At Mister Kelly's

Well, I'm a fan of Sarah Vaughan, but not of live albums. She is possibly my favourite vocalist of the big band era, so I gave this an honest chance. It's pretty cool. But I'd still rather listen to her studio recordings. I don't get anything from the MC introducing, or the crowd coughing, or Sarah and the band messing up one of the tracks. On the closing track, "How High the Moon", she sings (without breaking her stride) "Ella Fitzgerald does this song real crazy", then does a kind of impression of Ella's scat singing. Now there's something cool that you wouldn't hear in the studio I guess. Her voice sounds great as always, and the original concise selection of 9 tracks is strong. (All the reissues more than double this number. Will we ever get away from the early CD era mentality of "cram as much bonus stuff on the disc as possible"?) Overall, this is probably a 3.5 from me, but I will round it up to 4 given that none of Sarah's studio material seems to appear in the 1001 list (which by the way is a fucking travesty given how many redundant picks of post-1960 white male rock music they managed to fit in).

This album is like the smoothest cup of coffee and the warmest blanket on the coldest day.

“At Mister Kelly’s” by Sarah Vaughan (1957) As live albums go, this one’s not bad, and of course jazz vocalist Sarah Vaughan is stellar. A somewhat haphazard collection of great songs by great songwriters is exquisitely performed by Vaughan, backed by understated piano, soulful double bass and beautifully restrained drums (although one of the backing guys occasionally and annoyingly hums throughout). The recording quality and the mix are better than one might expect. And the audience at Chicago’s Mr. Kelly’s is well behaved (they were warned that they were being taped). Under-rehearsed and nicely improvisational, these songs engage the listener, who can’t help but to ‘lean in’ to the synthesis between the composition and the performance. It captures an essential element of jazz. Sarah Vaughan’s voice is great. Her stylings are fresh and her tonal quality is superb. She hits impossible intervals with precision and apparent ease. In her diction, there’s a slight but persistent lisp (listen to end of the word “stars” on “Stairway to the Stars”) but hey, this ain’t the Met. Major flubs (in “Willow Weep for Me” and “How High the Moon”) are pulled off with humor and panache. She sings, “according to that [the lyrics sheet] I’m through, but they’re still playin’, so I’ll keep on singin’”. I laughed out loud; so did the audience and so will you. It completely blew the melancholy mood of the song (“Willow Weep for Me”), but what are you gonna do when you’ve already bumped a mic stand, the audience is staring nervously at you and the tape machine is rolling? This album is an artifact of a fine piece of entertainment that makes me wish I’d been there. 3/5

Amazing voice. A gig I'd have liked to have been at, sat at a table with an Old Fashioned and pack of cigarettes.

This is unbelievably good.

Loved practically everything about this. The old-timey recording nature of this live performance (I imagine in a smallish lounge at Mister Kelly's) gives this such an intimate feel. Moments like the man introducing Sarah Vaughan and cracking a joke about all the attendees being "Mercury recording artists," the artist joking about messing up a song and the crowd laughing around her, and the small talk and glasses clinking in the background really make you feel like you're a part of the performance. I typically enjoy instrumental jazz more, but she's got a great voice that really captivated me for the entire album Saved: September In The Rain, Be Anything But Darling Be Mine

She sings like a warm hug:)

Really loved her rendition of “Just One of Those Things” and “Honeysuckle Rose.” “How High the Moon” was also great. She felt really playful and that made it all the more entertaining. It’s great when jazz singers don’t take themselves so seriously. Mister Kelly’s always has great acts. Maybe the venue brings out the best in performers. Anita O’Day released her Mister Kelly’s the following year I believe, in 1958, and that’s also quite an experience. Again, very loose and fun show to listen to. Great interaction between band members. Hopefully there’s some Anita on this list… This was a great listen regardless

It's rare that a Live album should be considered a must listen, this is one of them. There is something about early Jazz and the American Songbook that only improves when performed live in a small club. Sarah Vaughn is one of the top females singers from this era, sometimes overshadowed by Ella Fitzgerald and Billie Holiday, her voice remained at it's peak throughout her career and didn't suffer the fallbacks that the others did. Good solid performance. 4/5.

