Lady Day's Live Sessions
Billie
Holiday Discography
Lady Day's Live Sessions
| 1935 | 1937 | 1939 | 1940 | 1941 | 1942 | 1943 | 1944 | 1945 | 1946 | 1947 | 1948 |
| 1949 | 1950 | 1951 | 1952 | 1953 | 1954 | 1955 | 1956 | 1957 | 1958 | 1959 | |
| There were no live sessions in 1933, 1934, 1936 and 1938 | |||||||||||
THE COMPLETE COMMENTED LIVE SONGS
Duke Ellington (1899-1974)
Live session #1 [film] New York 12/March/1935 Duke Ellington & his Orchestra
Arthur Whetsol, Freddie Jenkins, Cootie Williams(tp) Joe Nanton, Lawrence Brown, Juan Tizol(tb) Marshall Royal(cl & as) Barney Bigard(cl & ts) Johnny Hodges(as) Harry Carney(bs) Duke Ellington(p) Fred Guy(g) Wellman Braud(b) Sonny Greer(d) Billie Holiday (v)
Acting in the film "Symphony in Black", shoot at Paramount Studios in Astoria, Queens. This was the first of 3 films Billie made in her career; the second being "New Orleans" in 1946 (see ahead). Billie never recorded this tune in studio – a rare opportunity to watch her on stage.
, aka Big City Blues.
(LR 1) Saddest Tale
This track can be found in the box set Perfect Complete Collection vol.1or Complete on Columbia (vol.7) and the video in the DVD The Ultimate Collection (see discography).
Film presentation
BH & Count Basie ( taken prob. 1957)
Live Session #2 [radio broadcast] New York, 30/June/1937, Count Basie & His Orchestra
Buck Clayton, Ed Lewis, Bobby Moore (tp) George Hunt, Dan Minor (tb) Earle Warren, R. Jack' Washington (as, bs) Herschel Evans, Lester Young (ts) W. 'Count' Basie(p) Freddie Green(g) Walter Page(b) Jo Jones(d) Billie Holiday(v)
Savoy Ballroom (Harlem); MBS Broadcast by WOR. Savoy Ballroom was a major music and dance place that lasted from the early 1930's to the mid 1940's, located on Lenox Ave. and 141st Street.
Å this is the first time in her career that she is backed by Count Basie. With that Gershwin song, a good match. Buck Clayton takes care of the bridge.
(LR 2) They Can't Take That Away from Me
(LR 3) Swing, Brother, Swing
è The MBS - Mutual Broadcasting System was founded September 15, 1934, to provide programming for radios WOR (New York), WGN (Chicago), WLW (Cincinnati), and WXYZ (Detroit). Mutual was an arrangement among its four founders to share programs produced at the stations. It evolved along the years to a chain of almost 1000 affiliates but ended its activities by 1999. Other similar services were carried at the time by CBS and NBC. WOR NY station was owned by Bamberger Broadcasting Service.
Count Basie (1904-1984)
Live Session # 3 [radio broadcast] New Jersey, 3/November/1937, Count Basie & His Orchestra
Buck Clayton, Ed Lewis, Bobby Moore(tp) Eddie Durham, H.'Benny' Morton, Dan Minor(tb) Earle Warren(as), R. 'Jack' Washington (as,bs) Herschel Evans, Lester Young (ts) W. 'Count' Basie(p) Freddie Green(g) Walter Page(b) Jo Jones(d) Billie Holiday(v)
CBS Broadcast by WOR at the Meadowbrook Lounge, Cedar Grove, NJ. Meadowbrook was one of the premier ballrooms of the dance band era, owned by Frank Dailey (1901-1956) who also led several orchestras.
the complete orchestra is not an usual backing for Billie, but in this case with very pleasant results, despite the poor sound quality of this live track.
(LR 4) I Can't Get Started Å
Track in the box Perfect Complete Collection vol.1or Complete on Columbia, vol.8
Benny Goodman (1909-1986)
Live session #4 [live recording] New York 17/January/1939 Benny Goodman & his Orchestra
Ziggy Elman,Chris Griffin, Cy Baker or Irving Goodman (tp) Red Ballard, Vernon Brown (tb) Hymie Schertzer, Noni Bernardi (as) Jerry Jerome, Art Rollini(ts) Benny Goodman(cl) Jess Stacy(p) Ben Heller(g) Harry Goodman (b) Buddy Schutz(d) Martha Tilton, Johnny Mercer, Billie Holiday and Leo Watson(v)
Camel Caravan Radio Show Broadcast. Camel Caravan was a radio program from 1933 to 1954. The name comes from Camel cigarettes as the show was sponsored by the tobacco company. In that era being sponsored by a tobacco company was relatively common. Several jazz musicians and crooners performed on the show. It had some role in the careers of Benny Goodman, Georgia Gibbs, and Vaughn Monroe (© Wikipedia).
- (LR 5) I Cried for You - A big-band arrangement don't really get the best of Billie.
(LR 6) Jeepers Creepers - This is quite an unusual track, Billie sharing the vocals with 3 other singers. Martha Tilton opens, followed by the tune composer, Johnny Mercer. Billie then takes over and, (according to the announcer) the amazing dr. Leo Watson closes with his characteristic "scats". Billie never recorded it in studio, being this the sole live known register. Some rehearsals can also be found in the Verve collection.
Live session #5 [live recording] New York 1st/April/1939 Frank Newton Orchestra
Frank Newton (tp) Stanley Payne (as) Kenneth Hollon (ts) Kenny Kersey (p) Ulysses Livingston (g) John Williams (b) Eddie Dougherty (d) Billie Holiday (v)
Cafe Society broadcast.
(LR 7) I'm Gonna Lock My Heart
è Café Society was a New York City nightclub opened in 1938 in Greenwich Village by Barney Josephson to showcase African American talent and to be an American version of the political cabarets he had seen in Europe before the war. Josephson also intended the club to defy the pretensions of the rich; he chose the name to mock Clare Booth Luce and what she referred to as "café society", the habitués of more upscale nightclubs. Josephson not only trademarked the name, which had not been trademarked by the gossip columnist for the New York Journal American M, who wrote as the first "Cholly Knickerbocker". but advertised the club as "The Wrong Place for the Right People." Josephson opened a second branch on 58th Street, between Lexington and Park Avenue, in 1940. The club also prided itself on treating both black and white customers equally, unlike many venues, such as the Cotton Club, that featured black performers but barred black customers. The club featured many of the greatest black musicians of the day, from a wide range of backgrounds, often presented with a strongly political bent. Billie Holiday first sang "Strange Fruit" there; at Josephson's insistence, she closed her set with this song, leaving the stage without taking any encores, so that the audience would be left to think about the meaning of the song (© Wikipedia).
BH & Coleman Hawkins (1904-1969)
Live session #6 [radio broadcast] New York 19/December/1940
Hot Lips Page (tp) Charlie Barnet, Coleman Hawkins, Lester Young(ts), Teddy Wilson (p), unknown (g)(b)(d), Billie Holiday (v)
WNEW Broadcast.
(LR 8) The Man I Love Å
è WNEW was a radio station in New York, its name meaning The NEWest Thing in Radio. In 1934, President Franklin D. Roosevelt pressed a key in the White House, which transmitted an electronic impulse to New York City, which activated a transmitter that put WNEW on the air for the first time.
