(A) STUDIO SESSIONS
LADY IN SATIN. Maybe her most controversial record. Lady appreciated Ellis’s work but he himself got surprised when Irving Towsend (then Columbia producer) invited him to make a record with Billie. In that period, Ellis was working with Johnny Mathis and Sarah Vaughan, among others. The session went over for three days and the Columbia CD includes some alternate takes as well (see discography).
Session #84 New York 18/February/1958 Ray Ellis and his Orchestra (CD: Lady in Satin)
Mel Davis Billie Butterfield Bernie Glow (tp) Urbie Green (tb) Gene Quill (as) Hank Jones (p) Barry Galbraith (g) Milt Hinton (b) Osie Johnson (d) Billie Holiday (v) + strings and Choir
(MT 307) You Don’t Know What Love Is
(MT 308) I’ll Be Around
(MT 309) For Heaven’s Sake
(MT 310) But Beautiful
Session #85 New York 19/February/1958 Ray Ellis and his Orchestra (CD: Lady in Satin)
Mel Davis Billie Butterfield Bernie Glow (tp) Urbie Green (tb) Gene Quill (as) Hank Jones (p) Barry Galbraith (g) Milt Hinton (b) Osie Johnson (d) Billie Holiday (v) + strings and choir
(MT 311) For All You Know * a pleasant song by Sam Lewis & J. F. Coots. Billie introduction is very nice, backed by the strings.
(MT 312) It’s Easy To Remember
(MT 313) I’m A Fool To Want You * a song that made its way to become a standard, although with a pop arrangement in this record. To point out the obbligati by Urbie Green in his trombone.
(MT 313a) I’m A Fool To Want You (alternate take #2)
(MT 313b) I’m A Fool To Want You (alternate take #3)
Session #86 New York 20/February/1958 Ray Ellis and his Orchestra (CD: Lady in Satin)
Urbie Green, Tom Mitchell & J. J. Johnson (tb) Ed Powell, Tom Pashley, Romeo Penque, Phil Bodner (sax) Mal Waldron (p) Barry Galbraith (g) Milt Hinton (b) Don Lamond (d) Billie Holiday (v) Brad Spinney(xyl) J. Putman (harp) + strings and choir
(MT 314) The End Of A Love Affair (mono)
(MT 314a) The End Of A Love Affair (alternate take – stereo)
(MT 315) Glad To Be Unhappy
(MT 316) You’ve Changed * a song by Bill Carey, made popular in the 40’s by Harry James Orchestra. Notice again the obbligati by Urbie Green. It is generally considered the best track in the CD.
(MT 317) I Get Along Without You Very Well
(MT 318) Violets For Your Furs
The record has a different sequence, but it contains all the songs.
(B) LIVE SESSIONS
Live Session #57A [TV broadcast] Oasis Club, New York, 12/April/1958 – Martha Raye Show (CD: Perfect Complete Collection vol.9)
Unknown Band, Billie Holiday (v)
Martha Raye was a comedian with supporting roles in comic films in the 30s and 40s, nicknamed “The Big Mouth”. Later on TV, she starred her own program, the Martha Raye Show.
(LR 193A) You’ve Changed
Original LP Giants of Jazz GOJ 1001 I Wonder Where Our Love Has Gone (US 1975). No sound available.
(LR 193B) My Man
Unissued in vinyl.
Live Session #58 [TV broadcast] Newark, NJ, 29/May/1958
(CD: Perfect Complete Collection vol.11)
Mal Waldron (p) Tyre Glenn (vib) Roy Gaines (*) (g) Vinnie Burke (b) Henry Leon (d) Billie Holiday (v)
Art Ford’s Jazz Party TV Program
(LR 194) You’ve Changed
(LR 195) Billie’s Blues (I Love My Man)
(LR 196) When Your Love Has Gone
Original LP Society SOC 1027 Easy To Remember (US 1966). Sound not available.
