Everything I Have Is Yours

Editorial Reviews

All Music Guide - Michael G. Nastos
Sarah Vaughan's recordings of the 1940s tend to be with big bands and string sections. Depending on your taste for the symphonic or operatic Vaughan, this collection of tunes done between 1945 and 1947, originally for the Musicraft label and initially reissued on CD by the Drive Archive label in 1997, emphasizes some of the orchestral arrangements Vaughan favored, but it is not one that concentrates on ballads. Most of the material is midtempo, the charts are generally not syrupy, and you get an occasional small group assisting the Divine One. Because of the narrow chronological focus, you hear Vaughan working on her craft, developing her vocal sound in different ...
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Editorial Reviews

All Music Guide - Michael G. Nastos
Sarah Vaughan's recordings of the 1940s tend to be with big bands and string sections. Depending on your taste for the symphonic or operatic Vaughan, this collection of tunes done between 1945 and 1947, originally for the Musicraft label and initially reissued on CD by the Drive Archive label in 1997, emphasizes some of the orchestral arrangements Vaughan favored, but it is not one that concentrates on ballads. Most of the material is midtempo, the charts are generally not syrupy, and you get an occasional small group assisting the Divine One. Because of the narrow chronological focus, you hear Vaughan working on her craft, developing her vocal sound in different ways, and melting into the band's music like few other vocalists can. To varying degrees, optimal results occur, although on some tracks Vaughan's voice is submerged or under-produced. The musicianship is always solid, making for a pleasing listening experience, especially when you can identify the many fine musicians -- generally unattributed -- on this recording. The two-plus-two tracks that bookend this CD are the most sugary, with strings and thin voice reproduction, with backing from the Ted Dale Orchestra, though Al Gibson's clarinet shines through and "I Feel So Smoochy" is playful and not violin-dominant. Three tracks with the Teddy Wilson Orchestra are the best big-band cuts, as the song of getting along "Don't Worry 'Bout Me" and the beautifully evocative "September Song" show Vaughan at her best alongside Wilson's tinkling piano or the tenor sax of Charlie Ventura. Two selections with the George Treadwell band are outstanding, as you hear the signature tune of surrender "Everything I Have Is Yours" and the insular, pining "I'm Through with Love," definitive Vaughan without question. One selection apiece with the Dizzy Gillespie/Charlie Parker group, the Georgie Auld Orchestra, and the Billy Taylor Trio plus guitarist Remo Palmier span 1945, 1946, and 1947, respectively, giving you a progression of the diverse sounds that Vaughan favored behind her. The Diz/Bird take of "Lover Man" is a classic beyond reproach, the Auld band for "A Hundred Years from Today" is locked in a better sound production with vibrato and the singer in a lower key, while the Taylor quartet with bassist Al McKibbon and drummer Kenny Clarke do "Gentleman Friend" right, as guitarist Palmier joins for a crisp, professional reading of this sly elegy of encroachment. While not definitive, this time-capsule collection of music should please anyone wanting a quick standard burst or a new taste of the most amazing vocalist in pop/jazz ever, early in her stellar career.
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Product Details

  • Release Date: 3/3/2009
  • Label: Shout Factory
  • UPC: 826663112085
  • Catalog Number: 11208

Tracks

Disc 1
  1. 1 The One I Love (Belongs to Somebody Else) (3:14)
  2. 2 Love Me or Leave Me (2:58)
  3. 3 A Hundred Years from Today - Georgie Auld & His Orchestra (2:58)
  4. 4 Penthouse Serenade (When We're Alone) (3:10)
  5. 5 Everything I Have Is Yours - George Treadwell Orchestra (2:40)
  6. 6 Lover Man (3:23)
  7. 7 I'm Through with Love - George Treadwell Orchestra (2:50)
  8. 8 Don't Worry 'Bout Me (2:54)
  9. 9 September Song (3:03)
  10. 10 Gentleman Friend (2:34)
  11. 11 I Feel So Smoochie (2:39)
  12. 12 Trouble Is a Man (2:33)
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Album Credits

Performance Credits
Sarah Vaughan Primary Artist, Vocals
Buck Clayton Trumpet
Dizzy Gillespie Trumpet, Track Performer
Al Haig Piano
Charlie Ventura Tenor Saxophone
Teddy Wilson Piano, Track Performer
Al McKibbon Bass
Georgie Auld Soprano Saxophone, Tenor Saxophone
Big Sid Catlett Drums
Kenny Clarke Drums
Ted Dale Performing Ensemble, Track Performer
Al Gibson Alto, Clarinet, Alto Clarinet
Jimmy Jones Piano, Celeste
Charlie Parker Alto Saxophone, Track Performer
Curly Russell Bass
Billy Taylor Piano
George Treadwell Trumpet
Remo Palmieri Guitar
Technical Credits
Ted Dale Contributor
Jimi Hendrix Composer
Roger "Ram" Ramirez Composer
Ned Washington Composer
Victor Young Composer
Scott Yanow Liner Notes
Jimmy Sherman Composer
Joseph Young Composer
Jimmy Davis Composer
Randy Perry Remastering
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