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General information  

  • Real name : Sarah Lois Vaughan
  • Place of birth : Newark
  • Date of birth : 27/03/1924
  • Place of death : Hidden Hills
  • Date of death : 27/03/1924



  • París Vaughan
  • Sassy
  • La Divine
  • Sarah Lois Vaughan
  • the Divine One
  • Sassy"
  • "A Divina
  • Vaughan Sarah


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Sarah Vaughan (1924)

Sarah Lois Vaughan

Type :  


Sarah Lois Vaughan (March 27, 1924 – April 3, 1990) was an American jazz singer, described by Scott Yanow as having "one of the most wondrous voices of the 20th century."

Nicknamed "Sailor" , "Sassy" and "The Divine One", Sarah Vaughan was a Grammy Award winner. The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989.


 Early life
Sarah Vaughan's father, Asbury "Rat Fool" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress and sang in the church choir. Jake and Ada Vaughan had migrated to Newark from Virginia during the First World War. Sarah was their only natural child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan.

The Vaughans lived in a house on Brunswick Street, in Newark, New Jersey, for Sarah's entire childhood. Jake Vaughan was deeply religious and the family was very active in the New Mount Zion Baptist Church on 186 Thomas Street. Sarah began piano lessons at the age of seven, sang in the church choir and occasionally played piano for rehearsals and services.

Vaughan developed an early love for popular music on records and the radio. In the 1930s, Newark had a very active live music scene and Vaughan frequently saw local and touring bands that played in the city at venues like the Montgomery Street Skating Rink. By her mid-teens, Vaughan began venturing into Newark's night clubs and performing as a pianist and, occasionally, singer, most notably at the Piccadilly Club and the Newark Airport USO.

Vaughan initially attended Newark's East Side High School, later transferring to Newark Arts High School, which had opened in 1931 as the United States' first arts "magnet" high school. However, her nocturnal adventures as a performer began to overwhelm her academic pursuits and Vaughan dropped out of high school during her junior year to concentrate more fully on music. Around this time, Vaughan and her friends also began venturing across the Hudson River into New York City to hear big bands at the Apollo Theater in Harlem.

 Beginnings: 1942–1943
Biographies of Vaughan frequently stated that she was immediately thrust into stardom after a winning an Amateur Night performance at Harlem's Apollo Theater. In fact, the story that biographer Leslie Gourse relates seems to be a bit more complex. Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. Sometime in the fall of 1942 , Vaughan suggested that Robinson enter the Apollo Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete herself as a singer. Vaughan sang "Body and Soul" and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalled later to Marian McPartland, was US$10 and the promise of a week's engagement at the Apollo. After a considerable delay, Vaughan was contacted by the Apollo in the spring of 1943 to open for Ella Fitzgerald.

Sometime during her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl Hines, although the exact details of that introduction are disputed. Billy Eckstine, Hines' singer at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines also claimed to have discovered her himself and offered her a job on the spot. Regardless, after a brief tryout at the Apollo, Hines officially replaced his existing female singer with Vaughan on April 4, 1943.

 With Earl Hines and Billy Eckstine: 1943–1944
Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band that also featured baritone Billy Eckstine. Vaughan was hired as a pianist, reputedly so Hines could hire her under the jurisdiction of the musicians' union rather than the singers union , but after Cliff Smalls joined the band as a trombonist and pianist, Sarah's duties became limited exclusively to singing. This Earl Hines band is best remembered today as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker and trombonist Bennie Green. Gillespie also arranged for the band, although a recording ban by the musicians union prevented the band from recording and preserving its sound and style for posterity.

Eckstine left the Hines band in late 1943 and formed his own big band with Gillespie, leaving Hines to become the new band's musical director. Parker came along too, and the Eckstine band over the next few years would host a startling cast of jazz talent: Miles Davis, Kenny Dorham, Art Blakey, Lucky Thompson, Gene Ammons, Dexter Gordon, among others.

Vaughan accepted Eckstine's invitation to join his new band in 1944, giving her an opportunity to develop her musicianship with the seminal figures in this era of jazz. Eckstine's band also afforded her first recording opportunity, a December 5, 1944 date that yielded the song "I'll Wait and Pray" for the Deluxe label. That date led to critic and producer Leonard Feather to ask her to cut four sides under her own name later that month for the Continental label, backed by a septet that included Dizzy Gillespie and Georgie Auld.

Band pianist John Malachi is credited with giving Vaughan the moniker "Sassy", a nickname that matched her personality. Vaughan liked it and the name (and its shortened variant "Sass") stuck with colleagues and, eventually, the press. In written communications, Vaughan often spelled it "Sassie".

Vaughan officially left the Eckstine band in late 1944 to pursue a solo career, although she remained very close to Eckstine personally and recorded with him frequently throughout her life.

 Early solo career: 1945–1948
Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street like the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan also hung around the Braddock Grill, next door to the Apollo Theatre in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.

After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square.