© Roy Gaines
(*) Playing guitar in the picture is legendary blues guitarist Roy Gaines. While in New York, Mr. Gaines stayed at the Flanders Hotel on 47th Street where Billie Holiday also lived at this time.
Live Session #59 [TV broadcast] Newark, NJ, 10/July/1958 (CD:Perfect Complete Collection vol.12 & Broadcast Performances vol.3)
Georgie Auld (ts), Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Jackie Cooper – on track 198 (d) Billie Holiday (v)
Art Ford’s Jazz Party TV Program
(LR 197) Foolin’ Myself
(LR 198) It’s Easy To Remember
(LR 199) What A Little Moonlight Can Do
Original LP ESP 3006 Broadcast Performances 1956-58 (US 1973). Sound not available.
For LR 199, the vídeo can be seen on the DVD “The Ultimate Collection” (see discography)
YOUTUBE: click here to watch (youtube informs content is no longer available)
Mary Osborne (1921-1992) one of the few female musicians, was a talented jazz guitarist.
In the later 40s she had her own jazz trio, and later she performed by her own in shows and TV bands.
Live Session #60 [TV broadcast] Newark, NJ, 17/July/1958 Art Ford’s Jazz Party TV (CD: Perfect Complete Collection vol.12 & Broadcast Performances vol.3)
At Art Ford Jazz Party
Harry Shepherd (vb) Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Billie Holiday (v)
(LR 200) Don’t Explain
( see footnote [1] )
Charlie Shavers & Buck Clayton (t), Georgie Auld (ts), Tyree Glenn (tb), Harry Sheppard (vb), Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Billie Holiday (v)
(LR 201) Moanin’ Low
Buck Clayton (t), Georgie Auld (ts), Mal Waldron (p) Mary Osborne (g) Vinnie Burke (b) Osie Johnson (d) Billie Holiday (v)
(LR 202) When Your Love Has Gone
Original LP ESP 3006 Broadcast Performances 1956-58 (US 1973). Sound not available.
Live Session #61 [live recording] New York, 9/September/1958 Jazz at the Plaza Festival (CD: Perfect Complete Collection vol.12)
Buck Clayton (t), Mal Waldron (p), Jimmy Woode (b), Sam Woodyard (d), Billie Holiday (v)
On that date, a party hosted by Columbia records takes place at the Persian Room of the famous Plaza Hotel in New York. Also in the program, Duke Ellington, Miles Davis and Jimmy Rushing.
Alfred Duckett reviews the evening in his column in the “New York Age”: (…)You listen – and you hear a magnificent performance. You listen and you listen and you hear – an authentic artist. You listen. Your heart listens – and you know that great art and great artists, you just don’t explain.
(LR 203) When Your Love Has Gone *** an hesitant start from Billie let us imagine that there was a previous song not recorded. Actually, Alfred Duckett, in his review, mention Don’t Explain as her “third song”. Buck Clayton signs the wonderful obbligati, Mal Waldron also shines and the rhythm section guarantee the balance of this wonderful performance [stereo recording]
(LR 204) Don’t Explain *** the first verse – Hush now, don’t explain – gets a compliment from the audience. Billie follows with Waldron’s sole backing and, in the second part, when entering the same verse, she commands the rhythm section bringing in an extra emotional touch [stereo recording]
Original LP Columbia C32471 Jazz At The Plaza (US 1973). Sound not available.
Live Session #62 [live recording] Wallingford, Connecticut 26/September/1958 The Seven Ages of Jazz Festival (CD: Perfect Complete Collection vol.12, or The Complete on Verve vol.10 and in Jazz At The Philharmonic – the two latter also contain the intro by Leonard Feather)
Buck Clayton (t) Mal Waldron (p) Milt Hinton (b) Don Lamond (d) Billie Holiday (v)
Recorded at Oakdale Musical Theatre, both tracks are characteristic in her repertory and the recordings have excellent sound quality.
