BennyGoodman (1909-1986)
, Benny Goodman & hisOrchestra (Columbia)
In April 1933 Billie worked as crooner at the Monettes Club, when JohnHammond, after attending ashow,mentioned her in hisMelody Maker magazine column, praising her voice and beauty. Not someone who would've neededMedifastcoupons, Medifastdiet or any of the popularliquiddiets and fasting fads of the 30s.
He also invited his friendBenny Goodman, one of the most famous jazz musicians at the time, to meet Billieat Monettes.
I conceded one star to commemorate this first recording. The disc was issued with a Goodmans instrumental track in the other side,Tappin the barrel., Benny Goodman & hisOrchestra (Columbia)
the issued record has Jack Teagarden with Goodman in the other side; he was trombonist in both sessions. Billie did not include any of these two tracks in her nightlife repertoire.John Hammond (1910-1987) was the producer for both recordingsessions. Hammond, the son of a rich Manhattan family, showed interest for musicat early ages and went to Yale to learn violin. Bohemian habitual of the musicalworld, he was great supporter of artists racial integration, having laterhelped the foundation of an integrated club, the famous Café Society. In hislong career in the record industry he had, later, uncovered many other talentedartists like Bob Dylan.
John Hammond(1910-1987)
Teddy Wilson & his Orchestra (Brunswick)
nice song by Rainger, Whiting & Leo Robin. Billie along her career hasalways honor the musicians whom she played with, they always had space formemorable solos. In this case, listen to Wilson at the bridge while Billie giveshim incentive: "Yeah, yeah!"; Eldridge shines in the sequence. it is said that Goodman didnt takepart in this track because he was "late for a dinner". He didntloose anythingThis is an historic session: the first Billie collaboration with TeddyWilson. They have recorded 94 tracks together!
- this is a good song from the well-known composers Ralph Rainger & Dorothy Parker. It was not easy in those days for a black singer to get nice songs to record, because of the music publishers power. Nevertheless Hammond found this one for Billie, worth a star. Teddy Wilson makes a short introduction and shares the opening with Benny Goodman. In the bridge, Eldridge and Goodman duel with Webster. She would record it two more times (s.MT #256, MT #293). I dont appreciate this song that Billie recorded also in 1954 (s.MT #245) with similar results. (The lyrics?Ooh, ooh,ooh oohhh, what a little moonlight can do...hmmm). maybe because the fast tempo, Billie included this tunefrequently in her shows; there are other seven live registers.Born Theodor Shaw Wilson in Texas. By the time, he hadalready played with Goodman and also recorded piano solos for Columbia in 1934.The series of recordings for Brunswick/Columbia would only be interrupted in1942 because of the "recording ban" ordered by the American Federationof Musicians. Teddy Wilson also played with Ella Fitzgerald, Lena Horne and othercontemporaneous singers.
Teddy Wilson(1912-1986)
Teddy Wilson & his Orchestra (Brunswick)
No matter how much the band changed, the songs remain second class
Billie manages to turn this mediocre song into something we can hear. Listen to the sound Ben Webster gets out of his sax.Ben (Benjamin Francis) Webster, 1909-1973 was born in KansasCity and is considered one of the big-three tenor saxophonists, with ColemanHawkins and Lester Young, being all three in this discography. He was one of theclosest Billies friends, having recorded 45 tracks in studio with her duringall of her career.
Teddy Wilson & his Orchestra (Brunswick)
Wilson assembled an all-stars band. John Kirby will record 41 tracks withBillie from 1935 to 1938.
the best song in the session, by Johnny Mercer & Matty Malneck. Teddy opensbacked by the rhythm session and Chu Berry prepares the Billie introduction.Eldridge closes in great style.Teddy Wilson & his Orchestra (Brunswick)
this is not a famous song, but Billie transforms it in a wonderful performance. This time, Johnny Hodges opens the track, Dick Clarke follows and Macey introduces Billies chorus. The swing goes on and Teddy opens the final suite. a curiosity: unlike all preceding tracks where the band opens in several bars,sometimes more than a minute long, in this Billie starts singing upon a shortHodges intro. He will come back at the bridge, followed by Wilson that alsoopens the final chorus.
, Teddy Wilson & hisOrchestra (Brunswick)
, Teddy Wilson & his Orchestra(Brunswick)
this is an emotional rendering of Billie of a less known song. Wilson opens and Hodges assumes, preparing Billies entry. Jonah Jones assumes the melodic line e closes the track. song of great success, recently composed by Jack Strachey, lyrics from HoltMarvell. One of my favorites. (A tinkling piano in the next apartment...).Notice the opening Wilson solo, introducing the theme, alternating with Carney. this record was Billies sales champion in Brunswick. Thats the first "standard" she recorded, a song from 1923 by Arthur Freed & Gus Arnheim & Abe Lyman. Beautiful melody. Listen to Hodges solo at the opening, introducing the theme. For me, tempo could be slower. Billie would record it again in 1954 (s.MT #246), but this is stillthe best version.We call "standards" the songs the are well known and often played by jazz bands and musicians.
Billie Holiday &HerOrchestra (Vocalion)
First session Billie recorded for Vocalion, with Bernie Hanighen as producer.To point out the presence of Artie Shaw, whom Billie will work with from1938 on.He would say later thatBillies Blues was one of his preferredrecordings.
both tracks, with a new band except for Cozy Cole, work very well. a Gershwin famous song. Nonetheless, I dont really like the Billie rendering. one of Billies own compositions, one of the most played along her career. In studio, she would only record it one more time, in 1944 (s. MT #177), although this is a better recording. She composed it just before the recording session, as nobody liked the song previously selected. The opening is non usual with the guitar and the rhythm section. Billie assumes withobbligati from Berigan e Shaw. This song became one of her favorites in live shows. There are more 18 registers in several presentations, turning it the absolute recording champion. Two of these live tracks are mentioned in this work: the February 54 "Jazz Club USA" presentation in Switzerland, an wonderful jam session almost 12 minutes long (her longest known track ever) and the memorable Carnegie Hall show in November 56 (see sessions #69A and #78B).The term obbligato (pl.: obbligati) derives from the Latinobbligare to obligate, to serve. It represents the accompaniment aninstrument does behind a singers voice. Most used in jazz.
Volume 2
, Billie Holiday & HerOrchestra (Vocalion)
This Vocalion session is to be forgotten.
I like this Jerome Kern song, lyrics from Dorothy Fields, recently composed for a Fred Astaire film. Thats the best song in this session. However, this recording does not rank among my favorites (and the sound is awful); what worth here are the Berigan and Fazola solos. Billie would record it again 20 years later, in 1955 (s.MT #272) in a better arrangement., Teddy Wilson & Orchestra(Brunswick)
Back to Hammonds production and Brunswick label, the musical selection andthe musicians quality turn much better in this session recorded in twosubsequent weeks. Gene Krupa substitutes Cozy Cole (who recorded all sessions sofar, and would play with Billie almost to the end of her career).
nothing like Cole Porter to open the session; this is one of my favorite tunes. It was composed in this same year for the filmBorn to Dance, with James Stewart. Notice as Billie alters the melodic line at the beginning. Billie will record it again in 1952, (s.MT #227) in her first Verve session. Nice song from Jerome Kern & Dorothy Fields, recently composed for the filmSwing Time. However, Billies performance does not match the song quality.
Gene Krupa (1909-1973)
, Teddy Wilson & Orchestra(Brunswick)
This session was recorded a week later, with the same band, to complete theseries. To note Milt Hinton, who recorded 32 tracks with Billie till the end ofher carrier, albeit a large interval in the forties.
, Teddy Wilson & Orchestra(Brunswick)
a song by Johnny Burke & Arthur Johnson, very popular by the time. Listen Goodman in the final chorus, followed by Jones. Jones opens in mute and Goodman follows. Wilson opens the final sequence and the band closes nicely. a pleasant song by Jimmy McHugh & Dorothy Fields. Jones opens and Wilson keeps the swing preparing for Billie. Ben Webster opens the final chorus and the band closes.
, Billie Holiday & HerOrchestra (Vocalion)
Not a remarkable session, with obscure songs.
the opening emulates a cowboy song, a style very popular in the 30s. a tempo a bit too fast.
