Billie Holiday Discography Lady Day's Complete Studio Sessions

  The Complete Billie Holiday on Columbia Volume 1

  Benny Goodman (1909-1986)

Session #1 New York 27/November/1933, Benny Goodman & his Orchestra (Columbia)

In April 1933 Billie worked as crooner at the Monette’s Club, when John Hammond, after attending a show, mentioned her in his Melody Maker magazine column, praising her voice and beauty. He also invited his friend Benny Goodman, one of the most famous jazz musicians at the time, to meet Billie at Monette’s.

• (MT 1) Your Mother Son-In-Law Å I conceded one star to commemorate this first recording. The disc was issued with a Goodman’s instrumental track in the other side, Tappin’ the barrel.

Session #2 New York 18/December/1933, Benny Goodman & his Orchestra (Columbia)

• (MT 2) Riffin’ The Scotch – 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)

è John Hammond (1910-1987) was the producer for both recording sessions. Hammond, the son of a rich Manhattan family, showed interest for music at early ages and went to Yale to learn violin. Bohemian habitual of the musical world, he was great supporter of artists’ racial integration, having later helped the foundation of an integrated club, the famous Café Society. In his long career in the record industry he had, later, uncovered many other talented artists like Bob Dylan.

 

The Complete Billie Holiday on Columbia Volume 1 (cont.)

 

Session #3 New York 02/July/1935, Teddy Wilson & his Orchestra (Brunswick)

Roy Eldridge (tp) Benny Goodman (cl) Ben Webster (ts) Teddy Wilson (p) John Truehart(g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

This is an historic session: the first Billie collaboration with Teddy Wilson. They have recorded 94 tracks together!

• (MT 3) I Wished On The Moon - Å  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).

• (MT 4) What A Little Moonlight Can Do –  I don’t 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).

è  maybe because the fast tempo, Billie included this tune frequently in her shows; there are other seven live registers.

• (MT 5) Miss Brown To You Å  nice song by Rainger, Whiting & Leo Robin. Billie along her career has always honor the musicians whom she played with, they always had space for memorable solos. In this case, listen to Wilson at the bridge while Billie gives him incentive: "Yeah, yeah!"; Eldridge shines in the sequence.

No (cl)

• (MT 6) A Sunbonnet Blue – it is said that Goodman didn’t take part in this track because he was "late for a dinner". He didn’t loose anything…

Teddy Wilson (1912-1986)

è Born Theodor Shaw Wilson in Texas. By the time, he had already played with Goodman and also recorded piano solos for Columbia in 1934. The series of recordings for Brunswick/Columbia would only be interrupted in 1942 because of the "recording ban" ordered by the American Federation of Musicians. Teddy Wilson also played with Ella Fitzgerald, Lena Horne and other contemporaneous singers.

Session #4 New York, 31/July/1935, Teddy Wilson & his Orchestra (Brunswick)

Roy Eldridge (tp) Cecil Scott (cl) Hinton Jefferson (as) Ben Webster (ts) Teddy Wilson (p) Lawrence Lucie (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

No matter how much the band changed, the songs remain second class…

• (MT 7) What A Night, What A Moon, What a Girl
• (MT 8) I’m Painting The Town Red Å Billie manages to turn this mediocre song into something we can hear.
• (MT 9) It’s Too Hot For Words – Listen to the sound Ben Webster gets out of his sax.

è Ben (Benjamin Francis) Webster, 1909-1973 was born in Kansas City and is considered one of the big-three tenor saxophonists, with Coleman Hawkins and Lester Young, being all three in this discography. He was one of the closest Billie’s friends, having recorded 45 tracks in studio with her during all of her career.

 

Session #5 New York, 25/October/1935, Teddy Wilson & his Orchestra (Brunswick)

Roy Eldridge (tp) Benny Morton (tb) Chu Berry (ts) Teddy Wilson (p) Dave Barbour (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

Wilson assembled an all-stars band. John Kirby will record 41 tracks with Billie from 1935 to 1938.

• (MT 10) Twenty-four Hours A Day
• (MT 11) Yankee Doodle Never Went To Town
• (MT 12) Eeny Meeny Miney Mo
• (MT 13) If You Were Mine ÅÅ the best song in the session, by Johnny Mercer & Matty Malneck. Teddy opens backed by the rhythm session and Chu Berry prepares the Billie introduction. Eldridge closes in great style.

Session #6 New York, 03/December/1935, Teddy Wilson & his Orchestra (Brunswick)

Richard ‘Dick’ Clarke (tp) Tom Macey (cl) Johnny Hodges (as) Teddy Wilson (p) Dave Barbour (g) Grachan Moncur (b) Cozy Cole (d) Billie Holiday (v)

• (MT 14) These ‘N’ That ‘N’ Those Å1/2 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 Billie’s chorus. The swing goes on and Teddy opens the final suite.
• (MT 15) You Let Me Down Å 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 short Hodges intro. He will come back at the bridge, followed by Wilson that also opens the final chorus.
• (MT 16) Spreadin’ Rhythm Around

 

The Complete Billie Holiday on Columbia Volume 1 (cont) 

 

Session #7 New York, 30/January/1936, Teddy Wilson & his Orchestra (Brunswick)

Gordon ‘Chris’ Griffin (tp) Rudy Powell (cl) Teddy Mc Rae (ts) Teddy Wilson (p) John Truehart (g) Grachan Moncur (b) Cozy Cole (d) Billie Holiday (v)

• (MT 17) Life Begins When You’re In Love  ÅÅ 

Session #8 New York, 30/June/1936, Teddy Wilson & his Orchestra (Brunswick)

Jonah Jones (tp) Johnny Hodges (as) Harry Carney (bs) Teddy Wilson (p) Lawrence Lucie (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

• (MT 18) It’s Like Reaching For The Moon ÅÅ this is an emotional rendering of Billie of a less known song. Wilson opens and Hodges assumes, preparing Billie’s entry. Jonah Jones assumes the melodic line e closes the track.
• (MT 19) These Foolish Things ÅÅÅ song of great success, recently composed by Jack Strachey, lyrics from Holt Marvell. One of my favorites. (A tinkling piano in the next apartment...). Notice the opening Wilson solo, introducing the theme, alternating with Carney.

• (MT 20) I Cried For You Å this record was Billie’s sales champion in Brunswick. That’s 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.

èBillie would record it again in 1954 (s.MT #246), but this is still the best version.

• (MT 21) Guess Who

è We call "standards" the songs the are well known and often played by jazz bands and musicians.

Vocalion label Brunswick label

è With the exception of the two first tracks, edited by Columbia, all the remaining recordings till the session #8 were edited by Brunswick label, in a total of twelve 78rpm discs, five of them with Teddy Wilson tracks in the B sides (e.g. Sweet Lorraine e My Melancholy Baby). The Brunswick label was bought in 1932 by the American Record Company (ARC) with studios located at the famous Broadway 1776, New York.

è Even though the Billie-Wilson records were well sold, ARC decided to use a second label, Vocalion, to address the popular market. These discs will be priced at $35c instead the traditional $75c. Other modification in this new label is the band name, the "Billie Holiday Orchestra" with Bernie Hagen as producer - a composer that worked with Johnny Mercer. He would be later the co-author of Round Midnight together with Thelonious Monk

 

Session #9 New York, 10/July/1936, Billie Holiday & Her Orchestra (Vocalion)

Bunny Berigan (tp) Artie Shaw (cl) Joe Bushkin (p) Dick McDonough (g) Arthur ‘Pete’ Peterson (b) Cozy Cole (d) Billie Holiday (v)

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 that Billie’s Blues was one of his preferred recordings.

• (MT 22) Did I Remember?
• (MT 23) No Regrets Å both tracks, with a new band except for Cozy Cole, work very well.
• (MT 24) Summertime – a Gershwin famous song. Nonetheless, I don’t really like the Billie rendering.

• (MT 25) Billie’s Blues Å  one of Billie’s 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 with obbligati from Berigan e Shaw.

