a) STUDIO SESSIONS

Studio Session #1 New York 27/November/1933, Benny Goodman & his Orchestra (CD: Complete in Columbia vol.1, tk1)

Charlie Teagarden, Shirley Clay (tp) Jack Teagarden (tb) Benny Goodman(cl) Art Karle (ts) Buck Washington (p) Dick McDonough(g) Artie Bernstein (b) Gene Krupa (d) Deane Kincaide (arr) Billie Holiday (v)  

In April 1933 Billie worked as crooner at the Monette’s Club when John Hammond, after attending a show, mentioned her in his Melody Maker magazine column praising her voice and beauty. He also invited his friend Benny Goodman, one of the most famous jazz musicians at the time, to meet Billie at Monette’s.

(MT 1) Your Mother Son-In-Law * I conceded one star to commemorate this first recording. The disc was issued with a Goodman’s instrumental track in side B, Tappin’ the barrel.

The image below is from the original 78rpm disk. Click here to listen.

Session #2 New York 18/December/1933, Benny Goodman & his Orchestra (CD: Complete in Columbia vol.1, tk2)

Same personnel as #MT1, probably with Joe Sullivan on piano.

(MT 2) Riffin’ The Scotch – the issued record has Jack Teagarden with Goodman in the other side; he was trombonist in both sessions. Billie never included any of these two tracks in her nightlife repertoire.

The image below is from the original 78rpm disk. Click here to listen.

John Hammond (1910-1987) was the producer for both recording sessions. Hammond, the son of a wealthy Manhattan family, showed interest for music at early ages and went to Yale to learn violin. Bohemian habitual of the musical world, he was great supporter of artists’ racial integration, having later helped the foundation of an integrated club, the famous Café Society. In his long career in the record industry he had, later, uncovered many other talented artists like Bob Dylan. (click the disk image to listen)

b) LIVE SESSIONS

There were no live sessions in 1933

© www.billieholidaysongs.com – February 2017