, Teddy Wilson & HisOrchestra (Brunswick)
An historic session with one of the best bands in these series, althoughalmost all musicians were inexperienced in studio recordings. Besides Buck eLester (see below) the session counts again with Benny Goodman. The rhythmsection is a show: Jo Jones makes his first presentation with Billie and hewould record 37 tracks with her in the Columbia years, Walter Page 45 andFreddie Green 41.
a minor Irving Berlin song that doesnt fit in the session. another Berlin song, this one marvelous. Note the excellent Lester Young solo at the opening. This is his first track with Billie, but he would record other 50 tracks with her till the end of Columbia years. Lester is one of the best sax players in the jazz history. Billie is perfect and Wilson follows her in the beginning of the final chorus when Buck assumes till the end with the band. here Buck Clayton shines in mute from the opening. He would record more 40 tracks with Billie, the majority in the Columbia years. The song is an excellent composition by Jerome Kern & Oscar Hammerstein for the playSweet Adeline in 1929. Deplorable is the poor sound quality. excellent song by McHugh & Dorothy Fields, completing in high style this memorable session. After a short introduction Billie assumes the theme backed by Wilson and Clayton. Lester Young does one of his masterpiece solos in the final chorus, followed by Goodman and Buck. This remarkable jazz ensemble deserves three stars. Billie would record it again in 1956 (s.MT 274), this time with Tony Scott band earning three more stars.
Lester Young was Born in Mississippi, the son of a musician.When he came to New York he lived some time by Sadie, Billies mother. By thetime, all the musicians got a nickname, like for instance Duke (Ellington) andCount (Basie). Billie, celebrating their friendship, would soon call him Pres(from president) and he, in turn , would call her Lady Day. They would be greatfriends for life and he would pass away a couple of weeks before her.
LesterYoung (1909-1959)
Buck Clayton (Wilbur Dorsey Clayton) was Born in Kansas andrecorded 40 studio tracks with Billie and almost that many also in other liverecordings. His first studio recording experience was with Billie and TeddyWilson, in the above mentioned session. He was older than Lady and would livelonger, passing away only in 1991. He would say later that Billie and Lesterformed an inseparable couple of friends and that the three of them were known inHarlem as "The Unholy Three".
Buck Clayton(1911-1991)
, Teddy Wilson & HisOrchestra (Brunswick)
This session is a low-point in the Brunswick history.
too long introduction! Cecil Scott opens with the clarinet backed by Wilson, who assumes and passes to Red Allen in a long, although perfect, introduction. The song is less known and has the curiosity to have Ella Fitzgerald listed among the composers. note Red Allens solo in the bridge; this was his sole session with Billie, probably because they didnt get along very well (actually, I think he is a bit too noisy). I like the way Lady sings "...this is my la-ast affair" in her first chorus.
Volume 3
, Teddy Wilson & HisOrchestra (Brunswick)
On March 1st Billie got a call communicating his fathers death. Billie wasregistered as Eleanora Harris and later adopted the artistic name of his father,Clarence Holiday. A WWI veteran, he had his lungs affected with mustard gas, oneof the plagues in that conflict. He died age 37. Billie and her mother suffereda lot emotionally. It was then John Hammond made the arrangements for her tojoin Count Basie Orchestra. In this present session, Counts horns took partbut, among them, only Johnny Hodges would record again with Lady, a total of 17tracks.
Hodges opens, Teddy follows and Billie carries this nice melody. The final Cooties solo is exaggerated and unpleasant. a childish song in a fast tempo very nice song by Howard Dietz & Ralph Rainger. Teddy e Hodges alternate in a long introduction and Billie comes in backed by Cooties obbligati., Billie Holiday & HerOrchestra (Vocalion)
Some say this is one of the best of Ladys sessions. I dont agree.Vocalion sessions were generally inferior to the Brunswicks, but the best ofthem in my opinion will be session #29.
notice Baileys obbligato in this slow track. a classic standard by George & Ira Gershwin for the filmShall we dance? I personally dont like, not even with Billie. Its worth Joe Thomas sax solo. another standard by the Gershwins for the same film, with Fred Astaire and Ginger Rogers. Notice the original trumpet intro, repeated again at the bridge by Bailey clarinet, a delight.
, Teddy Wilson & HisOrchestra (Brunswick)
Very good session, with lots of swing and a respectable brass section makesthis one of the best Brunswick sessions.
Buck opens amazingly, followed by Baileys clarinet and obbligati. Wilson and Hodges take over in the long final sequence keeping the swing tempo in this wonderful song. Hodges and Wilson obbligati followed by Buck make a wonderful intro. Lots of swing. the band opens and Hodges takes over in an excellent solo. Billies marvelous rendition is a classic. Wilson and Buck close with more swing. Billie will record it once more in 1944 (s.MT #163), but this one is superior. another delightful song, listen to the Lesters solo, back after some time., Teddy Wilson & HisOrchestra (Brunswick)
In contrast with the former session, this one goes straight in a mediumtempo. Very pleasant. It is always a pleasure listen to Lester and Bucktogether.
Lester Young opens in a brilliant way then Wilson and Buck close the long introduction; Billie carries well this marvelous song by Tinturin, lyrics by Jack Lawrence (who also wroteTenderly, years later) a delightful rendering. Wilson opens with a long solo and Billie takes over with Lesters obbligati., Billie Holiday & Her Orchestra (Vocalion)
A mediocre session that counts, however, with great artists in the cast.
worth for the Wilson piano solo. a song by unknown composers has a good balance and its worth by Bucks solo in the bridge and Lesters obbligati. the lyrics are funny(... like a plane with no wings...) and worth by the swing in Shermans solo and Lesters obbligati., Billie Holiday & Her Orchestra (Vocalion)
The songs are mediocre and the producer is Bernie Hanighen.
Billie opens the track, what is very unusual. The obbligati are conducted alternately by Buck, Bailey and Claude. Notice the solos by Buck, Bailey and Lester in the bridge. One can imagine Billie following the rhythm and having a good time. She comes back for the final chorus. an standard from Neil Moret, lyrics by Richard Whiting. The best song in the session.Volume 4
, Teddy Wilson & HisOrchestra (Brunswick)
A first quality session, with a fine selection of standards and goodmusicians for the Brunswick label.
a classic Gershwins song to open the session is not a bad idea. Billie will record that again in 1955 (see MT #264) with better results. double Gershwin dose! Both were edited in the same 78rpm, Brunswick 8015. A collectors item. Notice Teddy's piano in the bridge and in the end. my second three-stars is a tribute to this Billie classic. It almost lost half star due to Bucks ending, though. Originally, this is a French song (Mon homme), where did Lady find it? Maybe Hammond? See also further recordings in 1948 (s.MT #199) e 1952 (s.MT #234), the latter being the best of them all.a standard by Jerome Kern & Oscar Hammerstein; a classic from the musical scoreShow Boat. Notice Prince in the start up solo and his wonderful obbligato in the last Billies chorus. It is remarkable the ending with the three horns. The last two tracks were edited together in the 8008 Brunswick 78rpm. A record for collectors!this song turned be a popular success in Billies shows. We know 13 tracks of live recordings. Among them, the best is her participation at the Carnegie Hall in November, 1956. Please see ahead my comments in that date.
Benny Morton(1907-1985)
, Teddy Wilson & HisOrchestra (Brunswick)
In this session, Benny Mortons trombone is back; he would record 20 trackswith Lady in the Columbia years.
Morton does a short opening and Billie assumes with Bucks obbligati. It works pretty well, in spite of the less known composers. Morton, again, introduces the theme. In a brisk tempo, reminds ajam session. Listen how, after Ladys chorus, Teddy shines in the solo and Lester follows with lots of swing; they both come together with Buck in agrand finale. Excellent. after a long intro, Billie carries well this nice song by Jimmy McHugh & Clarence Gaskill.
, Billie Holiday & HerOrchestra (Vocalion)
Same people from previous session.
I dont really appreciate "scat" singing. But fortunately, this is not the case, all the "dru-du-du-da-da" are indeed in the original lyrics... I mentioned Freddie Green above, now listen his sound in the background. He deserved this star. On the other hand, very poor recording quality. Lester does a short intro and Billie assumes, backed by Teddy Wilsons piano. A nice song by Gordon Jenkins & Bernard Hanighen (the latter also the producer of the session)., Billie Holiday & HerOrchestra (Vocalion)
Great number of new faces with Billie in this session. Anderson recordedeight tracks with Billie, (some say thats actually Charlie Shavers on thetrumpet) and Thornhill twelve, all in 1938. Theres also no consensus on BabeRussin, some mention Ben Webster.
a classic by J. Fred Coots. I like Billie spelling: "...to my heeaaaad". A second version of this song, even better, was recorded in 1952 (s.MT #221). these three latter songs are unknown, though pleasant., Billie Holiday & HerOrchestra (Vocalion)
See above the comments on the band.
