DOCSLIB.ORG

The Art of Lyric Improvisation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Lyric Improvisation THE ART OF LYRIC IMPROVISATION A Comparative Study of Two Renowned Jazz Singers ______________________________________________ A thesis in partial fulfilment of the Requirements for the Degree of Masters of Music in the University of Canterbury by S. J. de Jong University of Canterbury 2008 _________________________________________ de Jong i Table of Contents THE ART OF LYRIC IMPROVISATION ........................................................................................................ i Table of Contents ........................................................................................................................................... i Abstract .................................................................................................................................................... iii Introduction ................................................................................................................................................... 1 Chapter 1: Historical and Biographical Overviews ....................................................................................... 5 1.1: Jazz Historical Background ................................................................................................................ 5 1.2: “Sometimes I’m Happy” .................................................................................................................... 6 1.3: Sarah Vaughan ................................................................................................................................... 7 1.4: Carmen McRae ................................................................................................................................... 8 Chapter 2: Sarah Vaughan .......................................................................................................................... 10 2.1 Analysis of SV#1 1st Chorus: ........................................................................................................... 11 2.12 Analysis of SV#1 2nd Chorus: ........................................................................................................ 15 2.2 Analysis of SV#2 1st Chorus: ........................................................................................................... 22 2.22 Analysis of SV#2 2nd Chorus: ........................................................................................................ 26 2.3 A Comparative analysis of SV#1 and SV#2 ...................................................................................... 32 Chapter 3: Carmen McRae .......................................................................................................................... 36 3.1 Analysis of CM#1 1st Chorus: .......................................................................................................... 37 3.12 Analysis of CM#1 2nd Chorus: ....................................................................................................... 40 3.2 Analysis of CM#2 1st Chorus: .......................................................................................................... 45 3.22 Analysis of CM#2 2nd Chorus: ......................................................................................................... 52 3.3 A Comparative Analysis of CM#1 and CM#2: ................................................................................. 57 Chapter 4: Analysis of Vaughan and McRae............................................................................................... 62 Chapter 5: Conclusion ................................................................................................................................. 70 Glossary ....................................................................................................................................................... 73 References ................................................................................................................................................... 75 Bibliography ............................................................................................................................................ 77 Discography............................................................................................................................................. 81 Sessionography ........................................................................................................................................ 82 Videography ............................................................................................................................................ 83 Nomenclature .......................................................................................................................................... 84 Appendices .................................................................................................................................................. 