Background: Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress and sang in the church choir. Jake and Ada Vaughan had migrated to Newark, New Jersey from Virginia during the First World War. Sarah was their only biological child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan.
Context: Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street such as the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan hung around the Braddock Grill, next to the Apollo Theater in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker, with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month, she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides. After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square. While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, Vaughan had her teeth capped, eliminating a gap between her two front teeth. Many of Vaughan's 1946 Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946. Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly"--she was proud to be the first to have recorded that Jazz standard--became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the time the better-known Nat King Cole version was released. Because of a second recording ban imposed by the musicians' union, "Nature Boy" was recorded with an a cappella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody.
Question: What era of music was all this in?
Answer:

Problem: Background: Casino Royale is a 1967 British-American spy comedy film originally produced by Columbia Pictures featuring an ensemble cast. It is loosely based on Ian Fleming's first James Bond novel. The film stars David Niven as the "original" Bond, Sir James Bond 007. Forced out of retirement to investigate the deaths and disappearances of international spies, he soon battles the mysterious Dr. Noah and SMERSH.
Context: Sellers left the production before all his scenes were shot, which is why his character, Tremble, is so abruptly captured in the film. Whether Sellers was fired or simply walked off is unclear. Given that he often went absent for days at a time and was involved in conflicts with Welles, either explanation is plausible. Regardless, Sellers was unavailable for the filming of an ending and of linking footage to explain the details, leaving the filmmakers to devise a way to make the existing footage work without him. The framing device of a beginning and ending with David Niven was invented to salvage the footage. Val Guest said that he was given the task of creating a narrative thread which would link all segments of the film. He chose to use the original Bond and Vesper as linking characters to tie the story together. In the originally released versions of the film, a cardboard cutout of Sellers in the background was used for the final scenes. In later versions, this cardboard cutout was replaced by footage of Sellers in highland dress, inserted by "trick photography". Signs of missing footage from the Sellers segments are evident at various points. Evelyn Tremble is not captured on camera; an outtake of Sellers entering a racing car was substituted. In this outtake, he calls for the car, a la Pink Panther, to chase down Vesper and her kidnappers; the next thing that is shown is Tremble being tortured. Out-takes of Sellers were also used for Tremble's dream sequence (pretending to play the piano on Ursula Andress' torso), in the finale - blowing out the candles whilst in highland dress - and at the end of the film when all the various "James Bond doubles" are together. In the kidnap sequence, Tremble's death is also very abruptly inserted; it consists of pre-existing footage of Tremble being rescued by Vesper, followed by a later-filmed shot of her abruptly deciding to shoot him, followed by a freeze-frame over some of the previous footage of her surrounded by bodies (noticeably a zoom-in on the previous shot). As well as this, an entire sequence involving Tremble going to the front for the underground James Bond training school (which turns out to be under Harrods, of which the training area was the lowest level) was never shot, thus creating an abrupt cut from Vesper announcing that Tremble will be James Bond to Tremble exiting the lift into the training school. So many sequences from the film were removed, that several well-known actors never appeared in the final cut, including Ian Hendry (as 006, the agent whose body is briefly seen being disposed of by Vesper), Mona Washbourne and Arthur Mullard.
Question: Would unfinished scenes have changed the outcome of the movie?
Answer:
So many sequences from the film were removed, that several well-known actors never appeared in the final cut,