This one’s personal. My mother was actually there! She was 19 years old, fresh off a breakup, working as a secretary downtown and living the grown-up life in Chicago, complete with high heels, menthol cigarettes, and cocktails at Mister Kelly’s. Listening to this feels like slipping into her kitten heels and stepping back into the smoky glow of 1950s nightlife.

So great. Jazz is a music style that sounds so much better in a live foramt and this was truly magical

Super smooth. Sarah Vaughan is up there in my favourite jazz vocalists, and I think this is the album of hers that I have most enjoyed. Stripped of her usual highly orchestrated, string-heavy arrangements to a bare trio backing, intimately recorded, you get to hear her beautiful tone and phrasing without distraction. There is a touch more breathiness and slight husk in the quieter moments that sounds close and real. Her ability to deliver a real emotional content is wonderful. Probably my favourite Sarah Vaughan record, and I will probably pick a copy up when I see one around. Love the versions of Just a Gigolo and How High the Moon that close out this album.

First off, the improvised humor during the second song (Willow Weep For Me) and throughout the last song (How High The Moon) put a smile on my face. It was enjoyable to hear an artist just rolling with it in a live performance. And honestly, if you weren't paying close attention, I think it would just roll by you as a listener as well. It's a testament to how clean, tight and yet how fluid Sarah Vaughan and the Trio are across this album. Everything about this album felt in perfect balance, which I find especially remarkable given it's a recording of a live performance. Sarah's vocals are an enchanting blend of smooth, pitch perfect and with a touch of smokey rasp. She carries every tune perfectly and doesn't overly-adorn, preferring instead to be straight to the point. And sitting just below the canopy of the vocals is the remarkably stout trunk that is the backing trio. Their performance was equaly clear, concise and beautiful. All told, it's a lovely album, made more special by the candor and simplicity that comes from the stripped down production of recording a live performance.

How many more times am I going to have to listen to “Just a Gigolo” because of this list? I’m at two currently, which isn’t a lot, but it’s weird that it’s happened more than once.

Great old live album. She can really sing

This is fantastic. A collection of standards but Vaughan's performance makes it very special.

Nothing more fitting for a rainy morning than this album. A cozy listen.

Super smooth. Sarah Vaughan is up there in my favourite jazz vocalists, and I think this is the album of hers that I have most enjoyed. Stripped of her usual highly orchestrated, string-heavy arrangements to a bare trio backing, intimately recorded, you get to hear her beautiful tone and phrasing without distraction. There is a touch more breathiness and slight husk in the quieter moments that sounds close and real. Her ability to deliver a real emotional content is wonderful. Probably my favourite Sarah Vaughan record, and I will probably pick a copy up when I see one around. Love the versions of Just a Gigolo and How High the Moon that close out this album. Update: Just last month I found a copy of this in the $2 bin at The Vintage Record in Annandale. I'll take that, thank you. Cover is beaten up, but it's a bargain at twice the price!

Historically I'm not a jazz fan but this singer has a magnificent voice. "How High the Moon" includes her scatting (live) and it's like watching a gymnast execute a perfect routine.

I had never heard of Sarah Vaughan before this. As soon as I heard her voice, I opened up Wikipedia and started reading up on her; evidently she was very important back in her day. Her voice sounds so inviting, and her vibrato is incredible. It's so warm and enticing that it makes one feel like they're in the room with her as she's singing. I'll definitely have to look into her other work at some point. Favorites: September in the Rain, Just One of those Things

What a stunning voice, and what a beautifully ambient album. I'm not familiar with vocal jazz in general, and this makes me want to explore the genre more. My top pick is 'Willow Weep for Me', both for the lovely melancholic sound and the interaction with the crowd.