They were included in the Lp “The Seven Ages Of Jazz”. Producer (and announcer) is Leonard Feather. This is actually the second time Billie performs at this festival; the first one, in 1947, wasn’t recorded.
(LR 205) I Wished On The Moon *** introduced by Leonard Feather, Waldron does a brief intro and Billie enters with Buck Clayton obbligati. There’s no bridge and the audience, probably waiting for it, start applauding in the middle. The rhythm is contagious. A gem.
(LR 206) Lover Man *** what a wonderful recording, Billie seems to be singing in our room. At that time, many people was saying that Billie would sing no more, other that she was not the same. Just listen…
Original LP Metro Jazz 2-E 1009 The Seven Ages of Jazz (US 1958). Sound not available.
Live Session #63 [live recording] Monterey, California 5/October/1958 Monterey Jazz Festival. (CD: Rare Tracks From The BHD, vol.6 (1956-58)
Buddy DeFranco (cl) Benny Carter (as) Gerry Mulligan(bs) Mal Waldron (p) Eddie Khan (b) Dick Berk(d) Billie Holiday (v)
Monterey Jazz Festival. Here, Billie’s voice and phrasing are really bad. The clear sound out of a good tape recording don’t give her any excuses for her bad shape. However, she is nice with the audience, as always, and one can here she thanking them: “what can I do for you now? Trav´lin Light?” (see complete transcription in “lyrics” section). After waiting for some the musicians, she starts with the basic trio and, from the fifth track on, the brass section comes in.
Only (p), (b) & (d)
(LR 207) Ain’t Nobody’s Business If I Do * – the first three tracks are the best ones, as Billie’s voice is a bit better and the trio backs her with competence.
(LR 208) Willow Weep For Me *
(LR 209) When Your Lover Has Gone * we can here an small plane flying by
(LR 210) God Bless The Child
Only (p), (b), (d) &(bs)
(LR 211) I Only Have Eyes For You – in the interval, we can hear Billie talking to Mulligan, that just arrived: “why it took so long for you guys to get in here?” And his answer; “Buddy and Benny are just coming”. Mulligan fill the track with his powerful obbligati.
Full Band
(LR 212) Good Morning Heartache – the sound of a large airplane can be heard, almost spoiling the recording. The three brasses mess a bit the background.
(LR 213) Them There Eyes – Billie’s voice and phrasing gets worse along the session.
(LR 214) Fine And Mellow
(LR 215) What A Little Moonlight Can Do
(LR 216) Trav’lin’ Light
(LR 217) Lover Come Back To Me
Original LP Black Hawk BKH 50701 S1 At Monterey (US 1988). Click here to listen.
Original LP Black Hawk BKH 50701 S2 At Monterey (US 1988). Click here to listen.
In October, she flew to Europe in her second longest tour. In Italy, her Milan tour was a disaster, very poorly organized. She then went to Paris with a little more success. She did not visit England this time, and was back in January.
Milano, Italia – November 3 to 9, 1958 (no recordings available)
With reference to her presentations in Milan, let me share a comment that Cinzia Scott, Tony Scott’s wife, sent me years ago:
“Billie was in Milano in 1958, from November 3 to 9
at the first concert she could sing four songs only, at the fifth she was interrupted by the orrible audience. The concert was in a “avanspettacolo” theatre . The audiencewas not use to jazz!
the second concert:
Il 9 novembre, Milano piazza Beccarla – teatro Gerolamo
ultimo giorno di permanenza a Milano della cantante, fu organizzato da appassionati e intenditori di jazz uno spettacolo “riparatore”
Billie Holiday with Mal Waldron on piano. Il pubblico le tributò una vera e propria ovazione”
Live Session #64 [TV broadcast] Paris, France, 12/November/1958 (CD Perfect Complete Collection vol.12)
Mal Waldron (p) Paul Rovere (b) Kansas Field (d) Billie Holiday (v)
(LR 218) Billie’s Blues (I Love My Man)
Unissued in vinyl.
