The 3 Divas is a superb anthology celebrating three of the most influential and iconic female vocalists in jazz history: Billie Holiday, Sarah Vaughan, and Ella Fitzgerald. Released in 2002 by Emporio, this extensive collection presents a rich overview of the unique artistry and timeless recordings that helped define classic vocal jazz throughout the twentieth century. Each singer brings her own unmistakable style and emotional depth to the compilation. Billie Holiday delivers deeply expressive performances filled with melancholy, intimacy, and sophistication, while Sarah Vaughan showcases her extraordinary vocal range, technical brilliance, and warm phrasing. Ella Fitzgerald contributes her trademark elegance, impeccable swing, and joyful improvisational spirit. Supported by legendary musicians including Louis Armstrong on several selections, the collection highlights beloved standards, blues-infused ballads, romantic interpretations, and lively jazz arrangements. The remastered sound and carefully selected repertoire make this release an essential introduction for newcomers and a rewarding retrospective for longtime jazz enthusiasts. The 3 Divas stands as a remarkable tribute to the enduring legacy of these extraordinary vocal pioneers.

This set features the great Sarah Vaughan in a typically spontaneous Norman Granz production for Pablo with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louie Bellson. Sassy sounds wonderful stretching out on such songs as "Midnight Sun," "More Than You Know," "Teach Me Tonight," and "Body and Soul," among others. All ten of the melodies are veteran standards that she knew backwards but still greeted with enthusiasm. A very good example of late-period Sarah Vaughan.

AVID Jazz continues with its Four Classic Albums series with a re-mastered 2CD set release from Sarah Vaughan ('Sarah Vaughan', 'Swingin' Easy', 'At Mister Kelly's'; and 'No Count Sarah').

"Soul Woman" is an incredible 80 track, 4CD album of the biggest and best finest female soul singers of all time. The fabulous collection spans decades, from the 60s anthems of Nina Simone, Aretha Franklin and Dusty Springfield (celebrating 50 years of 'Respect' and 'Son of a Preacher Man'), to the disco-infused sisterhood of Chaka Khan’s 1978 hit ‘I'm Every Woman’ and Diana Ross’ ‘I’m Coming Out’. In addition to classic soul and disco, there are legendary ladies from the nu-soul era: Mary J Blige, Mica Paris, Amy Winehouse. Soul music, in the hands of women, could be a fey shuffle from the cooing early girl groups, raw belting emotion from the mind-bending, dizzying heights of Motown, could incorporate electronic forays in the energetic throes of disco, or take an ice-cool edge in the R&B of the 90s…this collection shows that the soul of a woman is at the heart of soul music.

Sarah Vaughan brings an almost chameleon-like presence to this album, which encompasses a decidedly – almost defiantly – contemporary repertory. Her gospel approach to "Imagine" could only have delighted John Lennon at the time, while for "Inner City Blues" she embraces a fiercely soulful jazz approach, the horn accompaniment in particular romping over the tune as much as she does. And on "Sweet Gingerbread Man" she turns in the purest pop vocal performance. And so it goes, across a wide range of songs, climaxing with an amazingly intense and dramatic rendition of Bob Dylan's "If Not for You."

The 1958 session took place in Paris with Quincy Jones doing the arrangements and leading a 55-piece orchestra. To match up this large aggregation would be daunting for most singers. But with Vaughan's powerful operatic voice, it's no problem at all. Zoot Sims was present backing Vaughan and soloing on such cuts as "Misty." Also present was the rhythm section of Ronnell Bright on piano, Kenny Clarke on drums, and Richard Davis and Pierre Michelot sharing bass.

In the early '60s, the U.S. government came up with the idea to tape jazz instrumentalists and vocalists for special programs aimed at recruiting young men for the National Guard. While it seems puzzling that male teenagers of the era would be drawn to the likes of Sarah Vaughan and Woody Herman, both of whom are heard in this program, the music is superb. Vaughan's vocals are on the money throughout, especially in the lush treatment of "On Green Dolphin Street" (with Herman's clarinet in the background), along with one of her most requested numbers, "Poor Butterfly." Herman's instrumentals include a swing version of "Muskrat Ramble," along with oft-requested numbers like "Woodchopper's Ball" and "Four Brothers." Herman even chances a vocal (a passable "Don't Go to Strangers"), a brave act with Vaughan in the studio…

This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards "April in Paris," "Jim," and "Lullaby of Birdland." As touching as Vaughan is, however, Brown almost equals her with his solos on "Lullaby of Birdland," "Jim," and "September Song," displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices…

Swingin' Easy is one of Sarah Vaughan's lesser known albums for Emarcy, combining two separate trio sessions from 1954 and 1957. The earlier date includes pianist John Malachi (who also worked with singers like Dinah Washington, Billy Eckstine, and Al Hibbler, plus bassist Joe Benjamin and drummer Roy Haynes. Vaughan's lush ballad technique is in full force in "Lover Man," "Polka Dots and Moonbeams," and "Body and Soul," while she scats in a midtempo setting of "If I Knew Then (What I Knew Now)" and her own "Shulie a Bop." The second trio include pianist Jimmy Jones, bassist Richard Davis, and Haynes. Aside from a brisk, miniature treatment of "Linger Awhile" and a playful setting of "I Cried for You," the session is highlighted by a breezy "All of Me." Vaughan is in terrific form throughout both dates, with the songs mostly running around the three-minute mark.

Sarah Vaughan is accompanied by her regular rhythm section of the early '80s (with pianist George Gaffney, bassist Andy Simpkins, and drummer Harold Jones), guitarist Freddie Green, and the Count Basie horn sections on this enjoyable date. The arrangements by Sammy Nestico and Allyn Ferguson unfortunately do not leave much room for any of the Basie sidemen to solo, but Sassy is in superb form. She is at her best on "I Gotta Right to Sing the Blues," a remake of "If You Could See Me Now," and a rapid "When Your Lover Has Gone," although some listeners may enjoy her overly dramatic rendition of "Send in the Clowns."

Duke Ellington Songbook Vol. 1 (1980). Sarah Vaughan interprets ten Duke Ellington-associated songs on the first of two sets. Vaughan is accompanied by a variety of jazz all-stars, including trumpeter Waymon Reed, trombonist J.J. Johnson, and the tenors of Frank Foster, Frank Wess, and Zoot Sims. Bill Byers contributed the arrangements for the larger band performances. The emphasis is on ballads, with the highlights including "I'm Just a Lucky So and So," "I Didn't Know About You," "All Too Soon," and "Lush Life." Vaughan's voice is in typically wondrous form throughout.
Duke Ellington Songbook Vol. 2 (1980). The second of two Pablo CDs featuring Sarah Vaughan interpreting Duke Ellington-associated material shows that the veteran singer never did decline. With assistance from trumpeter Waymon Reed, flutist Frank Wess, Eddie "Cleanhead" Vinson on alto and a surprise vocal…

This production has a smooth, polished, and relaxed feeling. The arrangements are heavy with vocal choruses, electric guitar and languid Latin rhythms. Sarah Vaughn's crooning glows and smolders, creating a magnificent dynamic contrast. Vaughn completely possesses the ballad "Tete," captivating the listener in much the same way she did with her hit "Misty," 20 years previously. Like all her greatest work, it's multi-textured; prolonged whispers, powerful hollering, low moaning, staccato bopping, and a myriad of other techniques she employs with facility and finesse. "Gentle Rain" finds Vaughn alone with a guitar. The spare orchestration has the profound simplicity of a haiku. Her voice is like a saxophone on this number, holding notes for lush intervals in her lower registers…