It's nice when one generation acknowledges the greatness of a previous generation. Such
is the case in this loving, beautiful tribute to one of the finest singers of any gene, The
Divine One, Sarah Vaughan. There are several excellent younger singers currently
recording but I cannot think of anyone who could do a better tribute to Sassy than Dianne
Reeves.

Sarah had an incredible range. So does Dianne.

Sarah had perfect timing and pitch. So does Dianne.

Sarah had class. So does Dianne.

Sarah scatted beautifully. Ditto Dianne.

And so, we are the beneficiaries of this gorgeous tribute CD. Not only do we have the
talented Miss Reeves, but we're presented with tremendous musicians, a full symphonic
orchestra, a multi-talented arranger, and a producer who is a gifted pianist himself.

The sidemen on the album include: Milgrew Miller and Billy Childs, piano; Reginald
Veal, basses; Greg Hutchinson, drums; Romero Lubambo and Russell Malone, guitar;
Munyungo Jackson, percussion; Steve Wilson, sax; and Clark Terry, trumpet.

The full orchestra is conducted by Billy Childs and Patrick Gandy. They add a lushness
to Dianne's voice as if it needed it. Sarah also frequently utilized full orchestras.

The multi-talented arranger is Billy Childs who arranges nearly every song on the album
and also plays piano on three cuts.

The producer is noted pianist George Duke who accompanied The Divine One on her last
recording in 1987 (Brazilian Romance).

Thus, "The Calling" is an appropriate title. Called together were 42 musicians, one
singer, and arranger and producer who gladly put their hearts and souls into this project.
It worked. The CD is, uh, too marvelous for words.

Starting with "Lullaby of Birdland" Dianne emulate the 1954 recording that Sarah made
with trumpeter Clifford Brown. Reeves even quotes from Sarah's scat phrasing as well as
using the opening and ending which Sarah and Brown used in the original. It's a
knockout beginning.

The liner notes point out that the next selection was the only good song on an album that
Sarah was forced to record in 1974 by Mainstream Records. The album was full of
mediocre pop tunes except for Stephen Sondheim's "Send In The Clowns" (from Jacques
Brel Is Alive and Well in Paris). Sarah wasn't even sure if they recorded it correctly but
Dianne and the orchestra does the song justice.

"Speak Low" is one of the highlights of the CD. Recorded only once by Sarah, this
hauntingly beautiful song, by the man that wrote "Mack the Knife" (Kurt Weill) is
performed perfectly by Dianne. I don't know why Sarah sang it only once but I'm glad
Ms. Reeves brought it to gorgeous life again.

The fourth selection is new to me. It came from her last album and is entitled
"Obsession". It was composed by the brilliant Brazilian composer Dori Caymmi. Steve
Wilson plays a soulful sax on this song of heartbreak and Dianne sings in words and
without them in a way that perfectly exhibits the frustrations of a sad love.

"If You Could See Me Now" was composed by Tadd Dameron, one of the premier be-
boppers. It starts with soft violins, moves into a low scat by Dianne and then into moving
lyrics by C. Sigman. Another song of unrequited love, Sarah sang it in her third year of
recording in 1947. Miller plays a beautiful piano solo here which merges into a duet with
Dianne's voice before the strings come back into soulful melody.

We next hear a composition by Dianne and Childs "I Remember Sarah" with begins with
Dianne's wordless tribute which mimics Sarah's scatting, is followed by Miller's piano,
and concludes with Dianne's autobiographical memories of listening to The Divine One
as a little girl and vowing to become a jazz singer herself. She succeeded.

The seventh song is "Key Largo" (yes, it's from Bogie and Bacall's movie) which Sarah
recorded in 1962 with Barney Kessel. Wilson plays a nice soprano sax here and Dianne's
voice with the lush strings makes you believe you're in that tropic setting.

I love the next number because the master "mumbler" Clark Terry adds his unique vocal
talents and great trumpet playing to song recorded by Sarah with Count Basie in 1981.
The song is "I Hadn't Anyone 'Til You" by Ray Noble and it has the feeling and sound of
the Basie band. It swings coolly. Dig Clark's muted trumpet solo towards the end and it's
hard to believe this guy is in his 70's. He was very close to Sarah and helped her career
so his inclusion here is wonderful.

"Fascinating Rhythm" is next. Been done a 1001 times, right? Not like this, it hasn't.
Sarah sang the song in this vein in the 1970's at a tempo that was full of time changes and
Dianne and Billy have a ball with their version . Very African sounds flow through the
song which is sung with a timing that I'm not sure Gershwin could have imagined.
Marvelous!

Another Gershwin masterpiece is next, "Embraceable You". It starts with violins but
they stop and we hear only Dianne and guitarist Russell Malone for several bars. What
beauty and grace! The softly arranged song helps you remember al the sweet embraces
of your life. Slow in tempo, it is lush in arrangement. Malone takes a long solo that
makes me want to find his albums. It's so great that young talent is playing jazz so well.

The last cut is "A Chamada" (The Call) by Brazilian Milton Nascimento. Beginning in
the low register with the cellos and basses, Dianne then shows her lower range off with a
wordless, haunting call. A call to what, we're not sure at first. Mournful in its tone,
Dianne moves higher and higher in what must be a remembrance call to The Divine One.
With absolutely no words, the song emotes such passion and power that tears literally are
running down my cheeks as I listen to it.

Thank you, Dianne and thank you Sarah for bringing such beauty to our lives. You both
had The Call.



Recommended: Yes