by Jason Ankeny 　　The New Scene pairs Sarah Vaughan with arranger Luchi de Jesus for a luminously crafted collection of songs squarely in the style and sensibility of the mainstream pop of the mid-'60s -- and while jazz purists will have already recoiled in horror and moved on to another review, less myopic listeners will discover an effervescent, lively LP that refuses to sacrifice the sensitivity of Vaughan's remarkable voice in favor of crossover success. Decades removed from the album's original release, songs like "Michelle" and "Call Me" are now indistinguishable from the traditional standards they usurped, and to her credit Vaughan seems to grasp completely the excellence of the material at her disposal, savoring the lyrics and navigating the melodies with trademark artistry. De Jesus' buoyant arrangements are similarly perceptive, playing to Vaughan's myriad strengths while channeling the lessons of Abbey Road and Hitsville USA to subtly update her approach for a brave new world.