Artie Shaw (1910-2004)
, Artie Shaw and his Orchestra(Bluebird)
Billie joined Artie Shaw band since March 9th, when she left Count Basie.This would be her sole session recorded with Shaw (and with RCA). This recordingsession had five other tracks, including Shaws successBegin The Beguine.Theres a story that, because of racial restrictions, Shaw remade the trackwith Helen Forrest, but could also be that Brunswick contested the breach ofcontract. The 78rpm disk has the number B-7759-A.
thats a pure big-band with Billie as crooner, excellent sound quality. This ended to be her sole recording of this song. The track can be found in the CDArtie Shaw Greatest Hits. See discography., Billie Holiday & HerOrchestra (Vocalion)
A session that counts with Buck and Lester together deserves respect. Iconsider this to be the best Vocalion session. Billie wouldnt recordafterwards none of these songs in studio.
a very popular song by the British composer Ray Noble. Listen the wonderful collaboration of Buck and Lester - playing clarinet, a rarity - in the bridge. one of my favorite tunes, composed by Vernon Duke and Ira Gershwin. In the bridge, theres a wonderful Lester solo. this track is the only participation of Dickie Wells, famous trombonist, that performs a wonderful solo at the bridge together with Lester. Volume 5
, Teddy Wilson & HisOrchestra (Brunswick)
Teddy Wilson is back in charge but, in my opinion, the arrangements are tooheavy, with too many horns (six), bringing that big-band climate where Billielooses the intimacy. The musical selection also doesnt help that much.
, Teddy Wilson & HisOrchestra (Brunswick)Same band and same remarks from previous session
, Teddy Wilson & HisOrchestra (Brunswick)
Unfortunately the arrangements are still as heavy as in the previoussessions, although this is a completely different band The music selection beingalso disappointing. One of the worst Ladys sessions for Brunswick.
This session closes 1938, when Billie recorded 30 studio tracks,the second most prolific in her career, after 1937 with 38 tracks. These twoyears are considered her apogee in the Columbia years, in the plenitude of hisvoice.By December this year, the son of a Latvian immigrant, the jazz lover BarneyJosephson, decided to open a nightclub where all nationalities and races couldcome together in peace. So was born the famous Café Society, carrying as motto"the wrong place for the right people". Billie was present at theopening session together with the Frankie Newton Band, whose pianist was SonnyWhite, then 21, who turned to be her great partner.
From this date on, Lady would more and more record with the Cafésmusicians, putting in hold her previous collaboration with Teddy Wilson (seesession #34) who, in turn, was considering to form his own band. Probably thisis the reason why he was experimenting new arrangements in his last sessionswith Billie.
Volume 5 (cont)
Charlie Shavers (1920-1971)
, Billie Holiday & HerOrchestra (Vocalion)
This year opens with two tracks by the Vocalion label. This session is arelief, as we are back to a smaller group better suitable to Billie style.Charlie Shavers joins Lady for the first time; he will record 32 tracks withher, most in the fifties.
Listen to Chu Berrys solo in the bridge. At the end, Shavers experiments the obbligati that will later make him famous. A pleasant rendering of Billie. a song by Carmen McRae, who years later would record a CD - tribute to Lady Day. Notice Sonny White solos in the bridge - by that time, he accompanied Billie in her presentations at theCafé Society.
, Teddy Wilson & HisOrchestra (Brunswick)
Fortunately Teddy arranged a small band for this session, the last he willconduct under Brunswick label and with John Hammond as producer. The end of aclassic era!
(Wilson will be back shortly in the next year for two more sessions, justbefore the end of Columbia years).
Eldridge is back and its his, together with Carter, the wonderful solo in the opening. a standard by Vincent Youmans, lyrics by William Rose. Teddy Wilson masters the solo in the long final sequence, followed by Carter and Eldridge. A beauty. To regret Billie does not come back for a final chorus - wish we had half a minute more..., Billie Holiday & HerOrchestra (Vocalion)
A session with unusual five recorded tracks. Several musicians came fromCafé Society band. Vocalions producer is still Bernie Hanighen from ARC. Themusical selection does not help and the band has grown to four horns.
In December 1938 Columbia Broadcast System (CBS) buys ARC andthe Columbia label will progressively replace Brunswick, definitely discontinuedin April, 1940. The last Billie session for this label took place in January,1939 (see session #34). On the other hand, Vocalion label will survive till1940, when it will be replaced by OKeh, dedicated to Rhythm & Blues .
In the meantime, Billies success at Café Society motivated the poet LewisAllen to look for Billie and offer her an unpublished song, Strange Fruit, thatwould turn into a great success. However, Columbia had no intention to record itdue to the peculiar racial theme. Billie then presented the song to her friendMilt Gabler, owner of a record store in the 42nd Street, who had recentlyfounded his own label, the Commodore Records. They both asked Columbiapermission for an independent recording and CBS, surprisingly, agreed in whatresulted to be the next session.
Session#36:Billie and Frank Newton
Frank Newton & CaféSociety Band (Commodore)
Billie recorded this session for Commodore but, just after, signed a newcontract with CBS. She will be back to that label years later, in 1944 (seesession #48). This session counts with several new faces with the exception ofSonny White, her beloved pianist. The musical selection is first quality butunfortunately the sound quality specially the microphones - and the overallresults are below average. Maybe Commodore, in its beginning, couldnt affordthe same equipment as CBS or RCA nor attain anequipmentlease. This session can be found in the CommodoreBox.
- this song was a success in Billies presentations at the Café Society, with its strong message against lynching. It is not, however, in my favorites list. a wonderful standard by Jerome Kern, lyrics by Otto Harbach, for the musicalRoberta. However, here the sound is awful, with lots of noise in the background and a poor equalization that makes Billies voice sound over the band. The alternate take is better preserved, but unfortunately is half a minute shorter. In a later interview, Billie mentioned this song as one of her favorites, but, as in the case ofFine and Mellow, she never made a good recording of it. Theres a second studio register in 1952 (s.MT #237) and a live session in November, 1956 at the Carnegie Hall (see below). But no one of them deserved a star. this song, a Billie Holiday composition, was edited asStrange Fruits B side. It was written in the night before the recording session, and it ended to be one of her most characteristics tunes. In this session, however, the funereal tempo and the sound quality did not render a good result. It is a pity that Lady never made a decent studio recording of this song, so representative of her live presentations. We know 11 liveregisters, among them her appearance at the Carnegie Hall in November 10, 1956 (live recordings #173) and, in one of her best live records ever, the wonderful presence in the live telecast ofThe Sound Of Jazz, a CBS TV Program in December 8, 1957 (live recordings, session #193) a fine standard by Harold Arlen, lyrics by Ted Koehler, the best track out of these four. Listen to the piano and sax solos in the bridge.Note: see other Commodore sessions in 1944 (161)
Volume 6
, Billie Holiday & HerOrchestra (Vocalion)
Billie is back to Columbia, under a new contract. The people and the stylewith plenty of horns are maintained in this session, very similar to theprevious session in March.
a song by Arthur Herzog, lyrics by Irene Kitchings. She is a close friend of Billie and Teddy Wilsons ex-wife. Billie has always referred to this song as one of her favorites. She would record it again in 1956 (s.MT #275) with better results. an standard by Maceo Pinkard & William Tracy ruined in this track with a too brisk tempo. A second recording in 1949 (s.MT #207) would render no better results. In live presentations from 1949 on, it will be one of the most frequent; other 11 live registers are known. only to mention the solo by Charlie Shavers in the bridge, well, Hollon is also there. You may notice among my comments that I really do not enjoy those brisk tempos, Dixieland style.
Jo Jones (1911-1985)
, Billie Holiday & HerOrchestra (Vocalion)
Two standards and two unknown songs balance this session with many horns (twotrumpets and three saxes) However, Buck and Lester are back together!
one of Cole Porters jewels, written in 1932 for the playGay Divorce. Billie, however, doesnt match the exceptional Fred Astaires recording for the play and, also, that of Frank Sinatra who took possession of it. I dont like either the variations Billie brings to the music maybe because, as she declared in her book, "she had never listened the song before". this rendering of Billie is not among his best recordings and the excess of brass in big band style doesnt help. It is a waste of excellent material and Billie unfortunately would never record it again in studio. Lesters solo in the bridge worth the track. This is one of my favorite songs and such a classic by George & Ira Gershwin deserves a star. it is worth to hear Buck and Lester solos
, Billie Holiday & HerOrchestra (Vocalion)
Three outstanding songs make this session one of the best in this volume,recorded February 29th, a singular day. That would be her last recording forVocalion label.
one more song by Arthur Herzog & Irene Kitchings, a pure gem. Eldridge shines in his short muted intro and he is briefly back in the end. The heavy arrangement, though, outshines partly this beauty.a masterpiece by John Green (My days have grown so lonely...),one of the most beautiful in jazz. Billie is excellent, like Eldridge in his brief intro with the open instrument; he will come back in the bridge.another nice composition by Herzog & Kitchings. Sonny White, his companion ever, shines in the bridge. I dont have any other recording of this song, but it has a nice swing and Eldridge in the bridge. I learned it was sung by Marlene Dietrich in the filmThe Blue Angel.