This album takes you back to a time when lounge singers and dinner clubs were an actual option. Vaughan's voice rises and swoons as she weaves a spell capturing the magic of an era.

A beautiful intimate performance. Sympathetic accompaniment, tasteful playing and a great batch of songs. Sarah's voice is impeccable, rhe arrangements are perfect and her delivery; relaxed inimate and rhythmicly they swing. Don't often understand the rhyme or reason behind some of the non-rock choices but for this one I'm grateful that I was able to discover this amazing album 5 🌟

I'm always a bit trepidatious with live recordings especially older ones, but this is top notch. Sarah Vaughan is a phenomenal jazz vocalist and is top notch here. The few parts that do remind you it is live are whimsical. Jimmy Jones, Roy Haynes and Richard Davis are obviously great in support. It's more of a 3.5-3.8 but I'm giving it a 4/5. I'm more likely to put on a studio recording of Sarah Vaughan's but this was a quick treat.

My first time actively listening to Sarah Vaughan. This is, simply put, really damn good. Absolutely beautiful voice, interesting and delicate instrumental accompaniment, as well as lovely, sincerely intimate and lite-hearted atmosphere in the club. 8.5/10

Sarah Vaughan has a gorgeous voice and a great sense of humor! Even when she forgot the lyrics to a song, she made it work and elicited laughter from her audience. What a captivating musician. This live album captures her in sound. Excellent listening.

I love how relaxed the atmosphere is on the album. It is like Sarah Vaughan is putting on a show just for you. Such an intimate live album as opposed to the at times bombastic stadium fillers. I need to listen to Sarah Vaughan some more.

Sweet voice and nice toned down show. Not the most exciting thing in the world, but there was an intimacy to it I found very valuable.

Exquisite voice and accomplished confident performer. I usually choose to listen to Ella for this type of jazz, but Sarah Vaughan's voice is so smooth. Great piano playing (drums and bass are so good you don't notice them). Lovely recording.

Smooth.

Satte 4 först. Insåg efter några dagar att de mina två första album (Monaé och Vaughan) var solklara 5:or i jämförelse m övriga album.

What a beautiful and intimate album - these are the sorta live albums i like. you've got people laughing, you've got beautiful vocals and the backing band just know what their doing. love me big band albums cause i'm a lil bit of a jazzhead haha

Album 898 of 1089 Sarah Vaughan - At Mister Kelly's (1957) Rating : 3.5 / 5 I really love these blasts from the past - back to a much simpler time before the music industry became the monster that it is today. While I’m usually not big on live recordings, this one hit just right. The intimate feeling of the performance came through beautifully, almost as if I was sitting there in the crowd taking it all in. Sarah’s voice is in full command here, smooth and effortless, backed by a trio that keeps the mood light and swinging without ever stepping on her delivery. The banter and the small-room vibe only add to the charm. It’s the kind of performance that makes you wish you could have been there. A fine album, and one I’d recommend to anyone curious about experiencing jazz at its most personal.

8.5/10

This is a live album featuring Sarah Vaughan and her trio recorded at the legendary Chicago jazz club Mister Kelly's on Rush St in 1957. Sarah Vaughan also known as "Sassy" and "The Divine One" was a decorated (Grammy's, jazz awards) jazz vocalist starting in the 1940's with a great, tremendous voice. Her trio consisted of Jimmy Jones-piano, Richard Davis-double bass and Roy Haynes-drums. The songs have Sarah covering jazz and musical standards from the 20's, 30's, 40's and 50's. This is a pretty laid back affair: Sarah's voice dominates with a softer jazz backing band. The man who introduces the concert tells the audience she will be singing from lyric sheets. And, in a few songs she flat out says she doesn't know the lyrics. One of those songs, "How High the Moon", is one of my favorite on the album as she says it's an Ella Fitzgerald song, doesn't know the lyrics and starts improvising. It was fantastic. Other song highlights included "Stairway to the Star" - Incredible vocal ending, "Lucky in Love" and "Poor Butterfly." I'd imagine this would hit the spot on a Sunday afternoon while reading a book or doing something. Honestly, at 113 minutes, it was rather long. If your into more relaxing jazz music with an incredible vocalist, this is your album. I appreciated it for that.

