In the 21st century, the
jazz
vocal field is full of upstart female vocalists who go out of their way to emulate the late
Sarah Vaughan
-- artists who feel that the best way to honor her memory is to try to sound exactly like her. The problem is that
Sassy
was truly irreplaceable; so instead of aspiring to be clones, the best thing
newcomers can do is search for their own voices. That isn't to say that they shouldn't be
Vaughan
-influenced -- only that they should work on developing their own identities -- and for newcomers, there is much to be learned from a fine collection like
Anthology
(especially when it comes to warmth, feeling, charisma and soulfulness). Spanning 1944-1963, this 23-song, 77-minute CD takes a look at
during a 19-year period -- and from
"I'll Wait and Pray"
in 1944 to a 1963 performance of
Lionel Hampton
's
"Midnight Sun"
(arranged by
Gerald Wilson
), she demonstrates just how compelling
vocal jazz
can be. The material is, for the most part, offered in chronological order, thus enabling one to hear the transition from scratchy 78-era sound to good '50s hi-fi mono to early stereo; one also hears some deepening in
's voice during those 19 years (although certainly not to the degree that her voice deepened in the '70s and '80s). But whatever the amount of deepness in her voice,
never fails to illustrate the singer's originality;
is as distinctive on
Dizzy Gillespie
"A Night in Tunisia"
in 1944 and
Juan Tizol
"Perdido"
in 1950 as she is on
Thelonious Monk
"Round Midnight"
in 1963.
is far from the last word on
in the '40s, '50s or early '60s; it is, however, a nicely assembled collection that paints a consistently attractive picture of
's first 19 years as a recording artist. ~ Alex Henderson