Billie Holiday ca. 1941
Live Session #7 [live recording] New York, 19/June/1941, Floyd 'Horsecollar' Williams & Band
Floyd Horsecollar Williams (as), unknown (p, b, d), Billie Holiday (voc)
An old music spot, Clark Monroe's Uptown House got this name in 1936, located at 134th Street and 7th Ave. By that time, Billie was close to Jimmy Monroe, Clark's brother, and spent some weeks in the house. There, Jerry Newman recorded these songs on an unknown date.
(LR 9) I Cried For You
(LR 10) Fine And Mellow
Tracks in in the box Perfect Complete Collection vol.1
The Spirits of Rhythm: Teddy Bunn, Douglas Daniels, Wilbur Daniels
Live Session #8 [radio broadcast] Los Angeles, 1st/June/1942, Lee and Lester Young Band
'Red' Mack Morris (t), Lester Young, 'Bump' Myers (ts), Jimmy Rowles (p), Louis Gonzales (g), 'Red' Callender (b), Lee Young (d), The Spirits of the Rhythm, Billie Holiday (v)
Broadcast on station KHJ at the Billy Berg's Trouville Club. Norman Granz (1918-2001), an Ukranian-Jewish descent, was a jazz aficionado and began a long involvement with the music by persuading Billy Berg, a well-known Los Angeles club owner, to allow him to promote a jam session at his club, the Trouville, on Sunday nights. Granz would be closer involved with Billie at a later date, when she started recording for Verve.
(LR 11) I Hear Music - a very bad sound quality, probably resulting from an amateur recording.
(LR 12) Solitude - the track was not entirely recorded.
These tracks can be find in the CD Rare Tracks From The BHD, vol.1 (1937-1944)
KHJ station - Los Angeles
è Founded in 1922 and owned by The Los Angeles Times, KHJ station was in 1949 merged into RKO.
Henry 'Red' Allen (1906-1967)
Henry Allen SextetLive session #9 [radio broadcast] Los Angeles 10/April/1943
Henry 'Red' Allen(t), J.C. Higginbotham (tb), Don Stovall (as), Alfred Williams(p), Benny Moten (b), Alvin Burroughs (d), Billie Holiday (v)
On March and April Billie performed at Club 331 in LA backed by the Red Allen Band. In some dates on March the AFRS (Armed Forces Radio Service) "Jubilee" Transcription Program # 17 was recorded live in the NBC Studios in Hollywood, and dubbed March 22. The broadcast took place on April 9 or 10, as they were normally transmitted on a Friday night. In the same program, tracks by Red Allen Sextet and Art Tatum Trio.
(LR 13) Trav'lin' Light -
(1)
(2)
(1) with Art Tatum at the Metropolitan (2) Tatum, Catlett & Pettiford after changing gown
Live Session #10 [live recording] New York, 18/January/1944 Metropolitan Opera House, All-Star Jam Band
Roy Eldridge (tp) Jack Teagarden (tb) Coleman Hawkins (ts) Barney Bigard (cl) Art Tatum (p) Al Casey (g) Oscar Pettiford (b) Sidney Catlett (d) Billie Holiday (v)
This session celebrate a very special evening - this was her first presentation in a major concert hall and those lucky enough to have concert tickets saw her become the first black woman to sing on stage at the Metropolitan. The show was the "Esquire" magazine's All-American First Annual Jazz Concert and there Billie was presented with the 1943 female vocalist of the year. The show was partially broadcast.
- (LR 14) Do Nothing Till You Hear From Me Å the track starts with Leonard Feather: "now presenting our first vocal star of the evening, incomparable, all-american, girl-singer, miss Billie Holiday" . After the audience applause Eldridge opens and does the obbligati. It is a pleasure to hear Billie's voice so clear.
- (LR 15) Billie's Blues Å the slow tempo track is almost ruined by Catlett out-of-mood interventions (actually, same in the previous track) and the loud comments behind also don't help, making the audience laugh. Billie do not get disturbed, though.
(LR 16) I'll Get By ÅÅ this part of the show is broadcast and, after Feather's presentation of Billie and Eldridge, she carries this short balanced track with no bridge (and a black gown).
Noble Sissle (1889-1975) The Apollo Theater, Harlem
Live session #11 [radio broadcast] New York 24/May/1944 Noble Sissle And His Band
Unknown Personnel (big band) Billie Holiday (v)
WMCA broadcast from the Apollo Theatre.
(LR 17) Do Nothing Till You Hear From Me Å
è The Apollo Theater is one of the most famous clubs for popular music in the United States, and certainly the most famous club associated almost exclusively with African-American performers.
Located at 253 W. 125th Street in Harlem, the best-known black neighborhood in New York City and probably the country, the Apollo grew to prominence during the Harlem Renaissance of the pre-World War II years. In 1934, it introduced its regular Amateur Night shows. It is now run by a nonprofit organization, the Apollo Theater Foundation Inc. (© Wikipedia)
Roy Eldridge (1911-1989)
Live session #12 [radio broadcast] New York 25/June/1944
Roy Eldridge, Charlie Shavers (t) Vick Dickenson, Benny Morton (tb) Edmond Hall (cl) Ben Webster (ts) Art Tatum (p) Al Casey (g) Slam Stewart (b) Arthur Trappier (d) Billie Holiday (v)
WMCA broadcast of the #17 program in the series New World A' Coming, The Story Of Negro Music. The series was transmitted from 1944 to1957, in a total of 70 Sunday episodes. Narrated by African-American actor Canada Lee it also features that day Josh White and the Hall Johnson Choir. NWA'C was a politically incisive program on racial issues.
- (LR 18) Fine And Mellow Å
(LR 19) All Of Me Å
è WMCA radio station from New York first went on the air on February 6, 1925, broadcasting from the McAlpin Hotel. In 1943 it was acquired by the Straus family.
Live session #13 [radio broadcast] New York 6/December/1944 Hot Lips Page and His Band
Unknown Personnel (big band) Billie Holiday (v)
WMCA Apollo Theatre Broadcast (see comments on previous two sessions)
(LR 20) I'll Be Seeing You Å
Duke Ellington (1899-1974)
Live session #14 [radio broadcast] Los Angeles 1st/January/1945 Duke Ellington and His Orchestra
Rex Stewart, Taft Jordan, Shelton Hemphill, Cat Anderson, Ray Nance(t) Lawrence Brown, Claude Jones, Joe Nanton(tb) Johnny Hodges, Otto Hardwick(as) Jimmy Hamilton(cl)(ts) Al Sears(ts) Harry Carney(bs) Billy Strayhorn(p) Fred Guy(g) Junior Raglin(b) Hillard Brown(d) Billie Holiday(v)
California Philharmonic Auditorium, "Esquire" magazine Second Annual Jazz Concert
(LR 21) Lover Man
(LR 22) I Cover The Waterfront Å
è "Esquire" is a magazine for men, founded in 1933.
Howard McGhee (1918-1987)
Live session #15 [live recording] New York 12/February/1945 Jazz At The Philharmonic (Clef)
Howard McGhee (t) unknown (tb) Willie Smith (as) Illinois Jacquet, Wardell Gray and/or Charly Ventura (ts) Milt Raskin(?) (p) Dave Barbour? (g) Charles Mingus (b) Dave Coleman (d) Billie Holiday (v)
The Jazz at the Philharmonic Concert, on California Philharmonic Auditorium, was partially recorded.
