Billie Holiday
Biography
The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. Almost fifty years after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, "I always wanted Bessie's big sound and Pops' feeling"), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.
With her spirit shining through on every recording, Holiday's technical expertise also excelled in comparison to the great majority of her contemporaries. Often bored by the tired old Tin Pan Alley songs she was forced to record early in her career, Holiday fooled around with the beat and the melody, phrasing behind the beat and often rejuvenating the standard melody with harmonies borrowed from her favorite horn players, Armstrong and Lester Young. (She often said she tried to sing like a horn.) Her notorious private life -- a series of abusive relationships, substance addictions, and periods of depression -- undoubtedly assisted her legendary status, but Holiday's best performances ("Lover Man," "Don't Explain," "Strange Fruit," her own composition "God Bless the Child") remain among the most sensitive and accomplished vocal performances ever recorded. More than technical ability, more than purity of voice, what made Billie Holiday one of the best vocalists of the century -- easily the equal of Ella Fitzgerald or Frank Sinatra -- was her relentlessly individualist temperament, a quality that colored every one of her endlessly nuanced performances.
Billie Holiday's chaotic life reportedly began in Baltimore on April 7, 1915 (a few reports say 1912) when she was born Eleanora Fagan Gough. Her father, Clarence Holiday, was a teenaged jazz guitarist and banjo player later to play in Fletcher Henderson's Orchestra. He never married her mother, Sadie Fagan, and left while his daughter was still a baby. (She would later run into him in New York, and though she contracted many guitarists for her sessions before his death in 1937, she always avoided using him.) Holiday's mother was also a young teenager at the time, and whether because of inexperience or neglect, often left her daughter with uncaring relatives. Holiday was sentenced to Catholic reform school at the age of ten, reportedly after she admitted being raped. Though sentenced to stay until she became an adult, a family friend helped get her released after just two years. With her mother, she moved in 1927, first to New Jersey and soon after to Brooklyn.
In New York, Holiday helped her mother with domestic work, but soon began moonlighting as a prostitute for the additional income. According to the weighty Billie Holiday legend (which gained additional credence after her notoriously apocryphal autobiography Lady Sings the Blues), her big singing break came in 1933 when a laughable dancing audition at a speakeasy prompted her accompanist to ask her if she could sing. In fact, Holiday was most likely singing at clubs all over New York City as early as 1930-31. Whatever the true story, she first gained some publicity in early 1933, when record producer John Hammond -- only three years older than Holiday herself, and just at the beginning of a legendary career -- wrote her up in a column for Melody Maker and brought Benny Goodman to one of her performances. After recording a demo at Columbia Studios, Holiday joined a small group led by Goodman to make her commercial debut on November 27, 1933 with "Your Mother's Son-In-Law."
Though she didn't return to the studio for over a year, Billie Holiday spent 1934 moving up the rungs of the competitive New York bar scene. By early 1935, she made her debut at the Apollo Theater and appeared in a one-reeler film with Duke Ellington. During the last half of 1935, Holiday finally entered the studio again and recorded a total of four sessions. With a pick-up band supervised by pianist Teddy Wilson, she recorded a series of obscure, forgettable songs straight from the gutters of Tin Pan Alley -- in other words, the only songs available to an obscure black band during the mid-'30s. (During the swing era, music publishers kept the best songs strictly in the hands of society orchestras and popular white singers.) Despite the poor song quality, Holiday and various groups (including trumpeter Roy Eldridge, alto Johnny Hodges, and tenors Ben Webster and Chu Berry) energized flat songs like "What a Little Moonlight Can Do," "Twenty-Four Hours a Day" and "If You Were Mine" (to say nothing of "Eeny Meeny Miney Mo" and "Yankee Doodle Never Went to Town"). The great combo playing and Holiday's increasingly assured vocals made them quite popular on Columbia, Brunswick and Vocalion.
During 1936, Holiday toured with groups led by Jimmie Lunceford and Fletcher Henderson, then returned to New York for several more sessions. In late January 1937, she recorded several numbers with a small group culled from one of Hammond's new discoveries, Count Basie's Orchestra. Tenor Lester Young, who'd briefly known Billie several years earlier, and trumpeter Buck Clayton were to become especially attached to Holiday. The three did much of their best recorded work together during the late '30s, and Holiday herself bestowed the nickname Pres on Young, while he dubbed her Lady Day for her elegance. By the spring of 1937, she began touring with Basie as the female complement to his male singer, Jimmy Rushing. The association lasted less than a year, however. Though officially she was fired from the band for being temperamental and unreliable, shadowy influences higher up in the publishing world reportedly commanded the action after she refused to begin singing '20s female blues standards.
