Click image for larger picture and better detail. Sorry! This item SOLD! To return to our Sold Autograph Archive, click here. To view autographs that are still currently available, click here. YES! We have another great signed Sarah Vaughan piece here that is still available! One of the greatest jazz singers of all time - and certianly one of the most influential, here is a gorgeous signed photo from the 1940s by the lovely Sarah Vaughan, Photo shows some general wear (evident in scan), but would look wonderful framed. Click the above photo for an enlargement. Below is a brief bio of Ms. Vaughan written by Scott Yanow of the All Music Guide, reprinted with Scott's kind permission. Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future. Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theatre, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie. Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a Dec. 31, 1944 date highlighted by her vocal version of "A Night In Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best. During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to outswing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying to all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years. -- Scott Yanow jazz blues autograph autographs autographed signed vintage memorabilia |
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by Louis Maistros Signed copies available exclusively on the net here at Louie’s Juke Joint, just click this link to order! Quotes: "Louis Maistros has written a lyrical, complex, and brave novel that takes enormous risks and pulls them all off. He is a writer to watch and keep reading, a writer to cherish." "The Society of North American Magic Realists welcomes its newest, most dazzling member, Louis Maistros. His debut novel is a thing of wonder, unlike anything in our literature. It startles. It stuns. It stupefies. No novel since CONFEDERACY OF DUNCES has done such justice to New Orleans. If Franz Kafka had been able to write like Peter Straub, this might have been the result." “The Sound of Building Coffins is easily one of the finest and truest pieces of New Orleans fiction I've ever read.” “One has to write with considerable authenticity to pull off a story steeped in magic and swamp water that examines race and class, death and rebirth, Haitian voodoo, and the beginnings of jazz in 1891 New Orleans...The plot is complex and magical, grounded in the history of the city, without being overly sentimental. There is a comfort with death as a part of life in this work that reveals deep feeling for the city and its past....Highly recommended for all fiction collections, especially where there is an interest in jazz." Signed copies available exclusively on the net here at Louie’s Juke Joint, just click this link to order! |