(LR 23) Body And Soul ÅÅ
(LR 24) Strange Fruit
è Jazz at the Philharmonic (JATP) was the title of a series of concerts produced by Norman Granz (see note on session #8). The first concert was held in 1944 in Los Angeles. After a few more similar concerts in LA, Granz began producing annual tours in 1946. Granz recorded many of these concerts and leased them to Mercury Records and later to his own labels, Clef and Verve. JATP ceased touring the United States in 1957.
è In October, Sadie, Billie’s mother, 50, is hospitalized and passed away on the 6th.
Hot Lips Page (1908-1954)
Live session #16 [radio broadcast] New York 15/December/1945 Hot Lips Page and his Band
Hot Lips Page (t), Ram Ramirez (p), others unknown, Billie Holiday (v)
WMCA broadcast
- (LR 25) Fine And Mellow
(LR 26) All Of Me
Live session #17 [live recording] New York 27/May/1946 Jazz At The Philharmonic (Clef)
Buck Clayton (tp) ?(tb) Coleman Hawkins, Illinois Jacquet and Lester Young (ts) Ken Kersey (p) JohnCollins or Tiny Grimes (g) Curley Russell (?) (b) J.C. Heard (d) Billie Holiday (v)
Jazz at the Philharmonic, Carnegie Hall (see note on session #15)
- (LR 27) I Cried For You
- (LR 28) Fine And Mellow Å
(LR 29) He's Funny That Way
è
Carnegie Hall
Carnegie Hall is a concert house in New York, located at Seventh Avenue between 56th and 57th Street. Built by philanthropist Andrew Carnegie in 1890, it is one of the most famous theaters for classical and popular music in the United States.
The professionals who play here don't get their gigs by looking through the classifieds NY papers have but through years of practice, practice, practice!
Live session #18 [live recording] New York 3/June/1946 Jazz At The Philharmonic (Clef)
Joe Guy (tp) Georgie Auld (as) Illinois Jaquet and Lester Young (ts) Ken Kersey (p) Tiny Grimes (?)(el.g) Al McKibbon (b) J.C. Heard (d) Billie Holiday (v)
Jazz at the Philharmonic, Carnegie Hall
- (LR 30) The Man I love Å1/2
- (LR 31) Gee Baby, Ain't I Good To You Å
- (LR 32) All Of Me ÅÅ
(LR 33) Billie's Blues
New Orleans picture scenes
Live Session #19 [film] Hollywood, 11/September/1946 Louis Armstrong And His Hot Six
Hal Roach Studios, Culver City, film New Orleans
Only Charlie Beal (p)
Å the slow tempo, backed only by the piano, is very pleasant.
(LR 34) Do You Know What It Means To Miss New Orleans?
Louis Armstrong (tp) Edward "Kid" Ory (tb) Barney Bigard (cl) Charlie Beal (p) Bud Scott (g) George "Red" Callender (b) "Zutty" Singleton (d) Billie Holiday (v) & Choir
(LR 35) Do You Know What It Means To Miss New Orleans? Å both tracks were sang only by Billie. In the next year, however, she shared same song with Louis Armstrong in a Carnegie Hall concert (see LR #46). Many fans confuse those two sessions.
(LR 36) Farewell To Storyville
Louis Armstrong, Robert Butler, Louis Gray, Fats Ford, Ed Mullins(tp) "Big Chief" Russell Moore, Waddet Williams, Nat Allen, James Whitney(tb) Don Hill, Amos Gordon(as) Joe Garland, John Sparrow(ts) Ernst Thompson(bs) Earl Mason(p) Elmer Warner(g) Arvell Shaw(b) Edmund McConney(d) Billie Holiday (v)
(LR 37) The Blues Are Brewin'
Billie, Louis Armstrong, Barney Bigard and Woody Herman orchestra would take part in the set. The film opened in early 1947.
Louis Armstrong and Billie
Live session #20 [live recording] Los Angeles 7/October/1946 Jazz At The Philharmonic (Clef)
Howard McGhee(?) (tp) Trummy Young (tb) Illinois Jacquet(?) (ts) Ken Kersey(?) (p) Charly Drayton (b) Jack Mills (d) Billie Holiday (v)
Shrine Auditorium
Only (tb), (p), (b)
- (LR 38) Trav'lin' Light
Full Band
(LR 39) He's Funny That Way Å
è The Shrine Auditorium was founded in 1906 and built by the membership of the Al Malaikah Temple (city of angels in Arabic). The Temple is governed by an elected Divan, composed of the Potentate, Chief and Assistant Rabbans, High Priest and Prophet, Oriental Guide, Treasurer and Recorder.
Live session #21 [radio broadcast] New York 13/January/1947 Arthur Godfrey Show
Bobby Tucker (p), Billie Holiday (v)
"Arthur Godfrey Time" Show, broadcast via CBS. Billie was also interviewed in the program.
(LR 40) The Man I Love Å
è Arthur Godfrey (1903 –1983) was an American radio and television broadcaster and entertainer. Born in New York, he joined CBS in 1945 were he was given his own daily program, Arthur Godfrey Time, a Monday-Friday morning radio show.
At Carnegie Hall, with Louis Armstrong
Live session #22 [live recording] New York 8/February/1947 Louis Armstrong And His Orchestra
Louis Armstrong, Thomas Grinder, Chiefy Scott, Ed Mullins, Bob Butler (tp) Russell Moore, Alton Moore, James Whitney(tb) Arthur Dennis, Amos Gordon(as) Joe Garland, Lucky Thompson(ts) John Sparrow(bs) Earl Mason(p) Elmer Warner(g) Arvell Shaw(b) Sid Catlett(d) Louis Armstrong, Billie Holiday (v)
Billie appears as an unexpected guest at Louis Armstrong's Carnegie Hall Concert to fill the gap caused by Earl Hines, tied up in Nashville by bad weather. The audience seems to like her singing.
- (LR 41) Do You Know What It Means to Miss New Orleans ÅÅ Armstrong sings the first and second chorus, and Billie takes over with perfection, to audience's delight. A rare, and delicious, duet in her discography.
Only Bobby Tucker (p) and Billie Holiday (v)
(LR 42) Don't Explain ÅÅ She introduces the song personally: "thank you very much, ladies and gentlemen, and now I'd like to sing a song, that I wrote, its title is Don't Explain". A beautiful rendering backed only by Tucker's piano.
Live Session #23 [live recording] New York, 24/May/1947 Jazz At The Philharmonic
Bobby Tucker (p) Billie Holiday (v)
Carnegie Hall Concert
(LR 46) I Cover The Waterfront Å
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. 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, which is different than business cards, without what she could not work in any jazz club in New York. This was a tremendous setback in her career.
Billie at Carnegie Hall
On Saturday, March 27, 1948 Billie performed two concerts at Carnegie Hall backed by Bobby Tucker and trio. Unfortunately, sessions were not recorded and we only have the pictures above. Notice that in the intermission she changed the black dress by a light blue one and sang 30 numbers each presentation. Among them, classics like I Cover The Waterfront, Don't Explain, All Of Me and Fine And Mellow. Maybe, in the future, someone will find the lost recording...