No idea who this is, which doesn't bode well. And it appears to be a live album, so it's got that going for it too. If I vote it higher than 2 on general principle, it's going to be an amazing record. OK, so I've listened to it and it's a 4 star. Her voice is nothing short of amazing. The band are well mic'd and tighter than a gnat's twat. Obviously if this were studio recorded it'd be five stars, but there we go...

This album has a great sound for a live album from 1957. It does a good job of transporting the listener to that smokey bar and listening to a great jazz show. Her voice is nice and the music is good but nothing earth shattering. It is a nice album to put on for background music but not something I would seek out to listen to again

I wasn’t born in 1913. That’s on me.

At Mister Kelly’s Although on occasion her vocal style feels very of its time, she does of course have a lovely, relaxed warmth to her tone and its truly great voice. And it's nicely mirrored in the understated and thoughtful playing, the piano moving delicately around her voice and the bass and drums never getting too showy or splashy. Although there are some great songs by some great songwriters on here, I think it works a bit better as an overall feeling and atmosphere rather than as focus on individual songs - there are occasional missteps, and it doesn’t feel as tightly improvised as other albums we’ve had, but the relaxed, undemanding spirit makes it a charming listen, even if it never really gets out of 3rd gear. I’d certainly listen again if in the right mood, and her voice is lovely, but I think it tops out at a high 3. 👒👒👒 Playlist submission: Stairway to the Stars

I am not a Jazz guy and, for that, I feel bad about myself. So I cannot get too jazzed up about this album. But do not get me wrong, there is nothing distasteful on here. In fact, plenty of it is quite good, especially Sarah Vaughan's voice. This record would be a nice accompaniment for a dinner party with cool friends or, possibly, even sexy time. I definitely enjoyed the slice-of-life Chicago nightclub vibe. There is a part when you hear an audible thud followed by the crowd chuckling. This was presumably in response to a busboy slipping on a banana peel and stumbling, genitals first, into a microphone.

Sarah Vaughan had a tremendous voice, but there is nothing exceptional about this album. Just a standard live album by a jazz singer.

Syrupy voice. Fun but no Nina or Ella

Ms. Vaughan sings good, real good. Smooth and tender, but also powerful. Her trio band (bass, piano, drums) is solid - understated, never stealing the light and rarely even stepping into it, but still highly competent and filling the supportive role well. As a live album this is solid - the sound is crisp, her voice is on point, the audience is per stable but not distracting, there are little flubs that add to the fun and realness but don’t take away from quality. All things said this is a solid live vocal jazz album from Sarah Vaughan, though the style may not be a top preference of mine.

Good live album

Beautiful voice, I was somehow totally unfamiliar with her before this. My loss. Loved that this was more of a moment in time than a polished record, with multiple flubs and mistakes kept in the final recordings. Adds some humanity to this otherworldly voice we’re hearing.

chilled

Genuinely never heard of her before, which surprised me. Lovely voice, standard songbook though. I know it's of its time to do the songbook but it is just lovely covers.

Great album, what a voice!

A great voice and I love the personality that comes along with a live recording. Sounds like something that would be playing during a candlelit dinner in a romance movie (3.5/5)

This is a classy specimen of music that I will enjoy in a bar, but will never take home with me. The off-the-peg nature of the songs plays on my mind, though I know good artists make others’ work their own. The drumming is softly exquisite.

This is certainly a 1957 live album by American jazz singer Sarah Vaughan, recorded at Mister Kelly's jazz club in Chicago.

Solid jazz. Live venue helps and is done nicely!

