Billie Holiday Complete Commodore Recordings CD

Recorded in New York, New York on April 20, 1939 and March 25, April 1 & April 8, 1944. Includes liner notes by Stuart Nicholson.

Recorded in New York, New York between 1939 & 1944. Includes liner notes by J.G. Calvados.

This double-disc issued by Jazz Factory almost completely mirrors the United States issue of the same material entitled THE COMPLETE COMMODORE RECORDINGS, officially issued by Universal in 1997. The material was recorded in 1939 and 1944 by producer Milt Gabler. The original 78 that was "Strange Fruit" b/w "Fine and Mellow," was released by Gabler because Columbia's John Hammond refused to record the song. Holiday was under contract to the label at the time, but Hammond loosed the reins a bit and allowed her the leeway to cut it for Commodore. There are two other sides cut in 1939, and the remainder of these tunes were taped during sessions in 1944 with Holiday backed by the Eddie Heywood Sextet. The material is exactly the same on both collections, but the running order is different, and this one is preferable because it breaks up the different takes chronologically rather than putting them in simple historical order. Either way you go you can't lose, since these are top-notch performances at the very peak of Holiday's power as an artist.

This two-disc box expands on 1988's now out-of-print Commodore disc, BILLIE HOLIDAY, and includes every alternate take extant in the vaults, including five(!) versions of "He's Funny That Way." Since this is Billie Holiday we are speaking of, this exhaustive treatment isn't as excessive as it might appear. After a half-decade's apprenticeship at Columbia Records, Holiday did her first Commodore sessions in 1939, producing the chilling segregation saga "Strange Fruit." The singer was now a fully mature artist--some would say "artiste"--about to embark on her progressive "downtown" Cafe Society period.

While the early Columbia sides featured Billie as one swinging jazz musician among many, these small group arrangements lovingly showcase her interpretive skills, all in slow to medium tempo. Each version has its subtle differences and is worth the inclusion for far more than historical completeness. Producer Milt Gabler would soon sign Holiday to Decca, where she would receive the full pop singer treatment, complete with upscale string orchestra, the next installment in the Billie Holiday story.

Compilation producers: Orrin Keepnews, Joel Dorn.

Personnel: Billie Holiday (vocals); Tab Smith, Lem Davis (alto saxophone); Stanley Payne, Kenneth Hollon (tenor saxophone); Frankie Newton, Doc Cheatham (trumpet); Vic Dickenson (trombone); Sonny White, Eddie Heywood (piano); Jimmy McLin, Teddy Walters (guitar); John Williams, John Simmons (bass); Eddie Dougherty, Sid Catlett (drums).

Personnel: Billie Holiday (vocals); Teddy Walters, Jimmy McLin (guitar); Lem Davis, Tab Smith (alto saxophone); Kenneth Hollon (tenor saxophone); Doc Cheatham, Frankie Newton, Freddy Webster (trumpet); Vic Dickenson (trombone); Eddie Heywood, Sonny White (piano); Eddie Dougherty, Big Sid Catlett (drums).

Liner Note Author: Stuart Nicholson.

Recording information: Broadcasting Studio, New York, NY (04/20/1939-04/08/1944); WOR Recording Studio NYC, NY (04/20/1939-04/08/1944).

Unknown Contributor Role: Kim Munson.

Arranger: Eddie Heywood.

Personnel: Billie Holiday (vocals); Tab Smith, Lem Davis (alto saxophone); Stan Payne, Kenneth Holon (tenor saxophone); Frankie Newton, Doc Cheatham, Freddie Webster (trumpet); Vic Dickerson (trombone); Sonny White, Eddie Heywood (piano); Jimmy McLin, Teddy Walters (guitar); John Williams, John Simmons (bass); Eddie Dougherty, Sid Catlett (drums).

Producer: Milt Gabler.

Down Beat (6/97, p.64) - 4 stars (out of 5) - "...the songs were very good and the performances often very moving....these records are so basic to Holiday's work, they remain indispensible..."
JazzTimes (8/97, p.84) - "The release of this two-disc set will come as a welcome closure to Holiday collectors the world over....she instinctively knew when her interpretation of a particular song was `right.' Her alternates are like works in progress..."