, Billie Holiday & HerOrchestra (OKeh)
In this first session with the new OKeh label, the arrangements turn lighterand more intimate, specially in the last track.
this wonderful song by Herzog & Kitchings opens the session. I appreciate this song and Billie is doing very well, like Lester in the bridge. (I'm pulling through and it's because of you/ You made me see how lovely life could be...) another Billie composition, here in a funereal tempo but with some enchantment. Teddy Wilson is also back, filling the bridge., Billie Holiday & HerOrchestra (OKeh)
A minor musical selection combined with a somewhat heavy arrangement closesvolume 8.
a note about Eldridge, that plays the bridge: he would record 31 tracks with Billie along Columbia years. He is one of the greatest trumpet players in jazz history. Only Buck Clayton would record more in the same period. both tracks were edited in a 78rpm, OKeh #5831 notice Teddy Wilson in the bridge!
Benny Carter(1907-2003)
, Benny Carter and his AllStar Orchestra (OKeh)
This session with Benny Carter was part of an album with eight tracks in four78 discs planned by Hammond and Feather as a tribute to W.C.Handy. This projectwas never completed.
a jazz classic. Benny Carter, better known at the sax, performs a wonderful clarinet solo in the bridge. in a jazziest tempo, Auld gets his opportunity in the bridge. The arrangement is interesting, quite different from what Billie recorded so far. Both tracks were issued in the 78rpm OKeh#6064, a collector's item.W.C. Handy was a minor composer, being St. Louis Blues hisgreatest hit. In this same session, two more songs were recorded with JoeTurner, but the project was never issued.
W.C. Handy (1953-1958)
, Eddie Heywood and hisOrchestra (OKeh)
Three members of Lester Young band take part in this session, full ofwonderful classic songs.
a Cole Porter classic. I am a Porters fan, but this song does nor rank among my favorites. They could let Lester fill the bridge. - another classic, this one by Hoagy Carmichael. For those of my generation, the rendering of Ray Charles, in the sixties, is unforgettable. a song by Seymour Simons & Gerald Marks, one of those unique pearls by a composer. A wonderful song , one of Billies greatest recordings. Add the Lester Youngs solo, back in scene, and the three stars are more than deserved. A jazz anthem. in the same session two more takes, generally considered as AT, were made. As a rule, they shouldnt be included in this discography. However, one of them came out with 348", too long for a 78rpm disc at the time. It was edited years later in a Columbia LP,1940-The Singers. That's why I opened an exception to include it here. In this second MT, Lester plays two solos, alternating with Eddie Heywood. Very nice.(included in The Complete Columbia, volume 10). This song became popular in Billies live shows; nine other registers of this composition are known.
Eddie Heywood (1915-1989)
, Eddie Heywood and hisOrchestra (OKeh Columbia)
Four songs were recorded in this session in a very slow tempo.
this is probably the most famous composition by Billie (music by Arthur Herzog) and one of most recorded by other artists in her honor. Theres a second version recorded in 1950 (s. MT #213) for Decca, but this is a better version. nice song by Harry Akst & Grant Clarke; notice the three reeds in the bridge in a nice performance reading the song; this track would be issued later under the Columbia label. a recording in a funereal tempo. Theres a second recording, with no better results, in 1952 (s. MT #226), Teddy Wilson and hisOrchestra (OKeh - Columbia)
Teddy Wilson is back to the piano in this session.
issued under the Columbia label, this standard by John Green & Edward Heyman is beautiful, in spite of being in a boring slow tempo. Theres also a second recording for Commodore in 1944 (s.MT #164), but inferior to this one.an standard by Walter Donaldson, lyrics by Gus Kahn in a delicious tempo. Babe Russin shines in the bridge. Billie sings "this suspense is killin me...", while the original lyrics says "this affair is killin me..." Billie will record it again in 1954 (s.MT #243) and then her voice could be compared to this one. - the funereal tempo prevents me to like this song.From 1944 on, this song would be frequently played in her show scores. Eight live registers are known.
, Teddy Wilson and hisOrchestra (Harmony - Columbia)
The tracks (156) e (158) were edited by the Harmony label, in the 78rpm #1075issued in October 2nd, 1942. This was a "second line" label used byColumbia.Mandy is Twowas released only on LP in 1951(seeDiscography History).
Notice in the bridge the tenor sax show, followed by Wilson. A nice and swinged song by the less known Billy Mayhew. But you know when a songstays in your mind?Be sure/ it's true/ when you say/ "I love you" / It's a sin to tell a lie...I like it better each time I hear. the stars commemorate the end of the Columbia years. An standard by Alberta Nichols.This was the last session Billie recorded for ARC Columbia,at the end of her contract. In total, 153 tracks in 44 sessions (not countingthe four tracks in the Commodore session in 1939, one in the CD The Singers andone for RCA).
PaulWhiteman (1890-1967)
Paul Whiteman & hisOrchestra (Capitol)
An unique session and quite peculiar: the city is Los Angeles; the orchestra,Paul Whitemans in his sole recording with Billie; the label is the recentlyfounded Capitol Records. Billie recorded this track under the name of Lady Day,as she was formally under Columbia contract. The track may be found in the CDBilliesBlues (see discography)
a long instrumental intro - this time with a full orchestra - is followed by Billies introducing the theme. Not taken in consideration the arrangement and the violins, the track is a gem. The song is by Trummy Young lyrics by Johnny Mercer. Trummy recorded with Billie in 1938 (session #31) being her old friend. They both needed money, so they decided to play this song. Curiously, they ended up spending everything commemorating in the same night.That session has an important historic aspect:it was the last before the famous "Recording Ban", that would leftBillie and other famous jazz musicians out of the studios till 1944. A pianistcalled James C. Petrillo led the strike as he became president of AFM American Federation of Musicians in August, 1942.She would record it again in 1956 with Tony Scott band (s.MT #273)
A particularity in Commodore records is the way the recordings sessions tookplace, with several AT (alternate takes) for each track. Many of them werelicensed later to other labels. Almost all tracks have three or four takes.
Commodore label with Billie and Heywood
Eddie Heywood and his Orchestra(Commodore)
This is the first of a series of three sessions Billie would record toCommodore in 1944. In total, 11 standards and one blues. The tempos areunfortunately too slow. Producer is Milt Gabler.
(MT 163) Ill Get By in this track, as an exception, the rhythm is swung and it is worth the Teddy Walters solo.
Eddie Heywood and his Orchestra(Commodore)
Tempos are very slow, almost a funeral, but compensated by the songselection.
this song by Sammy Fain, lyrics by Irving Kahal is one of my favorites. In spite of the slow tempo its a pleasure to listen. See further in this text a mention to a live version recorded live in the Carnegie Hall in November, 1956, her best rendering of this song.Eddie Heywood and his Orchestra(Commodore)
This is quite a peculiar session, with two versions of the band, with and without the brass section; two songs were recorded both ways and I gave them the status of master takes, considering them as independent recordings.
the piano backing and the discreet rhythm session accentuate Billies voice. The best track of this session. the tempo evolves to a nice swing, though the equalization leaves Billies voice too exposed over the band. The song is excellent, by Sigmund Romberg & Oscar Hammerstein II. See a second studio recording in 1952 (v.#235), with a much better sound quality.Maybe because of its nice rhythm, this song would turn very popular in Billies live shows. We know ten live recordings, among them the famous concert "Jazz Club USA" in February, 54 in Switzerland (++, see comment at the date)
It is difficult to establish a proper personality for the Decca years,from1944 to1950. Altogether, 39 tracks in 15 recording sessions with 14different bands and 10 bandleaders! Milt Gabler, Commodores owner, becamealso Decca associate and, maybe under his influence, Billie signed with thislabel. The double album that collects all these tracks and their respectivealternate takes is a perfection of history and details, covering all thedifferent takes. In comparison to Commodore, Decca quality is outstanding.
Billie signed in August 7th, 1944.
Session #51:Toots Camarata and Billie
Toots Camarata and hisOrchestra (Decca)
Too many horns set the base for Toots Camarata orchestra that recorded twosubsequent sessions with very similar bands. Milt Gabler is the producer.
Apparently at the time the use of strings was unusual for a singer andconsidered a privilege for stars like Crosby and Sinatra. But Billie loved thiskind of arrangement and required it for this session.
a classic that Jimmy Davis composed specially for Billie when he was still on the army. She loved strings and begged Gabler to program them in this track because "the song demanded". Decca agreed. I dont like heavy arrangements, but I have to agree that they worked well in this wonderful track. A nice beginning in the new label, dont you think? although recorded only once in studio, this song became quite popular in Billies live shows. We know seven registers, among them the excellent appearance in "The Seven Ages Jazz Festival" in Connecticut, September 1958 (++, see comment in the date ahead) Billies voice is perfect in this recording, it deserves a careful listening. Unfortunately, this is a minor song, composed by Camarata for Billie. She declared later this be one of her favorite songs.Toots Camarata and hisOrchestra (Decca)
Arrangement also conducted by Camarata, very similar to the previous session.The music score and the band are mediocre.
same remarks from (#176) (MCA Coral LP6.22125 AK, issued in 1975 - see Discography - vinyl) is one more composition wrote by Billie with Herzog, always based in her favorite subject. I like this song: "Hush now, dont explain, you are my joy and pain." In spite of the strings, this is very nice recording. It is said Billie wrote this song after her husband, Jimmy Monroe, who came home one night with lipsticks traces on his collar. This take is generally considered as AT, as Decca selected the 2nd take as the master take (see MT #180). But I would select this one - notice how creative are the sax obbligatos in the second half. (See also the P.S. below).- this is the first take, out of the four listed in this work, originally considered as an alternate take. Only the 4th take was selected as MT. The other three remained inedit and only issued years later in 1975 by MCA Coral in Germany (LP #6.22125AK) - see Discography - Vinyl (see also MT#181, MT#186 & MT#187).P.S. the idea in this discography is to comment only original tracksthat Billie recorded at studio. The so called "alternate takes" areremakes in the same session, with the same musicians and same date.Generally, only one is edited, being the "master take". Sometimes,however, the ATs are also licensed later to foreign Recording Companies and editunder independent labels.There are six registers of live recordings, all without any distinction.
