazz players were left with shrinking audiences and inappropriate content in the 1960s due to changing demographics and tastes. Although she had a following large and loyal enough to continue her career, the quality and quantity of her recorded output fell as her voice faded and her ability remained stifled. She didn't have a recording contract for the remainder of the decade after her Mercury contract in 1967.

Marshall Fisher, a Las Vegas concession stand employee and fan when he was introduced to Sarah Vaughan in 1971, was a concession stand employee and a fan. They were attracted to each other right away. Fisher and her family stayed in Los Angeles. Despite being black and seven years old, he made friends and family members happy. Despite the fact that he had no expertise in the music industry, he became her road manager and then personal manager. Fisher, on the contrary to other men and managers, was devoted to her and meticulously managed her career, and she was treated with respect. She wrote love poems.

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Bob Shad, a Mercury producer who had collaborated with her, begged her to perform for his label, Mainstream, which he had established after leaving Mercury. Following a four-year absence, Vaughan signed a Mainstream contract and returned to the studio for A Time in My Life, a step away from jazz to pop music, with songs by Bob Dylan, John Lennon, and Marvin Gaye arranged by Ernie Wilkins. She didn't object to this radical change in direction, but she chose the content for her next album after admiring Michel Legrand's work. With Michel Legrand's album of compositions by Legrand with lyrics by Alan and Marilyn Bergman, he conducted an orchestra of over one hundred musicians for Sarah Vaughan for Sarah Vaughan. During the performance, several of the musicians were brought to tears. Shad wanted a hit, but there was none on the album. 278–280 She sang a version of the Carpenters' "Rainy Days and Mondays" on the pop hit "Rainy Days and Mondays. 283 This was followed by Live in Japan, Sarah Vaughan's first live album since 1963, featuring free improvisation and some unusual scatting.

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Send in the Clowns was another effort to boost sales by breaking into the pop music market. Vaughan looked the songs and hated the album cover depicting a clown with an afro. In 1975, she brought a lawsuit against Shad on the allegation that the reporting was inaccurate with the formal, sophisticated appearance she projected on stage. Sarah Vaughan: Live at the Holiday Inn Lesotho had an incorrect name and that Shad had been affecting her career, according to her. 296–296 Although she disliked the album, she loved Stephen Sondheim's "Send in the Clowns" for the musical A Little Night Music. She learned it on piano, made some improvements with pianist Carl Schroeder's assistance, and it became her signature song.

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She appeared with the Los Angeles Philharmonic in 1974 and played music by George Gershwin at the Hollywood Bowl. Michael Tilson Thomas, who was a huge fan of Vaughan and invited her to perform, conducted the orchestra. Thomas and Vaughan resurrected Thomas' home orchestra in Buffalo, New York, followed by appearances in 1975 and 1976 with other symphony orchestras in the United States.

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After leaving Mainstream, she signed with Atlantic and appeared on an album of songs by John Lennon and Paul McCartney, which were arranged by Marty Paich and his son, David Paich of Toto. She was keen to be more involved in the production of an album, but Atlantic refused to endorse it on the grounds that there were no hits. "I don't know how they can detect hits in advance," she said. Atlantic has ended her employment. "I don't give a damn about record companies anymore," she said.

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In 1977, filmmaker Thomas Guy followed Vaughan on tour to film the documentary Listen to the Sun. She travelled through South America: Argentina, Colombia, Chile, Ecuador, and Peru. This was her third tour of Brazil in six years, and she was enamored of it. "I think I've ever been on earth" in the film, she called Rio "the best place I've ever been on earth." Audiences were so raving that she said, "I don't think they like me that much." "315": After being turned down by Atlantic, she decided to make her own collection of Brazilian music." She begged Alosio de Oliveira to lead the sessions, which was captured on film, I Love Brazil! Milton Nascimento, Jose Roberto Bertrami, Dorival Caymmi, and Antonio Carlos Jobim are among the many people involved in the construction of Milton Nascimento.

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She had an album but there was no one to announce it, so she opted for Norman Granz's Pablo run. Granz had been visiting Granz since 1948, when she appeared on one of his Jazz at the Philharmonic tours. Ella Fitzgerald's producer and manager, as well as the owner of Verve, was he. Pablo began after selling Verve. He was dedicated to acoustic and mainstream jazz, and he'd performed Count Basie, Duke Ellington, and Clark Terry. How Long Has This Been Going On?, a collection of jazz standards with veteran jazz musicians Oscar Peterson, Joe Pass, Ray Brown, and Louis Bellson, was recorded by Vaughan in 1978. The album had been nominated for a Grammy Award.

Pablo released I Love Brazil!

It was also nominated for a Grammy, and it was also nominated for a Grammy.

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She received a plaque outside the CBS Building (Black Rock) in 1980, honoring the jazz clubs she had once enjoyed on "Swing Street" after the fact that had long been dominated by office buildings had long since been replaced by office buildings. On PBS, she received an Emmy Award for Individual Achievement, Special Class, in 1980. She was reunited in 1982 with Tilson Thomas for a modified version of the Gershwin program, performed again by the Los Angeles Philharmonic, but this time in its home hall, the Dorothy Chandler Pavilion; the CBS recording of the concert Gershwin Live! Female Vocal Performance at the Grammy Awards.

She committed to a limited number of studio recordings after completing her deal with Pablo in 1982. She appeared on Barry Manilow's 2:00 AM Paradise Cafe, an album of pastiche compositions with established jazz artists, in 1984. She appeared in The Planet Is Alive, Let It Live, a symphonic work created by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wojtyla, better known as Pope John Paul II. After the recording was refused by the major labels, the recording was made in Germany with an English translation by writer Gene Lees and was released by Lees on his private label.

During a commemoration concert at the Chatelet Theater in Paris in 1985, Vaughan reconnected with her long-serving European audience. In the City of Lights, a two-disc compilation of Vaughan's career, portraying a beloved singer at the peak of her fame, and released posthumously on the Justin Time label. Sarah repeats Tad Dameron's "If You Could See Me Now" with remarkable clarity, contributing to a seamless connection between chorus and bridge thanks in part to her tireless telepathic support of pianist Frank Collett (who answers each of her challenges and coaxes the same from her). Harold Jones, a drummer from Gershwin Medley, trades his brushes for sticks to match energy and tenacity that does not ease until the last of many encores. Vaughan appeared at the Playboy Jazz Festival on June 16, 1985.

When sitting on the studio floor in 1986, Vaughan performed "Happy Talk" and "Bali Ha'i" in the role of Bloody Mary on a studio recording of the Broadway musical South Pacific's score. Brazilian Romance, produced by Sérgio Mendes, was Vaughan's last album, with songs by Milton Nascimento and Dori Caymmi. It was first observed in New York and Detroit in the early part of 1987. She performed on an album of Christmas carols with the Mormon Tabernacle Choir in 1988 and was sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block included Vaughan in a brief scatting duet with Ella Fitzgerald. This was her last studio recording. It was her first studio recording with Fitzgerald in a career that had started 46 years earlier at the Apollo, it was her first recording session with Fitzgerald.

Sarah Vaughan Live from Monterey was shot in 1983 or 1984 with her trio and guest soloists. Dizzy Gillespie and Maynard Ferguson, guests, were taped in 1986 in New Orleans. PBS's Divine One was part of the American Masters collection. In 1986, she appeared with the National Symphony Orchestra conducted by Mstislav Rostropovich in a medley of songs composed by George Gershwin.

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