There are stereotypes out there about jazz, that it takes itself too seriously, or people who listen to jazz are snooty, or better-than. Or some think jazz is inaccessible. Anyone who thinks that should definitely listen to this album. Sarah Vaughan stays cool, calm, and makes the crowd laugh as she effortlessly flows through this set. The band, the audience, and her have a sense of community as they experience the music together. Vocal jazz is not my thing personally, I like jazz without vocals, but I really enjoyed listening to this legendary vocalist. The recording is so intimate you can hear audience members whispering to each other, and I really felt like I was in the room. I found it easy to listen to, and I have a much better understanding of Sarah Vaughan now.

No. 92/1001 September In The Rain 3/5 Willow Weep For Me 3/5 Just One Of Those Things 4/5 Be Anything But Darling Be Me 3/5 Thou Swell 3/5 Stairway To The Stars 3/5 Honeysuckle Rose 3/5 Just A Gigolo 2/5 How High The Moon 2/5 Average: 2,89 I didn't really like what she was doing with her voice that much. And that's the whole pull for this record.

3 stars pleasant enough, not my bag tho

Not my cup of tea.

Her voice is super vibrato heavy but I do like it. The recording is very intimate and casual. It's cool. Vocal jazz maybe isn't for me and I didn't like the scat singing at the end, but glad to have been exposed to this.

I found her vibrato triggering

https://www.youtube.com/watch?v=XcEKtVZ0XX4&t=3 this is all i could picture listening to this album.

Sounds like bad karaoke night at the jazz lounge. I like the lounge vibe, but these tracks are all about the vocals, and she’s not a good vocalist. Her range is limited, her style is abrupt rather than sultry, she has a weird cadence, and she seems to be searching for her notes. Not sure how this makes the list or why it’s special. Hard pass in a genre I normally enjoy.

Beautiful. Honeyed. A couple of humorous moments. That audience was so lucky to be there.

Old recording brings a wonderful warmth.

Beautiful voice!

джазец хорошо люблю не знал такую мадам, теперь знаю

Delightful album. Like a slice out of time, so cozy and comforting.

Sarah Vaughn had one of the very best voices. Unlike the flashier singers, she kept to the melody with perfect timing and nice fills. She’s seen as one of the big three : Billie and Ella as the other two. And my favourite is Sarah. I love how she hangs onto the consonants - just one of the thinnnnnggs. Absolutely crack band behind her too. 5 stars.

Just superb, so pure and beautiful a voice, and so gently touching and gorgeously warm. Equals or even betters the voice of Ella. or the gentle slow phrasing. The quality of the recording is great - crisp minimal tape hiss, and her voice sounds very VERY close to the mic and hence very intimate. the original (non remastered) is superb. the remaster is 'brighter' but has more hiss. Easy 5

Now just about any 50's jazz singer worth their salt released a Live at the Insert Small New York Jazz Club album and played the Great American Songbook, and they are all pretty damn good. Sarah's take has no surprises on the song selection, but Be Anything But Darling Be Mine is absolutely stunning and showcases her voice to perfection. Is this voice still present in the 21st century? Have we moved on from this style and this level of excellence, are there still jazz singers out there doing what she does here? Dunno. In the swirling cesspool that is popular culture and all that (non) jazz it is hard to know. Her performance here, in some tiny,tiny little club is simply breathtaking. The other really interesting thing is listening to the trio (they were always a trio..). The subtlety and nuance, the understated rhythm are beautiful, these guys (I'm probably rightly assuming they were blokes) knew exactly what to do behind a voice like that, wonderful music. Top shelf choice for this list.

Perfect.

Charming. Fun. Relaxing.