The Decca case is nevertheless unique. Two songs were recorded in severaldates, with different bands and arrangements, sometimes with lyrics variations,even thus only one of these takes has been selected as master. I decided then toopen an exception, considering most of these versions as independent recordings,or masters. These songs are: Big Stuff (4 complete versions) and Dont Explain(2 versions); when the case may be, dates and respective edition labels are mentionedafter the title.
Bob Haggart(1914-1998)
Bob Haggart and his Orchestra(Decca)
Seven months later, Billie has a new boyfriend, the trumpeter Joe Guy, whowould accompany her in the next four sessions. Milt Gabler is still theproducer.
(Decca 23565, 03/06/46) almost a year later, Billie recorded this song for the second time. Even though this is a complete different band, this recording follows Camaratas arrangements in the preceding session, but in a slower tempo. I like the previous better and, even though Decca did not choose that as master, it won the star (s.MT #178). this is the second take, also considered an AT, being issued in Germany by MCA Coral in the LP #6.22125AK. Being a remake of track (#179) it has similar arrangement, although the recording time is 257" compared to previous 226". Note the band is also different, now under Bob Haggart. Ella Fitzgerald once declared being this one her favorite Billies recording. I know its a temerity, but I disagree. usually, I am not a fan of big bands arrangements, but this time I have to say that in this case the violins fit as a glove, the more I hear, the more I like. Joe Guy opens and Billie comes like a velvet. Even a bridge is provided, where Guy's trumpet and Grimes' guitar shine - excellent.One hourafter this session, the US President announced the unconditional surrender ofJapan, ending the WWII.
In October, Sadie, Billies mother, 50, is hospitalized andpassed away on the 6th.
Bill Stegmeyer and hisOrchestra (Decca)
The two first tracks were written for Billie by Irene Higginbotham.
(MT 186) Big Stuff this track complete the trio of versions (see MT #179, MT #181) with similar arrangements and different bands. Among the three, I selected the latter to get an star. Billies voice is clear and the arrangement lighter. Only the 4th take (#187) was considered to be published. All three "unissued version were published for the first time in 1975 in the MCA Coral LP "Big Stuff" 6.22125AK. (not by chance, huh?). See vinyl discography.
Billie Holiday and herOrchestra (Decca)
(Decca 23463, 07/10/46) the fourth rendition of this song is clearly superior and Decca was right to choose it as master take. I dont know what made Billie abandon the strings, but now we have a more jazzy arrangement. Joe Guy opens and closes the track in a particular way and Grimes does a short bridge. The song is by Leonard Bernstein. The other three versions are #MT 179, 181 & 186.Billy Kyle and his Trio (Decca)
Fortunately, in this session the strings are absent.
what a delight this jazziest band. In a swung tempo the bridges are back with solos by Kyle and Shirley.a nice ballad with obbligati by Joe Guy and Shirleys guitar.
John Simmons and hisOrchestra (Decca)
The arrangement abuses of the brass section, big-band style.
this is an studio version of this song, also included in theNew Orleans film soundtrack.
Bob Haggart and hisOrchestra (Decca)
This sessions arrangements are by Haggart; the slow tempi in all tracksare generally attributed to Billie problems with drug abuse.
in an interview toThe Voice of Americain 1956 Billie said this was one of her favorite songs that unfortunately made no success at all. This was her sole recording ever.(MT 194) Easy Living Billies voice in its best shape. Its a pleasure to listen. The first recording was in 1937 (s.MT #61).the second recording, being first in 1941 (s. MT #151); however, I prefer the instrumental renderings of this song, specially those with the composer, Duke Ellington. There will be a third, and better, recording in 1952 (s. MT#226).A few weeks later, Joe Glaser, her manager, arranged for her toenter a clinic in New York for a session of detoxification. She would stay therefor three weeks, passing there her 32nd birthday. However, she would resumeusing drugs in the following weeks.Under investigation by the narcotics agency, she was charged and sentenced toa year in the Federal Reformatory for Women at Alderson, West Virginia in May28th, 1947. Billie would stay 22 months out of any studio recordings. She gotaddicted in the early forties smoking opium and evolved to heroin through herhusband Jimmy Monroe and her current boyfriend Joe Guy. For this reason Billielost forever her cabaret card, without what she could not work in any jazz clubin New York. This was a tremendous setback in her career.
Milt Gabler,producer (1911-2001)
Bobby Tucker and his trio(Decca)
After almost two years, Lady Day is back to a Decca studio. Milt Gabler isstill the producer.
sincerely, the choir arrangement is a disaster! same, one more time!The Stardusters are gone and Billie has now a classic jazz trio, thatallows her two nice intimate recordings in the series.
this Gershwins song does not rank among my favorites, but Billie does it nicely. a second reading of this Ladys classic, there will be a third later (see MT #234). She is doing fine, in the first chorus only with the piano and then even better with the rhythm section.
She was arrested again for narcotics possession and went to trial in San Francisco, June 1st. This time she was acquitted, telling a story that it belonged to her boyfriend, John Levy.
Buster Harding and hisOrchestra (Decca)
What a difference form preceding session, that intimate and this with a fullorchestra. Billie may here remember her crooner times. However, her old friendsBuck Clayton and Lester Young are present. Gabler is the producer.
the orchestra arrangement is a bit too noisy. besides the noise, the song also doesnt help. "Down Beat" magazine would criticize: "the song and the band have no finesse".
Sy Oliver and his Orchestra(Decca)
The exaggerated arrangement continues, now under Sy Oliver
the second recording of this song (s. MT #123); I didnt like them both.Sy Oliver and his Orchestra(Decca)
Same from preceding session, with disposable songs.
- a curiosity in this song is that Billie seems to scat. Fortunately thats not true, shes simply following the lyrics.The two previous tracks would be part of a planned album inhonor of Bessie Smith, but the project didnt take off.
Session #63:Billie and Louis Armstrong
Sy Oliver and his Orchestra(Decca)
Third time in a row with Sy Oliver Orchestra. Theres however somethingpeculiar in the session: Louis Armstrongs duet with Billie. Similarpartnership would turn famous in the mid-fifties between Louis and EllaFitzgerald.
a star to the partnership. this session is famous because one can hear in the background Armstrong saying to Billie: "Fuckem, Baby!" nice tempo, with the band rehearsing a jam session. This song was written by Billie with Curtis Lewis.Generally Billies fans think these two duet songs withArmstrong were recorded in their collaboration at the New Orleans film, what isnot the case; in there, only LA band was present.
Gordon Jenkins (1910-1984)
Gordon Jenkins and hisOrchestra (Decca)
Gordon Jerkins brings the strings back in a pop arrangement. Gabler still theproducer.
Billie, years later, declared to theVoice of America that she had enjoyed this song a lot, but it made no success at all (actually, I didnt like either) nice standard by Carl Sigman, lyrics by Bob Russell. Billie is in very good shape, but the arrangement is heavy. a nice ballad that Billie would record only once. one more partnership by Billie & Herzog. Reports "Down Beat" magazine, referring to the last two sides, (both issued together in the 78rpm Decca #24857): "Billie does a better singing than the last records, less dragging and less milking".
Gordon Jenkins and hisOrchestra (Decca)
The last recording session for Decca, this turn in their studios in LosAngeles, it was the second time Billie would record in that city. Similarly ofwhat happened with ARC Columbia, this farewell session has nothing to longfor. Gordon Jenkins probably tried to transform "God Bless" into ananthem and programmed a choir to back her, with lousy results, in my opinion. It isa pity, because Billies voice is perfect. Gabler was absent and did notproduce the session; later he declared he would arrange it diversely. But hehadnt the opportunity, because he wouldnt produce for Billie anymore.
this is a Billie composition she would record three times: for Columbia, then for Decca and, later, for Verve. Out of them, this is the only one not to deserve a star. In her book, Billie stated that her inspiration was a quarrel with her mother. an unknown song and an arrangement even worse.