è 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).

è The term obbligato (pl.: obbligati) derives from the Latin obbligare – to obligate, to serve. It represents the accompaniment an instrument does behind a singer’s voice. Most used in jazz.

 

The Complete Billie Holiday on Columbia Volume 2

Session #10 New York, 29/September/1936, Billie Holiday & Her Orchestra (Vocalion)

Bunny Berigan (tp) Irving Fazola (cl) Clyde Hart (p) Dick McDonough (g) Artie Bernstein (b) Cozy Cole (d) Billie Holiday (v)

This Vocalion session is to be forgotten.

• (MT 26) A Fine Romance Å I like this Jerome Kern song, lyrics from Dorothy Fields, recently composed for a Fred Astaire film. That’s 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.

èBillie would record it again 20 years later, in 1955 (s.MT #272) in a better arrangement.

• (MT 27) I Can’t Pretend – definitely I don’t appreciate this song, and the cow bells in the rhythm section...

• (MT 28) One, Two, Button You Shoe – very bad, indeed.
• (MT 29) Let’s Call A Heart A Heart

Session #11 New York, 21/October/1936 , Teddy Wilson & Orchestra (Brunswick)

Irving ‘Mouse’ Randolph (tp) Vido Musso (cl) Ben Webster (ts) Teddy Wilson (p) Allen Reuss (g) Milt Hinton (b) Gene Krupa (d) Billie Holiday (v)

Back to Hammond’s production and Brunswick label, the musical selection and the musicians’ quality turn much better in this session recorded in two subsequent weeks. Gene Krupa substitutes Cozy Cole (who recorded all sessions so far, and would play with Billie almost to the end of her career).

• (MT 30) Easy To Love ÅÅ nothing like Cole Porter to open the session; this is one of my favorite tunes. It was composed in this same year for the film Born 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.
• (MT 31) With Thee I Swing
• (MT 32) The Way You Look Tonight – Nice song from Jerome Kern & Dorothy Fields, recently composed for the film Swing Time. However, Billie’s performance does not match the song quality.

 

  Gene Krupa (1909-1973)

Session #12 New York, 28/October/1936 , Teddy Wilson & Orchestra (Brunswick)

Irving ‘Mouse’ Randolph (tp) Vido Musso (cl) Ben Webster (ts) Teddy Wilson (p) Allen Reuss (g) Milt Hinton (b) Gene Krupa (d) Billie Holiday (v)

This session was recorded a week later, with the same band, to complete the series. To note Milt Hinton, who recorded 32 tracks with Billie till the end of her carrier, albeit a large interval in the forties.

• (MT 33) Who Loves You Å

 

Session #13 New York, 19/November/1936 , Teddy Wilson & Orchestra (Brunswick)

Jonah Jones (tp) Benny Goodman (cl) Ben Webster (ts) Teddy Wilson (p)Allan Reuss (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

• (MT 34) Pennies From Heaven Å a song by Johnny Burke & Arthur Johnson, very popular by the time. Listen Goodman in the final chorus, followed by Jones.
• (MT 35) That’s Life I Guess Å Jones opens in mute and Goodman follows. Wilson opens the final sequence and the band closes nicely.
• (MT 36) I Can’t Give You Anything But Love Å 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.

 

The Complete Billie Holiday on Columbia Volume 2 (cont)

 

Session #14 New York, 12/January/1937, Billie Holiday & Her Orchestra (Vocalion)

Jonah Jones (tp) Edgar Sampson (cl)(as) Ben Webster (ts) Teddy Wilson (p) Allan Reuss (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

Not a remarkable session, with obscure songs.

• (MT 37) One Never Knows – Does One?
• (MT 38) I’ve Got My Love To Keep Me Warm
• (MT 39) If My Heart Could Only Talk – the opening emulates a cowboy song, a style very popular in the 30s.
• (MT 40) Please Keep Me In Your Dreams – a tempo a bit too fast.

Session #15 New York, 25/January/1937, Teddy Wilson & His Orchestra (Brunswick)

Buck Clayton (tp) Benny Goodman (cl) Lester Young (ts) Teddy Wilson(p) Freddie Green (g) Walter Page (b) Jo Jones (d) Billie Holiday (v)

An historic session with one of the best bands in these series, although almost all musicians were inexperienced in studio recordings. Besides Buck e Lester (see below) the session counts again with Benny Goodman. The rhythm section is a show: Jo Jones makes his first presentation with Billie and he would record 37 tracks with her in the Columbia years, Walter Page 45 and Freddie Green 41.

• (MT 41) He Ain’t Got Rhythm – a minor Irving Berlin song that doesn’t fit in the session.
• (MT 42) This Year’s Kisses ÅÅ 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.
• (MT 43) Why Was I Born? ÅÅ 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 play Sweet Adeline in 1929. Deplorable is the poor sound quality.

• (MT 44) I Must Have That Man ÅÅÅ 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.

è Billie would record it again in 1956 (s.MT 274), this time with Tony Scott band earning three more stars.

 

Lester Young (1909-1959)

è Lester Young was Born in Mississippi, the son of a musician. When he came to New York he lived some time by Sadie, Billie’s mother. By the time, all the musicians got a nickname, like for instance Duke (Ellington) and Count (Basie). Billie, celebrating their friendship, would soon call him Pres (from president) and he, in turn , would call her Lady Day. They would be great friends for life and he would pass away a couple of weeks before her.

Buck Clayton (1911-1991)

è Buck Clayton (Wilbur Dorsey Clayton) was Born in Kansas and recorded 40 studio tracks with Billie and almost that many also in other live recordings. His first studio recording experience was with Billie and Teddy Wilson, in the above mentioned session. He was older than Lady and would live longer, passing away only in 1991. He would say later that Billie and Lester formed an inseparable couple of friends and that the three of them were known in Harlem as "The Unholy Three".

 

Session #16 New York, 18/February/1937, Teddy Wilson & His Orchestra (Brunswick)

Henry ‘Red’ Allen (tp) Cecil Scott (cl)(as)(ts) Prince Robinson (cl)(ts) Teddy Wilson (p) Jimmy Mc Lin (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

This session is a low-point in the Brunswick history.

• (MT 45) The Mood That I’m In – too long introduction!
• (MT 46) You Showed Me The Way Å 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.
• (MT 47) Sentimental & Melancholy – note Red Allen’s solo in the bridge; this was his sole session with Billie, probably because they didn’t get along very well (actually, I think he is a bit too noisy).
• (MT 48) (This Is) My Last Affair Å I like the way Lady sings "...this is my la-ast affair" in her first chorus.

 

The Complete Billie Holiday on Columbia Volume 3

Session #17 New York, 31/March/1937, Teddy Wilson & His Orchestra (Brunswick)

Cootie Williams (tp) Johnny Hodges (as) Harry Carney (cl)(bs) Teddy Wilson (p) Alan Reuss (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

On March 1st Billie got a call communicating his father’s death. Billie was registered 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, one of the plagues in that conflict. He died age 37. Billie and her mother suffered a lot emotionally. It was then John Hammond made the arrangements for her to join Count Basie Orchestra. In this present session, Count’s horns took part but, among them, only Johnny Hodges would record again with Lady, a total of 17 tracks.

• (MT 49) Carelessly Å Hodges opens, Teddy follows and Billie carries this nice melody. The final Cootie’s solo is exaggerated and unpleasant.
• (MT 50) How Could You? – a childish song in a fast tempo
• (MT 51) Moanin’ Low ÅÅ very nice song by Howard Dietz & Ralph Rainger. Teddy e Hodges alternate in a long introduction and Billie comes in backed by Cootie’s obbligati.

Session #18 New York, 1º/April/1937, Billie Holiday & Her Orchestra (Vocalion)

Eddie Tompkins (tp) Buster Bailey (cl) Joe Thomas (as) Teddy Wilson (p) Carmen Mastren (g) John Kirby (b) Alphonse Steele (d) Billie Holiday (v)

Some say this is one of the best of Lady’s sessions. I don’t agree. Vocalion sessions were generally inferior to the Brunswick’s, but the best of them in my opinion will be session #29.