Lionel Hampton (1908 - 2002)
Live session #24 [radio broadcast] New York 7/July/1948 Lionel Hampton and His Orchestra
Ben Kynard (cl) Bobby Tucker (p) Charles Mingus (b) Earl Walker (d) Billie Holiday (v) plus full band at the end
Majestic Theater, Radio Broadcast
(LR 47) I Cover The Waterfront Å1/2
Live Session [radio broadcast] Los Angeles, 15/December/1948, Red Norvo Orchestra
Recorded at Billy Berg’s Club in Hollywood, this session went on air only in June, 1949 in the Gene Norman’s Just Jazz radio show. (see below session #26)
è In May, 1949 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. In the meantime, she appeared in a couple of live presentations.
Live session #25 [live recording] Los Angeles 27/May/1949
Unknown(p) and Other Instruments, Billie Holiday (v)
Babs Gonzales Party. Private Recording.
- (LR 48) That Old Devil Called Love -
(LR 49) I'll Be Seeing You -
è
Babs Gonzales (1919-1980) a limited but enthusiastic singer, Babs Gonzales did what he could to popularize bop. He had brief stints with Charlie Barnet and Lionel Hampton, and then led his own group during 1946-1949.
Red Norvo (L) & Barney Kessel
Live Session #26 [radio broadcast] Los Angeles, June/1949, Red Norvo Orchestra
Neal Hefty (tp) Herbie Harper (tb) Herbie Steward (ts)(cl) Jimmy Rowles (p) Iggy Shevak (b) Blinkie Garner (d) Billie Holiday (v)
Recorded at Billy Berg’s Club in Hollywood (see note at session #8), this session went on air only in June, 1949 in the Gene Norman’s Just Jazz radio show. She sang 10 songs in the show. This is the merit of this session: it was the one where Billie sang the most previously unrecorded songs in a live presentation.
Full Band
Trio: Hefty (p) Shevak (b) e Garner (d)
(LR 53) I Wonder Where Our Love Has Gone
è Gene Norman owned and operated the legendary Hollywood jazz club known as the Crescendo during the 1940's. As a rising DJ on radio KFWB during that same period, he was considered the most popular and knowledge radio man of the time and regularly associated with the biggest names in the history of jazz. He was also the founder of GNP Crescendo recording label.
Live session #27 [TV broadcast] New York 27/August/1949 Eddie Condon and His Band
Oran "Hot Lips" Page (tp), Horace Henderson (p), Jack Lesberg (b), George Wettling (d), Billie Holiday (v)
Eddie Condon Floor Show, NBC TV Program
- (LR 60) Keeps On A Rainin' Å -
è Eddie Condon (1904-1973) was a jazz guitarist, being one of the first musicians to appear on television. Later he joined NBC where he presented, in the late 40s, one of the earliest television series, the Eddie Condon Floor Show. For more then 20 years, starting in 1945, he also ran his own nightclub in the Greenwich Village, the Howdy Club.
Live session #28 [TV broadcast] New York 3/September/1949 Eddie Condon and His Band
Horace Henderson (p), Eddie Condon (g), Peanuts Hucko (cl), Jack Lesberg (b), George Wettling (d), Billie Holiday (v)
Eddie Condon Floor Show, NBC TV Program
(LR 63) Billie's Blues (I Love My Man) ÅÅ
Live session #29 [TV broadcast] New York 10/September/1949
Oran "Hot Lips" Page (tp), Horace Henderson (p), Unknown (b),(d) & (g), Billie Holiday (v)
Art Ford Show, television broadcast
(LR 67) All Of Me Å
Live session #30 [radio broadcast] New York 24/May/1950 Nono Morales Band
Unknown Personnel, Billie Holiday (v)
The Amateur Hour at the Apollo Theatre, Harlem. Broadcast by WMCA.
(LR 68) You're My Thrill -
è Nono Morales was a Cuban bandleader and composer. The amateur night was an institution at the Apollo Theater every Wednesday. At 11pm, the Amateur Hour starts, and it was frequently broadcast. Not to confuse with The Original Amateur Hour, a radio program in the 30s and 40s and later on television.
Session #31: Billie and Count Basie Sextet
Live session #31 [film] Hollywood 19/August/1950 Count Basie and his Sextet
Clark Terry (t) Buddy DeFranco (cl) Wardell Gray (ts) Count Basie (p) Freddie Green (g) Jimmy Lewis (b) Gus Johnson (d) BH (v)
The session is part of a musical movie short featuring Count Basie, Billie Holiday and Sugar Chile Robinson, shot at the Universal Studios in Hollywood. The two songs do not deserve any special comments.
- (LR 69) God Bless The Child
- (LR 70) Now or Never -
Live session #32 [live recording] Los Angeles 25/September/1950 Lee Young Band
Parr Jones (t) Maxwell Davis (ts) Dudley Brooks (p) Bill Hadnott (b) Lee Young (d) Billie Holiday (v)
The session – with two known tracks - was probably (privately) recorded in the Oasis Bar in LA.
- (LR 71) You Got to Show Me – a Billie Holiday composition; she never recorded it in studio (actually, this is the sole known rendition of this song).
- (LR 72) Crazy He Calls Me -
BH at Storyville
Live Session #33 [radio broadcast] Boston, 28/October/1951 Storyville Club
George Wein (1925 - ) founded his first Storyville Club on late 40s, moving to several locations in Boston. This time, in the Copley Square Hotel. He also organized famous festivals like The Newport Jazz. Billie had other two sessions recorded at Storyville: in 1953 (see LR #36) and 1959 (see LR #67) - this to be her last presentation.
Stan Getz (ts) Buster Harding (p) John Fields (b) Marquis Foster (d) Billie Holiday (v)
October 28
(LR 73) Ain't Nobody's Business If I Do Å
(LR 74) Lover Come Back To Me Å
(LR 75) Detour Ahead
(LR 76) You're Driving Me Crazy
Buster Harding (p) John Fields (b) Marquis Foster (d) Billie Holiday (v) Nat Henthoff (announcer)
October 29
(LR 77) He's Funny That Way Å this and following track are announced by Nat Henthoff and recorded in the tracks.
(LR 78) Billie's Blues - Billie's voice sounds childish.
October 31
(LR 79) Miss Brown To You
November 1st
(LR 80) Billie's Blues Å
(LR 81) Lover Man Å
(LR 82) Them There Eyes
(LR 83) My Man Å
(LR 84) I Cover The Waterfront
(LR 85) Crazy He Calls Me Å
(LR 86) Lover Come Back To Me Å
(LR 87) Detour Ahead –
(LR 88) Strange Fruit
(LR 89) Ain't Nobody's Business If I Do Å
(LR 90) All Of Me
(LR 91) Porgy
(LR 92) Miss Brown To You
BH and Charlie Parker at Carnegie Hall
Live Session #34 [live recording] New York, 14/November/1952 Duke Ellington Orchestra (?)
Jimmy Hamilton (cl) Laverne 'Buster' Harding (p) Ray Nance (violin) John Fields (b) Marquis Foster(d) Billie Holiday (v)
Recorded at Carnegie Hall in a Concert commemorating the 25th Anniversary of Duke Ellington in the music business. Also in the program Charlie Parker, Dizzy Gillespie, Ahmad Jamal and Stan Getz. A series of songs have been recorded.
