A compilation of two albums recorded in Europe under the direction of
Quincy Jones, these sessions catch
Sarah Vaughan at her magnificent best. There may be claims of overdoing it or garishness. But her set of pipes and her willingness to use them dramatically, and sometimes coyly, to bring out the best of everything she sings brushes aside such criticisms as unjustified. Classic standard or novelty tune, she had full command of the vocal art. The 1958 session took place in Paris with
Jones doing the arrangements and leading a 55-piece orchestra. To match up this large aggregation would be daunting for most singers. But with
Vaughan's powerful operatic voice, it's no problem at all. Although the notes don't identify personnel, Zoot Sims was present backing
Vaughan and soloing on such cuts as "Misty." Also present was the rhythm section of
Ronnell Bright on piano,
Kenny Clarke on drums, and
Richard Davis and
Pierre Michelot sharing bass. This set was originally issued under the title of Vaughan and Violins. The other session took place in Copenhagen in 1963 and was issued with a similar alliterative title, Vaughan and Voices.
Jones was again in charge, but
Robert Farnon conducted and arranged, which meant there would be no upbeat material.
Farnon never met a string section he didn't love. But in no way does this circumstance impede
Vaughan. An audacious full-voiced treatment of "It Could Happen to You" not only makes one forget most other versions, but reveals how little the Sevend Saaby Danish Choir is needed here. Conversely, the way
Vaughan rides their voices at the outset of "Days of Wine and Roses" pays their way. This compilation is vintage
Sarah Vaughan, which means this is a dazzling exploration of the possibilities of the human voice as a vocal instrument. Recommended. ~ Dave Nathan