Album Reviews

Vaughan takes unexpected, daring turns, both emotionally and physically, around every familiar melodic signpost. She’ll surprise throughout, as will Wilson’s arrangements. Both leave open spaces that seem to be dropping uncontrollably into musical chasms only to be rescued by yet another audacious, surprising recovery. Who takes these kinds of chances these days?

Sarah seems millimeters from the microphone diaphragm, where even the most fleeting of physical mistakes or emotional letdowns will be amplified but she makes not a one, investing the deepest commitment to every phrase she utters. It’s intense!

Ernie Freeman’s B-3 dominates on the right track that includes a deep, juicy keyboard driven bass line that you’ll never mistake for a stringed instrument, though there’s one there as well occasionally. It might sound distorted but that’s what it sounds like. Milt Turner’s drums are right behind. Carmell Jones’ oft-muted trumpet and Teddy Edwards’ tenor sax hold the left channel with a hollow bodied electric guitar not mentioned in the usually accurate Pure Pleasure product blurb. Sarah gets center stage and she fills every inch of it.

Sarah covers standards like “A Taste of Honey,” “What Kind of Fool Am I?” Steve Allen’s “Gravy Waltz,” “The Good Life” and a few others along with jazz titles like “Moanin’” and “Round Midnight.”

The recording is deep and pure with instruments popping dynamically out of black kissed by minor amounts of reverb. Vaughan’s voice is particularly well served by the recording. If you like warmth and depth, this recording delivers and if you’re not familiar with Sarah, this is a moody, cool period piece at the end of her Roulette Records years bound to make a life-long fan.