First Concert (8:15pm)
(LR 93) My Man
(LR 94) Fine And Mellow Å
Second Concert (11:45pm)
(LR 95) I Cover The Waterfront Å
(LR 96) Lover Come Back To Me Å
at Apollo Theater
Live Session #35 [radio broadcast] New York, 10/December/1952 Johnny Hodges Band
Tony Scott (cl) Buster Harding (p) Others unknown, Billie Holiday (v)
The Amateur Hour at the Apollo Theatre, broadcast via WMCA
(LR 97) My Man -
(LR 98) Tenderly Å
George Wein
Live Session #36 [radio broadcast] Boston, 6/October/1953 Storyville Club
Carl Drinkard (p) Jimmy Woode (b) Peter Littman (d) Billie Holiday (v)
Presentation is introduced by jazz DJ John McClellan from Storyville Club located at Copley Square Hotel and Billie is announced by George Wein himself.
first McClellan intro
(LR 99) I Cover The Waterfront Å – the audience respectfully applauded, but Billie's voice is failing; this won't be a memorable presentation.
(LR 100) Too Marvelous For Words
(LR 101) Porgy – the funereal tempo does not help at all.
(LR 102) Them There Eyes – at least, this swung tempo brings some air.
(LR 103) Willow Weep For Me – there's a small chat at the track beginning. The tempo gets very slow and it ends in a lament.
second McClellan intro
(LR 104) I Only Have Eyes For You - Billie's voice is even worse after the break, undulating and failing.
(LR 105) You Go To My Head – in a very low tempo, almost a cappella rendering.
Live session #37 [TV broadcast] New York 16/October1953 Carl Drunkard's Trio
Prob. Jimmy Raney (g), Carl Drinkard (p), ? (b), Peter Litman (d)
George Jessel's "The Comeback Story" TV program on ABC primetime started on October 2nd, 1953 and was last aired on June 1st, 1954. The series was about people who had success, but had tough times, and that were helped to a "comeback". Not a surprise it didn't last long. George introduces Billie, remembering her narcotics problems in 1947.
- (LR 106) God Bless The Child -
Billie Holiday made her first European tour in January, 1954 as part of a Jazz Club USA group with Buddy De Franco quartet and Red Norvo trio, playing some 40 concerts in 30 days. Leonard Feather was the organizer.è
Complete European scheduling (marked in yellow, the recorded shows)
| Jan10 | fly to Stockholm | Jan21 | Düsseldorf, Germany | Feb01 | Paris, France |
| Jan 11 | Stockholm | Jan22 | Cologne, Germany | Feb02 | Geneva, Swiss |
| Jan12 | 2nd show in Stockholm | Jan23 | Amsterdam, Holland | Feb03 | Zurich, Swiss |
| Jan13 | Uppsala, Sweden | Jan24 | Brussels, Belgium | Feb04 | Basel, Swiss (last show) |
| Jan14 | Örebro, Sweden | Jan25 | Frankfurt, Germany | Feb05 | Mars Club in Paris |
| Jan15 | Gothemburg, Sweden | Jan26 | US Army Camp, Germany | Feb06 | Ringside Club, Paris |
| Jan16 | Oslo, Norway | Jan27 | Munich, Germany | Feb08 | fly to London |
| Jan17 | Marmö, Sweden | Jan28 | Stuttgart, Germany | Feb12 | Free Trade Hall, Manchester |
| Jan18 | Copenhagen, Denmark | Jan29 | Nuremberg, Germany | Feb13 | Astoria Ballroom, Nottingham |
| Jan19 | Hamburg, Germany | Jan30 | -rest- | Feb14 | Royal Albert Hall, London |
| Jan20 | Berlin, Germany | Jan31 | The Hague, Holland | Feb19 | fly back to NY |
Billie in Cologne: Mitchell, DeFranco, Norvo, Billie
Live Session #38 [live recording] Cologne, Germany, 22/January/1954 Jazz Club USA
Jazz Club USA
Carl Drinkard Trio: Carl Drinkard (p) Jimmy Woode (b) Peter Littman (d) Billie Holiday (v)
(LR 107) Bilie's Blues (I Love My Man)
(LR 108) What A Little Moonlight Can Do –
Jam Session Group: Buddy DeFranco (cl) Red Norvo (vb) Beryl Booker (p) Red Mitchell (b) Elaine Leighton (d) Billie Holiday (v)
(LR 109) Lover Come Back To Me
Billie in Stockholm (January 12)
Live Session #39 [live recording] Bruxelles, Belgium, 24/January/1954 Jazz Club USA
Carl Drinkard Trio: Carl Drinkard (p) Red Mitchell (b) Elaine Leighton (d) Billie Holiday (v)
Jazz Club USA
(LR 110) He's Funny That Way Å
(LR 111) All Of Me Å
(LR 112) My Man Å
(LR 113) Them There Eyes
(LR 114) Don't Explain Å
(LR 115) I Cried For You
(LR 116) Fine And Mellow Å
(LR 117) What a Little Moonlight Can Do T
A rare "black all-girl band", the Beryl Booker Trio was formed by Bonnie Wetzel, bass; Elaine Leighton, drums and Beryl Booker, piano. The two latter took part in this Jazz Club USA
Live session #40 [live recording] Basilea, Swiss 04/February/1954 Jazz Club USA
Mustermesse, Basilea, Swiss two jam sessions, with extended recording time, historical tracks.
Carl Drinkard Trio: Carl Drinkard (p) Red Mitchell (b) Elaine Leighton (d) Billie Holiday (v)
- (LR 118) Blue Moon
- (LR 119) All Of Me Å
- (LR 120) My Man Å
- (LR 121) Them There Eyes
- (LR 122) I Cried For You
- (LR 123) What A Little Moonlight Can Do
- (LR 124) I Cover The Waterfront
Buddy DeFranco (cl) Red Norvo (vb) Beryl Booker & Sonny Clark (p) Jimmy Raney (g) Red Mitchell (b) Elaine Leighton (d) Billie Holiday (v)
(11’39") ÅÅÅ from the very beginning, we notice that we are at an exciting environment, with the piano in staccato, the clarinet in obbligato and an special swing. In the bridge, the solo by DeFranco - a bit too long - is followed by Red Norvo, introducing the vibraphone in Billie’s recordings; in the sequence, Jimmy Raney, Sonny Clark – the best of them all – and Mitchell complete the band’s round. Billie comes back for the final chorus. Excellent.
- (LR 125) Billie’s Blues
(LR 126) Lover Come Back To Me (6’46") ÅÅ this jam session, in a faster tempo than the preceding track, gives more room for the band to improvise. Billie slows the tempo in the final chorus after a band’s break.
Live Session #41 [live recording] Europe, January/February/1954 Jazz Club USA
Carl Drinkard Trio: Carl Drinkard (p) Red Mitchell (b) Elaine Leighton (d) Billie Holiday (v)
Those tracks are considered to be recorded during the tour, at unknown locations. (tracks #133 and #134 possibly in Paris).
(LR 127) Nice Work If You Can Get It Å
(LR 128) Willow Weep For Me Å
(LR 129) I Only Have Eyes For You
(LR 130) God Bless The Child
(LR 131) Please Don't Talk About Me
(LR 132) Billie's Blues (I Love My Man)
(LR 133) All Of Me
(LR 134) Willow Weep For Me
Live at Royal Albert Hall
Live Session at Royal Albert Hall, London 14/February/1954
Billie sings 15 songs accompanied by Carl Drinkard and trio. Unfortunately, those tracks were not recorded.