In the beginning of 1951, Billie learned that Deccawould not renew her contract and therefore she signed with Aladdin a one-yearcontract. Under this agreement, she would actually record only one session. Youcan find it in the CD "Billies Blues" (see discography).
The label Aladdin was founded in 1944 by Eddie and Leo Mesner, originally under the name "Philo" to be changed in 1946. Its catalog ranged from Rhythm & Blues to Gospel and Jazz.
Eddie & Leo Mesner, Aladdin
Tiny Grimes Sextet (Aladdin)
In this sole session for Aladdin, two tracks were blues, a genre that,despite being know as "The Queen of the Blues" Billie recorded lessthan ten tracks along her career.
a less known composition by Fats Waller & Andy Razaf. Its a pleasant song, in spite of the lousy sound quality. (blues) (blues)
The studio sessions with Norman Granz revive the jazz-combos similar to thoseshe recorded in the good old times with Teddy Wilson. That means the end ofthose sticky string arrangements, brass excesses, extravagant choirs and similarmistakes frequent during the intermediary years. Lady Day would again shine inclassic jazz standards, her vocal quality loss being more than compensated bythe advances of recording technologies and the selection of bands formed by someof the best jazzmen of the American jazz scene.
The Verve years collection was issued by Polygram in 1992 in a Box with 10CDs and an amazingly edited booklet with a detailed recording historiography andtrack comments (see discography). Although the material covers alternate takes,rehearsals, live recordings, etc, I will comment, according to the scope of thiswork, only the original studio tracks (the MT master takes).
Norman Granz was born in Los Angeles, from a jewish-ucranian family. Since his youth an enthusiastic jazz fan, he produced the famous JATP Jazz at the Philharmonic, the first of them in July, 1944 in LA. He produced those festival till the rocknroll era in 1957. He would also manager famous artists like Oscar Peterson and Ella Fitzgerald (with her, he produced the fantastic series of albums known as Songbooks). In 1946 he founded Clef - his first record company, and in 1953 a second one, Norgram; both combined formed Verve in 1956. He sold it to MGM in the late 50s and moved to Switzerland.
Norman Granz(1918-2001)
Billie Holiday &Her Orchestra (Clef)
We dont know the exact date of this session. However, we know Norman Granz signed with Billie after his return from Europe in April 21st, 1952.
A collection of jazz standards and stars in the band makes this session unforgettable. Is to regret that Charlie Shavers shows off too much.
the open Shavers trumpet introduces the song and Billie undertakes, with obbligati by Philips, the classic 1934 composition by Brooks Bowman for the playStags of Bay. Shavers returns for a solo in the bridge like a sunbeam (too shiny?). Billie resumes and keeps the swung tempo till Peterson follows her in the slow final cadence. A gem. (Did you notice the obbligati are back?) what to comment in this classic Rodgers & Hart? Maybe the bridge, with solos from Phillips and Shavers (who shows off as always...).a classic from J. Fred Coots in slow tempo, giving Billie the opportunity torecite the lyrics: "You go to my head with a smile/ that makes mytemperature rise". A beauty. Notice that Billie started to bite thesyllables, the trademark of her renderings from now on (like in ri-ise, in theselected verse). Compare it with the 1938 version (s.MT #83).another standard, this by Louis Alter. Billie opens with obbligati by Phillips,Master Peterson solos in the bridge and Billie comes back to close this marvel.an eternal standard by Cole Porter in swung tempo. Shavers does the obbligatiand also solos in the bridge, this time with muted instrument, what harmonizesbetter with the band; Barney Kessel closes the bridge and Billie returns for thecoda in a fadeout final with Peterson. Bravo!one more classic, this by Jack Strachey, one of my favorites (A cigarette/that bears a lipstick's traces...). The arrangement with no horns letsBillie recite the wonderful lyrics. Peterson follows in obbligati. Another gem.an standard by Harry Warren, in well swung tempo. The Philips solo is outshinedby Shavers overstatement in the sequence. It is known that Billie loved thissong.Billie performs her best recording of this song by Ellington. Fortunately,Shavers keep it mute and his obbligati do not break the mood.
Oscar Peterson(1925- )
Billie Holiday &Her Orchestra (Clef)
Same band and musicians from the preceding session, a couple of days later.One more sequence of classics and standards.
a beautiful melody by Burton Lane. The obbligato and solo by Flip Phillips accompany Billie with perfection and Peterson finalizes with class. It is a bless we have 3m45s recording time. more than the preceding track, Peterson reigns absolute, in a solo accompaniment. Billie recites the lyrics with perfection. This song is a classic Cole Porter and this is the only time Billie recorded it. the classic ballad by W. Hudson & E. De Lange & Irving Mills is taken in a pleasant medium tempo. Shavers does well the obbligati, but exaggerates in the bridge solo, not matching Billies introspective rendering.a pop classicand a jazz standard could describe this nice song by WalterGross. It is curious that Phillips starts and ends with the same sequence!Billie, in a continuous take, is backed by the excellent obbligati by Shaversand Phillips, and has some difficulties with the low tones (...breathlessly...).this minor song flows well, with Shavers in a contained obbligato.a minor Berlin song, in fast tempo, with Shavers discreet obbligati. In thebridge, Barney Kessel assumes and Peterson is excellent; in the second chorus,Billie exercises her "small pauses". in a band with no brass, Oscar Peterson assumes the accompaniment in an harmonious ensemble. The song is a classic by Vernon Duke. Down Beat magazine conceded five stars in its critic to this record that had Remember in the other side both in the 78rpm Clef 89108. (see vinyl discography). A collectors item (wish I had it!).there's an alternate take of this song, recorded in the same date and released in the 10" LP Clef MGC 161 (see LP discography). As both records have been issued in the same year, both tracks actually could be considered as MT - master takes.
Billie Holiday & Her Lads ofJoy (Clef)
With the exception of the classicsI cant face the musicandStormy weather, all the tracks are remakes. Newmans accompaniment is morediscreet then Shavers. Actually, in the whole session there are no trumpetsolos.
this is the third recording of the song; the obbligati are by Quinichette and Newman (note the verse "...he beats me too...") the song by Sigmund Romberg and Oscar Hammerstein II is delicious, although the tempo here is a bit too fast. Listen the fabulous solo by Quinichette in the bridge. In the final chorus, the tempo is changed and Billie ends almost with no accompaniment.an standard by Harold Arlen, lyrics by Ted Koehler, one of my favorites. Notice the discreet Newmans obbligati!
frankly speaking, I would rather hear Peterson at the piano.this is also the third recording; that arent many songs that deserved thisBillie honor. She begins with the solo accompaniment by Peterson, then Newmansobbligati come in. Theres no bridge.in an unusual way, Quinichette opens with a brief solo. This is a minor song byRube Bloom & Ted Koehler.
Billie Holiday & Oscar Peterson
Billie Holiday & HerOrchestra (Verve)
We notice immediately in the first solo from the first track that Shavers isback... Oscar Peterson would later comment that Billie should be drinking toomuch, because she was not in good shape in this session. Maybe, because of that,Norman Granz recorded only three tracks.
Billie opens this Irving Berlins standard backed by Shavers obbligati. remake of one of the first Billie recordings from 1935 (see MT #4). Both tempi and lyrics dont help. another remake that I dont appreciate. Shavers exaggerates.
Billie Holiday & HerOrchestra (Verve)
Billie is back to Los Angeles, this time recording at the Capitol West CoastStudio. Contrary to the usual, there are no bridges and Billie sounds hoarse. Ingeneral, the funereal tempi dont help and the songs are not from the bestharvest in this long session.
an exception in the session, this is a pleasant standard by Walter Donaldson, lyrics by Gus Kahn, that she had already recorded in 1941 (see MT #154). The obbligati by Edison and Smith are excellent. The track saves the session. an standard by Gordon Jenkins, is rendered in a somewhat dragged tempo. nice song by Richard Whiting in a swung tempo. Billie "chews" exaggeratedly the words (so-oftly...) this nice song by Van Heusen & Mercer could be done in a faster tempo, instead of almosta cappella. a slow tempo song that do not rank among my favorites. However, Billie would include it frequently in her live presentations . Eight live recordings are known, although no one deserves special attention. in my opinion, blues isnt positively the best gender for Billie, even this being her composition. Edisons obbligati worth the track.
- Allie Rubel composed this nice song that didnt deserve this funereal tempo. a swung track breaks the slow tempi. Sweets does the obbligati in the initial chorus. Carter opens the bridge, Kessel continues and Sweets masters the sequence. In the rhythm section, Simmons is the highlight. there exist another seven live registers of this song from this date on. a pleasant melody, a classic by Isham Jones, lyrics by Gus Kahn. Carter shines in the accompaniment. the second swung track in this session, with Carters obbligati. The solos worth it: Jimmy Rowles opens and Edison completes. In the final chorus, Billies voice fails a lot.
