Like a gifted actress, Sarah Vaughan always makes lyrics come alive, whether on poignant ballads or buoyant pop novelties. Vaughan "plays" her voice as if it is a "real" instrument, and on this 1955 marvel, she is matched with musicians of an equally high caliber. On "Lullaby of Birdland," she trades harmonically advanced scat lines with Herbie Mann, Paul Quinichette, and Clifford Brown. Vaughan is hauntingly romantic and Brown is at his most lyrical on "September Song." She shows her unbelievable bop-influenced creativity on "You"re Not the Kind"; Brown"s hard-swinging solo and Quinichette"s Lester Young-styled softness set up an incredible ending cascade from Vaughan. Pianist Jimmy Jones"s beautiful chords on the infectious "He"s My Guy" show why he was one of the most sought-after vocal accompanists, while Vaughan"s phrasing, deliberately behind the time, adds perfectly to the relaxed feel. "April in Paris" reveals her operatic quality as Brown"s tingling riffs fill in the space behind her. Throughout, Sassy combines exquisite elegance, impressive range, and an effortless delivery. --Marc Greilsamer