Billie Holiday Commodore Master Takes Rar
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It was love at first sight. This was when Blues, Soul / Gospel Style Music was becoming popular amongst kids as well as hip adults and featured Ray Charles, Big Joe Turner and The Payola era DJ's such as Alan Freed. Not many people remember that Freed's Rock n Roll Band of the 1950's was The Count Basie Orchestra featuring the Guy Singer Tony Bennett (Anthony DiBenedetto) who grew up in Astoria, NYNY right next to my Home Town Jackson Heights NYNY. I was first exposed to jazz when I heard Red Prysock, Sam The Man Taylor & groups like the Chord Cats recording of Shaboom! It made the Crew Cuts look LAME! Now Jazz, Blues, Soul, Gospel was pretty much joined at the hip back then and I learned that the tasteful Music was featured on The African American Radio Stations which led me to DJ's Like The Bruce, Jocko Henderson, Tommy Dr. Jive Smalls and eventually Symphony Sid Torin, China Valles and Len Pace.
If you're a completist who insists on having everything that recorded, is required listening. But for the more casual listener, it's best to pass on that two-CD set and stick with. While contains all of the alternate takes that recorded for Commodore in 1939 and 1944, this collection only concerns itself with the master takes (which total 16). Never singed an exclusive contract with Commodore -- she only freelanced for the label, and the ultra-influential jazz singer spent a lot more time recording for Columbia in the 1930s and early 1940s, and for Decca from 1944-1950. But her Commodore output was first-rate, and excels whether she's joined by trumpeter 's octet at a 1939 session or by pianist 's orchestra at three sessions in 1944. The CD gets off to an impressive start with the controversial 'Strange Fruit,' a bone-chilling account of lynching in the Deep South that ended up being released on Commodore because Columbia was afraid to touch it. Is also quite expressive on performances that range from 'Fine and Mellow,' 'I Got a Right to Sing the Blues' and 'Yesterdays' in 1939 to 'My Old Flame,' 'Billie's Blues,' 'I'll Be Seeing You,' and 'He's Funny That Way' in 1944.
While 'The Complete Commodore Recordings' contains all of the alternate takes that Holiday recorded for Commodore in 1939 and 1944, this collection only concerns itself with the master takes (which total 16). Holiday never singed an exclusive contract with Commodore - she only freelanced for the label, and the ultra-influential jazz singer spent a lot more time recording for Columbia in the 1930s and early 1940s, and for Decca from 1944-1950. But her Commodore output was first-rate, and Lady Day excels whether she's joined by trumpeter Frankie Newton's octet at a 1939 session or by pianist Eddie Heywood's orchestra at three sessions in 1944. The album gets off to an impressive start with the controversial 'Strange Fruit,' a bone-chilling account of lynching in the Deep South that ended up being released on Commodore because Columbia was afraid to touch it. Holiday is also quite expressive on performances that range from 'Fine and Mellow,' 'I Got a Right to Sing the Blues' and 'Yesterdays' in 1939 to 'My Old Flame,' 'I'll Be Seeing You,' and 'He's Funny That Way' in 1944.
This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. On the Decca recordings (late 1944-early 1950), we hear Holiday perfecting the art of seamless narrative phrasing and musical panache on ballads, but also hints of the deterioration of her voice (from booze, drugs and cigarettes) that make her sound so scarily vulnerable on her later '50s recordings of some of the same songs. But on these recordings the artistry is still a beacon illuminating the pity and pathos in such songs as 'Lover Man,' 'Don't Explain,' 'Good Morning Heartache,' 'No Good Man' and the strangely exhilarating version of the gloom and doom 'Deep Song,' a lesser-known rarity worth seeking out.
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Billie Holiday Commodore Master Takes Rare
I have been unable to find that roster for that particular festival and since it was long ago I remember mostly Monk & Duke. Paul Gonsalvas played his legendary trademark twenty something chorus solo in between Diminuendo and Crescendo in Blue which was outstanding. The first jazz record I bought was Firstly, my Bro George was / is a Marine and he sent home his wax collection of LP's from Camp Pendleton CA before deploying to Okinawa in 1956 I think.
Wild Bill Davidson Commodore Master Takes
'Strange Fruit,' one of Billie's standards, starts the CD with Billie singing her heart out; and it has a fine piano arrangement as well. 'Fine and Mellow' features Billie squarely in the spotlight; her excellent diction is impressive and it enhances her performance all the more. 'I Gotta Right To Sing the Blues' is very nicely done; Billie gives this the royal treatment and she sways gently to give this blues number just the right touch--excellent! 'How Am I To Know?'
Has Billie front and center; the quality of this track is really quite good. The music that plays certainly provides the perfect accompaniment to Billie's vocals, too. In addition, 'I'll Get By (As Long As I Have You)' stuns me with its beauty; Billie delivers this like the champ she always was and always will remain! 'I'll Get By (As Long As I Have You)' is quite a strong highlight of this album; I could never tire of hearing Billie perform this. The brass sounds so good as she sings, too.
But even when she was not perfect and her voice a bit ragged, she still had a connection with every song she sang and every song sounded like it was written for her - she could sing anything and interpret every song to fit her own unique style. This is a great CD because it compiles the music from some of Billie's best years. Her voice is top notch on this CD and the band is truly solid.
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While 'The Complete Commodore Recordings' contains all of the alternate takes that Holiday recorded for Commodore in 1939 and 1944, this collection only concerns itself with the master takes (which total 16). Holiday never singed an exclusive contract with Commodore - she only freelanced for the label, and the ultra-influential jazz singer spent a lot more time recording for Columbia in the 1930s and early 1940s, and for Decca from 1944-1950. Radha hi bawari marathi serial.