I'm not a big fan of jazz instrumentals but I am a huge fan of jazz vocals. Sarah Vaughn rates right up there with Satchmo, Ella Fitzgerald, Frank Sinatra and Tony Bennett. Her vocal chops shine on this album. Definitely five stars

On the back of the record sleeve, there's a part of the blurb that mentions how, when you listen to this thing, you're taken "there" — "'there' being an intimate supper club", to use the exact wording. And that gave me an idea. Before I put on this album, I stood up, took my phone somewhere across the room (yet not too far away) ... and returned to my seat without it as the album began. And while it was playing, I occupied myself on my iPad with other matters, mostly keeping my focus there. This might sound like I was ignoring the album. And in spots, I probably was. But this was **not** my intention whatsoever, no. See, I figured, if this album was supposed to take me to a supper club, why not try and act like I was actually at one? Like,in no means was I trying to disrespect Ms. Vaughan here; I was simply only trying to experience her the way the audience who was there when this was recorded might have. Only without the supper or being able to see her. At least I didn't have to pay the cover fee. And I'll tell you this: I can only imagine how much more I'd like this thing if I **had** listened to it through headphones. Even with this material playing out of a little iPhone speaker, I absolutely **loved** what I heard. Sarah Vaughan has a lovely voice. I didn't catch a word of what she was saying, but I really don't think it matters. She could've been singing absolute gibberish the entire time and I still would've loved hearing it. It's absolutely, for sure, this album's charm point and the reason why you'd listen to it. "The warmth of an angel", as the owner of Mister Kelly put it. Which isn't to completely sideline the trio behind her; they're important as well. I mean, who ever heard of unaccompanied vocal jazz? Just ain't a thing. Jimmy Jones's piano playing is a particular highlight to me. It's just, come on — Sarah Vaughan is a presence all by herself, your attention can't be drawn directly to her. Well, it's that, and also the master of the release I listened to was ... a little eh? I know this album is from 1958, but I swear I've heard releases that're even older that sound better. And I'm not just saying this because I was listening on my phone; I sampled some tracks with headphones later and there was just something about it that didn't sound 100%. It's no indictment on the music itself, of course — jus', goodness. Maybe it sounds better on the expanded edition? The one Wikipedia seems to think was the only edition ever released. And honestly, given how much I liked this album, maybe I **could have** listened to it. I don't think I would've minded another 40 minutes of this... And that's about the size of it. There's really not much to it; it's just a wonderful slice of vocal jazz sung by a very pretty singer. It's something I'd absolutely put on again whenever I'm in the mood for that sort of thing (and I figured I've heard Tony Bennett and Lady Gaga's 'Cheek To Cheek' enough). Whether you're listening to it on headphones, or you're playing it score your own little supper club, you're gonna have a nicely intimate time either way.

Definitely gives you the vibe of being in a jazz bar. 4.5 bumped up to 5.

I’m at a 5. Not too much to say on that really; just a totally intimate nightclub performance of some wonderfully sung standards. A slight bit of PTSD for those who experienced the full 3-hour version of the Ella Fitzgerald album, perhaps, but since I listened to an abridged version, I don’t think I encountered any of these. Sarah Vaughan has a truly lovely voice, and the chances she gets on this album to show her natural charisma are well-appreciated. It’s obviously got a few little flaws, but I like that they’re kept in; no live performance, no matter how rehearsed, ever goes 100% well, and keeping them in makes it feels much more authentic. The audio quality is great for 1957 too, and while I do wish the band / crowd had just a little more of a presence like some of the other live albums on this list, they still have enough of one that this does still feel like I’m sitting in the crowd for it. It’s a great live album, simple as that. The floor here is probably a 3 if you’re not big on standards, or a 4 if the mic falling over during “Willow Weep For Me” is a big enough issue for some reason. There’s a few little lull moments here and there on some tracks, but nothing that ever seriously took me out of the immersion. I enjoyed it a lot, and I think it’s a pretty darn good 5.