• (MT 52) Where Is The Sun? Å notice Bailey’s obbligato in this slow track.
• (MT 53) Let’s Call The Whole Thing Off – a classic standard by George & Ira Gershwin for the film Shall we dance? I personally don’t like, not even with Billie. It’s worth Joe Thomas’ sax solo.
• (MT 54) They Can’t Take Away From Me Å 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.
• (MT 55) I Don’t Know If I’m Coming Or Going

 

 

 

 

 

     

"Sun Showers" Billie and Teddy Wilson (see below)

Session #19 New York, 11/May/1937, Teddy Wilson & His Orchestra (Brunswick)

Buck Clayton (tp) Buster Bailey (cl) Johnny Hodges (as) Lester Young (ts) Teddy Wilson (p) Alan Reuss (g) Artie Bernstein (b) Cozy Cole (d) Billie Holiday (v)

Very good session, with lots of swing and a respectable brass section makes this one of the best Brunswick sessions.

• (MT 56) Sun Showers ÅÅ Buck opens amazingly, followed by Bailey’s clarinet and obbligati. Wilson and Hodges take over in the long final sequence keeping the swing tempo in this wonderful song.
• (MT 57) Yours And Mine Å Hodges and Wilson obbligati followed by Buck make a wonderful intro. Lots of swing.
• (MT 58) I’ll Get By ÅÅ the band opens and Hodges takes over in an excellent solo. Billie’s 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.
• (MT 59) Mean To Me Å another delightful song, listen to the Lester’s solo, back after some time.

Session #20 New York, 1º./June/1937, Teddy Wilson & His Orchestra (Brunswick)

Buck Clayton (tp) Buster Bailey (cl) Lester Young (ts) Teddy Wilson (p) Freddie Green (g) Walter Page (b) Jo Jones (d) Billie Holiday (v)

In contrast with the former session, this one goes straight in a medium tempo. Very pleasant. It is always a pleasure listen to Lester and Buck together.

• (MT 60) Foolin’ Myself Å 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 wrote Tenderly, years later)
• (MT 61) Easy Living ÅÅ a delightful rendering.
• (MT 62) I’ll Never Be the Same Å Wilson opens with a long solo and Billie takes over with Lester’s obbligati.

Session #21 New York, 15/June/1937, Billie Holiday & Her Orchestra (Vocalion)

Buck Clayton (tp) Edmond Hall (cl) Lester Young (ts) James Sherman (p) Freddie Green (g) Walter Page (b) Jo Jones (d) Billie Holiday (v)

A mediocre session that counts, however, with great artists in the cast.

• (MT 63) Me, Myself And I
• (MT 64) A Sailboat In The Moonlight – worth for the Wilson piano solo.
• (MT 65) Born To Love Å a song by unknown composers has a good balance and it’s worth by Buck’s solo in the bridge and Lester’s obbligati.
• (MT 66) Without Your Love ÅÅ the lyrics are funny (... like a plane with no wings...) and worth by the swing in Sherman’s solo and Lester’s obbligati.

Session #22 New York, 13/September/1937, Billie Holiday & Her Orchestra (Vocalion)

Buck Clayton (tp) Buster Bailey (cl) Lester Young (ts) Claude Thornhill (p)Freddie Green (g) Walter Page (b) Jo Jones (d) Billie Holiday (v)

The songs are mediocre and the producer is Bernie Hanighen.

• (MT 67) Getting Some Fun Out Of Life Å 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.
• (MT 68) Who Wants Love?
• (MT 69) Trav’lin’ All Alone
• (MT 70) He’s Funny That Way Å an standard from Neil Moret, lyrics by Richard Whiting. The best song in the session.

The Complete Billie Holiday on Columbia Volume 4

Session #23 New York, 1º. /November/1937, Teddy Wilson & His Orchestra (Brunswick)

Buck Clayton (tp) Prince Robinson (cl), Vido Musso (ts), Teddy Wilson (p) Allan Reuss (g) Walter Page (b) Cozy Cole (d) Billie Holiday (v)

A first quality session, with a fine selection of standards and good musicians for the Brunswick label.

• (MT 71) Nice Work If You Can Get It Å 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.
• (MT 72) Things Are Looking Up Å double Gershwin dose! Both were edited in the same 78rpm, Brunswick 8015. A collector’s item. Notice Teddy's piano in the bridge and in the end.

• (MT 73) My Man ÅÅÅ my second three-stars is a tribute to this Billie classic. It almost lost half star due to Buck’s 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.

è this song turned be a popular success in Billie’s 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.

• (MT 74) Can’t Help Loving Dat Man ÅÅ a standard by Jerome Kern & Oscar Hammerstein; a classic from the musical score Show Boat. Notice Prince in the start up solo and his wonderful obbligato in the last Billie’s 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!

The Complete Billie Holiday on Columbia Volume 4 (cont)

 

Benny Morton (1907-1985)

Session #24 New York, 6/January/1938, Teddy Wilson & His Orchestra (Brunswick)

Buck Clayton (tp) Benny Morton (tb) Lester Young (ts) Teddy Wilson (p) Freddie Green (g)Walter Page (b) Jo Jones (d) Billie Holiday (v)

In this session, Benny Morton’s trombone is back; he would record 20 tracks with Lady in the Columbia years.

• (MT 75) My First Impression Of You ÅÅ Morton does a short opening and Billie assumes with Buck’s obbligati. It works pretty well, in spite of the less known composers.
• (MT 76) When You’re Smiling ÅÅ Morton, again, introduces the theme. In a brisk tempo, reminds a jam session. Listen how, after Lady’s chorus, Teddy shines in the solo and Lester follows with lots of swing; they both come together with Buck in a grand finale. Excellent.
• (MT 77) I Can’t Believe That You’re In Love With Me Å after a long intro, Billie carries well this nice song by Jimmy McHugh & Clarence Gaskill.
• (MT 78) If Dreams Come True

 

Session #25 New York, 12/January/1938, Billie Holiday & Her Orchestra (Vocalion)

Buck Clayton (tp) Benny Morton (tb) Lester Young (ts) Teddy Wilson (p) Freddie Green (g)Walter Page (b) Jo Jones (d) Billie Holiday (v)

Same people from previous session.

• (MT 79) Now They Call It Swing – I don’t really appreciate "scat" singing. But fortunately, this is not the case, all the "dru-du-du-da-da" are indeed in the original lyrics...
• (MT 80) On The Sentimental Side Å I mentioned Freddie Green above, now listen his sound in the background. He deserved this star. On the other hand, very poor recording quality.
• (MT 81) Back In Your Own Backyard
• (MT 82) When A Woman Loves A Man Å Lester does a short intro and Billie assumes, backed by Teddy Wilson’s piano. A nice song by Gordon Jenkins & Bernard Hanighen (the latter also the producer of the session).

Session #26 New York, 11/May/1938, Billie Holiday & Her Orchestra (Vocalion)

Bernard Anderson (tp) Buster Bailey (cl) Babe Russin (ts) Claude Thornhill (p) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

Great number of new faces with Billie in this session. Anderson recorded eight tracks with Billie, (some say that’s actually Charlie Shavers on the trumpet) and Thornhill twelve, all in 1938. There’s also no consensus on Babe Russin, some mention Ben Webster.

• (MT 83) You Go To My Head Å 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).
• (MT 84) The Moon Looks Down And Laughs Å
• (MT 85) If I Were You Å
• (MT 86) Forget If You Can Å these three latter songs are unknown, though pleasant.

Session #27 New York, 23/June/1938, Billie Holiday & Her Orchestra (Vocalion)

Bernard Anderson (tp) Buster Bailey (cl) Babe Russin (ts) Claude Thornhill (p) Allan Reuss (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)

See above the comments on the band.