While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell also made significant positive changes in Vaughan's stage appearance. Aside from an improved wardrobe and hair style, Vaughan had her teeth capped, eliminating an unsightly gap between her two front teeth.

Many of Vaughan's 1946 Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" , "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.

Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly" became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the same time as the release of the famous Nat King Cole recording of the same song. Because of yet another recording ban by the musicians union, "Nature Boy" was recorded with an a cappella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody.

 Stardom and the Columbia years: 1948–1953
The musicians union ban pushed Musicraft to the brink of bankruptcy and Vaughan used the missed royalty payments as an opportunity to sign with the larger Columbia record label. Following the settling of the legal issues, her chart successes continued with the charting of "Black Coffee" in the summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success: "That Lucky Old Sun", "Make Believe (You Are Glad When You're Sorry)", "I'm Crazy to Love You", "Our Very Own", "I Love the Guy", "Thinking of You" , "I Cried for You", "These Things I Offer You", "Vanity", "I Ran All the Way Home", "Saint or Sinner", "My Tormented Heart", and "Time", among others.

Vaughan also achieved substantial critical acclaim. She won Esquire magazine's New Star Award for 1947 as well as awards from Down Beat magazine continuously from 1947 through 1952, and from Metronome magazine from 1948 through 1953. A handful of critics disliked her singing as being "over-stylized", reflecting the heated controversies of the time over the new musical trends of the late 40s. However, the critical reception to the young singer was generally positive.

Recording and critical success led to numerous performing opportunities, packing clubs around the country almost continuously throughout the years of the late 1940s and early 1950s. In the summer of 1949, Vaughan made her first appearance with a symphony orchestra in a benefit for the Philadelphia Orchestra entitled "100 Men and a Girl." Around this time, Chicago disk jockey Dave Garroway coined a second nickname for her, "The Divine One", that would follow her throughout her career. One of her early television appearances was on DuMont's variety show Stars on Parade (1953–54) in which she sang "My Funny Valentine" and "Linger Awhile".

With improving finances, in 1949 Vaughan and Treadwell purchased a three-story house on 21 Avon Avenue in Newark, occupying the top floor during their increasingly rare off-hours at home and relocating Vaughan's parents to the lower two floors. However, the business pressures and personality conflicts led to a cooling in the personal relationship between Treadwell and Vaughan. Treadwell hired a road manager to handle Vaughan's touring needs and opened a management office in Manhattan so he could work with clients in addition to Vaughan.

Vaughan's relationship with Columbia Records also soured as she became dissatisfied with the commercial material she was required to record and lackluster financial success of her records. A set of small group sides recorded in 1950 with Miles Davis and Bennie Green are among the best of her career, but they were atypical of her Columbia output.

 The Mercury years: 1954–1958
In 1953, Treadwell negotiated a unique contract for Vaughan with Mercury Records. She would record commercial material for the Mercury label and more jazz-oriented material for its subsidiary EmArcy. Vaughan was paired with producer Bob Shad and their excellent working relationship yielded strong commercial and artistic success. Her debut Mercury recording session took place in February 1954 and she stayed with the label through 1959. After a stint at Roulette Records , Vaughan returned to Mercury from 1964 to 1967.

Vaughan's commercial success at Mercury began with the 1954 hit, "Make Yourself Comfortable", recorded in the fall of 1954, and continued with a succession of hits, including: "How Important Can It Be" , "Whatever Lola Wants", "The Banana Boat Song", "You Ought to Have A Wife" and "Misty". Her commercial success peaked in 1959 with "Broken Hearted Melody", a song she considered to be "corny", but, nonetheless, became her first gold record and a regular part of her concert repertoire for years to come. Vaughan was reunited with Billy Eckstine for a series of duet recordings in 1957 that yielded the hit "Passing Strangers". Vaughan's commercial recordings were handled by a number of different arrangers and conductors, primarily Hugo Peretti and Hal Mooney.

The jazz "track" of her recording career also proceeded apace, backed either by her working trio or various combinations of stellar jazz players. One of her own favorite albums was a 1954 sextet date that included Clifford Brown.

In the latter half of the 1950s she followed a schedule of almost non-stop touring, with many famous jazz musicians. She was featured at the first Newport Jazz Festival in the summer of 1954 and starred in subsequent editions of that festival at Newport and in New York City for the remainder of her life. In the fall of 1954, she performed at Carnegie Hall with the Count Basie Orchestra on a bill that also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That fall, she again toured Europe successfully before embarking on a "Big Show" U. S. tour, a grueling succession of start-studded one-nighters that included Count Basie, George Shearing, Erroll Garner and Jimmy Rushing. At the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet, Horace Silver, Jimmy Smith, and the Johnny Richards Orchestra

Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached a breaking point and she filed for a divorce in 1958. Vaughan had entirely delegated financial matters to Treadwell, and despite stunning income figures reported through the 1950s, at the settlement Treadwell said that only $16,000 remained. The couple evenly divided that amount and their personal assets, terminating their business relationship.