At least temporarily, the move actually benefited Holiday -- less than a month after leaving Basie, she was hired by Artie Shaw's popular band. She began singing with the group in 1938, one of the first instances of a black female appearing with a white group. Despite the continuing support of the entire band, however, show promoters and radio sponsors soon began objecting to Holiday -- based on her unorthodox singing style almost as much as her race. After a series of escalating indignities, Holiday quit the band in disgust. Yet again, her judgment proved valuable; the added freedom allowed her to take a gig at a hip new club named Café Society, the first popular nightspot with an inter-racial audience. There, Billie Holiday learned the song that would catapult her career to a new level: "Strange Fruit."
The standard, written by Café Society regular Lewis Allen and forever tied to Holiday, is an anguished reprisal of the intense racism still persistent in the South. Though Holiday initially expressed doubts about adding such a bald, uncompromising song to her repertoire, she pulled it off thanks largely to her powers of nuance and subtlety. "Strange Fruit" soon became the highlight of her performances. Though John Hammond refused to record it (not for its politics but for its overly pungent imagery), he allowed Holiday a bit of leverage to record for Commodore, the label owned by jazz record-store owner Milt Gabler. Once released, "Strange Fruit" was banned by many radio outlets, though the growing jukebox industry (and the inclusion of the excellent "Fine and Mellow" on the flip) made it a rather large, though controversial, hit. She continued recording for Columbia labels until 1942, and hit big again with her most famous composition, 1941's "God Bless the Child." Gabler, who also worked A&R for Decca, signed her to the label in 1944 to record "Lover Man," a song written especially for her and her third big hit. Neatly side-stepping the musician's union ban that afflicted her former label, Holiday soon became a priority at Decca, earning the right to top-quality material and lavish string sections for her sessions. She continued recording scattered sessions for Decca during the rest of the '40s, and recorded several of her best-loved songs including Bessie Smith's "'Tain't Nobody's Business If I Do," "Them There Eyes," and "Crazy He Calls Me."
Though her artistry was at its peak, Billie Holiday's emotional life began a turbulent period during the mid-'40s. Already heavily into alcohol and marijuana, she began smoking opium early in the decade with her first husband, Johnnie Monroe. The marriage didn't last, but hot on its heels came a second marriage to trumpeter Joe Guy and a move to heroin. Despite her triumphant concert at New York's Town Hall and a small film role -- as a maid (!) -- with Louis Armstrong in 1947's New Orleans, she lost a good deal of money running her own orchestra with Joe Guy. Her mother's death soon after affected her deeply, and in 1947 she was arrested for possession of heroin and sentenced to eight months in prison.
Unfortunately, Holiday's troubles only continued after her release. The drug charge made it impossible for her to get a cabaret card, so nightclub performances were out of the question. Plagued by various celebrity hawks from all portions of the underworld (jazz, drugs, song publishing, etc.), she soldiered on for Decca until 1950. Two years later, she began recording for jazz entrepreneur Norman Granz, owner of the excellent labels Clef, Norgran, and by 1956, Verve. The recordings returned her to the small-group intimacy of her Columbia work, and reunited her with Ben Webster as well as other top-flight musicians such as Oscar Peterson, Harry "Sweets" Edison, and Charlie Shavers. Though the ravages of a hard life were beginning to take their toll on her voice, many of Holiday's mid-'50s recordings are just as intense and beautiful as her classic work.
During 1954, Holiday toured Europe to great acclaim, and her 1956 autobiography brought her even more fame (or notoriety). She made her last great appearance in 1957, on the CBS television special The Sound of Jazz with Webster, Lester Young, and Coleman Hawkins providing a close backing. One year later, the Lady in Satin LP clothed her naked, increasingly hoarse voice with the overwrought strings of Ray Ellis. During her final year, she made two more appearances in Europe before collapsing in May 1959 of heart and liver disease. Still procuring heroin while on her death bed, Holiday was arrested for possession in her private room and died on July 17, her system completely unable to fight both withdrawal and heart disease at the same time. Her cult of influence spread quickly after her death and gave her more fame than she'd enjoyed in life. The 1972 biopic Lady Sings the Blues featured Diana Ross struggling to overcome the conflicting myths of Holiday's life, but the film also illuminated her tragic life and introduced many future fans. By the digital age, virtually all of Holiday's recorded material had been reissued: by Columbia (nine volumes of The Quintessential Billie Holiday), Decca (The Complete Decca Recordings), and Verve (The Complete Billie Holiday on Verve 1945-1959). ~ John Bush, All Music Guide
Selected Discography