• (MT 87) Having Myself A Time Å
• (MT 88) Says My Heart Å a pleasant song by Frank Loesser & Burton Lane. In the bridge there’s a solo by Anderson also attributed to Charlie Shavers (maybe the mute playing turns it more difficult to decide – I can’t).
• (MT 89) I Wish I Had You Å this song is composed by the band’s pianist, Thornhill; listen in the bridge Cozy Cole beat behind Thornhill and Anderson.
• (MT 90) I’m Gonna Lock My Heart Å

 

  Artie Shaw (1910-2004)

Session #28 New York 24/July/1938, Artie Shaw and his Orchestra (Bluebird)

Chuck Peterson, John Best-Claude Bowen(tp) George Arus, Ted Vesely, Harry Rogers(tb) Artie Shaw(cl) Les Robinson, Hank Freeman(as)Tony Pastor, Ron Perry(ts) Lester Burness(p) Al Lavola(g) Sid Weiss(b) Cliff Leeman(d) Billie Holiday(v)

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 recording session had five other tracks, including Shaw’s success Begin The Beguine. There’s a story that, because of racial restrictions, Shaw remade the track with Helen Forrest, but could also be that Brunswick contested the breach of contract. The 78rpm disk has the number B-7759-A.

• (MT 91) Any Old Time Å that’s 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 CD Artie Shaw – Greatest Hits. See discography.

Session #29 New York, 15/September/1938, Billie Holiday & Her Orchestra (Vocalion)

Buck Clayton (tp) Dickie Wells (tb) Lester Young (cl)(ts) Margaret ‘Queenie’ Johnson (p) Freddie Green (g) Walter Page (b) Jo Jones (d) Billie Holiday (v)

A session that counts with Buck and Lester together deserves respect. I consider this to be the best Vocalion session. Billie wouldn’t record afterwards none of these songs in studio.

• (MT 92) The Very Thought Of You Å1/2 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.
• (MT 93) I Can’t Get Started ÅÅ one of my favorite tunes, composed by Vernon Duke and Ira Gershwin. In the bridge, there’s a wonderful Lester solo.
• (MT 94) I’ve Got A Date With A Dream Å1/2  this track is the only participation of Dickie Wells, famous trombonist, that performs a wonderful solo at the bridge together with Lester.
• (MT 95) You Can’t Be Mine

 

The Complete Billie Holiday on Columbia Volume 5

Session #30 New York, 31/October/1938, Teddy Wilson & His Orchestra (Brunswick)

Harry James (tp) Benny Morton (tb) Edgar Sampson Benny Carter (as) Lester Young Herschel Evans (ts) Teddy Wilson (p) Al Casey (g) Walter Page (b) Jo Jones (d) Billie Holiday (v)

Teddy Wilson is back in charge but, in my opinion, the arrangements are too heavy, with too many horns (six), bringing that big-band climate where Billie looses the intimacy. The musical selection also doesn’t help that much.

• (MT 96) Everybody’s Laughing
• (MT 97) Here It Is Tomorrow Again

Session #31 New York, 09/November/1938, Teddy Wilson & His Orchestra (Brunswick)

Same band and same remarks from previous session

• (MT 98) Say It With A Kiss
• (MT 99) April In My Heart
• (MT 100) I’ll Never Fail You
• (MT 101) They Say

Session #32 New York, 28/November/1938, Teddy Wilson & His Orchestra (Brunswick)

Bobby Hackett (cornet) Trummy Young (tb) Toots Mondello, Ted Buckner (as) Bud Freeman, Chu Berry (ts) Teddy Wilson (p) Al Casey (g) Milt Hinton string (b) Cozy Cole (d) Billie Holiday (v)

Unfortunately the arrangements are still as heavy as in the previous sessions, although this is a completely different band The music selection being also disappointing. One of the worst Lady’s sessions for Brunswick.

• (MT 102) You’re So Desirable
• (MT 103) You’re Gonna See A Lot Of Me
• (MT 104) Hello, My Darling
• (MT 105) Let’s Dream In The Moonlight Å

è This session closes 1938, when Billie recorded 30 studio tracks, the second most prolific in her career, after 1937 with 38 tracks. These two years are considered her apogee in the Columbia years, in the plenitude of his voice.

By December this year, the son of a Latvian immigrant, the jazz lover Barney Josephson, decided to open a nightclub where all nationalities and races could come together in peace. So was born the famous Café Society, carrying as motto "the wrong place for the right people". Billie was present at the opening session together with the Frankie Newton Band, whose pianist was Sonny White, then 21, who turned to be her great partner.

From this date on, Lady would more and more record with the Café’s musicians, putting in hold her previous collaboration with Teddy Wilson (see session #34) who, in turn, was considering to form his own band. Probably this is the reason why he was experimenting new arrangements in his last sessions with Billie.

 

The Complete Billie Holiday on Columbia Volume 5 (cont)

 

Charlie Shavers (1920-1971)

Session #33 New York, 20/January/1939, Billie Holiday & Her Orchestra (Vocalion)

Charlie Shavers (tp) Tyree Glenn (tb) Chu Berry (ts) Sonny White (p) Al Casey (g) John Williams (b) Cozy Cole (d) Billie Holiday (v)

This year opens with two tracks by the Vocalion label. This session is a relief, 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 with her, most in the fifties.

• (MT 106) That’s All I Ask Of You ÅÅ Listen to Chu Berry’s solo in the bridge. At the end, Shavers experiments the obbligati that will later make him famous. A pleasant rendering of Billie.
• (MT 107) Dream Of Life Å 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 the Café Society.

Session #34 New York, 30/January/1939, Teddy Wilson & His Orchestra (Brunswick)

Roy Eldridge (tp) Ernie Powell (cl) (ts) Benny Carter (as) (ts) Teddy Wilson (p) Danny Barker(g) Milt Hinton string (b) Cozy Cole (d) Billie Holiday (v)

Fortunately Teddy arranged a small band for this session, the last he will conduct under Brunswick label and with John Hammond as producer. The end of a classic era!

(Wilson will be back shortly in the next year for two more sessions, just before the end of Columbia years).

• (MT 108) What Shall I Say? ÅÅ Eldridge is back and it’s his, together with Carter, the wonderful solo in the opening.
• (MT 109) It’s Easy To Blame The Weather
• (MT 110) More Than You Know ÅÅ 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...
• (MT 111) Sugar

Session #35 New York, 21/March/1939, Billie Holiday & Her Orchestra (Vocalion)

‘Hot Lips’ Page (tp) Tab Smith (ss, as) Kenneth Hollon, Stanley Payne (ts) Kenny Kersey (p) Jimmy McLin (g) John Williams (b) Eddie Dougherty (d) Billie Holiday (v)

A session with unusual five recorded tracks. Several musicians came from Café Society band. Vocalion’s producer is still Bernie Hanighen from ARC. The musical selection does not help and the band has grown to four horns.

• (MT 112) You’re Too Lovely To Last
• (MT 113) Under A Blue Jungle Moon Å
• (MT 114) Everything Happens For The Best – the first solo in the bridge is by Tab Smith in the soprano sax, an unusual instrument. He is also the composer, with Billie.
• (MT 115) Why Did I Always Depend On You? ÅÅ notice the solo in the bridge by Hot Lips, who played only few tracks with Billie.

• (MT 116) Long Gone Blues ÅÅ possibly, the group took the time to record an extra track, edited by Columbia years later. The blues style is quite different from the rest of the session, a strong lament. Maybe this is part of Café Society repertoire. After a brief intro, Billie opens the chorus in a glorious way (Talk to me babe, tell me what's the matter now...) At the bridge, Tab Smith solos with the soprano and Hot Lips closes with an incredible sound of his instrument.

èThis  fifth track was edited years after by Columbia.

è In December 1938 Columbia Broadcast System (CBS) buys ARC and the Columbia label will progressively replace Brunswick, definitely discontinued in 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 till 1940, when it will be replaced by OKeh, dedicated to Rhythm & Blues .