 The 1960s
The exit of Treadwell from Sarah Vaughan's life was also precipitated by the entry of Clyde "C.B." Atkins, a man of uncertain background whom she had met in Chicago and married on September 4, 1959. Although Atkins had no experience in artist management or music, Vaughan wished to have a mixed professional/personal relationship like the one she had with Treadwell. She made Atkins her personal manager, although she was still feeling the sting of the problems she had with Treadwell, and initially kept a slightly closer eye on Atkins. Vaughan and Atkins moved into a house in Englewood Cliffs, New Jersey.

When Vaughan's contract with Mercury Records ended in late 1959, she immediately signed on with Roulette Records, a small label owned by Morris Levy, who was one of the backers of New York's Birdland, where she frequently appeared. Roulette's roster also included Count Basie, Joe Williams, Dinah Washington, Lambert, Hendricks and Ross and Maynard Ferguson.

Vaughan began recording for Roulette in April 1960, making a string of strong large ensemble albums arranged and/or conducted by Billy May, Jimmy Jones, Joe Reisman, Quincy Jones, Benny Carter, Lalo Schifrin, and Gerald Wilson. Surprisingly, she also had some pop chart success in 1960 with "Serenata" on Roulette and a couple of residual tracks from her Mercury contract, "Eternally" and "You're My Baby". She also made a pair of intimate vocal/guitar/double bass albums of jazz standards: After Hours with guitarist Mundell Lowe and double bassist George Duvivier and Sarah + 2 with guitarist Barney Kessell and double bassist Joe Comfort.

Vaughan was incapable of having children, so, in 1961, she and Atkins adopted a daughter, Debra Lois. However, the relationship with Atkins proved difficult and violent so, following a series of strange incidents, she filed for divorce in November 1963. She turned to two friends to help sort out the financial wreckage of the marriage: club owner John "Preacher" Wells, a childhood acquaintance, and Clyde "Pumpkin" Golden, Jr. Wells and Golden found that Atkins' gambling and profligate spending had put Vaughan around $150,000 in debt. The Englewood Cliffs house was ultimately seized by the IRS for nonpayment of taxes. Vaughan retained custody of their child and Golden essentially took Atkins place as Vaughan's manager and lover for the remainder of the decade.

Around the time of her second divorce, she also became disenchanted with Roulette Records. Roulette' finances were even more deceptive and opaque than usual in the record business and its recording artists often had little to show for their efforts other than some excellent records. When her contract with Roulette ended in 1963, Vaughan returned to the more familiar confines of Mercury Records. In the summer of 1963, Vaughan went to Denmark with producer Quincy Jones to record four days of live performances with her trio, Sassy Swings the Tivoli, an excellent example of her live show from this period. The following year, she made her first appearance at the White House, for President Johnson.

Unfortunately, the Tivoli recording would be the brightest moment of her second stint with Mercury. Changing demographics and tastes in the 1960s left jazz artists with shrinking audiences and inappropriate material. While Vaughan retained a following large and loyal enough to maintain her performing career, the quality and quantity of her recorded output dwindled even as her voice darkened and her skill remained undiminished. At the conclusion of her Mercury deal in 1967, she was left without a recording contract for the remainder of the decade.

In 1969, Vaughan terminated her professional relationship with Golden and relocated to the West Coast, settling first into a house near Benedict Canyon in Los Angeles and then into what would end up being her final home in Hidden Hills.

 Rebirth in the 1970s
Vaughan met Marshall Fisher after a 1970 performance at a casino in Las Vegas and Fisher soon fell into the familiar dual role as Vaughan's lover and manager. Fisher was another man of uncertain background with no musical or entertainment business experience, but—unlike some of her earlier associates—he was a genuine fan devoted to furthering her career.

The seventies also heralded a rebirth in Vaughan's recording activity. In 1971, Bob Shad, who had worked with her as producer at Mercury Records, asked her to record for his new record label, Mainstream Records. Basie veteran Ernie Wilkins arranged and conducted her first Mainstream album, A Time In My Life in November 1971. In April 1972, Vaughan recorded a collection of ballads written, arranged and conducted by Michel Legrand. Arrangers Legrand, Peter Matz, Jack Elliott and Allyn Ferguson teamed up for Vaughan's third Mainstream album, Feelin' Good. Vaughan also recorded Live in Japan, a live album in Tokyo with her trio in September 1973.

During her sessions with Legrand, Bob Shad presented "Send In The Clowns", a Stephen Sondheim song from the Broadway musical A Little Night Music, to Vaughan for consideration. The song would become her signature, replacing the chestnut "Tenderly" that had been with her from the beginning of her solo career.

Unfortunately, Vaughan's relationship with Mainstream soured in 1974, allegedly in a conflict precipitated by Fisher over an album cover photograph and/or unpaid royalties . This left Vaughan again without a recording contract for three years.

In December 1974, Vaughan played a private concert for the United States President Gerald Ford and French president Giscard d'Estaing during their summit on Martinique.