Live Session #42 [live recording] New York, 25/September/1954 Count Basie Orchestra
W.Culley, R.Jones, Thad Jones, Joe Newman(t) H.Coker, B.Hughes, B.Powell(tb) M.Royal(as/cl) E.Wilkins(as/ts) F. Wess(ts/fl) F.Foster(ts) C.Fowlkes(bs) Freddie Green(g) Memry Midget(p) Eddie Jones(b) Gus Johnson(d) Billie Holiday(v)
Recording session at the JATP at Carnegie Hall with the Birdland All-Stars. Sarah Vaughan also took part.
(LR 135) All Of Me Å
(LR 136) Ain't Nobody's Business If I Do
(LR 137) Lover Come Back To Me
(LR 138) My Man
(LR 139) Them There Eyes
(LR 140) Lover Man
è Charlie Parker (1920-1955) famous saxophonist and composer, nicknamed "Bird". The famous New York nightclub Birdland, temple of so many jazz performers, founded in 1949, was named after him.
Live Session #43 [TV Broadcast] New York, 8/February/1955 Skitch Henderson House Band
Carl Drinkard (p), Billie Holiday (v) Others Unknown
Broadcast by NBC at the Steve Allen Tonite Show (aired from 1954 to 1957).
(LR 141) My Man Å
(LR 142) Them There Eyes
(LR 143) Lover Man
Live Session #44 [live recording] New York, 6/May/1955
Count Basie (org), Lester Young (ts), Buck Clayton (tp), Bobby Tucker (p), Eddie Jones (b), Buddy Rich (d), Billie Holiday (v)
Recorded by Norman Granz at the Carnegie Hall on Lighthouse Jazz & Variety Concert.
(LR 144) Stormy Weather -
è Lighthouse International is a leading non-profit organization, founded 1905, that helps people of all ages who are at risk for, or are experiencing, vision loss.
Live Session #45 [TV Broadcast] New York, 10/February/1956 Skitch Henderson House Band
prob. Doc Severinsen (tp), Al Klink (as), Lou McGarity (tb), Corky Hale (p) Billie Holiday (v)
Broadcast by NBC at the Steve Allen Tonite Show (aired from 1954 to 1957).
(LR 145) Ghost Of A Chance Å
(LR 146) Please Don't Talk About Me
Live Session #46 [radio broadcast] New Jersey, 29/August/1956
Prob. Carl Drinkard (p), Unknown (b), (d) Billie Holiday (v)
Recorded from the Red Hill Inn at Pennsauken, New Jersey. Program Bandstand USA, radio Broadcast
(LR 147) Willow Weep For Me
(LR 148) I Only Have Eyes For You
(LR 149) My Man Å
(LR 150) Please Don't Talk About Me Å
Stars of Jazz
Live Session #47 [TV broadcast] Los Angeles, 13/September/1956 Stars Of Jazz Show
Corky Hale (p), Jules Bertaux (b), Robert Neel (d) Billie Holiday (voc)
Stars of Jazz was a showcase for jazz music, hosted by Bobby Troup, a jazz pianist and songwriter. The show was aired weekly from 1956 till the end of 1958 on KABC in Los Angeles. He is the composer of "Route 66" and was married to the great vocalist Julie London. The three songs were broadcast – and videotaped! – a rarity in BH discography. You can't miss that, it's pure emotion.
(LR 151) Please Don’t Talk About Me When I’m Gone Å
(LR 152) Billie’s Blues Å
(LR 153) My Man Å all of them, specially the latter, deserve the stars due the exceptional rendering of the songs.
Live Session #48 [radio broadcast] Washington, 27/October/1956
Prob. Carl Drinkard (p), Unknown (b), Eddie Phyfe (d) Billie Holiday (v)
This is a radio broadcast in Olivia Davis's Patio Lounge, one of the leading jazz clubs in Washington.
(LR 154) Nice Work If You Can Get It
(LR 155) God Bless The Child
(LR 156) Please Don’t Talk About Me When I’m Gone
(LR 157) Don't Explain
Martha Raye (1916-1994)
Live Session #49 [TV broadcast] New York, 29/October/1956 - Martha Raye Show
Unknown Band, Billie Holiday (v)
Martha Raye was a comedian with supporting roles in comic films in the 30s and 40s, nicknamed "The Big Mouth". Later on TV, she starred her own program from 1954 to 1956, the Martha Raye Show.
(LR 158) You've Changed
(LR 159) My Man
Steven Allen Tonite Show
Live Session #50 [TV Broadcast] New York, 8/November/1956 Skitch Henderson Band
Doc Severinsen ? (tp), Lou McGarity (tb), Al Klink (as), Carl Dinkard (p), Billie Holiday (voc)
Steve Allen Tonite Show. Program on NBC TV
(LR 160) Porgy
Carnegie
Hall Verve CD cover
Live session #51 [live recording] New York 10/November/1956 Carnegie Hall Concerto (Verve)
Maybe the best live recording session of Lady’s career, accompanied by several of her loyal companions. Billie is perfect, although her voice is failing. The show was planned to commemorate the edition of her autobiographic book "Lady Sings The Blues", some paragraphs being read during the performance. The professional recording of the show resulted in an excellent sound quality. Two sessions were held that evening.
First Show (8:00pm)
Roy Eldridge (t) Coleman Hawkins (ts) Tony Scott (p) Kenny Burrell (g) Carson Smith(b) Chico Hamilton (d) Billie Holiday (v)
- (LR 161) Not a song; Gilbert Millstein opens reading
(LR 162) Lady Sings The Blues ÅÅÅ Lady had already recorded this song this year in studio (see Studio Tracks #276); Roy Eldridge contribution makes it a better version.
Carl Drinkard (p) substitutes Tony Scott
ÅÅ Eldridge does a brief introduction and Billie alternates the tempi in the middle of her chorus.
- (LR 163) Ain’t Nobody’s Business If I Do
(LR 164) Gilbert Millstein reading with a fragment of Trav'lin' Light in background. (LR 165) Billie’s Blues ÅÅ always a pleasureÅÅ Eldridge introduces the theme and backs Billie in the obbligati together with Hawkins. (LR 166) Body And Soul
No (t) & (ts)
ÅÅ In the central chorus, she and Drinkard perform the usual duet with rhythm interruptions. One of the her best renderings.
- (LR 167) Don’t Explain
Second Show (midnight)
Buck Clayton (t) Tony Scott (cl) Al Cohn (ts) Carl Drinkard (p) Kenny Burrell (g) Carson Smith(b) Chico Hamilton (d) Billie Holiday (v)
ÅÅ Billie recorded this song in studio only once, in 1944 (see Studio Tracks #165). However, this live performance is the best in her career.
- (LR 168) Yesterdays
- (LR 169) Please Don't Talk About Me When I’m Gone
- (LR 170) I’ll Be Seeing You
(LR 171) My Man ÅÅÅ always a pleasure, this version is as good as the three studio recordings she made.(LR 172) I Cried For You - Billie's voice gets too undulating.(LR 173) Fine And Mellow Å(LR 174) I Cover The Waterfront Å(LR 175) What A Little Moonlight Can Do - what a little song like that does in this show?All tracks in the CD BH at Carnegie Hall, also in the box Complete BH on Verve vol.8 and, (except readings #161 & #164) , in the box Perfect Complete Collection vol.10
Percy Faith (1908-1976)
Live Session #52 [radio broadcast] New York, 9/December/1956 Percy Faith And the Woolworth Orchestra
Unknown Band, Billie Holiday (v)
Percy Faith was a popular arranger and conductor. From 1955 to 1957 he worked as musical director for the CBS show "Woolworth Jazz Hour", where this radio broadcast took place. This is the only session she ever did with Faith. Count Basie was also in the show.