Very nice...a true staple of jazz

A live recording in 1957, imagine it...being there, at Mr Kelly's, sat at a table, glass of scotch, toe tapping and getting lost in the moment......in front of you, the most finest of jazz musicians, and most of all Sarah Vaughan and her sweet voice. There's a moment in Willow Weep for Me- where someone drop's an instrument, mic or something- there's a bit of a laugh and Sarah just improvises in such a professional but relaxed, informal manner. Her voice is like you're being wrapped up in a nice thick cosy blanket on a cold winter Sunday afternoon. Haven't heard it in a while, I own it on vinyl, & stuck it on , what a lovely reunion that was. Love it.

Otherworldly voice. No other way to describe Sarah Vaughan than the voice of an angel. The album is live, but honestly, it doesn't feel like a "lower quality version of a studio". The piano and the minimal production just make it all more warm and cozy, and as a 22-year-old living in Texas, I couldn't be further from a 50's jazz club in Chicago, and I'll eternally be jealous.

Perfection

Amazing. Super cool live recording and a real treat to have on.

Luminoso, divertido y todo lo que debería ser un buen disco de jazz vocal. La voz de Sarah Vaughan es una de aquellas que te hace dudar de tu condición de humano (como la de Sinatra), y el combo -especialmente disfruté a Roy Haynes en la batería- interpreta los temas soberbiamente. En 35 minutos hay lugar para temas juguetones así como para las baladas (me sorprendió la versión de Just a Gigolo) y me dejó con ganas de seguir investigando si esta formación ha grabado más pues lo ignoro completamente. Un clásico, entiendo, de una artista que vergonzosamente no había escuchado hasta ahora.

So good!

One of the best singers in music history... at the HEIGHT of her powers... amazing control... perfect pitch... toying with the vibrato... sassy as heck... one of my all time favorite records... FIVE STARS!

I really loved this. I normally don't bother with live recordings but this was so open and intimate, and Vaughan's voice is sublime.

Great vocal jazz and love hearing what it sounded like in the 50s to do a live recording

Phenomenal. One of the greatest jazz singers ever, period. It's so enchanting to hear a true live performance like this, where things aren't completely flawless, but you get to hear a master adapt and work around everything in real time. She was infinitely charming and brilliant. What a joy.

So cozy and perfect! I loved every second of it.

Great jazz singer never heard of her until now

Perfect for a cold, fall day. Makes me want to sip a hot beverage.

Loved it. Fun album

I could listen to Sarah Vaughn all night. Such a wonderful voice, a great album. I missed the days of small nightclubs like this, I wish they were still around. Five stars all night long.

