Billie Holiday Body And Soul CD

Additional Tracks

Personnel includes: Billie Holiday (vocals); Ben Webster (tenor saxophone); Harry "Sweets" Edison (trumpet); Jimmy Rowles (piano); Barney Kessel (guitar); Red Mitchell (bass); Alvin Stoller, Larry Bunker (drums).
Producer: Norman Granz.
Reissue producer: Bryan Koniarz.
Recorded at Capitol Studios, Hollywood, California in 1957. Includes liner notes by Al Young.
All tracks have been digitally remastered.
This is part of Verve's "Clef" series.
Personnel: Billie Holiday (vocals); Ben Webster (tenor saxophone); Harry "Sweets" Edison (trumpet); Jimmy Rowles (piano); Barney Kessel (guitar); Alvin Stoller, Larry Bunker (drums).
Recorded in 1957.
Personnel: Billie Holiday (vocals); Barney Kessel (guitar); Ben Webster (tenor saxophone); Harry "Sweets" Edison (trumpet); Jimmy Rowles (piano); Larry Bunker, Alvin Stoller (drums).
Liner Note Author: Al Young.
Recording information: Capitol Studios, Hollywood, CA (01/03/1957-01/09/1957).
Editor: Peter Keepnews.
This session comes from close to the end of the line (1959) in the erstwhile swinging company of Barney Kessel on guitar, Ben Webster on tenor, and naysayers will be quick to point out that Lady Day wasn't in peak form here. But Billie Holiday with some of the platinum chipped off the pipes is still way better than a buncha finger-snappin' wannabes anyday. Her interpretations of the title cut, "Let's Call the Whole Thing Off," and "Darn That Dream" hold you in the palm of her hand with their gentle swing and the band support here is never less than stellar. This Mobile Fidelity reissue (also available as an audiophile vinyl pressing) features in-the-control-room sound that makes this session sound even cozier. The Lady sings and swings. ~ Cub Koda
This edition of BODY AND SOUL is a dream come true for both collectors and audiophiles. The disc, one of Holiday's finest, features definitive versions of some of the century's most popular standards, including "Body And Soul," "They Can't Take That Away From Me," "Embraceable You," and "Moonlight In Vermont." The sessions are from what many consider to be Lady Day's finest period, and understandably so, with Holiday's voice textured and still sprightly, Norman Granz at the production controls, and backing musicians like Jimmy Rowles, Ben Webster and Harry Edison.
Not only is the content of the album superb, but the Ultradisc II features-flawless mastering from the original tapes and meticulous, highly sophisticated sound reproduction-make for the ultimate listening experience. Without the slightest trace of surface noise, listening to this BODY AND SOUL is almost like being present at the recording session. Perfect sound and one of Holiday's finest single albums ever-it's hard to go wrong here.
This session comes from close to the end of the line (1959) in the erstwhile swinging company of Barney Kessel on guitar, Ben Webster on tenor, and naysayers will be quick to point out that "Lady Day" wasn't in peak form here. But Billie Holiday with some of the platinum chipped off the pipes is still way better than a bunch of finger-snappin' wannabes any day. Her interpretations of the title cut, "Let's Call the Whole Thing Off," and "Darn That Dream" hold you in the palm of her hand with their gentle swing and the band support here is never less than stellar. This Mobile Fidelity reissue (also available as an audiophile vinyl pressing) features in-the-control-room sound that makes this session sound even cozier. The Lady sings and swings. [The 2002 reissue features three different versions of "Comes Love."] ~ Cub Koda

JazzTimes (4/97, pp.76-77) - "...Some people feel that her voice had lost too much of its allure by this point; others can appreciate the depth she brings to these lyrics in spite of (or perhaps thanks to) the ravages of time, and for them, this album confirms the lady's claim to jazz royalty..."