(LR 176) You Better Go Now Å
(LR 177) Them There Eyes
Live Session #53 [live recording] Chicago, 11/March/1957 Mister Kelly's Nightclub
Paul Quinichette (ts) Carl Drinkard (p) Sam (b) Mickey (d) Billie Holiday (v)
An historic Chicago night point at Rush Street till 1975, Mr. Kelly was founded in 1953, named after his manager Pat Kelly. This session has been live recorded.
(LR 178) Good Morning Heartache Å
(LR 179) You Better Go Now Å
at Newport
Live Session #54 [live recording] Newport, RI 6/July/1957 Newport Jazz Festival
Mal Waldron (p) Joe Benjamin (b) Jo Jones (d) Billie Holiday (v)
This session is memorable. Professionally recorded in the Newport Jazz Festival in the Freebody Park, Rhode Island , it was issued in a Clef LP in the same year (see LP discography). On Lp's other side, six tracks by Ella Fitzgerald, recorded in a previous date in Newport. Sound quality is excellent, but Billie's voice is harsh and crackling. Nevertheless, something to be remembered. The set starts end ends with Mal Waldron at a fanfare from Oh, Lady Be Good.
(LR 180) Nice Work If You Can Get It Å three announcements precede that track: Willis Conover introduces Johnny Mercer that on his turn announces Billie (curiously, none of the songs is Mercer composition)
(LR 181) Willow Weep For Me Å
(LR 182) My Man ÅÅ the two latter tracks in a slow tempo.
(LR 183) Lover Come Back To Me Å here, the swung tempo wakes up the audience.
(LR 184) Lady Sings The Blues Å Billie introduces the track: "a song that I recorded for Norman Granz at Clef". (Hear it at Studio Songs section). A beautiful melody, in a somewhat slow tempo.
(LR 185) What A Little Moonlight Can Do I don't like this song. At the end, Billie slows it down and jokes with Mal Waldron its characteristic accords.
Live Session #55 [live recording] Stratford, Canada 10/August/1957 Stratford Festival
Mal Waldron (p), Ernie Cosachuck (b), Archie Alleyne (d) Billie Holiday (v)
The Stratford Shakespearean Festival of Canada had, in its first years, presented some extra attractions, like jazz musicians, in order to attract the public. So, on August 9 and 10 Billie shared the shows with the Collier Quintet, a Toronto-based group. Only the second concert has been recorded.
(LR 186) Nice Work If You Can Get It - Billie is out of microphone, specially in the first tracks, resulting in a poor recording quality.
(LR 187) Willow Weep For Me
(LR 188) I Only Have Eyes For You
(LR 189) Billie's Blues - Å three classics in a row, starting with this gem. Sound got better.
(LR 190) Lover Come Back To Me Å in a fast tempo, Billie's voice is harsher than ever. The rhythm section, from the Collier Quintet, hold a nice swing. A curiosity can be listened at the interval, with Waldron in a fanfare from "Oh Lady Be Good", song composed by the Gershwins in 1924 that Billie never recorded - similar of what he did in the previous session (see session #54)
(LR 191) Lady Sings The Blues Å in the sequence, Billie introduces herself this tune and Waldron opens with creativity. The track ends with a fanfare and the audience applauses.
Live Session #56 [live recording] New York 5/December/1957 Mal Waldron All Stars
Doc Cheatham (tp) Vic Dickenson (tb) Lester Young, Ben Webster, Coleman Hawkins (ts) Mal Waldron (p), Danny Barker (g) Jim Atlas (b), Jo Jones (d) Billie Holiday (v)
Test tape for TV program 'The Sound Of Jazz' on CBS (see next session)
(LR 192) Fine And Mellow [6'21"] ÅÅÅÅ being an studio recording, a rehearsal for the live TV performance to take place a couple of days later, the sound engineering is much better and the musicians less willing to show-off. The tenor reeds open the track (and what a group of sax men!) Billie introduces the theme and, in the first bridge, Lester, then Webster, alternate theirs solos. Billie comes for the second verse and the following bridge the trumpet and the third tenor shine. Lady comes for the third verse and the trombone is called for the bridge. Lady then alternates with Waldron "but if you treat me right baby/ pause/ I'll stay home every day; just treat me right baby/ pause/ I'll stay home night and day; but you're so mean to me be baby/ I know you're gonna drive me away..." Lady then goes for the final verse: "love is just like a faucet, it turns off and on/ bis/ sometimes when you think is on baby/ it has turned off and goooone." One of the best performances in her life.
Session #57 on screen: Billie, Lester, Hawkins, Mulligan
Live Session #57 [TV broadcast] New York, 08/December/1957 Billie Holiday and Mal Waldron All Stars (TV program The Sound Of Jazz an CBS).
Roy Eldridge, Doc Cheatham (tp), Vic Dickenson (tb), Lester Young, Ben Webster, Coleman Hawkins (ts), Gerry Mulligan (bs) Mal Waldron (p) Danny Barker (g) Milt Hinton (b) Osie Johnson (d) Billie Holiday (v)
This is a magic moment in a TV broadcast show, with an slightly different band from the rehearsal session above - and also a poorer sound quality. Probably the most touching video from Billie – actually, one of the very few images known. This was also her last session with her beloved friend Prez (Lester Young). Billie was probably finishing an interview when the track opens: "there's two kinds of blues, the happy blues and the sad blues (...) everything that I do sing it's part of my life..."
[8’00"] ÅÅÅ all of them are here, live: Ben Webster, Lester Young, Mal Waldron, Gerry Mulligan. In the first bridge, Ben Webster solos and Lester gives sequence. Billie, in close, has shining eyes and follows the rhythm wiggling her head. After the second chorus, it’s Eldridge turn to solo, somewhat nervous, maybe because of the cameras... he shows off a bit... Billie comes back for the final chorus: "treat me right baby..." - Unforgettable, and a rare video register that make us imagine that many sessions we lack images. And last, but not least, remember this is a Billie’s own composition.
(LR 193) Fine And Mellow
Billie and Mal Waldron at the piano
Live Session #58 [TV broadcast] Newark, NJ, 29/May/1958
Mal Waldron (p) Tyre Glenn (vib) Roy Gaines* (g) Vinnie Burke (b) Henry Leon (d) Billie Holiday (v)
Art Ford's Jazz Party TV Program
(LR 194) You've Changed
(LR 195) Billie's Blues (I Love My Man)
(LR 196) When Your Love Has Gone
(*) Playing guitar in the photo is legendary blues guitarist Roy Gaines. While in New York, Mr. Gaines stayed at the Flanders Hotel on 47th Street where Billie Holiday also lived during this time.
(c) Roy Gaines
Live Session #59 [TV broadcast] Newark, NJ, 10/July/1958
Georgie Auld (ts), Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Jackie Cooper - on track 198 (d) Billie Holiday (v)
Art Ford's Jazz Party TV Program
(LR 197) Foolin' Myself
(LR 198) It's Easy To Remember
(LR 199) What A Little Moonlight Can Do
Mary Osborne (1921 - 1992) one of the few female musicians, she was a talented jazz guitarist. In the later 40s she had her own jazz trio, and later she performed by her own in shows and TV bands.