Tony Scott (1921- )
Billie Holiday with TonyScott & his Orchestra (Verve)
Three standards by Berlin and the resume of the bridges are the highlights ofthis session. Billies voice improved from the last LA session and Shavers isback, as one can notice in the solo at the second track. The clarinet solos areeverywhere and Tony Scott is perfect. The production is by Leroy Lovett. CarlDrinkard, before discussing with Billie, plays in some of the tracks.
a beautiful song by Irving Berlin. The track has two different tempi, beginning slow and then, commanded by Cozy Cole, to a faster tempo, returning to the initial at the coda. a second jewel by Berlin. In the first chorus, the obbligati by Shavers, Johnson and Scott roll in sequence. Shavers then solos followed by Scott. All with a lot of jazziest swing. Billie recorded this beauty 20 years ago (seeMT #3). She opens backed by the piano and the rhythm section comes in with the lyrics. Shavers takes the bridge with the open instrument and Bauer, then Taylor, complete this long bridge. The second chorus resumes the first. Altogether, 648" of pure delight. She would record this song for the third time in 1957, see #285. Berlins third song in the session. After a noisy opening, Billie comes in backed by Shavers obbligati. The bridge is shared by Scott and Johnson. a composition by Matt Denis (1941) , lyrics by Tom Adair. Billie opens with Scotts obbligati in a very slow tempo. In the bridge, the highlights are Taylor and Scott and Shaver does well in mute. a classic song by Ellington, in a slow tempo, its Billies first recording. She would remake it the following year, in a still superior performance (see MT #281). a classic composition from 1929 by Fats Waller & Andy Razaf. The tempo turns to a swung one. The opening and the coda are somewhat over, as well the Shavers solo with his open trumpet.
Harry "Sweets" Edison (1919-1999)
Billie Holiday & HerOrchestra (Verve)
Billie is back to LA and this time Norman Granz puts together a first qualityand uniform band. The tempi are, however, a bit too slow in almost all thetracks and Billie sounds sad and tired. The session has also anotherpeculiarity: all songs are new in her repertory and Billie will record them onlyonce. The sole exception isNice Work, recorded previously in 1937 (seeMT #71).
Ellingtons composition unique jewel by E.A. Swan.
Jimmy Rowles (1918-1996)
Billie Holiday & HerOrchestra (Verve)
Two days after, Billie is back with the same ensemble for more eight tracks.Billies voice is much better in this session.
a marvelous classic by Harold Arlen, lyrics by Johnny Mercer, one of my favorites. Carter, Edison and Rowles alternate in the obbligati and theres no bridge. Thats the only Billies recording of this song. another Harold Arlens jewel, this time with Ted Koehler. Edison uses no mute in the obbligati and the solo is by Barney Kessel. Billie had already recorded this song in 1939 (see MT #120). an standard by Bob Haggart. In spite of the slow tempo, Carter performs a nice solo. a remake of the1936s (see MT #26) version of this standard by Jerome Kern. The obbligati are by Kessel and it is worth to hear the Rowless solo. this classic by Ray Noble could have a faster tempo. Theres no bridge. This would be the sole recording by Billie the tea-dance arrangements for the opening and coda do not add much to this Porters classic. However, in the bridge Carter and Rowles shine, changing the tempo. Billie had already recorded this beautiful song by Burton Lane in 52 (see MT #227) with similar good result.Sweets Edison opens, without mute, this gem by Berlin. Benny Carter assumes the bridges solo. Beautiful, although the tempi are excessively slow.
Kenny Burrell(1931- )
Billie Holiday with Tony Scott& his Orchestra (Verve)
Once again in New York, Norman Granz gathers an ensemble that was not used towork together. Tony Scott does the arrangements. Billies voice is rough andworn out. The tempo is kept slow maybe to preserve Billie but, oddly, there arentsolos in the session. The three first tracks are remakes from 1930s classics.However, this session flows very well, or, better yet, it flows wonderfully.
one of Billies favorites, this is a song by Arthur Herzog, the lyrics by her friend Irene Kitchings, who was married to Teddy Wilson. a composition by Billie Holiday & Herbie Nichols that she recorded many times, but only once in studio. One of my Lady Days favorites, although the arranger could have avoided the shaverian opening repeated at the coda, both over in his style after all, I resisted to draw the half-star, helped by Burrells obbligati (see also the November 10th Extra Session).Billie Holiday with Tony Scott& his Orchestra (Verve)
Some say that this session was simply a continuation of the previous.Nevertheless, the nostalgic ambient from preceding session goes on, with fourremakes from the 30s and 40s previous recordings. All minor compositions,all Billies favorites. The tempi are once again slow and there arentsolos. Both sessions are conducted by Tony Scott, as Granz was traveling.
I have no sympathy by this song and here Billie goes in a funereal tempo, practicallya cappella, with the piano backing intercalated from time to time by inappropriate shaverian interventions (see also MT #117). see also #149 & #213; this is the best of them all. a pleasant opening with Shavers in mute sharing with Quinichette (see also MT #184). the best track in the session, composition by Irene Higginbotham. See also #185 for a previous version.BarneyKessel (1923-2004)
Billie Holiday & HerOrchestra (Verve)
Once again in Los Angeles, in the same environment she recorded most of herbest tracks, Billie now records eight standards, out of them seven are new inher repertory. Granz is the producer.
a composition by Duke Ellington, lyrics by Bob Russell, its a classic she has already recorded the previous year in New York (s.MT #255). Why this remake? The previous was already excellent! Maybe to give us the opportunity to compare Sweets Edison and Charlie Shavers... you tell me. Billie opensa cappellaand Sweets Edison is excellent in his obbligati and so is Rowles. Ben Webster masters the bridges solo, he is back after 19 years, from 1937. A track that I prized three stars plus a half as bonus. Memorable. Good that Granz programmed this remake (maybe he did it because he was absent in the previous version?). an unforgettable standard by Irving Berlin, extremely jazziest. Edison masters the obbligati and Kessel doesnt stay behind; Edison comes once more with an open instrument. Excellent. A curiosity is that, only two days later, Ella Fitzgerald would record the same song in a memorable partnership with Louis Armstrong. here we have Harold Arlen and Ted Koehlers lyrics in a song composed for the playCotton Club in 1934. The tempo is slow and Kessel does the wonderful obbligati. In the bridge, Ben Webster fills the track with honey and Edison comes very close with an open trumpet. A lot of good music in a track 614" long. a rare composition by Kurt Weill in this work. The track alternates tea-dance and jazziest 4/4 rhythms, in an odd mixture. Kessel backs the first chorus and Webster the second. Jimmy Rowles performs a delicious bridge. A bit weird, but it works.Ben Webster(1909-1973)
Billie Holiday & HerOrchestra (Verve)
Billies voice is not in its best moments. But, who cares? Listen thisbeauty and please forgive my excess of stars and adjectives.
a jazz classic by Carl Fischer. Edison opens in duet with Kessel and Billie comes in backed by their obbligati. In the bridge, Webster pours his passion by Billie. In the final chorus, Webster resumes his obbligati. The bonus half star goes to Ben. nobody sang as Billie this classic by Arthur Altman & Jack Lawrence. A jazziest tempo, involving, with Edison and Webster alternating the obbligati. In the bridge notice the rare guitar solo by Barney Kessel followed by Jimmy Rowles. A total 539" of emotion. The half star goes to Kessel. another beautiful composition by Duke Ellington that matched perfectly the lyrics by Mitchell Parish & Irving Mills. The slow tempo begins with obbligati by Kessel and, in the bridge, its Ben Webster show. Perfect. One of my favorites, thats why the fourth star exception. Ella Fitzgerald would record the same song in the next year although with less emotion, just compare both versions. a wonderful classic by Vernon Duke, lyrics by E. Y. Harburg. Billie recorded it better than anyone I know. Webster opens and Billie follows with Kessels obbligati.
Billie Holiday & HerOrchestra (Verve)
In the beginning of 1957 one more season in Los Angeles, this time with anmemorable ensemble. Nineteen tracks were recorded in five subsequent dates. Acuriosity is the stereo sound in some of the tracks for the first time in herrecording history. All the tracks deserved at least three stars. This is anunforgettable season, maybe the greatest of them all. To regret that would bethe last produced by Norman Granz.
this is the third studio recording of this song, the last one being in 1955 (see MT #252), also excellent. Edison does the obbligati and Webster opening in the bridge is thrilling; Edison accompany him in a muted instrument. In the final chorus, the obbligati are by Kessel and Webster. The rhythm is contagious. beautiful melody by Karl Suessdorf composed in 1944 that Billie records for the first time. Kessel does a solo opening and the obbligati are by Rowles. The cadence is slow and Webster assumes the bridge backed by Rowles who, in turn, performs the obbligati in the final chorus. [stereo] (this is her first stereo recording) a classic by George & Ira Gershwin in her first rendering. Billie opens the introduction backed by Rowles in a slow tempo and then the band follows the rhythm together with the lyrics. The bridge follows the cadence with solos by Rowles, Kessel, Edison and Webster. Wonderful. Billie comes back for the coda, with the full band.