85 de Jong ii Acknowledgements Without the artistry of Sarah Vaughan and Carmen McRae this dissertation would not exist. They have been inspirations in the art of jazz singing, phrasing, rhythmic development, time feel and scatting. This particular study of their lyric improvisations has provided boundless information that can now be utilised in both a personal and professional manner, in performance and education. Unfortunately both have passed but through audio recordings, video presentations, written biographies and published articles, their musical lives are captured in perpetuity. Leslie Gourse, the biographer of both Sarah and Carmen, must be thanked for compiling a wealth of information including detailed discographies and, of more interest to the author, sessionographies, detailing the musicians who performed with these great singers. The record companies who continue to release classic material on CD, and now, on DVD must be congratulated for their commitment to jazz. To the staff of CPIT Jazz School, especially Dr. Jane Gregg, I thank you for your support and encouragement and to Dr. Roger Buckton and Dr. Jonathan Le Cocq for your support and allowing me to study for my Masters of Music in Jazz through the University of Canterbury. I gratefully and sincerely acknowledge the support of my supervisor, Dr. Tony Gould (Victoria, Australia), who guided me through the rigours of academic and musical writing with such support, wisdom and candour. His enthusiasm was gratefully received and made clear the hidden, murky waters of academia. Thank you. de Jong iii Abstract This research is an analysis of the range of skills and knowledge required to produce, effectively, results in the Art of Lyric Improvisation in the field of jazz singing. Lyric Improvisation is the art of retaining the primary lyrics of a song but, using improvisational inventiveness, changing every other aspect. The study focuses on the manipulation of melody, rhythm, time feel, style, range, articulation and improvisation in the performances of renowned jazz vocalists Sarah Vaughan and Carmen McRae. The research is based on their multiple recordings of “Sometimes I’m Happy” (Youmans/Caesar) between the years1955-1965. The method compares different elements of the individual singers’ improvisations to the published notation. These elements include: syncopation of the rhythm, motific development, expanding the range of pitch, variances in timbre and articulation and spontaneous re- composition of the melody all while maintaining the original lyric. The outcomes, however, can be applied over a multitude of tunes from any American Song Book composer or jazz standard sung in historically swing styles of the past century, or with contemporary developments. “You have to improvise. You have to have something of your own that has to do with that song. And you have to know where you’re going when you improvise” Carmen McRae1 1From James T. Jones, IV, "Cut the Crap," Downbeat June 1991. Introduction de Jong 1 Introduction Purpose : The aim is to discuss the process of lyric improvisation as practised by two of the most renowned and inspiring singers in the history of jazz, Sarah Vaughan and Carmen McRae. For the purpose of this research, the art of lyric improvisation has been defined as maintaining the integrity of the original lyric and the essential musical material yet extemporaneously creating melodic and rhythmic variations unique to each individual. It will draw, through analyses, comparisons between the two singers’ styles and focus on their ability to take a simple song and create new interpretations of the tune while maintaining the original structure of the piece. Sarah Vaughan’s phrasing skills are well documented in both studio and live audio recordings and video broadcasts. Consequently when looking for inspiration in lyric improvisation she is a prime candidate. She has amassed a vast repertoire sung in a variety of styles over her forty-year career and has repeated numerous tunes with consistently inventive lyric improvisations. With a similar stylistic freedom, Carmen McRae, also an outstanding jazz singer, but who is generally not as well known to mainstream audiences, has also performed particular tunes repeatedly throughout her career incorporating various lyric improvisations. An extensive research reveals a surprisingly small amount of literature examining the art of vocal jazz as it pertains to the phrasing of lyrics. Most published works in the jazz genre focus on instrumental improvisation, which to vocalists is the equivalent of scat singing (unworded
Load more

Recommended publications
  • Annie Ross Uk £3.25
    ISSUE 162 SUMMER 2020 ANNIE ROSS UK £3.25 Photo by Merlin Daleman CONTENTS Photo by Merlin Daleman ANNIE ROSS (1930-2020) The great British-born jazz singer remembered by VAL WISEMAN and DIGBY FAIRWEATHER (pages 12-13) THE 36TH BIRMINGHAM, SANDWELL 4 NEWS & WESTSIDE JAZZ FESTIVAL Birmingham Festival/TJCUK OCTOBER 16TH TO 25TH 2020 7 WHAT I DID IN LOCKDOWN [POSTPONED FROM ORIGINAL JULY DATES] Musicians, promoters, writers 14 ED AND ELVIN JAZZ · BLUES · BEBOP · SWING Bicknell remembers Jones AND MORE 16 SETTING THE STANDARD CALLUM AU on his recent album LIVE AND ROCKING 18 60-PLUS YEARS OF JAZZ MORE THAN 90% FREE ADMISSION BRIAN DEE looks back 20 THE V-DISC STORY Told by SCOTT YANOW 22 THE LAST WHOOPEE! Celebrating the last of the comedy jazz bands 24 IT’S TRAD, GRANDAD! ANDREW LIDDLE on the Bible of Trad FIND US ON FACEBOOK 26 I GET A KICK... The Jazz Rag now has its own Facebook page. with PAOLO FORNARA of the Jim Dandies For news of upcoming festivals, gigs and releases, features from the archives, competitions and who 26 REVIEWS knows what else, be sure to ‘like’ us. To find the Live/digital/ CDs page, simply enter ‘The Jazz Rag’ in the search bar at the top when logged into Facebook. For more information and to join our mailing list, visit: THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 BRITISH JAZZ AWARDS CANCELLED WWW.BIRMINGHAMJAZZFESTIVAL.COM Fax: 0121 454 9996 Email: [email protected] This is the time of year when Jazz Rag readers expect to have the opportunity to vote for the Jazz Oscars, the British Jazz Awards.