Also in 1974, conductor Michael Tilson Thomas asked Vaughan to participate in an all-Gershwin show he was planning for a guest appearance with the Los Angeles Philharmonic at the Hollywood Bowl. The arrangements were by Marty Paich and the orchestra would be augmented by established jazz artists Dave Grusin on piano, Ray Brown on double bass, drummer Shelly Manne and saxophonists Bill Perkins and Pete Christlieb. The concert was a success and Thomas and Vaughan repeated the performance with Thomas' home orchestra in Buffalo, New York, followed by appearances in 1975 and 1976 with symphony orchestras around the country. These performances fulfilled a long-held interest by Vaughan in working with symphonies and she made orchestra performances without Thomas for the remainder of the decade.

In 1977, Vaughan terminated her personal and professional relationship with Marshall Fisher. Although Fisher is occasionally referenced as Vaughan's third husband, they were never legally married. Vaughan began a relationship with Waymond Reed, a trumpet player 16 years her junior who was playing with the Count Basie band. Reed joined her working trio as a musical director and trumpet player and became her third husband in 1978.

In 1977, Tom Guy, a young filmmaker and public TV producer, followed Vaughan around on tour, interviewing numerous artists speaking about her and capturing both concert and behind-the-scenes footage. The resulting sixteen hours of footage was pared down into an hour-and-a-half documentary, Listen To The Sun, that aired on September 21, 1978, on New Jersey Public Television, but was never commercially released.

In 1977, Norman Granz, who was also Ella Fitzgerald's manager, signed Vaughan to his Pablo Records label. Vaughan had not had a recording contract for three years, although she had recorded a 1977 album of Beatles songs with contemporary pop arrangements for Atlantic Records that was eventually released in 1981. Vaughan's first Pablo release was I Love Brazil, recorded with an all-star cast of Brazilian musicians in Rio de Janeiro in the fall of 1977. It garnered a Grammy nomination.

1977 also saw the release of the Godley & Creme album "Consequences", on which Vaughan sang one of the few tracks to achieve popularity outside of the album: "Lost Weekend".

The Pablo contract resulted in a total of seven albums: a second and equally wondrous Brazilian record, "Copacabana", again recorded in Rio , How Long Has This Been Going On? with a quartet that included pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louis Bellson; two Duke Ellington Songbook albums ; Send In The Clowns with the Count Basie orchestra playing arrangements primarily by Sammy Nestico; and Crazy and Mixed Up , another quartet album featuring Sir Roland Hanna, piano, Joe Pass, guitar, Andy Simpkins, bass, and Harold Jones, drums.

Vaughan and Waymond Reed divorced in 1981.

 Late career
Vaughan remained quite active as a performer during the 1980s and began receiving awards recognizing her contribution to American music and status as an important elder stateswoman of jazz. In the summer of 1980, Vaughan received a plaque on 52nd Street outside the CBS Building commemorating the jazz clubs she had once frequented on "Swing Street" and which had long since been demolished and replaced with office buildings.

A performance of her symphonic Gershwin program with the New Jersey Symphony in 1980 was broadcast on PBS and won her an Emmy Award in 1981 for "Individual Achievement - Special Class". She was reunited with Michael Tilson Thomas for slightly modified version of the Gershwin program with the Los Angeles Philharmonic and the CBS Records recording, Gershwin Live! won Vaughan the Grammy award for Best Jazz Vocal Performance, Female. In 1985, Vaughan received a star on the Hollywood Walk of Fame. In 1988, Vaughan was inducted into the American Jazz Hall of Fame.

After the conclusion of her Pablo contract in 1982, Vaughan did only a limited amount of studio recording. She made a guest appearance in 1984 on Barry Manilow's 2:00 AM Paradise Cafe, an album of original pastiche compositions that featured a number of established jazz artists. In 1984, Vaughan participated in one of the more unusual projects of her career, The Planet is Alive, Let It Live a symphonic piece composed by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wojtyla, the future Pope John Paul II. The recording was made in Germany with an English translation by writer Gene Lees and was released by Lees on his own private label after the recording was turned down by the major labels. In 1986, Vaughan sang two songs, "Happy Talk" and "Bali Ha'i", in the role of Bloody Mary on an otherwise stiff studio recording by opera stars Kiri Te Kanawa and José Carreras of the score of the Broadway musical South Pacific, while sitting on the studio floor.

Vaughan's final complete album was Brazilian Romance, produced and composed by Sérgio Mendes and recorded primarily in the early part of 1987 in New York and Detroit. In 1988, Vaughan contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah Symphony Orchestra and sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block featured Vaughan in a brief scatting duet with Ella Fitzgerald. This was Vaughan's final studio recording and, fittingly, it was Vaughan's only formal studio recording with Fitzgerald in a career that had begun 46 years earlier opening for Fitzgerald at the Apollo.