Live Session #60 [TV broadcast] Newark, NJ, 17/July/1958
Art Ford's Jazz Party TV Program
Harry Shepherd (vb) Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Billie Holiday (v)
(LR 200) Don't Explain
Charlie Shavers & Buck Clayton (t), Georgie Auld (ts), Tyree Glenn (tb), Harry Sheppard (vb), Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Billie Holiday (v)
(LR 201) Moanin' Low
Buck Clayton (t), Georgie Auld (ts), Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Billie Holiday (v)
(LR 202) When Your Love Has Gone
è I recommend you to watch in the "INTERNET ARCHIVE" a wonderful collection of videos from the Art Ford Jazz Party recorded from May to December 1958. Unfortunately Billie's takes are not among them. http://www.archive.org/details/ArtFordsjazzParty1958
Live Session #61 [live recording] New York, 9/September/1958 Jazz at the Plaza Festival
Buck Clayton (t), Mal Waldron (p), Jimmy Woode (b), Sam Woodyard (d), Billie Holiday (v)
On this date, a party hosted by Columbia records takes place at the Persian Room of the famous Plaza Hotel in New York. Also in the program, Duke Ellington, Miles Davis and Jimmy Rushing.
Alfred Duckett reviews the evening in his column in the "New York Age": (...)You listen - and you hear a magnificent performance. You listen and you listen and you hear - an authentic artist. You listen. Your heart listens - and you know that great art and great artists, you just don't explain.
(LR 203) When Your Love Has Gone ÅÅÅ an hesitant start from Billie let us imagine that there was a previous song not recorded. Actually, Alfred Duckett, in his review, mention Don't Explain as her "third song". Buck Clayton signs the wonderful obbligati, Mal Waldron also shines and the rhythm section guarantee the balance of this wonderful performance [stereo recording]
(LR 204) Don't Explain ÅÅÅ the first verse - Hush now, don't explain - gets a compliment from the audience. Billie follows with Waldron's sole backing and, in the second part, when entering the same verse, she commands the rhythm section bringing in an extra emotional touch [stereo recording]
Session #62: Seven Ages Jazz Festival
Live Session #62 [live recording] Wallingford, Connecticut 26/September/1958 The Seven Ages of Jazz Festival
Buck Clayton (t) Mal Waldron (p) Milt Hinton (b) Don Lamond (d) Billie Holiday (v)
Recorded at Oakdale Musical Theatre, both tracks are characteristic in her repertory and the recordings have excellent sound quality. They were included in the Lp "The Seven Ages Of Jazz". Producer (and announcer) is Leonard Feather. This is actually the second time Billie performs at this festival; the first one, in 1947, wasn't recorded.
ÅÅÅ introduced by Leonard Feather, Waldron does a brief intro and Billie enters with Buck Clayton obbligati. There's no bridge and the audience, probably waiting for it, start applauding in the middle. The rhythm is contagious. A gem.
- (LR 205) I Wished On The Moon
(LR 206) Lover Man ÅÅÅ what a wonderful recording, Billie seems to be singing in our room. At that time, many people was saying that Billie would sing no more, other that she was not the same. Just listen...
at Monterey
Live Session #63 [live recording] Monterey, California 5/October/1958 Monterey Jazz Festival.
Buddy DeFranco (cl) Benny Carter (as) Gerry Mulligan(bs) Mal Waldron (p) Eddie Khan (b) Dick Berk(d) Billie Holiday (v)
Monterey Jazz Festival. Here, Billie's voice and phrasing are really bad. The clear sound out of a good tape recording don't give her any excuses for her bad shape. However, she is nice with the audience, as always, and one can here she thanking them: "what can I do for you now? Trav´lin Light?" (see complete transcription in "lyrics" section). After waiting for some the musicians, she starts with the basic trio and, from the fifth track on, the brass section comes in.
Only (p), (b) & (d)
(LR 207) Ain't Nobody's Business If I Do Å - the first three tracks are the best ones, as Billie's voice is a bit better and the trio backs her with competence.
(LR 208) Willow Weep For Me Å
(LR 209) When Your Lover Has Gone Å we can here an small plane flying by
(LR 210) God Bless The Child
Only (p), (b), (d) &(bs)
(LR 211) I Only Have Eyes For You - in the interval, we can hear Billie talking to Mulligan, that just arrived: "why it took so long for you guys to get in here?" And his answer; "Buddy and Benny are just coming". Mulligan fill the track with his powerful obbligati.
Full Band
(LR 212) Good Morning Heartache - the sound of a large airplane can be heard, almost spoiling the recording. The three brasses mess a bit the background.
(LR 213) Them There Eyes - Billie's voice and phrasing gets worse along the session.
(LR 214) Fine And Mellow
(LR 215) What A Little Moonlight Can Do
(LR 216) Trav'lin' Light
(LR 217) Lover Come Back To Me
è In October, she flew to Europe in her second longest tour. In Italy, her Milan tour was a disaster, very poorly organized. She then went to Paris (see the two sessions below) with a little more success. She did not visit England this time, and was back in January.
at Olympia
Live Session #64 [TV broadcast] Paris, France, 12/November/1958
Mal Waldron (p) Paul Rovère (b) Kansas Field (d) Billie Holiday (v)
This song is usually said to have been recorded at the Olympia Theater. Not more than a curiosity, as the recording is lousy and the pitch is incorrect.
(LR 218) Billie's Blues (I Love My Man)
Live Session #65 [TV broadcast] Paris, France, 18/November/1958
Mal Waldron (p), Michel Gaudry (b), Unknown (d), Billie Holiday (voc)
Music Hall Parade-French Television. Both tracks have a surprisingly good sound quality - you may hear distinctily her finger snapping and her bracelet tinkling the microphone.
(LR 219) I Only Have Eyes For You
(LR 220) Trav'lin' Light Å
at Chelsea at Nine
Live Session #66 [TV broadcast] London, UK 23/February/1959 Peter Knight Orchestra
Mal Waldron (p) Others unknown, Billie Holiday (v)
She flew to England in February specially for the television appearance at the Chelsea at Nine. (This program premiered in1957 and was last aired till 1960). Recording date might be February 25th as well and it was broadcast on March 1959. Her voice and performance indicated she was ill.
The recording
(LR 221) Porgy
(LR 222) Please Don't Talk About Me
(LR 223) Strange Fruit
Live Session #67 [radio broadcast] Boston, Massachusetts 15/April/1959
Mal Waldron (p) Champ Jones (b) Roy Haynes (d) Billie Holiday (v)
Broadcast by station WMEX from George Wein's Storyville Club (see note on live session #33). As her last studio recording took place in March, this is an historic session, being her last presentation. Unfortunately, nothing to be remembered.
(LR 224) Nice Work If You Can Get It
(LR 225) Willow Weep For Me
(LR 226) When Your Love Has Gone
(LR 227) Billie's Blue (I Love My Man)
(LR 228) Too Marvelous For Words
(LR 229) Lover Come Back To Me
EPILOGUE
Altogether, Billie recorded 229 live tracks in 26 years of her glorious career.
From April 20th to 26th, 1959, Billie was in the Storyville Club, Boston in her last presentation, broadcast live, including When your love has gone:
"What lonely hours, the evening shadows bring
What lonely hours, with memories lingering
Like faded flowers, life can't mean anything
When your lover has gone"
Lester Young passed away in March 15th. By the end of May, Billie was taken to the hospital in NYC and died on July 17h, age 44
The Complete Live Recording Sessions
© 2011 Billie Holiday Songs
version 16.6