Red Mitchell (1927-1992)
Billie Holiday & HerOrchestra (Verve)
This session has three marvelous songs that Billie is recording for the firsttime.
[stereo] Billie does the introduction backed by Rowles and opens the lyrics with a pleasant obbligato by Webster. Edison opens the bridge in a perfect chorus, Kessel doesnt stay behind and Webster closes. Billie comes for the final chorus with obbligati by Edison. Delicious. Music by Richard Rodgers, lyrics by Lorenz Hart, stereo sound: what else one could ask? A half star plus. [stereo] one of my favorite songs, by Cole Porter, first Billie recording. The opening is an artwork, the bridge is memorable with Rowles opening and the others in sequence. Five minutes and 31 seconds of pure delight. The opening is quite original, with Kessel solos punctuated by Stoller. Billie comes in with Edisons obbligati. He has an open instrument in this track and opens the bridge in high style matching perfectly the swung spirit of the song. Kessel and Webster close with shine. This song is by the less-known Lew Brown & Sam Stept & Charles Tobias and the initial verses are funny:"Comes a rain storm, put your rubbers on your feet/ Comes a snow storm, you can get a little heat/ Comes love, nothing can be done". Do you agree? Then, half-star as bonus.
Billie Holiday & HerOrchestra (Verve)
After three days interval, by means of a mysterious magic, Billies voiceimproved a lot, adding still more perfection to the next sessions. In this one,three new songs and a second version forBody and Soul (well deserved).
[stereo] a classic composition by Rube Bloom, lyrics by Johnny Mercer. Rowles does a brief intro solo and backs Billie in obbligati in the sequence, alternating with Kessel. The cadence is very jazziest and Edison opens the bridge with his muted trumpet, then the others come in sequence while Webster closes. This is a 320s bridge, almost a jam session! A deserved half-star for it! We can figure out Billie wiggling her head and giving the opportunity for the band to improvise. This is a characteristic that she, more than any other, cultivated along her carrier. She comes back for the final chorus, backed by Edison and Webster. A total of 6´47" of enjoyment. a slow-tempo track bringing us a classic by Jimmy Van Heusen, lyrics by Eddie DeLange. Kessel solos in a brief intro and Billie comes in backed by Webster and Kessel oblligati. The long bridge is opened by Edison and the innovation here is Red Mitchells guitar solo. Webster closes the bridge and Billie comes for the coda backed by Edison and Kessel. Wow! a composition by Gershwin for theGirl Crazy musical in 1930. This turn Rowles does the intro backed by Kessel. In the bridge, Rowles keeps the swing followed by Webster and the others. In the final chorus, Edison and Webster alternate their obbligati. an excellent remake of this classic by John Green, quite superior from the 1940 version (see MT #130), where Roy Eldridge played: a good opportunity to compare those two geniuses. Kessel does a classic opening and backs Billie in the sequence, in counterpoint with Rowles. This is another of my favorite songs, thats why the half-star bonus. Webster opens in high style the bridge, in an one-minute solo. Edison does a break and Webster closes the two-minute bridge. A total of 622" of pleasure.Billie Holiday & HerOrchestra (Verve)
A session with three new songs, a deserved remake (Say it isnt so),and an unusual instrumental track.
Billie Holiday & HerOrchestra (Verve)
The last of the anthological sessions in 1957, Billie seemed to foresee theend of an era and decided to remake several old tracks from the past. This isthe end, unfortunately, of the Granz period, Los Angeles, the Capitol StudiosTower and the jazz ensembles. Those were great, unforgettable times.
after 20 years Billie remakes this Gershwins classic (see MT #54). At least, a good opportunity to compare both versions and realize that an eternity has gone. Kessel does a short intro and follows in obbligati. The cadence is quite jazziest, notice Mitchell and Bunker in the rhythm section. Edison opens the bridge in mute keeping the balance and Webster complement in the same way. They both back Billie in the final chorus. Once more I point out the work of Mitchell & Bunker; they deserved the half-star. another remake, this turn from 1944, Commodore times (see MT #167). Another world, isnt it? The tempo is slow. Edison and Webster do an excellent job in the obbligati. Rowles opens the bridge with a wonderful solo and Kessel gives a proper sequence. Webster closes the bridge with an anthological solo more than two minutes and Edison closes the long bridge. Billie comes back for the final chorus. The song is by the Gershwin brothers and I am excused to say it is an all-time classic. Almost seven-minute long (together withDay In Day OutandI Wished On The Moon, the longest track in studio). The half-star goes to Webster. this track also resumes the theme from 20 years ago (see MT #53). At that time I commented that this song by the Gershwins was not among my favorites and actually is not. But, how to resist a bridge with Webster and Edison solos? And the rhythm section swing? as to break the sequences of oldies this minor composition by Don Redman & Andy Razaf is new in Billies repertory. The tempo is slow and the bridge is opened by Webster and Edison sequence is a wonderful solo. We could answer the song title with an "Yes Baby, you were good to us..."If that was the end of studio sessions with Norman Granz, therewill be a last live presentation with him in July, 1957 at the Newport Jazzfestival. If this was the last time with Granz, was the first with pianist MalWaldron, who would accompany her till the end. He recorded 52 tracks withBillie, most of them in live sessions, being only six in studio.Repeating what happened when the contract with Columbia ended atthe beginning of the 40s, the lack of a formal compromise and maybe astrong producer let Billie reaffirm her passion for pop music and elaborateorchestral arrangements. She might consider it elegant, but in my opinion that I share with many other fans it doesnt bring the best of her.Nevertheless, Billie would record two albums, one for Columbia and a second forMGM, both in New York.
This is her most controversial record. Lady appreciated Elliss recordingsbut he himself got surprised by the Irving Towsend (then Columbia producer)invitation to produce a record with Billie. In that period, Ellis was recordingwith Johnny Mathis and Sarah Vaughan, among others. The session went over forthree days and the Columbia CD has some alternate takes as well (seediscography).
Ray Ellis and his Orchestra(Columbia)
Ray Ellis and his Orchestra(Columbia)
a pleasant song by Sam Lewis & J. F. Coots. Billie introduction is very nice, backed by the strings. a song that made its way to become a standard, although with a pop arrangement in this record. To point out the obbligati by Urbie Green in his trombone.
Ray Ellis and his Orchestra(Columbia)
a song by Bill Carey, made popular in the 40s by Harry James Orchestra. Notice again the obbligati by Urbie Green. It is generally considered the best track in the CD.
The following three sessions the last studio works in hercareer are a result of her contract with MGM, published in the LP BillieHoliday, issued after her death. Apparently, she enjoyed the results of herprevious work with Columbia and repeated the dose of mellifluous orchestralarrangements. It is a three-day section in about a week.
Session#87: the last studio session
Ray Ellis and his Orchestra (MGM)
With the exception of the first track, the rest have an heavy arrangement andfunereal cadence.
[stereo] this was the sole recording by Billie from this composition by Sammy Cahn & Jimmy van Heusen. If not an standard, became unforgettable in the voice of Frank Sinatra in a recording at the Capitol Studios in LA, with Nelson Riddle Orchestra in August, 1957. Romeo Penque opens and does the obbligati and the solo. To tell you the truth, Billie goes well with the orchestra. [stereo] [stereo] [stereo]Ray Ellis and his Orchestra(MGM)
[stereo] [stereo] [stereo][stereo]Ray Ellis and his Orchestra(MGM)
Billie sounds a bit childish in this session - there are rumors that hisvoice track has been accelerated on purpose to disguise her tired spelling.Fortunately, there are no strings in this session, although they kept the heavybrass arrangement. The musical selection has four classic, although less-knownsongs that Billie recorded for the firs time.
[stereo] a song by the unknown W. Benton Overstreet & Billy Higgins. Edison opens with a short intro and, in the bridge, Al Cohn solos and track ends in an unusual way, in fade-out, in a duet between Cohn and Edison. [stereo] composition by Walter Hirsch & Fred Rose [stereo] a recent composition by Cole Porter (1955) [stereo] a song by Charles Warfield & Clarence Williams. Sweets Edison takes over the track: he does the introduction, the solo and the coda. Billie is all right and the nice swing helps to set that last studio track in her life. We could answer the song title: "Baby, well be waiting for you to come home, thanks for all this joy!"
Altogether, Billie recorded 330 studio tracks in 26 years ofher glorious career.
From April 20th to 26th, 1959, Billie was in the BostonStoryville Club, her last presentation, broadcasted live, includingWhen yourlove has gone:
(This track can be found in the CDLady day Live, seegeneral discography)
Lester Young passed away in March 15th. By the end of May,Billie was taken to the hospital in NYC and died in July 17h, age 44
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