In the meantime, Billie’s success at Café Society motivated the poet Lewis Allen to look for Billie and offer her an unpublished song, Strange Fruit, that would turn into a great success. However, Columbia had no intention to record it due to the peculiar racial theme. Billie then presented the song to her friend Milt Gabler, owner of a record store in the 42nd Street, who had recently founded his own label, the Commodore Records. They both asked Columbia permission for an independent recording and CBS, surprisingly, agreed in what resulted to be the next session.

 

The Complete Commodore Recordings, vol.1

  Session #36: Billie and Frank Newton

Session #36 New York, 20/April/1939, Frank Newton & Café Society Band (Commodore)

Frank Newton (tp) Tab Smith (as) Kenneth Hollon e Stanley Payne (ts) Sonny White (p) Jimmy McLin (g) John Williams (b) Eddie Dougherty (d) Billie Holiday (v)

Billie recorded this session for Commodore but, just after, signed a new contract with CBS. She will be back to that label years later, in 1944 (see session #48). This session counts with several new faces with the exception of Sonny White, her beloved pianist. The musical selection is first quality but unfortunately the sound quality – specially the microphones - and the overall results are below average. Maybe Commodore, in its beginning, couldn’t afford the same equipment as CBS or RCA nor attain an equipment lease. This session can be found in the Commodore Box.

• (MT 117) Strange Fruit - this song was a success in Billie’s presentations at the Café Society, with its strong message against lynching. It is not, however, in my favorites list.

No (tp), (as) and  Stanley Payne (ts)

• (MT 118) Yesterdays – a wonderful standard by Jerome Kern, lyrics by Otto Harbach, for the musical Roberta. However, here the sound is awful, with lots of noise in the background and a poor equalization that makes Billie’s 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 of Fine and Mellow, she never made a good recording of it.

è There’s 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.

Full Band

• (MT 119) Fine And Mellow – this song, a Billie Holiday composition, was edited as Strange Fruit’s 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.

è We know 11 live registers, 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 of The Sound Of Jazz, a CBS TV Program in December 8, 1957 (live recordings, session #193)

• (MT 120) I Gotta Right To Sing The Blues Å 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)

 

The Complete Billie Holiday on Columbia Volume 6

Session #37 New York, 05/July/1939, Billie Holiday & Her Orchestra (Vocalion)

Charlie Shavers (tp) Tab Smith (ss) (as) Kenneth Hollon, Stanley Payne (ts) Sonny White (p) Bernard Addison (g) John Williams (b) Eddie Dougherty (d) Billie Holiday (v)

Billie is back to Columbia, under a new contract. The people and the style with plenty of horns are maintained in this session, very similar to the previous session in March.

• (MT 121) Some Other Spring Å a song by Arthur Herzog, lyrics by Irene Kitchings. She is a close friend of Billie and Teddy Wilson’s 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.
• (MT 122) Our Love Is Different
• (MT 123) Them There Eyes – 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.
• (MT 124) Swing, Brother, Swing – 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)

Session #38 New York, 13/December/1939, Billie Holiday & Her Orchestra (Vocalion)

Buck Clayton, Harry `Sweet` Edison (tp) Earle Warren (as) Lester Young (ts) Jack Washington (as)(bs) Joe Sullivan (p) Freddie Green (g) Walter Page (b) Jo Jones (d) Billie Holiday (v)

Two standards and two unknown songs balance this session with many horns (two trumpets and three saxes) However, Buck and Lester are back together!

• (MT 125) Night And Day – one of Cole Porter’s jewels, written in 1932 for the play Gay Divorce. Billie, however, doesn’t match the exceptional Fred Astaire’s recording for the play and, also, that of Frank Sinatra who took possession of it. I don’t like either the variations Billie brings to the music maybe because, as she declared in her book, "she had never listened the song before".
• (MT 126) The Man I Love Å this rendering of Billie is not among his best recordings and the excess of brass in big band style doesn’t help. It is a waste of excellent material and Billie unfortunately would never record it again in studio. Lester’s 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.
• (MT 127) You’re Just A No Account Å it is worth to hear Buck and Lester solos
• (MT 128) You’re A Lucky Guy

 

The Complete Billie Holiday on Columbia Volume 6 (cont)

 

   

Session #39: White, Eldridge,Williams, Billie, West, Frye, Powell, Lucie and Scott

Session #39 New York, 29/February/1940, Billie Holiday & Her Orchestra (Vocalion)

Roy Eldridge (tp) Jimmy Powell, Carl Frye (as) Kermit Scott (ts) Sonny White (p) Lawrence Lucie(g) John Williams (b) Harold ‘Doc’ West (d) Billie Holiday (v)

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 for Vocalion label.

• (MT 129) Ghost Of Yesterday ÅÅ 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.
• (MT 130) Body And Soul ÅÅ 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.
• (MT 131) What Is This Going To Get Us? ÅÅ another nice composition by Herzog & Kitchings. Sonny White, his companion ever, shines in the bridge.
• (MT 132) Falling In Love Again Å I don’t 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 film The Blue Angel.

Session #40 New York, 07/June/1940, Billie Holiday & Her Orchestra (OKeh)

Roy Eldridge (tp) Bill Bowen, Joe Eldridge (as) Kermit Scott, Lester Young (ts) Teddy Wilson (p) Freddie Green (g) Walter Page (b) J.C. Heard (d) Billie Holiday (v)

In this first session with the new OKeh label, the arrangements turn lighter and more intimate, specially in the last track.

• (MT 133) I’m Pulling Through ÅÅ 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...)
• (MT 134) Tell Me More Å another Billie composition, here in a funereal tempo but with some enchantment. Teddy Wilson is also back, filling the bridge.
• (MT 135) Laughing At Life Å
• (MT 136) Time On My Hands ÅÅ a nice standard by Vincent Youmans closes the session. Notice the obbligati by Eldridge in mute and Lester & Wilson in the bridge. Eldridge ends with a golden key. Beautiful.

Session #41 New York, 12/September/1940, Billie Holiday & Her Orchestra (OKeh)

Roy Eldridge (tp) Don Redman, Georgie Auld (as) Don Byas, Jimmy Hamilton (ts) Teddy Wilson (p) John Collins (g) Al Hall (b) Kenny Clarke (d) Billie Holiday (v)

A minor musical selection combined with a somewhat heavy arrangement closes volume 8.

• (MT 137) I’m All For You Å 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.
• (MT 138) I Hear Music Å both tracks were edited in a 78rpm, OKeh #5831
• (MT 139) The Same Old Story ÅÅ  notice Teddy Wilson in the bridge!
• (MT 140) Practice Makes Perfect Å

 

Benny Carter (1907-2003)

Session #42 New York, 15/October/1940, Benny Carter and his All Star Orchestra (OKeh)

Bill Coleman (tp) Benny Morton (tb) Benny Carter (cl)(as) Georgie Auld (ts) Sonny White (p) Ulysses Livingstone (g) Wilson Myers (b) Yank Porter (d) Billie Holiday (v)

This session with Benny Carter was part of an album with eight tracks in four 78 discs planned by Hammond and Feather as a tribute to W.C.Handy. This project was never completed.

• (MT 141) St Louis Blues ÅÅÅ a jazz classic. Benny Carter, better known at the sax, performs a wonderful clarinet solo in the bridge.
• (MT 142) Loveless Love ÅÅ 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 (1953-1958)

è W.C. Handy was a minor composer, being St. Louis Blues his greatest hit. In this same session, two more songs were recorded with Joe Turner, but the project was never issued.

 

The Complete Billie Holiday on Columbia Volume 7

 

Session #43 New York, 21/March/1941, Eddie Heywood and his Orchestra (OKeh)

Shad Collins (tp) Leslie Johnakins, Eddie Barefield (as) Lester Young (ts) Eddie Heywood (p) John Collins (g) Ted Sturgis (b) Kenny Clarke (d) Billie Holiday (v)

Three members of Lester Young band take part in this session, full of wonderful classic songs.

