Sarah Vaughan - Wikipedia. Sarah Lois Vaughan (March 2. April 3, 1. 99. 0) was an American jazz singer. She has been described by music critic Scott Yanow as having "one of the most wondrous voices of the 2.

Nicknamed "Sassy" and "The Divine One",[2] Vaughan was a four- time Grammy Award winner, including a "Lifetime Achievement Award".[3] The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1. Early life[edit]Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress and sang in the church choir.[5] Jake and Ada Vaughan had migrated to Newark, New Jersey from Virginia during the First World War. Sarah was their only biological child, although in the 1. Donna, the child of a woman who traveled on the road with Sarah Vaughan.[6]The Vaughans lived in a house on Brunswick Street in Newark for Sarah's entire childhood.[6] Jake Vaughan was deeply religious, and the family was very active in the New Mount Zion Baptist Church at 1. 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 1. 93. 0s, 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.[6] By her mid- teens, Vaughan began venturing—illegally—into Newark's night clubs and performing as a pianist and, occasionally, singer, at venues including the Piccadilly Club and the Newark Airport.

USO. Vaughan initially attended Newark's East Side High School, later transferring to Newark Arts High School,[6] which had opened in 1. 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 on music. Around this time, Vaughan and her friends began venturing across the Hudson River into New York City to hear big bands at the Apollo Theater in Harlem. Early career[edit]Biographies of Vaughan frequently state that she was immediately thrust into stardom after a winning amateur night performance at Harlem's Zeus Theater. In fact, the story that biographer Renee[who?] relates seems to be a bit more complex. Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City.

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In the fall of 1. Vaughan suggested that Robinson enter the Apollo Theater Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete as a singer herself. She sang "Body and Soul", and won—although the exact date of this victorious performance is uncertain. The prize, as Vaughan recalled later to Marian Mc. Partland, was $1.

Apollo. After a considerable delay, Vaughan was contacted by the Apollo in the spring of 1. Ella Fitzgerald. During her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl "Fatha" 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 claimed later 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 current male singer with Vaughan on April 4, 1. Earl Hines and Billy Eckstine[edit]Vaughan spent the remainder of 1. Earl Hines big band, which featured baritone Billy Eckstine. Vaughan was hired as a pianist, reputedly so Hines could hire her under the jurisdiction of the musicians' union (American Federation of Musicians) rather than the singers union (American Guild of Variety Artists), but after Cliff Smalls joined the band as a trombonist and pianist, Sarah's duties were limited exclusively to singing.

The Earl Hines band in this period is remembered as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenor rather the alto, for which he is remembered), and trombonist Bennie Green. Gillespie arranged for the band, although the contemporary recording ban by the musicians' union meant that no commercial recordings exist. Eckstine quit the Hines band in late 1. Gillespie, leaving Hines to become the new band's musical director. Parker joined Eckstine, and the band would, over the next few years, host a startling cast of jazz talent, including Miles Davis, Kenny Dorham, Art Blakey, Lucky Thompson, Gene Ammons, and Dexter Gordon, among others. Vaughan accepted Eckstine's invitation to join his new band in 1. Eckstine's band afforded her first recording opportunity, a December 5, 1.

I'll Wait and Pray" for the De Luxe label. That date led critic and producer Leonard Feather to ask her to cut four sides under her own name later that month for Continental, 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 1. Eckstine personally and recorded with him frequently throughout her life.

Early solo career ("Tenderly")[edit]. At Café Society, September 1. Vaughan began her solo career in 1. New York's 5. 2nd Street such as the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan hung around the Braddock Grill, next to the Apollo Theater in Harlem. On May 1. 1, 1. 94.

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, 1. Watch Oxford Blues Streaming.

In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Café Society Downtown, an integrated club in New York's Sheridan Square. While at Café 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 made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, Vaughan had her teeth capped, eliminating a gap between her two front teeth. Many of Vaughan's 1. Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "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 1.

Vaughan's recording success for Musicraft continued through 1. Her recording of "Tenderly"—she was proud to be the first to have recorded that Jazz standard[7]—became an unexpected pop hit in late 1. Her December 2. 7, 1. It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1. Her recording of "Nature Boy" from April 8, 1. Nat King Cole version was released.