### **In-Depth Review of *At Mister Kelly’s* by Sarah Vaughan** Released in **February 1958** and recorded **live** over three nights in **August 1957** at the legendary **Mister Kelly’s jazz club in Chicago**, *At Mister Kelly’s* is a landmark live vocal jazz album by **Sarah Vaughan**, one of the most technically gifted and emotionally resonant singers in jazz history. Backed by a tight trio—**Jimmy Jones (piano)**, **Richard Davis (bass)**, and **Roy Haynes (drums)**—this album captures Vaughan in an intimate, relaxed setting, delivering a masterclass in phrasing, timing, and emotional nuance. --- ### 🎶 **Musicality & Performance** Sarah Vaughan’s voice is the centerpiece here, and she uses it like an instrument—fluid, expressive, and technically flawless. The album spans a wide range of moods, from playful and flirtatious to deeply melancholic. Her interpretation of standards like **“Willow Weep for Me”** and **“Dancing in the Dark”** is imbued with a quiet sorrow, while tracks like **“Thou Swell”** and **“Honeysuckle Rose”** showcase her rhythmic agility and playful scatting. The trio is exceptional. **Jimmy Jones** provides elegant, understated piano accompaniment, while **Roy Haynes**’s drumming is crisp and responsive, never overpowering. **Richard Davis**’s bass lines are melodic and grounding, giving the set a warm, cohesive feel. --- ### 🎼 **Lyrics & Themes** The album is a curated journey through the **Great American Songbook**, with songs by **Cole Porter**, **George Gershwin**, **Rodgers and Hart**, and others. Thematically, the album explores **love in its many forms**—romantic longing, heartbreak, flirtation, and resignation. Vaughan doesn’t just sing the lyrics; she **lives them**, injecting each line with emotional truth. - **“Just a Gigolo”** becomes a tragic meditation on loneliness and identity. - **“Embraceable You”** is tender and intimate, almost whispered. - **“I Cover the Waterfront”** evokes a sense of yearning and isolation. --- ### 🎛️ **Production & Sound** Produced by **Bob Shad** for **EmArcy Records**, the album is a **live recording**, and the production wisely preserves the **raw energy and spontaneity** of the performances. The sound is clean and well-balanced for its time, with Vaughan’s voice front and center, yet the trio is clearly audible and dynamically mixed. There’s minimal crowd noise, but enough ambiance to remind you that this is a **live, breathing moment**. --- ### 🌟 **Influence & Legacy** *At Mister Kelly’s* is often cited as one of Vaughan’s **finest live recordings**, and it stands as a **benchmark for vocal jazz performance**. The album influenced generations of jazz vocalists, from **Nina Simone** to **Diana Krall**, and is a **masterclass in interpretive singing**. It also helped cement Mister Kelly’s as a **crucible for jazz greatness**, with performers like **Ella Fitzgerald** and **Billie Holiday** also gracing its stage. --- ### ✅ **Pros** - **Vaughan’s voice** is at its peak—rich, expressive, and technically flawless. - **Intimate setting** allows for emotional vulnerability and spontaneity. - **Top-tier trio** with exceptional chemistry. - **Timeless song selection** from the Great American Songbook. - **Live energy** captured without overproduction. --- ### ❌ **Cons** - **Limited original material**—all songs are standards, which may not appeal to those seeking innovation. - **Minimal banter or crowd interaction**—some may prefer more context or storytelling between songs. - **Monochromatic mood**—while emotionally rich, the album stays within a relatively narrow emotional range compared to some of her studio work. --- ### 🧾 **Final Verdict** *At Mister Kelly’s* is not just a live album—it’s a **vocal jazz masterclass**, a **time capsule of mid-century elegance**, and a **testament to Sarah Vaughan’s genius**. While it may not break new ground compositionally, it **redefines interpretive singing**, and its influence echoes through decades of jazz and popular music. For anyone interested in the **art of vocal jazz**, this album is **essential listening**.

Not a fan of live albums, but Lord, am I obsessed with her voice. 100/10

What a voice! Five stars.

Moi aussi j'ai un faible pour Billie Holiday. /// Je n'avais pas vu le retour de wineboy et son message. Bon retour wineboy! J'ai compris en décalage que c'était à JF wineboy que la demande s'adressait et non à JF jeanjean. Moi aussi je serait intéressé à connaître tes suggestions.

Great jazz!

I first got introduced to Sarah Vaughan at Jewel Kilcher's biography, she especifically mentioned Sarah's voice control. Although I have listened to some of Sarah's songs, it is in this album that her voice control is crystalline. The way she reaches her lows delivers her highs and deliver the message of the song is something magical. The whole album shows well, even in her imperfections how amazing her voice and charisma are. I am learning here that I love Jazz and Sarah will be definitely an artist that I will be revisiting a lot! 5/5

Such a lovely album! I normally don't like jazz or live albums, but the audience fully appreciated the performance, only interjecting a couple of times when appropriate. The mistakes she made during the recording made it feel very immersive. My rating: 5/5

Pleasant, easy listening music. Would love to hear more like this throughout. I kind of love the way they introduce the performance on the album itself. It adds to the ambience. Favorite Songs: September in the Rain, How High The Moon

What. A. Voice. I felt like I was in the room being enchanted by this vocal siren

Throughly enjoyed this album and it definitely was a mood lifter!