• (MT 143) Let’s Do It Å a Cole Porter classic. I am a Porter’s fan, but this song does nor rank among my favorites. They could let Lester fill the bridge.
• (MT 144) Georgia On My Mind - another classic, this one by Hoagy Carmichael. For those of my generation, the rendering of Ray Charles, in the sixties, is unforgettable.
• (MT 145) Romance In The Dark
• (MT 146) All Of Me ÅÅÅ a song by Seymour Simons & Gerald Marks, one of those unique pearls by a composer. A wonderful song , one of Billie’s greatest recordings. Add the Lester Young’s solo, back in scene, and the three stars are more than deserved. A jazz anthem.

• (MT 147) All Of Me ÅÅÅ in the same session two more takes, generally considered as AT, were made. As a rule, they shouldn’t be included in this discography. However, one of them came out with 3’48", 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).

è This song became popular in Billie’s live shows; nine other registers of this composition are known.

 

Eddie Heywood (1915-1989)

Session #44 New York, 09/May/1941, Eddie Heywood and his Orchestra (OKeh – Columbia)

Roy Eldridge (tp) Jimmy Powell, Lester Boone (as) Ernie Powell (ts) Eddie Heywood (p) Paul Chapman (g) Grachan Moncur (b) Herbert Cowans (d) Billie Holiday (v)

Four songs were recorded in this session in a very slow tempo.

• (MT 148) I’m In A Low-Down Groove
• (MT 149) God Bless The Child Å this is probably the most famous composition by Billie (music by Arthur Herzog) and one of most recorded by other artists in her honor. There’s a second version recorded in 1950 (s. MT #213) for Decca, but this is a better version.
• (MT 150) Am I Blue? Å 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.
• (MT 151) Solitude – a recording in a funereal tempo. There’s a second recording, with no better results, in 1952 (s. MT #226)

Session #45 New York, 07/August/1941, Teddy Wilson and his Orchestra (OKeh - Columbia)

Emmett Berry (tp) Jimmy Hamilton (cl) (ts) Hymie Schertzer (as) Babe Russin (ts) Teddy Wilson (p) Al Casey (g) John Williams (b) JC Heard (d) Billie Holiday (v)

Teddy Wilson is back to the piano in this session.

• (MT 152) Jim
• (MT 153) I Cover The Waterfront Å issued under the Columbia label, this standard by John Green & Edward Heyman is beautiful, in spite of being in a boring slow tempo. There’s also a second recording for Commodore in 1944 (s.MT #164), but inferior to this one.

è From 1944 on, this song would be frequently played in her show scores. Eight live registers are known.

• (MT 154) Love Me Or Leave Me ÅÅ1/2 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.
• (MT 155) Gloomy Sunday - the funereal tempo prevents me to like this song. 

 

The Complete Billie Holiday on Columbia Volume 7 (cont)

 

Session #46 New York, 10/February/1942, Teddy Wilson and his Orchestra (Harmony - Columbia)

Emmett Berry (tp) Jimmy Hamilton (cl) Hymie Schertzer (as) Babe Russin (ts) Teddy Wilson (p) Gene Fields (g) John Williams (b) JC Heard (d) Billie Holiday (v)

The tracks (156) e (158) were edited by the Harmony label, in the 78rpm #1075 issued in October 2nd, 1942. This was a "second line" label used by Columbia. Mandy is Two was released only on LP in 1951 (see Discography History).

• (MT 156) Wherever You Are
• (MT 157) Mandy Is Two
• (MT 158) It’s A Sin To Tell A Lie ÅÅÅ 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 song stays 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.
• (MT 159) Until The Real Thing Comes Along ÅÅ the stars commemorate the end of the Columbia years. An standard by Alberta Nichols.

è This was the last session Billie recorded for ARC – Columbia, at the end of her contract. In total, 153 tracks in 44 sessions (not counting the four tracks in the Commodore session in 1939, one in the CD The Singers and one for RCA).

 

Billie’s Blues

Paul Whiteman (1890-1967)

Session #47 Los Angeles 12/June/1942 Paul Whiteman & his Orchestra (Capitol)

Monty Kelly, Larry Neill, Don Waddilove (tp), Skip Layton, Murray McEachern, Trummy Young (tb), Alvy West, Dan D’Andrea, Lennie Hartman, Lester Young (Reeds) Buddy Weed (p) Mike Pingitore(g) Artie Shapiro (b) Willie Rodriguez (d), Unknown string section, Billie Holiday (v) Jimmy Mundy (arr) Paul Whiteman (conductor)

An unique session and quite peculiar: the city is Los Angeles; the orchestra, Paul Whiteman’s in his sole recording with Billie; the label is the recently founded 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 CD Billie’s Blues (see discography)

• (MT 160) Trav’lin’ Light ÅÅ a long instrumental intro - this time with a full orchestra - is followed by Billie’s 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. 

è She would record it again in 1956 with Tony Scott band (s.MT #273)

è That session has an important historic aspect: it was the last before the famous "Recording Ban", that would left Billie and other famous jazz musicians out of the studios till 1944. A pianist called James C. Petrillo led the strike as he became president of AFM – American Federation of Musicians in August, 1942.

 

INTERMEDIARY YEARS (1944-1951)

The Complete Commodore Recordings, Volumes 1&2

A particularity in Commodore records is the way the recordings sessions took place, with several AT (alternate takes) for each track. Many of them were licensed later to other labels. Almost all tracks have three or four takes.

Commodore label with Billie and Heywood

Session #48 New York 25/March/1944 Eddie Heywood and his Orchestra (Commodore)

Doc Cheatham (tp) Lem Davis (as) Vic Dickenson (tb) Eddie Heywood (p) Teddy Walters (g) John Simmons (b) ‘Big Sid’ Catlett (d) Billie Holiday (v)

This is the first of a series of three sessions Billie would record to Commodore in 1944. In total, 11 standards and one blues. The tempos are unfortunately too slow. Producer is Milt Gabler.

• (MT 161) How Am I To Know
• (MT 162) My Old Flame Å
• (MT 163) I’ll Get By ÅÅ in this track, as an exception, the rhythm is swung and it is worth the Teddy Walter’s solo.
• (MT 164) I Cover The Waterfront

Session #49 New York 01/April/1944 Eddie Heywood and his Orchestra (Commodore)

Doc Cheatham (tp) Lem Davis (as) Vic Dickenson (tb) Eddie Heywood (p) John Simmons (b) Sid Catlett (d) Billie Holiday (v)

Tempos are very slow, almost a funeral, but compensated by the song selection.

• (MT 165) I’ll Be Seeing You ÅÅ this song by Sammy Fain, lyrics by Irving Kahal is one of my favorites. In spite of the slow tempo it’s 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.
• (MT 166) I’m Yours Å
• (MT 167) Embraceable You Å another favorite of mine, this by George & Ira Gershwin.
• (MT 168) As Time Goes By – who doesn’t remember Humphrey Bogart and Ingrid Bergman in Casablanca? The arrangement doesn’t help, though.

Session #50 New York 08/April/1944 Eddie Heywood and his Orchestra (Commodore)

Freddie Webster (t) Lem Davis (as) Vic Dickenson (tb) Eddie Heywood (p) John Simmons (b) Big Sid Catlett (d) Billie Holiday (v)

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.

Part I: a small and jazziest band (piano, bass and drums), known as Eddie Heywood Trio; to regret the poor equalization.

• (MT 169) He’s Funny That Way Å the piano backing and the discreet rhythm session accentuate Billie’s voice. The best track of this session.
• (MT 170) Lover Come Back To Me ÅÅÅ  the tempo evolves to a nice swing, though the equalization leaves Billie’s’ 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.

è Maybe because of its nice rhythm, this song would turn very popular in Billie’s 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)

• (MT 171) Billie’s Blues Å
• (MT 172) On The Sunny Side Of The Street Å

Part II: the "full" band, with the brass section, resulting in an heavy arrangement.

