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"No two people on earth are alike, and it's got to be that way in music or it isn't music." No truer words were ever said than by The Lady herself. Born Eleanora Fagan in Baltimore, Maryland; Billie Holiday was, and remains, one of the largest voices in the history of American music. Just about everyone knows her short and tragic biography. Many of her problems were those of a "born in the wrong place at the wrong time" variety, many were self-inflicted. Its a shame, if she had lasted a little longer she could have lived to see a whole new country. Anyway; this CD is titled "Songs for Distingue Lovers" and consists of a large amount of the last master sessions for Verve. Some critics say that this was the beginning of the end of her vocal talent and though they are correct, this is one of her best set of tracks, because of the changes in her voice. Recorded in 1957, a mere two years later she would pass away. This review will only cover the ‘57 version because, well, I don’t have the ‘97 one. The current CD has been digitally re-mastered, as has most of her work. It also includes expanded liner notes and six additional tunes. With a small jazz ensemble accompaniment Holiday was allowed to be totally herself, a vast departure from many previous recordings that overshadowed her with huge orchestral backgrounds. The original six songs included standards from the Gershwin brothers, Cole Porter, and Rogers & Hart. You can get almost all of the new songs from Holiday on any of her other hundreds of CDs, but no two versions will ever sound the same. Billie Holiday worked her songs a different way each time, leaving the listener satisfied with every rendition. The core group of superb improvisational jazz players consisted of Harry Edison on trumpet, Ben Webster, tenor sax; Jimmy Rowles, piano, Barney Kessell, guitar; Red Mitchell, bass; and Alvin Stoller on drums. A couple of these musicians were old friends and associates of Holiday’s from years past. None of these first-rate artists ever really got the credit they deserved during these years, but they all blended well with Holidays’ impromptu vocals and managed to get in their own solos to boot. "Day In Day Out" is la ight-hearted interpretation most notable for its spontaneity and admirable jazz instrumentals. The next tune, George and Ira Gershwin’s "A Foggy Day," is a sultry, melodic piece with subdued horns and guitar accompaniments. Frank Sinatra covered this songs later and from what I’ve read from other reviewers, he had other tunes to thank Billie Holiday for. All of these songs are long by today’s standards, but you never notice, as each song flows in and out of voice and instrumental solos that each have their own identities. "Stars Fell On Alabama" and "One For My Baby (And One More For The Road)" are both quite but light love songs. Though hardly slow paced, they are easy and upbeat with mellow jazz backgrounds. Also covered by Sinatra, "One For My Baby" is a classic. "Just One Of Those Things," the Cole Porter tune, is a song given the extreme jazz treatment with both Holiday and the band going at it freestyle. The last of the original six songs is "I Didn’t Know What Time It Was." This one is the slowest and bluest of the lot and gives the listener a glimpse into Holiday’s current and future circumstances. I got my first dose of Billie in the early ‘80s. Anyone who knows her magic is immediately intrigued and wants more. If you don’t know Billie Holliday you’re missing out on a huge chunk of musical history. The official site has pictures, discography, and bio. The site also has some excellent press clippings and historical information. |
Regressive Music Review