| | Billie Holiday Commodore Master Takes CD Billie Holiday Discography of CDs
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Digitally remastered by Erick Labson (1999, MCA Music Media Studios) and Jeff Willens (Universal Music Studios-East).
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. 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.
Recorded at Brunswick World Broadcasting Studio, New York, New York on April 20, 1939; WOR Recording Studios, New York, New York on March 25 and April 1 & 8, 1944. Includes liner notes by Orrin Keepnews.
Compilation producer: Orrin Keepnews.
Personnel: Billie Holiday (vocals); Teddy Walters, Jimmy McLin (guitar); Lem Davis, Tab Smith (alto saxophone); Kenneth Hollon (tenor saxophone); Doc Cheatham, Frankie Newton (trumpet); Vic Dickenson (trombone); Eddie Heywood, Sonny White (piano); Eddie Dougherty, Big Sid Catlett (drums).
Liner Note Author: Orrin Keepnews.
Recording information: Brunswick World Broadcasting Studio, New York Ciity, NY (04/20/1939-04/08/1944); WOR Recording Studios (04/20/1939-04/08/1944).
Photographer: Charles Peterson .
Arranger: Eddie Heywood.
Personnel: Billie Holiday (vocals); Tab Smith, Lem Davis (alto saxophone); Kenneth Hollon, Stan Payne (tenor saxophone); Frankie Newton, Doc Cheatham (trumpet); Vic Dickenson (trombone); Sonny White, Eddie Haywood (piano); Jimmy McLin, Teddy Walters (guitar); John Williams, John Simmons (bass); Eddie Dougherty, Sid Catlett (drums).
Producer: Milt Gabler.
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$10.85 "Little" Louie Vega and Kenny "Dope" Gonzalez, the duo who collaborate as the Masters At Work production team and are the musical guides for NUYORICAN SOUL have made a career out of pollinating dance floors with funky sounds for nearly two decades. Funk, jazz, house, R&B, hip-hop and a slew of Afro-Latin-scented rhythms are just some of the ingredients in their clubland stew, and their ability to consistently move the crowd is the chief reason the two have long thrived as DJs and producer on both sides of the Atlantic.
Jazzy improv is at the heart of all the tracks, whether on the pure around-the-horn solo spotlights handed out to Tito Puente's all-star ensemble ("MAW Latin Blues"), in George Benson's guitar
Additional personnel includes: George Benson (vocals, guitar); Jocelyn Brown, India (vocals); Ira Segal (guitar); Anthony Posk, Melvyn Roundtree (violin); Kathleen Carroll (viola); Dave Valentin (flute); David Sanchez (saxophone); Edward Golazewski (baritone saxophone); Charles Sepulveda (trumpet); Richard Swartz (French horn); Steve Turre (trombone); Richard Genovese (bass trombone); Hilton Ruiz (piano, Hammond B-3 organ); Eddie Palmieri (piano, synthesizers); Tito Puente (vibraphone, timbales); Vincent Montana Jr. (vibraphone); Gene Perez (bass); Tony Cintron (drums); Richie Flores (congas, bongos, percussion); Bobby Allende (congas, percussion); Jazzy Jeff (scratches).
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This CD may be scoffed at by serious jazz listeners, and even by big-band devotees wary of modern "ghost band" performances, but the fact is that it sold over 100,000 pieces when it first appeared in 1983, and its CD version was among the very earliest compact discs ever released commercially in the United States (indeed, so early that the actual CDs had to be imported from Japan). The second-ever release by GRP Records, it put the label on the map, and it also stood as testimony to how good those original arrangements of the Glenn Miller Orchestra were. So how is it as music? At worst entertaining, and at best revealing, and also at times a little frustrating -- on the plus side, even heard in 2007, twenty-four years after the fact, the sound here is damned impressive; you can safely rank this release as one of the very earliest, if not the very first audiophile CDs to be released. The fact that it features 18 top-flight musicians under the baton of Larry O'Brien, then the leader of the touring Glenn Miller Orchestra, only makes it more impressive. What's more, with the quality of the playing, one will be able to make out minuscule elements of the original arrangements that were long obscured on the classic late-'30s/early-'40s Glenn Miller sides. Musicians with an appreciation of these arrangements will probably love this recording, and casual fans should embrace it heartily: these boys swing in 1983 about as well as their predecessors from 41 years earlier did. And the vocal numbers are ...
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