• (MT 173) He’s Funny That Way ÅÅ
• (MT 174) Lover Come Back To Me ÅÅÅ – despite the fanfare in the beginning!

 

THE DECCA YEARS

It is difficult to establish a proper personality for the Decca years, from1944 to1950. Altogether, 39 tracks in 15 recording sessions with 14 different bands and 10 bandleaders! Milt Gabler, Commodore’s owner, became also Decca associate and, maybe under his influence, Billie signed with this label. The double album that collects all these tracks and their respective alternate takes is a perfection of history and details, covering all the different takes. In comparison to Commodore, Decca quality is outstanding.

Billie signed in August 7th, 1944.

 

The Complete Decca Recordings, Volume 1

Session #51: Toots Camarata and Billie

Session #51 New York 04/October/1944 Toots Camarata and his Orchestra (Decca)

Russ Case (tp) Hymie Schertzer, Jack Cressey (as) Larry Binyon, Paul Ricci (ts) Dave Bowman (p) Carl Kress (g) Haig Stephens (b) Johnny Blowers (d) Billie Holiday (v) six strings.

Too many horns set the base for Toots Camarata orchestra that recorded two subsequent sessions with very similar bands. Milt Gabler is the producer.

Apparently at the time the use of strings was unusual for a singer and considered a privilege for stars like Crosby and Sinatra. But Billie loved this kind of arrangement and required it for this session.

• (MT 175) Lover Man ÅÅ 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 don’t like heavy arrangements, but I have to agree that they worked well in this wonderful track. A nice beginning in the new label, don’t you think?

è although recorded only once in studio, this song became quite popular in Billie’s 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)

• (MT 176) No More – Billie’s 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.

Session #52 New York 08/November/1944 Toots Camarata and his Orchestra (Decca)

Russ Case (tp) Hymie Schertzer, Jack Cressey (as) Larry Binyon, Dave Harris (ts) Dave Bowman (p) Carl Kress (g) Haig Stephens (b) George Wettling (d) Billie Holiday (v) six strings.

Arrangement also conducted by Camarata, very similar to the previous session. The music score and the band are mediocre.

• (MT 177) That Old Devil Called Love – Å same remarks from (#176)

• (MT 178) Don’t Explain Å (German Coral LP6.22125, issued in the late 70s) one more composition wrote by Billie with Herzog, always based in her favorite subject. I like this song: "Hush now, don’t 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 lipstick’s traces on his collar. This take is generally considered as AT, as Decca selected the second take as 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).

è There are six registers of live recordings, all without any distinction.

• (MT 179) Big Stuff - this is the first take, out of the four listed in this work, originally considered as AT and issued by German Coral (LP #6.22125) only in the late 70s (see also MT#181, MT#186 & MT#187).

è P.S. the idea in this discography is to comment only original tracks that Billie recorded at studio. The so called "alternate takes" are remakes 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 edit under independent labels.

The Decca case is nevertheless unique. Two songs were recorded in several dates, with different bands and arrangements, sometimes with lyrics variations, even thus only one of these takes has been selected as master. I decided then to open an exception, considering most of these versions as independent recordings, or masters. These songs are: Big Stuff (4 complete versions) and Don’t Explain (2 versions); when the case may be, dates and respective edition labels are mentioned after the title.

 

The Complete Decca Recordings, Volume 1 (cont)

Bob Haggart (1914-1998)

Session #53 New York 14/August/1945 Bob Haggart and his Orchestra (Decca)

Joe Guy(tp) Bill Stegmeyer(as) Hank Ross, Armand Camgros (ts) Stanley Webb (bs) Sammy Benskin (p) Tiny Grimes (g) Bob Haggart (b) Specs Powell (d) Billie Holiday (v) plus 6 Strings.

Seven months later, Billie has a new boyfriend, the trumpeter Joe Guy, who would accompany her in the next four sessions. Milt Gabler is still the producer.

• (MT 180) Don’t Explain Å (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 Camarata’s 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).
• (MT 181) Big Stuff – this take is also considered an AT, being issued by German Coral in the LP #6.22125 only in the late 70s. Being a remake of track (#179) it has similar arrangement, although the recording time is 2’57" compared to previous 2’26". The band is also new, now under Bob Haggart.
• (MT 182) You Better Go Now – Ella Fitzgerald once declared being this one her favorite Billie’s recording. I know it’s a temerity, but I disagree.
• (MT 183) What Is This Thing Called Love? ÅÅÅ 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.

è One hour after this session, the US President announced the unconditional surrender of Japan, ending the WWII.

è In October, Sadie, Billie’s mother, 50, is hospitalized and passed away on the 6^th.

 

The Complete Decca Recordings, Volume 1 (cont)

Good Morning Headache label

Session #54 New York 22/January/1946 Bill Stegmeyer and his Orchestra (Decca)

Gordon ‘Chris’ Griffin, Joe Guy (tp) Bill Stegmeyer (as) Hank Ross, Bernie Kaufman, Armand Camgros (ts) Joe Springer (p) Tiny Grimes (g) John Simmons (b) Sidney Catlett (d) Billie Holiday (v) + 4 strings

The two first tracks were written for Billie by Irene Higginbotham.

• (MT 184) Good Morning Heartache ÅÅ
• (MT 185) No Good Man Å
• (MT 186) Big Stuff Å this track composes 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, though it’s the only one that was never issued before. Billie’s voice is clearer and the arrangement lighter (see also MT #187).

Session #55 New York 13/March/1946 Billie Holiday and her Orchestra (Decca)

Joe Guy (tp) Joe Springer (p) Tiny Grimes (g) Billy Taylor (b) Kelly Martin (d) Billie Holiday (v)

• (MT 187) Big Stuff ÅÅ1/2 (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 don’t know what made Billie abandon the strings, but now we have a more jazziest 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 #179, 181 & 186.

Session #56 New York 09/April/1946 Billy Kyle and his Trio (Decca)

Joe Guy (tp) Billy Kyle (p) Jimmy Shirley (g) Thomas Barney (b) Kenny Clarke (d) Billie Holiday (v)

Fortunately, in this session the strings are absent.

• (MT 188) Baby, I Don’t Cry Over You ÅÅ what a delight this jazziest band. In a swung tempo the bridges are back with solos by Kyle and Shirley.
• (MT 189) I’ll Look Around ÅÅ a nice ballad with obbligati by Joe Guy and Shirley’s guitar.

 

Session #57 New York 27/December/1946 John Simmons and his Orchestra (Decca)

Rostelle Reese (tp) Lem Davis (as) Bob Dorsey (ts) Bobby Tucker (p) John Simmons (b) Denzil Best (d) Billie Holiday (v)

The arrangement abuses of the brass section, big-band style.

• (MT 190) The Blues Are Brewin’ Å this is an studio version of this song, also included in the New Orleans film soundtrack.
• (MT 191) Guilty ÅÅ 

The Complete Decca Recordings, Volume 1 (cont)

Bob Haggart (1914-1998)

Session #58 New York 13/February/1947 Bob Haggart and his Orchestra (Decca)

Billy Butterfield (tp) Bill Stegmeyer (as) (cl) Toots Mondello, Al Klink (as) Hank Ross, Art Drellinger (ts) Bobby Tucker (p) Bob Haggart (b) Norris ‘Bunny’ Shawker (d) Billie Holiday (v)

This session’s arrangements are by Haggart; the slow tempi in all tracks are generally attributed to Billie problems with drug abuse.

• (MT 192) Deep Song Å in an interview to The Voice of America in 1956 Billie said this was one of her favorite songs that unfortunately made no success at all. This was her sole recording ever.
• (MT 193) There Is No Greater Love Å
• (MT 194) Easy Living ÅÅ Billie’s voice in its best shape. It’s a pleasure to listen. The first recording was in 1937 (s.MT #61).
• (MT 195) Solitude Å 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).

