SARAH VAUGHAN - No Count Sarah (1959) lp | MONO | 24bits-96hz | FLAC (image+.cue), lossless

Sarah Vaughan recorded in a variety of settings while with Mercury and EmArcy in the 1950s, but this particular matchup with the Count Basie Orchestra (pianist Ronnell Bright substitutes for Count, thus the title) is pure jazz. During the classic encounter, Vaughan fits in comfortably with the band, whether singing lyrics (such as "Darn That Dream," "Cheek to Cheek," or "Doodlin'") or scatting sensuously on "No Count Blues." The wit and constant swing (in addition to the spontaneous creativity), makes this one of the best of all Sarah Vaughan recordings. Highly recommended. Scott Yanow
SIDE A
1     Smoke Gets in Your Eyes 3'58
Otto Harbach / Jerome Kern
2     Doodlin' 4'34
Horace Silver
3     Darn That Dream 3'43
Eddie DeLange / James Van Heusen
4     Just One of Those Things 2'31
Cole Porter
5     Moonlight in Vermont 3'19
John Blackburn / Karl Suessdorf
SIDE B
1     No 'Count Blues 5'27
Terry Jones / Thad Jones / Sarah Vaughan
2     Cheek to Cheek 5'09
Irving Berlin
3     Stardust 3'17
Hoagy Carmichael / Mitchell Parish
4     Missing You 3'28
Ronnell Bright
Credits :
Arranged By – Frank Foster, Johnny Mandel, Thad Jones
Bass – Richard Davis
Drums – Sonny Payne
Guitar – Freddy Green
Piano – Ronnell Bright
Saxophone – Billy Mitchell, Charley Fowlkes, Frank Foster, Frank Wess, Marshall Royal
Trombone – Al Grey, Benny Powell, Henry Coker
Trumpet – Eugene Young, Thad Jones, Wendell Culley
Vocals – Sarah Vaughan
Notas.
This Mercury Custom Hi Fidelity recording is the result of the most modern recording technique of our time. The masters for this album were transferred through an Ampex 301 tape machine, a Pultec Filter and Equalizer, Altec limiting amplifiers, Mac Intosh monitor amplifier and a 150 watt power amplifier designed especially to drive the BBC Grampian Feedback Cutting Head.

This monaural disc can be played equally well with either a STEREO cartridge or a STANDART 1 mil microgroove cartridge.

Because of the fine technical equipment used in the recording of these masters, one is assured of the most faithful reproduction in the transfer from original recording to the final masters user for processing.

HI-FInformation:

For this recording session the brass and the rhythm section and piano were on the right channel. Accent mikes utilized included: troumbones - RCA 44-BX; trumpets - RCA 44-BX; bass - RCA 44-BX; drums - RCA 44-BX; guitar - RCA 44-BX; On the left channel were the following, thru the accent mikes listed: Sarah Vaughan - Telefunken U-47; reeds - Telefunken U-47; and piano - Telefunken U-47. For monaural, the same accent mikes utilized with all feeding into a Ampex 300 monaural tape recorder. For Stereo, the two tracks were fed into an Ampex 350-2.

The stereo session is interesting in that this was the first time that Mercury ever used all one type mike on one channel, while all of another type of mike was used on the opposite channel.