Vaughan is featured in a number of video recordings from the 1980s. Sarah Vaughan Live from Monterey was taped in 1983 or 1984 and featured her working trio with guest soloists. Sass and Brass was taped in 1986 in New Orleans and also features her working trio with guest soloists, including Dizzy Gillespie and Maynard Ferguson. Sarah Vaughan: The Divine One was featured in the American Masters series on PBS.

She was given the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.

In 1989, Vaughan's health began to decline, although she rarely revealed any hints in her performances. She canceled a series of engagements in Europe in 1989 citing the need to seek treatment for arthritis in the hand, although she was able to complete a later series of performances in Japan. During a run at New York's Blue Note jazz club in 1989, Vaughan received a diagnosis of lung cancer and was too ill to finish the final day of what would turn out to be her final series of public performances.

Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. Toward the end, Vaughan tired of the struggle and demanded to be taken home, where she died on the evening of April 3, 1990, while watching a television movie featuring her daughter, a week after her 66th birthday.

Vaughan's funeral was held at Mount Zion Baptist Church at 208 Broadway in Newark, New Jersey, which was the same congregation she grew up in, although relocated to a new building. Following the ceremony, a horse-drawn carriage transported her body to its final resting place in Glendale Cemetery in Bloomfield, New Jersey.

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Name Duration Released
I'm Just a Lucky So-and-So 04:24 2000
I Let a Song Go Out of My Heart 03:10 2000
I Got It Bad (and That Ain't Good) 04:32 2000
Time 05:16 2000
Linger Awhile 01:52 2000
Black Coffee 03:39 2000
(I'm Afraid) The Masquerade Is Over 04:38 2000
Romance 03:30 1987
Make This City Ours Tonight 02:57 1987
Wanting More 03:54 1987
Obsession 03:09 1987
It's Simple 02:58 1987
Nothing Will Be as It Was (Nada Será Como Antes) 04:44 1987
Photograph 02:31 1987
So Many Stars 04:07 1987
Love and Passion 03:58 1987
Girl Disappointed in Love 04:24 1984
The Actor 03:56 1984
The Mystery of Man 04:08 1984
Toward the Light 00:34 1984
The Armaments Worker 05:14 1984
Let It Live 01:01 1984
The Children 04:27 1984
The Black 02:58 1984
The Madeleine 02:10 1984
The Island 04:30 1982
My Man's Gone Now 05:51 1982
Love Dance 03:29 1982
Do It Again 05:29 1982
Autumn Leaves 05:36 1982
Fascinating Rhythm 04:04 1982
That's All 04:04 1982
Sweet and Low Down 03:36 1982
I Didn't Know What Time It Was 04:02 1982
But Not for Me 09:39 1982
Summertime 07:52 1982
I've Got a Crush on You 07:35 1982
In Love in Vain 03:09 1982
Nice Work If You Can Get It 06:56 1982
Seasons 05:20 1982
The Man I Love 10:03 1982
And I Love Her 04:08 1981
Here, There and Everywhere 02:49 1981
I Gotta Right to Sing the Blues 05:04 1981
Get Back 02:55 1981
Something 04:16 1981
Blackbird 03:34 1981
I Want You (She's So Heavy) 03:31 1981
Come Together 03:22 1981
You Never Give Me Your Money 02:48 1981
Hey Jude 01:09 1981
Indian Summer 03:31 1981
The Fool on the Hill 04:15 1981
Yesterday 04:02 1981
All the Things You Are 03:50 1981
Eleanor Rigby 03:48 1981
The Long and Winding Road 03:08 1981
Just Friends 03:23 1981
The Smiling Hour 04:19 1979
Copacabana 03:39 1979
Double Rainbow 03:34 1979
Dindi 05:32 1979
Tetê 04:41 1979
Gentle Rain 02:50 1979
Dreamer 03:41 1979
To Say Goodbye 03:49 1979
My Old Flame 06:14 1978
Easy Living 04:40 1978
You're Blasé 05:10 1978
Midnight Sun 04:40 1978
I've Got the World on a String 05:38 1978
I Live to Love You 03:54 1977
Empty Faces 06:26 1977
Roses and Roses 03:23 1977
Start Believing Me Now 00:00 1977
Triste 02:58 1977
If You Could See Me Now 00:00 1977
