2022年6月17日 · Sarah Lois Vaughan (March 27, 1924 – April 3, 1990) was an American jazz singer. Nicknamed "Sassy" and "The Divine One", she won four Grammy Awards, including the Lifetime Achievement Award....

Sarah Lois Vaughan (March 27, 1924 -- April 3, 1990) was an American jazz singer, described by Scott Yanow as having "one of the most wondrous voices of the 20th century." Nicknamed "Sailor"...

Sarah Vaughan "Live At Satin Doll" [Tokyo - JP] ( two shows in one!! A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS...

Sarah Lois Vaughan (March 27, 1924 – April 3, 1990) was an American jazz singer, described by Scott Yanow as having "one of the most wondrous voices of the 20th century."...more. This concert...

Sarah Vaughan tours & concert list along with photos, videos, and setlists of their live performances.

Journalist and critic Will Friedwald takes us through Live at Rosy’s track-by-track: Gershwin, as always, is a major staple of Vaughan’s repertoire, from her classic Gershwin double songbook in 1957 to her epic symphonic jazz concerts (and album) of 25 years later.

2025年1月4日 · Hear Sarah Vaughan in a live performance from 1978 in the Hamburg studios of German broadcaster NDR.

2013年7月21日 · Her performance this weekend from 1969 features Vaughan with Johnny Veith on Piano, Gus Mancuso on Bass and Eddy Pucci on drums. Here’s what’s on the player: Sarah Vaughan & Her Trio. Berliner Jazztage, Philharmonie, Berlin/Germany, 9th November 1969, early show (4pm). 01 I’ve Got A Lot Of Livin’ To Do 02:43. 02 And I Love Him 03:40

2007年10月28日 · Sarah Vaughan Live in '58 & '64 Jazz Icons 2007 . With the camera on Sarah Vaughan and the microphone picking up every pearly note from her performance, these three black and white sessions work wonders for the soul. She was one of the best. No one could deliver a ballad the way she did, and many singers followed in her footsteps.

She held a microphone in live performance, using its placement as part of her performance. [25] Her placings of the microphone allowed her to complement her volume and vocal texture, often holding the microphone at arm's length and moving it to alter her volume.