This song is usually said to have been recorded at the Olympia Theater. Not more than a curiosity, as the recording is lousy and the pitch is incorrect.
Live Session #65 [TV broadcast] Paris, France, 18/November/1958 (CD: Billie Holiday in Europe 1954-58)
Mal Waldron (p), Michel Gaudry (b), Unknown (d), Billie Holiday (voc)
Music Hall Parade-French Television. Both tracks have a surprisingly good sound quality – you may hear distinctily her finger snapping and her bracelet tinkling the microphone.
(LR 219) I Only Have Eyes For You
(LR 220) Trav’lin’ Light *
Unissued in vinyl.
Footnotes
[1] Comment from my reader Keith Hodges (2024) “The only instruments on “Don’t Explain” from Art Ford’s Jazz Party (1958) are guitar, piano, vibes, bass and drums. There are no horns or woodwinds”.
When analyzing the comment, I noticed that the poor positioning of the image resulted in an erroneous list of musicians on each track. Fixed. (publisher).
© 2005-2024 www.billieholidaysongs.com (August 2004)
Is the 1958 sessions ( in particular # 86 ) available on vinyl or CD?
Thanks
Dear Steve,
not sure you noticed just at the top of the page, all sessions refer to the record Lady in Satin, that you can still find in CD or Vinyl
Regards,
Is the 1958 session #86 available?
I hate to tell you but a a fair bit of your discographical information is incorrect. The song under #64 is from Nov 11, 1954. That was the first concert in Europe and, as has been stated, Lady had had no sleep and was not in good vocal shape. At least 7 songs are on one of those live CDs and they are easily identified in chrono order based on sound and comments. All of them have that whirring noise here and there. The songs available are:
Nice Work If You Can Get It
Willow Weep for Me
I Only Have Eyes for You
God Bless the Child
Please Don’t Talk About Me
Billie’s Blues
All of Me
Dear Tom,
Thank you for your note. All of my date references were taken from the records or books in my collection. But, on the other hand, I do not feel uncomfortable to review them if necessary. It wouldn’t be the first time.
Just to begin, please confirm the date you mention: Nov 11, 1954? She was not in Europe that day, as far as I know.
Sorry – typo. The date is 1/11/54. The dates for many concerts can be found listed in the book “Lady Day’s Diary.” And totally not your fault. So much bad or outdated data out there.
Tom, I did already all the corrections in Session 49, that were misplaced.
However, I tend not to agree with Session 64. This is a song unissued but included later by a Danish editor in the CD Jeal Records RJD 508. It is a private recording done by an amateur during the show. I have two other versions in my collection, one of them sent me by a French musician specialized in Billie, particularly in her shows in Paris. It is awfully recorded, in a faster speed.
Therefore, I would stay with my original information. It is from 1958 tour.
I’m sorry but you are very much incorrect. I have the cut and the pitch is totally wrong. Listen to the various noises and when the occur and how she sings. It’s exact. I have the corrected pitch of that take, and it is EXACTLY the same as the one usually dated from January 11. And, the whirring noise happens at EXACTLY the same moments as it does on the slower, corrected pitch version.
Sorry to come back to this Billie’s Blues track on session 64.
I have two versions of it:
1. from “Perfect Complete Collection” vol.12, track 11 – this version is the one with incorrect pitch 3:06 minutes long.
2. from “Billie Holiday in Europe” by Michel Fontanes, Kangourou Swing CD 27236. In this version the pitch was adjusted to 3:30 minutes. Michel claims “it is the only existing trace of the Olympia concert. The concert tapes are the property of Daniel Filipacchi who does not wish to release them“.
Both versions claim it is from November 12, 1958.
On the other hand you asked me to compare it with the January 11th 1954 recording from Jazz Club concert in Stockholm. Actually, I don’t have such track, nor Lady Day Diary mention any recordings in her first day in Europe. The first record I have from that trip is the Ole Hollander’s interview from January 12th in Stockholm. And the first track I’m aware of is described under session LS 38 in Cologne, Germany in January 24th – by coincidence the same tune.