If You Went Away (Preciso Aprender a Ser Só) 04:25 1977
I'll Remember April 00:00 1977
A Little Tear (Razão de Viver) 04:07 1977
Feelings 00:00 1977
The Day It Rained 04:40 1977
Here's That Rainy Day 00:00 1977
Courage 03:42 1977
That Face 07:55 06/1975
The Folks Who Live On the Hill 04:50 06/1975
Frasier 04:20 06/1975
A House Is Not a Home 05:10 06/1975
That Sunday, That Summer 04:33 06/1975
Love Don't Live Here Anymore 03:04 1974
Send in the Clowns 03:27 1974
Got to Go See If I Can't Get Daddy to Come Back Home 02:58 1974
Do Away with April 03:30 1974
I Need You More 02:53 1974
Right in the Next Room 02:59 1974
That'll Be Johnny 02:43 1974
My Funny Valentine 05:32 1973
There Will Never Be Another You 01:34 1973
'Round Midnight 05:37 1973
The Lamp Is Low 01:37 1973
A Foggy Day 01:21 1973
Over the Rainbow 07:01 1973
Where Do I Begin 05:05 1973
Sweet Gingerbread Man 00:00 1972
Tomorrow City 00:00 1972
His Eyes, Her Eyes 03:23 1972
Rainy Days and Mondays 03:42 1972
Imagine 00:00 1972
Magical Connection 00:00 1972
Summer Me, Winter Me 02:47 1972
Alone Again 04:25 1972
Inner City Blues 00:00 1972
If Not For You 00:00 1972
I Will Say Goodbye 02:11 1972
Just a Little Lovin' Early In the Mornin' 03:07 1972
Easy Evil 00:00 1972
I Was Born in Love with You 03:08 1972
And the Feeling's Good 04:20 1972
Run to Me 00:00 1972
Hands of Time 03:06 1972
Deep in the Night 03:18 1972
Trouble 00:00 1972
Once You've Been in Love 03:14 1972
Wave 03:30 1972
Greatest Show On Earth 03:00 1972
That's the Way I've Always Heard It Should Be 00:00 1972
What Are You Doing the Rest of Your Life? 03:56 1972
Blue, Green, Grey and Gone 04:15 1972
Take a Love Song 03:25 1972
On Thinking It Over 00:00 1972
The Summer Knows 03:03 1972
Pieces of Dreams 03:08 1972
Promise Me 04:00 1972
Trouble Is a Man 03:43 1967
Take the 02:39 1967
The Man That Got Away 04:28 1967
Sweet Georgia Brown 01:50 1967
Alfie 03:33 1967
Jim 03:42 1967
On the Other Side of the Tracks 03:35 1967
I'm Just Wild About Harry 02:39 1967
The Sweetest Sounds 04:30 1967
My Man 03:52 1967
I Want to Be Happy 02:19 1967
All Alone 02:19 1967
I Got a Man Crazy for Me 03:31 1967
Every Day I Have the Blues 04:22 1967
For Every Man There's a Woman 03:23 1967
S'posin' 03:08 1967
Happiness is a Thing Called Joe 03:50 1967
I Left My Heart in San Francisco 04:06 1967
With These Hands 04:00 1966
What the World Needs Now Is Love 00:00 1966
Call Me 02:52 1966
Habibi 00:00 1966
Who Can I Turn To? 03:40 1966
He Touched Me 00:00 1966
Love 02:29 1966
Dominique's Discotheque 03:12 1966
Make It Easy on Yourself 00:00 1966
What Now My Love 02:33 1966
The Shadow of Your Smile 03:56 1966
If I Ruled the World 00:00 1966
1-2-3 02:38 1966
Everybody Loves Somebody 02:51 1966
I Know a Place 00:00 1966
First Thing Every Morning 00:00 1966
Sneakin' Up on You 02:23 1966
On a Clear Day You Can See Forever 00:00 1966
Michelle 03:22 1966
A Lover's Concerto 00:00 1966
Mr. Lucky 02:29 1965
Jive Samba 03:03 1965
Don't You Forget It 02:30 1965
Night Song 03:14 1965
Moment of Truth 02:39 1965
Moon River 02:49 1965
The Boy from Ipanema 02:30 1965
Stompin' at the Savoy 02:44 1965
Peter Gunn 01:51 1965
Corcovado 03:23 1965
Dreamsville 03:49 1965
Tea for Two 02:44 1965
Too Little Time 03:47 1965
Avalon 01:48 1965
Dear Heart 02:53 1965
Shiny Stockings 03:27 1965
How Soon 02:41 1965
It Had Better Be Tonight 01:44 1965
Fever 02:49 1965
A Taste of Honey 02:51 1965
Slow Hot Wind 03:36 1965
Funny 03:33 07/1964
I'll Be Around 03:31 07/1964
Days of Wine and Roses 02:40 07/1964
Deep Purple 02:55 07/1964
How Beautiful Is Night 03:11 07/1964
Hey There 02:30 07/1964
Then I'll Be Tired of You 03:34 07/1964
This Heart of Mine 02:49 07/1964
My Coloring Book 03:47 07/1964
It Could Happen to You 02:49 07/1964
Charade 02:52 07/1964