To Go
2006

Billy Crystal Remembers Billie Holiday
2005

Billie Holiday: The Ultimate Collection
2005

Billie Holiday: The Jazz Biography
2004

Billie Holiday: Love Songs 2
2003

Early Lady Day: 1933 - 1937
2003

Ken Burns Jazz - Billie Holiday
2000

The Billie Holiday Collection # 1
1998

More Billie Holiday
1998

Billie Holiday Love Songs
1996

Lady Sings The Blues
1995

The Essential Billie Holiday - Carnegie Hall Concert Recorded Live
1995

Jazz 'Round Midnight
1994

Recital By Billie Holiday
1994

First Issue: The Great American Song Book
1994

Billie's Best
1992

Lady In Satin
1958

Solitude
1952

Billie Holiday Sings Standards
1945

Billie's Blues
1942
She died before her time - that's the tragedy of Billie Holiday ; she died not knowing just how Loved she really was ! Just the greatest singer I ever heard...real l y . The Best of all !
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Billie Holiday will remain the blues icon of the jazz genre, vocals hauntingly beautiful, timeless, and waaaaaaay ahead of her time.
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She was a Classic ! I am so glad that many, many people feel the same way as I do ! It's as if Lady Day is still alive - and she is ! In her music ; We Love You Billie Holiday !
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She makes me wanna cry everytime, yet I can't refrain from repeat! I also once heard a drum and bass production of this chart. It showed me that even sampled as an accapella, her blues are timeless and unrelenting. She truly transformed her life through her lamentations ; sounding beautifully tragic.
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Nothing but the blues...She will always be the one who truly felt the blues...
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There's nothin to say...she is the goddess of blues/jazz ballads. Hell, she taught me how to stylize my vocals!
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All the talk about billie without the bands, jazz is the interplay between the artists no stars, an ensmble,pres and buck andteddy wilson. thats why rec. dates reflect periods of innowation making peyroux acute faux imitation of billie
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I feel silly saying it, but the first time I heard her was while I was at a Starbucks about 10 years ago. This voice began singing, and I was hypnotized. NO ONE could ever come near the depth that Billie projects, but Pandora introduced me to Madeleine Peyroux, and she is probably the closest we will have in our generation. Check her out, be shocked at the similarities , and know that she's doing a tour this Spring 2009.
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After seeing the movie Lady sings the blues. I was disappointed when I heard the" Real" Billie .. I just thought she would sound better than Diana..... Sorry...She is still great!
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I am only 16 but I have been listening to her music since I was about 10 or 11 years old. Even as young as I am, I find her music to be very heartfelt. Her music just speaks to me, I always listen to Billie Holiday she is one of my favorite artists. When my mother and I get into arguments we always play one of her songs because we both adore her music and its something we dont have to argue about. Billie Holiday is one of a kind
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I became familiar with her in the early 70's when the movie Lady Sings the Blues was released. I remember arguing at a friend's house about the quality of Diana Ross' portrayal in the movie (I thought she was good - he didn't). His mother overheard us and told us that she had seen Billie in person back in the 50's. My reaction was "why didn't you tell us about her before?". I've been listening to her recordings ever since and never ever get tired of them. She was the best - one of a kind.
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Would loved to have been witness to this amazing talent in person, just once. Her vocal presence is incredible.
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There was, is, and never will be another musician as Billie Holiday. No performer put as much heart and soal into a song as she did. Every note she sang was meaningful, as if she lived the lyrics,and most of the time she actually did,(a good example is " Lover Man").She had a hard life, but it was a triumphant one, because she rose above every other singer and became the best one of all.