    [Show full text]
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • Sing It and Swing It ! Incorporating Vocal Jazz Into Your Choral Program Presented by April Tini MSVMA Summer Workshop 2018
    Sing It and Swing It ! Incorporating vocal jazz into your choral program Presented by April Tini MSVMA Summer Workshop 2018 ELEMENTS OF A SUCCESSFUL VOCAL JAZZ PROGRAM: The vocal ensemble - auditions, size of group, parts/voicing, sound, style Repertoire The rehearsal and preparation process The sound system The rhythm section The jazz soloist Improvisation Targeted Listening TODAY’S WORKSHOP DEMO VOCAL EXAMPLES: VJ Warmups, swing feel, straight tone, soloist, improv basics VOCAL JAZZ EVENTS AND EXPERTS THROUGHOUT THE STATE: • MDJW - Metro Detroit Jazz Workshop/Vocal Workshop - Detroit, July 2019; www.helpwithjazz.com or facebook page. Scott Gwinell, Director • Michigan Jazz Festival - July 2019, Schoolcraft College; 7 stages, live jazz, free • Detroit Jazz Festival - Labor Day Weekend, Downtown Detroit Rivefront • DJF Youth Vocal Competition - Detroit Jazz Festival Affiliation; for your soloists! • Detroit Music Hall - Regular Sunday night jam sessions, 6 PM, led by Scott Gwinell • Detroit Music Hall Educational Outreach Program - clinicians available to come to your school and offer workshops, masterclasses www.musichall.org • GCIVJF - Gold Company Invitational Vocal Jazz Festival, Greg Jasperse, director, March 2019, annually; exceptional vje experience for students and teachers • CLINICIANS to help your students (within our state): Duane Davis - Grand Rapids area Jed Scott - Grand Rapids, Grand Rapids Community College Greg Jasperes - Kalamazoo, WMU Gold Company Sunny Wilkinson - East Lansing area Scott Gwinell - Detroit area and
    [Show full text]
  • Discography of the Mainstream Label
    Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
    BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6.
    [Show full text]
  • 2014–2015 Season Sponsors
    2014–2015 SEASON SPONSORS The City of Cerritos gratefully thanks our 2014–2015 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following current CCPA Associates donors who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue where patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. MARQUEE Sandra and Bruce Dickinson Diana and Rick Needham Eleanor and David St. Clair Mr. and Mrs. Curtis R. Eakin A.J. Neiman Judy and Robert Fisher Wendy and Mike Nelson Sharon Kei Frank Jill and Michael Nishida ENCORE Eugenie Gargiulo Margene and Chuck Norton The Gettys Family Gayle Garrity In Memory of Michael Garrity Ann and Clarence Ohara Art Segal In Memory Of Marilynn Segal Franz Gerich Bonnie Jo Panagos Triangle Distributing Company Margarita and Robert Gomez Minna and Frank Patterson Yamaha Corporation of America Raejean C. Goodrich Carl B. Pearlston Beryl and Graham Gosling Marilyn and Jim Peters HEADLINER Timothy Gower Gwen and Gerry Pruitt Nancy and Nick Baker Alvena and Richard Graham Mr.
    [Show full text]
  • The Man I Love Full Score
    Jazz Lines Publications the man i love Presents recorded by sarah vaughan Arranged by benny carter prepared for publication by rob duboff and jeffrey sultanof full score jlp-9797 Words by Ira Gershwin Music by George Gershwin Copyright © 2021 The Jazz Lines Foundation, Inc. Logos, Graphics, and Layout Copyright © 2021 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Benny Carter Estate. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA sarah vaughan series the man i love (1963) Sarah Vaughan Biography: Sarah Lois Vaughan was born on March 27, 1924, in Newark New Jersey. She was born into a very musical churchgoing family, and this gave her the chance to discover and begin developing her stunning abilities at an early age. She began piano lessons while in elementary school, and played and sang in the church choir, as well as during church services. During her teens she began seriously performing and attending nightclubs, and while she did eventually attend an arts-based high school, she dropped out before graduating to focus on her burgeoning musical exploits. Encouraged by a friend or friends to give the famous career-making Amateur Night at the Apollo Theater in Harlem, New York City a try (the exact date and circumstances are debated), she sang Body and Soul and won. This led to her coming to the attention of Earl Hines, whose band at the time was a revolutionary group at the forefront of the bebop movement.