I Wish I Were in Love Again 02:27 1964
What'll I Do? 02:18 1964
Just You, Just Me 02:12 1964
Come Spring 02:23 1964
Look for Me (I'll Be Around) 03:19 1964
Slowly 03:34 1964
Thanks for the Ride 03:14 1964
Always on My Mind 03:01 1964
This Can't Be Love 01:39 1964
More Than You Know 03:38 1964
You're Driving Me Crazy 03:00 1964
I Got Rhythm 01:54 1964
I Didn't Know About You 03:46 1964
Friendless 03:10 1964
Something I Dreamed Last Night 04:45 1964
If I Had You 03:52 1964
Just Married Today 04:25 1964
Lonely Hours 04:03 1964
These Foolish Things 03:44 1964
Lazy Afternoon 02:54 1964
Solitude 03:48 1964
Guess I'll Hang My Tears Out to Dry 04:09 1963
Full Moon and Empty Arms 02:38 1963
Only 02:16 1963
Polka Dots and Moonbeams 04:27 1963
The Lady's in Love with You 02:14 1963
I Fall in Love Too Easily 03:20 1963
What Kind of Fool Am I? 03:22 1963
Because 03:15 1963
If You Are But a Dream 02:44 1963
Sassy's Blues 05:40 1963
Moonlight on the Ganges 02:37 1963
I Remember You 04:46 1963
I Give to You 03:00 1963
Night 02:30 1963
Tenderly 02:33 1963
I Can't Give You Anything But Love 02:46 1963
I Believe in You 03:05 1963
Great Day 02:02 1963
Blah, Blah, Blah 02:40 1963
Easy Street 03:30 1963
Intermezzo 04:25 1963
None But the Lonely Heart 03:14 1963
Won't You Come Home, Bill Bailey? 03:14 1963
I Hadn't Anyone Till You 03:17 1963
Falling in Love with Love 02:29 1963
Oh, You Crazy Moon 03:43 1963
Moanin' 03:12 1963
Be My Love 03:45 1963
Till the End of Time 03:37 1963
Lover Man 05:56 1963
All of Me 01:43 1963
I'm Gonna Live Until I Die 02:05 1963
Look to Your Heart 03:40 1963
The Good Life 03:07 1963
Ah! Sweet Mystery of Life 03:05 1963
What Is This Thing Called Love? 02:04 1963
Time After Time 04:56 1963
The Trolley Song 02:37 1963
Stella by Starlight 02:55 1963
Gravy Waltz 02:19 1963
Moonlight Love 04:00 1963
Misty 05:56 1963
I Could Write a Book 02:21 1963
A Garden in the Rain 03:16 1963
What's Good About Goodbye? 03:02 1963
Sermonette 04:19 1963
My Reverie 03:02 1963
I Feel Pretty 02:34 1963
I Cried for You 02:20 1963
After You've Gone 02:38 1963
Snowbound 03:07 1963
Glad to Be Unhappy 04:11 1963
Baubles, Bangles and Beads 03:39 1962
I Understand 04:25 1962
Maria 03:11 1962
All I Do Is Dream of You 02:54 1962
All or Nothing at All 03:12 1962
The Second Time Around 03:40 1962
When Sunny Gets Blue 03:48 1962
Just Squeeze Me (But Please Don't Tease Me) 03:10 1962
So Long 02:52 1962
Just in Time 02:17 1962
Key Largo 03:26 1962
Witchcraft 02:55 1962
On Green Dolphin Street 03:01 1962
When Lights Are Low 02:55 1962
The Best Is Yet to Come 02:59 1962
Invitation 02:16 1962
You're Mine, You 03:59 1962
Moonglow 02:28 1962
Baby, Won't You Please Come Home 02:34 1962
Fly Me to the Moon 02:54 1962
Goodnight Sweetheart 03:32 1962
What Do You See in Her? 02:51 1961
There Are Such Things 03:12 1961
If I Were a Bell 02:45 1961
In a Sentimental Mood 04:06 1961
Gloomy Sunday 03:26 1961
Perdido 02:12 1961
Teach Me Tonight 02:53 1961
If Love Is Good to Me 02:12 1961
You Stepped Out of a Dream 02:20 1961
Little Man (You've Had a Busy Day) 04:53 1961
Ill Wind 03:13 1961
Every Time I See You 03:01 1961
Somebody Else's Dream 02:24 1961
You Turned the Tables on Me 03:24 1961
Sophisticated Lady 03:52 1961
Ain't No Use 03:53 1961
Wrap Your Troubles in Dreams 02:33 1961
Until I Met You 03:10 1961
You'd Be So Easy to Love 02:12 1961
Have You Met Miss Jones? 02:21 1961
I'm Gonna Laugh You Out of My Life 02:50 1961
You Go to My Head 04:53 1961
Wonder Why 04:21 1961
When Your Lover Has Gone 02:18 1961
The Gentleman Is a Dope 02:46 1961
Ev'ry Time We Say Goodbye 02:26 1961
Jump for Joy 02:27 1961
Mean to Me 02:51 1961
My Favourite Things 02:46 1961
Vanity 04:19 1961
Star Eyes 04:25 1960
Do You Remember 04:02 1960
Out of This World 02:28 1960
My Ideal 02:56 1960
Bewildered 04:04 1960