è A few weeks later, Joe Glaser, her manager, arranged for her to enter a clinic in New York for a session of detoxification. She would stay there for three weeks, passing there her 32nd birthday. However, she would resume using drugs in the following weeks.

Under investigation by the narcotics agency, she was charged and sentenced to a year in the Federal Reformatory for Women at Alderson, West Virginia in May 28th, 1947. Billie would stay 22 months out of any studio recordings. She got addicted in the early forties smoking opium and evolved to heroin through her husband Jimmy Monroe and her current boyfriend Joe Guy. For this reason Billie lost forever her cabaret card, without what she could not work in any jazz club in New York. This was a tremendous setback in her career.

 

The Complete Decca Recordings, Volume 2

Milt Gabler, producer (1911-2001)

Session #59 New York 10/December/1948 Bobby Tucker and his trio (Decca)

Bobby Tucker (p) Mundell Lowe (g) John Levy (b) Denzil Best (d) The Stardusters, a vocal group of six voices, including Johnny ‘Eager’ Parker, Billie Holiday (v)

After almost two years, Lady Day is back to a Decca studio. Milt Gabler is still the producer.

• (MT 196) Weep No More – sincerely, the choir arrangement is a disaster!
• (MT 197) Girls Were Made To Take Care Of Boys – same, one more time!

The Stardusters’ are gone and Billie has now a classic jazz trio, that allows her two nice intimate recordings in the series.

• (MT 198) I Loves You Porgy Å this Gershwin’s song does not rank among my favorites, but Billie does it nicely.
• (MT 199) My Man ÅÅ a second reading of this Lady’s 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.

 

The Complete Decca Recordings, Volume 2 (cont)

è 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.

 

Session #60 New York 17/August/1949 Buster Harding and his Orchestra (Decca)

Jimmy Nottingham, Buck Clayton, Emmett Berry (tp) Dickie Wells, George Matthews (tb) Rudy Powell George Dorsey (as) Lester Young, Joe Thomas (ts) Sol Moore (bs) Horace Henderson (p) Mundell Lowe (g) George Duvivier (b) Shadow Wilson (d) Billie Holiday (v)

What a difference form preceding session, that intimate and this with a full orchestra. Billie may here remember her crooner times. However, her old friends Buck Clayton and Lester Young are present. Gabler is the producer.

• (MT 200) Ain’t Nobody’s Business If I Do – the orchestra arrangement is a bit too noisy.
• (MT 201) Baby Get Lost – besides the noise, the song also doesn’t help. "Down Beat" magazine would criticize: "the song and the band have no finesse".

Session #61 New York 29/August/1949 Sy Oliver and his Orchestra (Decca)

Bernie Privin, Tony Faso, Dick Vance (tp), Henderson Chambers, Morty Bullman (tb), George Dorsey, Johnny Mince (as), Budd Johnson, Fred Williams (ts), Eddy Barefield (cl)(bs), Horace Henderson (p), Everett Barksdale (g), George Duvivier (b), Cozy Cole (d) Billie Holiday (v)

The exaggerated arrangement continues, now under Sy Oliver

• (MT 202) Keeps’ On A Raining
• (MT 203) Them There Eyes – the second recording of this song (s. MT #123); I didn’t like them both.

Session #62 New York 08/September/1949 Sy Oliver and his Orchestra (Decca)

Shad Collins, Buck Clayton, Bob Williams (tp), George Stevenson, Henderson Chambers (tb), George Dorsey, Peter Clark (as), Budd Johnson, Fred Williams (ts), Dave McRea (bs), Horace Henderson (p), Everett Barksdale (g), Joe Benjamin (b), Wallace Bishop (d) Billie Holiday (v)

Same from preceding session, with disposable songs.

• (MT 204) Do Your Duty
• (MT 205) Gimme A Pigfoot And A Bottle Of Beer - a curiosity in this song is that Billie seems to scat. Fortunately that’s not true, she’s simply following the lyrics.

è The two previous tracks would be part of a planned album in honor of Bessie Smith, but the project didn’t take off.

 

  Session #63: Billie and Louis Armstrong

Session #63 New York 30/September/1949 Sy Oliver and his Orchestra (Decca)

Bernie Privin (tp), Sid Cooper, Johnny Mince (as), Artie Drellinger, Pat Nizza (ts), Billy Kyle (p), Everett Barksdale(g), Joe Benjamin (b), Jimmy Crawford (d), Sy Oliver (arr, cond), Billie Holiday, Louis Armstrong (v)

Third time in a row with Sy Oliver Orchestra. There’s however something peculiar in the session: Louis Armstrong’s duet with Billie. Similar partnership would turn famous in the mid-fifties between Louis and Ella Fitzgerald.

• (MT 206) You Can’t Lose A Broken Heart Å a star to the partnership.

• (MT 207) My Sweet Hunk O’Trash – this session is famous because one can hear in the background Armstrong saying to Billie: "Fuck’em, Baby!"

Without Armstrong:

• (MT 208) Now or Never  nice tempo, with the band rehearsing a jam session. This song was written by Billie with Curtis Lewis.

è Generally Billie’s fans think these two duet songs with Armstrong were recorded in their collaboration at the New Orleans film, what is not the case; in there, only LA band was present.

  Gordon Jenkins (1910-1984)

Session #64 New York 19/October/1949 Gordon Jenkins and his Orchestra (Decca)

Bobby Hackett (tp) Milt Yaner (cl) (as) John Fulton (fl) (cl) (ts) Bernie Leighton (p) Tony Mottola (g) Jack Lesberg (b) Norris ‘Bunny’ Shawker (d) Billie Holiday (v) + 5 strings

Gordon Jerkins brings the strings back in a pop arrangement. Gabler still the producer.

• (MT 209) You’re My Thrill – Billie, years later, declared to the Voice of America that she had enjoyed this song a lot, but it made no success at all (actually, I didn’t like either)
• (MT 210) Crazy He Calls Me Å nice standard by Carl Sigman, lyrics by Bob Russell. Billie is in very good shape, but the arrangement is heavy.
• (MT 211) Please Tell Me Now Å a nice ballad that Billie would record only once.
• (MT 212) Somebody’s On My Mind Å 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".

 

The complete Decca Recordings, Volume 2 (cont)

Session #65 Los Angeles 08/March/1950 Gordon Jenkins and his Orchestra (Decca)

Dick ‘Dent’ Eckles (fl)(ts) Charles LaVere (p) ‘Bob’ Bain (g) Lou Butterman (b) Nick Fatool (d) Billie Holiday (v) The Gordon Jenkins Singer chorus + 4 Strings

The last recording session for Decca, this turn in their studios in Los Angeles, it was the second time Billie would record in that city. Similarly of what happened with ARC – Columbia, this farewell session has nothing to long for. Gordon Jenkins probably tried to transform "God Bless" into an anthem and programmed a choir to back her, with lousy results, in my opinion. It is a pity, because Billie’s voice is perfect. Gabler was absent and did not produce the session; later he declared he would arrange it diversely. But he hadn’t the opportunity, because he wouldn’t produce for Billie anymore.

• (MT 213) God Bless The Child – 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.
• (MT 214) This Is Heaven To Me – an unknown song and an arrangement even worse.

 

Aladdin Records

In the beginning of 1951, Billie learned that Decca would not renew her contract and therefore she signed with Aladdin a one-year contract. Under this agreement, she would actually record only one session. You can find it in the CD "Billie’s Blues" (see discography).

Eddie & Leo Mesner, Aladdin

è 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.

Billie's Blues

Session #66 New York 29/April/1951 Tiny Grimes Sextet (Aladdin)

Tiny Grimes (g) Heywood Henry (ts)(bs) Bobby Tucker (p) Unknown (b) & (d) Billie Holiday (v); (other sources mention Carl Drinkard at he piano).

In this sole session for Aladdin, two tracks were blues, a genre that, despite being know as "The Queen of the Blues" Billie recorded less than ten tracks along her career.

• (MT