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Her voice always brings tears to my eyes. There will never be another like her.
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So thankful we have her recordings! ... Listening to her, witnessing her presence is a moment of grace each and every song.
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Her life makes my heart hurt. She had an incredible voice and talent but was so consumed with the pressures of racism and life in the 30's and 40's that it consumed her. What a tragedy!
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I used to listen to this Lady when I was 10-18 years old. And the "religious" lady who raised me didn't approve of this one. When I read Holliday's biography and saw the quote "You've got to have a little love in your heart and food in your belly before you can sit still for any d*&!n body's sermon" I knew this was the ONE I could trust listening to. Still vintage, still prime.
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LADY DAY,HAD A BEAUTIFUL VOICE! I LOVE ALL OF HER MUSIC! SHE EXPERIENCED, M A N Y UNFORTUNATE THINGS IN HER LIFE! ALTHOUGH SHE'S GONE,HER MUSIC LIVES ON!
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I had no Idea what an intense life she had, but boy could she sing! Its' no myth that some of the greatest performers came from an atrocious background and went on to make it big, only to be brought down by drugs and alcohol. . . and I think to myself what a wonderful world.
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This is such a wonderful writeup on Billie Holiday..... I never thought anyone in these early years could capture portions of her life the way this writer has done....Grea t job on such an amazeing person.....K e e p up the good work.
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An instrument herself, one of the purist voices, a range of emotion unparalleled by anyone sence, I doubtfully ever. Timeless, Ive loved her for many years, and continue to enjoy her. May absolute favorite, not many come closer.
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Again Pandora has opened my eyes, and most importantly ears to an amazing musician. I am excited to hear more billie holiday for she has one of the most captivating voices I have heard in years.
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Her words sends chills over my body and tears to my eyes. I really enjoy her music and hate she had to endure such a harsh life.
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Her voice can calm the strongest tempests and soothe the fiercest souls. She has power within her vocals. She did for Jazz--vocals in general--wha t Beethoven did for the piano.
What I would give to be able to sit in a a jazz club with Billie at the Mic. Amazing artist. |
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An amazing singer, she has the voice no one can reckon with. You can hear the pain and anguish in her voice. Her music is heart felt, so many people can relate to her music. She should be recognized for her contribution to Jazz, Blues, and creation of Pop music. Amazing talent.
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She's infectious.. . n o matter what the mood I am in. For some reason I must hear her, eventually. There will never be another Billie. I am so glad her recordings have been save. I close my eyes and I am there...
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The Goddest of Vocals!!!!.. . I really can appreciate this genra of music... She passed way before I was born, but thanks to my parents I had some level of exposure to her music.... how can music now ever compare to this level of art then!?!?!!.. .
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I am new to Pandora. I had been listening to Live365, which also is very good. However, I am impresssed with Pandora.
Not only can you choose genre, it not only tells you what's playing, but also others similar....m u c h like BOOKLIST for books. It opens up new avenues. I am listening for the first time to performers , that I never knew existed. Keep up the good work. .....a new fan |
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