    [Show full text]
  • Sarah Vaughan You're Mine You Mp3, Flac, Wma
    Sarah Vaughan You're Mine You mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: You're Mine You Country: Germany Released: 1969 Style: Vocal, Easy Listening MP3 version RAR size: 1173 mb FLAC version RAR size: 1869 mb WMA version RAR size: 1635 mb Rating: 4.6 Votes: 816 Other Formats: AHX DXD ADX MP3 VOC FLAC AAC Tracklist A1 You're Mine You A2 The Best Is Yet To Come A3 Wichcraft A4 So Long A5 Second Time Around A6 I Could Write A Book B1 Maria B2 Baubles, Bangles And Beads B3 In Other Words B4 Moonglow B5 Invitation B6 On Green Dolphin Street Companies, etc. Record Company – Deutsche Vogue Schallplatten GmbH Credits Design [Cover Design] – Jac. Kip* Photography By [Foto] – David Redfern Notes Pressed on red vinyl On Frontcover: Jazz Non Stop Sarah Vaughan You're Mine You Vogue Schallplatten Stereo Upper part of Backcover: Stereo (auch mono abspielbar) - Jazz Non Stop - CDVR 102 Lower part of Backcover: Original Record by Roulette Tracklisting & some Liner Notes Im Vertrieb der Deutschen Vogue Schallplatten GmbH Barcode and Other Identifiers Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year Sarah You're Mine You (LP, R 52082 Roulette R 52082 US 1962 Vaughan Album, Mono) Sarah You're Mine You (LP, SR 52082 Roulette SR 52082 US 1962 Vaughan Album) Sarah You're Mine You (LP, 33SX 1438 Columbia 33SX 1438 UK 1962 Vaughan Album, Mono) Sarah You're Mine You (CD, Fresh Sound FSR CD 19 FSR CD 19 Spain 1988 Vaughan Album) Records 7243 8 57157 Sarah You're Mine You (CD, 7243 8 57157 Roulette Jazz Europe 1997 2 3 Vaughan Album, RE) 2 3 Related Music albums to You're Mine You by Sarah Vaughan Alfons Bauer Und Seine Sounders - Modern Zither Sarah Vaughan - ¡Viva! Vaughan Sarah Vaughan - Vaughan With Voices Ramon Bonafon - Maria Bonita Sarah Vaughan And Her Trio - Sarah Vaughan At Mister Kelly's Sarah Vaughan - Time To Go Sarah Vaughan - The World Of Sarah Vaughan - The Divine One Sings Sarah Vaughan - The Explosive Side Of Sarah Vaughan.
    [Show full text]
  • Sammy Figueroa Full
    Sammy Figueroa has long been regarded as one of the world’s great musicians. As a much-admired percussionist he provided the rhythmical framework for hundreds of hits and countless recordings. Well-known for his versatility and professionalism, he is equally comfortable in a multitude of styles, from R & B to rock to pop to electronic to bebop to Latin to Brazilian to New Age. But Sammy is much more than a mere accompanist: when Sammy plays percussion he tells a story, taking the listener on a journey, and amazing audiences with both his flamboyant technique and his subtle nuance and phrasing. Sammy Figueroa is now considered to be the most likely candidate to inherit the mantles of Mongo Santamaria and Ray Barretto as one of the world’s great congueros. Sammy Figueroa was born in the Bronx, New York, the son of the well-known romantic singer Charlie Figueroa. His first professional experience came at the age of 18, while attending the University of Puerto Rico, with the band of bassist Bobby Valentin. During this time he co-founded the innovative Brazilian/Latin group Raices, which broke ground for many of today’s fusion bands. Raices was signed to a contract with Atlantic Records and Sammy returned to New York, where he was discovered by the great flautist Herbie Mann. Sammy immediately became one of the music world’s hottest players and within a year he had appeared with John McLaughlin, the Brecker Brothers and many of the world’s most famous pop artists. Since then, in a career spanning over thirty years, Sammy has played with a
    [Show full text]
  • Deutsche Nationalbibliografie 2018 T 11
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2018 T 11 Stand: 07. November 2018 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2018 ISSN 1613-8945 urn:nbn:de:101-201711171918 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]