Once again you don’t know your ass from your head. AGAIN, I have the ENTIRE EXTANT RECORDING. And Fontanes is either mistaken or simply too lazy to do his homework. Period.
Keep calm and carry on.
Hello Tom ,
Are you sure ???
Billie wasn’t in Paris in November 1954 … she was in Europe ( her 1st European Tour with Leonard Feather’s Jazz Club USA-group ) in January & February 1954 … so it can’t be from November 1954 …
Sorry , but you info isn’t correct …
Hello Tom ,
I’m sorry , but you’re mixing-up some dates …
Billie was in Europe in November 1958 , NOT in November 1954 !
And in 1954 , she was only in Europe during the months January + February …
NO, she was NOT in Europe in Nov 1958. She WAS there in Jan/Feb 1954. Her first concert was Jan 11 1954 as I stated. Read EVERYTHING I wrote. I made a typo the first time as to month.
Billie was in Europe in 1954 and 1958 … in 1958 it was together with Mal Waldron – whom I worked with as a singer , doing a Billie Holiday-tribute in 1989 …
Oh yes Tom , Billie was in Europe – Italy & France – in November 1958 .. now who’s not doing his homework ???
Hi Paulo
there’s a mistake in the CD name on sessions 84, 85, 86
A typo!! Correction done. Thanks, Joze.
Hi ,
Billie DIDN’T RECORD ‘ BILLIE’S BLUES ‘ or anything else in Stockholm-Sweden on January 11th ,
1954 …
Sorry guys !
And certainly not in November 1954 … since she left already for the States on February 19th 1954 … after finishing her 1st European Tour in London .
She was not in Europe in November 1954 !
She was in Europe ( for a tour only in Italy & France ) in November 1958 … but had bad experiences in Milan as well as Paris … her voice wasn’t in a very good shape neither … but she did LIVE-registrations , together with Mal Waldron … now WHO is the pianist on this track we’re discussing here ???
Mal Waldron ?
To be more specific Paulo :
On January 11th 1954 , Billie arrived in Copenhagen-Denmark . Her plane HAD to land there , because there was a problem : it had too much snow on it … and the pilot decided to make a stop at the Copenhagen-airport !
The whole gang then continued to travel BY TRAIN to Sweden-Stockholm !
That’s why “Billie’s Blues” can NEVER HAVE BEEN RECORDED on January 11th 1954 …
Also because Billie’s 1st concert in Sweden ( Stockholm) was / took place on February 12th , 1954…
I hope this info helps ???
Viv, summarizing, I understand you agree with the information already in the site, right?
Bullshit. Her first concert was documented by LEONARD FEATHER as being on January 11th IN STOCKHOLM. There are reviews in newspapers about it. This has also been confirmed by MANY others who, like me, bothered to do their research. Goodbye.
I did a lot of research on Billie , not only when I worked with Mal on the promotion of his last ‘dedication-album’ for Billie ( NO MORE TEARS – For Lady Day ) in 1988-1989 … but also for my recent Billie-project ‘BILLIETUNES – The réal Billie Holiday Songbook ‘ …
Yes , of course Leonard Feather documented it … he also organised it all ( JAZZ CLUB USA ) . But there’s no live-registration from November 1954 in Europe my friend , since that whole troupe was already long back home then …
You all say about voice bad shape… That doesn’t mean so much italking about Holiday. Her voice always contains all that the real deepness contains, it’s alien to any classifiable form/shape and its sound is always so magnificent that, although she herself strongly desired to be a popular singer and to sing with violins, to speak of her simply as a singer is to limit her greatness.
She doesn’t belong to a known dimension. She is a galaxy apart.
What is exceptional is that in her indefinable exceptionality, she represented and strongly exaled, tragically and childishly, the colors of the soul in the way everyone would have liked to see painted their own.
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