Sarah Vaughan - No Count Sarah
Label:
Catalog#:
MG 20441
Format:
Vinyl, LP
Country:
US
Released:
1958
Genre:
Jazz,
Pop
Style:
Vocal
Tracklist
| A1 | Smoke Gets In Your Eyes | 3:55 | ||
| Written-By - Jerome Kern , Otto Harbach | ||||
| A2 | Doodlin' | 4:00 | ||
| Written-By - Horace Silver | ||||
| A3 | Darn That Dream | 3:47 | ||
| Written-By - Eddie De Lange* , James Van Heusen* | ||||
| A4 | Just One Of Those Things | 2:27 | ||
| Written-By - Porter* | ||||
| A5 | Moonlight In Vermont | 3:17 | ||
| Written-By - John Blackburn , Karl Suessdorf | ||||
| B1 | No 'Count Blues | 5:24 | ||
| Written-By - Sarah Vaughan , Thad Jones | ||||
| B2 | Cheek To Cheek | 5:15 | ||
| Written-By - Irving Berlin | ||||
| B3 | Stardust | 3:14 | ||
| Written-By - Hoagy Carmichael , Mitchell Parish | ||||
| B4 | Missing You | 3:26 | ||
| Written-By - Ronnell Bright | ||||
Credits
Arranged By -
Frank Foster
,
Johnny Mandel
,
Thad Jones
Bass - Richard Davis (2)
Drums - Sonny Payne
Guitar - Freddy Green*
Piano - Ronnell Bright
Producer - Jack Tracy
Recorded By - Hal Mooney
Saxophone - Billy Mitchell , Charley Fowlkes* , Frank Foster , Frank Wess , Marshall Royal
Trombone - Al Grey , Benny Powell , Henry Coker
Trumpet - Eugene Young , Thad Jones , Wendell Culley
Vocals - Sarah Vaughan
Bass - Richard Davis (2)
Drums - Sonny Payne
Guitar - Freddy Green*
Piano - Ronnell Bright
Producer - Jack Tracy
Recorded By - Hal Mooney
Saxophone - Billy Mitchell , Charley Fowlkes* , Frank Foster , Frank Wess , Marshall Royal
Trombone - Al Grey , Benny Powell , Henry Coker
Trumpet - Eugene Young , Thad Jones , Wendell Culley
Vocals - Sarah Vaughan
Notes
This Mercury Custom Hi Fidelity recording is the result of the most modern recording technique of our time. The masters for this album were transferred through an Ampex 301 tape machine, a Pultec Filter and Equalizer, Altec limiting amplifiers, Mac Intosh monitor amplifier and a 150 watt power amplifier designed especially to drive the BBC Grampian Feedback Cutting Head.
This monaural disc can be played equally well with either a STEREO cartridge or a STANDART 1 mil microgroove cartridge.
Because of the fine technical equipment used in the recording of these masters, one is assured of the most faithful reproduction in the transfer from original recording to the final masters user for processing.
HI-FInformation:
For this recording session the brass and the rythm section and piano were on the right channel. Accent mikes utilized included: troumbones - RCA 44-BX; trumpets - RCA 44-BX; bass - RCA 44-BX; drums - RCA 44-BX; guitar - RCA 44-BX; On the left channel were the following, thru the accent mikes listed: Sarah Vaughan - Telefunken U-47; reeds - Telefunken U-47; and piano - Telefunken U-47. For monaural, the same accent mikes utilized with all feeding into a Ampex 300 monaural tape recorder. For Stereo, the two tracks were fed into an Ampex 350-2.
The stereo session is interesting in that this was the first time that Mercury ever used all one type mike on one channel, while all of another type of mike was used on the opposite channel.
This monaural disc can be played equally well with either a STEREO cartridge or a STANDART 1 mil microgroove cartridge.
Because of the fine technical equipment used in the recording of these masters, one is assured of the most faithful reproduction in the transfer from original recording to the final masters user for processing.
HI-FInformation:
For this recording session the brass and the rythm section and piano were on the right channel. Accent mikes utilized included: troumbones - RCA 44-BX; trumpets - RCA 44-BX; bass - RCA 44-BX; drums - RCA 44-BX; guitar - RCA 44-BX; On the left channel were the following, thru the accent mikes listed: Sarah Vaughan - Telefunken U-47; reeds - Telefunken U-47; and piano - Telefunken U-47. For monaural, the same accent mikes utilized with all feeding into a Ampex 300 monaural tape recorder. For Stereo, the two tracks were fed into an Ampex 350-2.
The stereo session is interesting in that this was the first time that Mercury ever used all one type mike on one channel, while all of another type of mike was used on the opposite channel.
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Reviews & Discussion
Sarah Vaughan recorded in a variety of settings while with Mercury and EmArcy in the 1950s but this particular matchup with the Count Basie Orchestra (pianist Ronnell Bright substitutes for Count, thus the title) is pure jazz. During the classic encounter, Sassy fits in comfortably with the band, whether singing lyrics (such as "Darn That Dream," "Cheek to Cheek" or "Doodlin'") or scatting sensuously on "No Count Blues." The wit and constant swing (in addition to the spontaneous creativity), makes this one of the best of all Sarah Vaughan recordings.