Maybe You'll Be There 02:50 1960
Why Was I Born 02:29 1960
Call Me Irresponsible 02:38 1960
I Should Care 03:23 1960
Trees 03:01 1960
I'll Never Be the Same 02:49 1960
There's No You 02:20 1960
You've Changed 03:35 1960
I Was Telling Him About You 03:54 1960
I've Got to Talk to My Heart 02:56 1960
I'll Be Seeing You 02:52 1960
Icy Stone 02:52 1960
As Long as He Needs Me 03:12 1960
Missing You 02:50 1960
The More I See You 03:06 1960
Don't Go to Strangers 02:35 1960
Within Me I Know 03:03 1960
Say It Isn't So 02:47 1960
Hands Across The Table 02:52 1960
Stormy Weather 03:28 1960
Once Upon a Summertime 02:45 1960
There'll Be Other Times 02:37 1960
Last Night When We Were Young 02:50 1960
Crazy He Calls Me 03:08 1960
Gone with the Wind 03:28 03/1959
Day by Day 03:10 03/1959
Love Me 03:12 03/1959
I'm Lost 03:40 03/1959
Live for Love 03:23 03/1959
The Midnight Sun Will Never Set 02:50 03/1959
Please Be Kind 03:15 03/1959
I'll Close My Eyes 03:40 03/1959
You'd Be So Nice to Come Home To 04:00 1959
I'll String Along with You 05:15 1959
Three Little Words 03:40 1959
Detour Ahead 05:28 1959
Like Someone in Love 03:37 1959
All of You 04:15 1959
Speak Low 04:51 1959
Cheek to Cheek 05:09 1958
How Long Has This Been Going On? 03:58 1958
Let's Call the Whole Thing Off 02:22 1958
No 'Count Blues 05:27 1958
Bidin' My Time 03:01 1958
I Won't Say I Will 03:24 1958
Moonlight in Vermont 03:19 1958
Someone to Watch over Me 03:58 1958
He Loves and She Loves 03:24 1958
Darn That Dream 03:43 1958
I'll Build a Stairway to Paradise 02:39 1958
Looking For a Boy 03:38 1958
Doodlin' 04:34 1958
Of Thee I Sing 03:10 1958
They All Laughed 02:23 1958
Smoke Gets in Your Eyes 03:58 1958
Isn't It a Pity? 03:53 1958
Aren't You Kind Of Glad We Did? 03:27 1958
Love Walked In 03:06 1958
Lorelei 02:32 1958
Stardust 03:17 1958
My One and Only 03:13 1958
Things Are Looking Up 03:33 1958
September in the Rain 03:30 1957
How High the Moon 04:27 1957
If I Knew Then 02:33 1957
Dancing in the Dark 03:36 1957
Just a Gigolo 04:10 1957
Pennies from Heaven 03:07 1957
Lucky in Love 02:10 1957
Honeysuckle Rose 03:39 1957
You Hit the Spot 03:03 1957
Embraceable You 02:47 1957
Stairway to the Stars 05:06 1957
Prelude to a Kiss 02:48 1957
If This Isn't Love 02:25 1957
Thou Swell 02:44 1957
Words Can't Describe 04:35 1957
Alone 02:29 1957
Be Anything 04:50 1957
Shulie a Bop 02:42 1957
It's Got to Be Love 05:13 1957
Just One of Those Things 03:18 1957
I'm Gonna Sit Right Down 02:30 1957
They Can't Take That Away from Me 02:44 1957
Sometimes I'm Happy 02:00 1957
Willow Weep for Me 05:16 1957
Dream 03:38 1957
Body and Soul 03:15 1957
Poor Butterfly 04:45 1957
Maybe 02:34 1955
It Shouldn't Happen to a Dream 03:20 1955
Don't Be on the Outside 03:01 1955
I'll Never Smile Again 02:35 1955
Cherokee 02:32 1955
Soon 02:37 1955
Why Can't I? 02:54 1955
An Occasional Man 02:33 1955
Yip 06:26 1954
'S Wonderful 00:00 1954
The Touch of Your Lips 00:00 1954
I'd Rather Have a Memory Than a Dream 00:00 1953
East of the Sun 00:00 1953
No Smoke Blue 00:00 1953
What More Can a Woman Do? 00:00 1953
Interlude 00:00 1953
Ain't Misbehavin' 02:59 1950
Goodnight My Love 03:37 1950
Can't Get Out of This Mood 02:49 1950
It Might as Well Be Spring 03:11 1950
It's All in the Mind 03:21 1950
Come Rain or Come Shine 03:23 1950
Ooh, What 'Cha Doin' to Me 01:54 1950
Spring Will Be a Little Late This Year 02:40 1950
The Nearness of You 03:19 1950
Pinky 02:41 1950
September Song 05:50
I'm Glad There Is You 05:14
You're Not the Kind 04:48
He's My Guy 04:17
April in Paris 06:26
Lullaby of Birdland 04:06
It's Crazy 05:01





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Whole or part of the information contained in this card come from the Wikipedia article "Sarah Vaughan", licensed under CC-BY-SA full list of contributors here.