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DISCID=3f10d017
DTITLE=Billie Holiday / Lady Day: The Complete Billie Holiday on Colum
DTITLE=bia (1933-1944) - Disc 10 of 10
DYEAR=2001
DGENRE=Jazz
TTITLE0=St. Louis Blues
TTITLE1=Loveless Love
TTITLE2=Let's Do It
TTITLE3=Georgia On My Mind
TTITLE4=Georgia On My Mind
TTITLE5=Romance In The Dark
TTITLE6=Romance In The Dark
TTITLE7=Romance In The Dark
TTITLE8=All Of Me
TTITLE9=All Of Me
TTITLE10=God Bless The Child
TTITLE11=God Bless The Child
TTITLE12=Am I Blue?
TTITLE13=Am I Blue?
TTITLE14=Jim
TTITLE15=Gloomy Sunday
TTITLE16=Wherever You Are
TTITLE17=Mandy Is Two
TTITLE18=It's A Sin To Tell A Lie
TTITLE19=It's A Sin To Tell A Lie
TTITLE20=Until The Real Thing Comes Along
TTITLE21=Do Nothing 'Til You Hear From Me + I'll Get By
TTITLE22=I Love My Man
EXTD=Lady Day: The Complete Billie Holiday on Columbia (1933-1944) - D
EXTD=isc 10 of 10\n2001 Columbia/Legacy\n\nOriginally Released October
EXTD= 2, 2001\n\nAMG EXPERT REVIEW: When Sony/Columbia began its ambit
EXTD=ious Legacy reissue project, those who followed their jazz titles
EXTD= knew it was only a question of time before the massive Billie Ho
EXTD=liday catalog under their ownership would see the light in its en
EXTD=tirety. The question was how? Years before there was a host of bo
EXTD=x sets devoted to her material, but the sound on those left somet
EXTD=hing to be desired. Would they remaster the material in two- or t
EXTD=hree-disc sets with additional notes? Would it be one disc at a t
EXTD=ime? Would the material be issued as budget or midline material o
EXTD=r at full price? The last item could be ruled out based on the la
EXTD=bel's aggressive and very thorough packages of single discs by Ch
EXTD=arles Mingus, Miles Davis, Duke Ellington, and others. As for the
EXTD= box set issues, how could one successfully package this material
EXTD= with all of the foreign issues in a way that made sense? Again, 
EXTD=there were fine precedents in the box set packages of the Miles D
EXTD=avis and Louis Armstrong packages, which are impeccably remastere
EXTD=d, designed, and presented - six Grammy's worth. The answer lies 
EXTD=in this lavishly designed ten-CD package that looks on the outsid
EXTD=e like a 78 album sleeve with a tucked book of notes, track annot
EXTD=ations, and rare photographs, and a deck of wondrously remastered
EXTD= CDs that are sequenced in such a way that the entire Columbia st
EXTD=ory is told in a way that not only makes sense, but is compelling
EXTD= in its revelations of Holiday's development as a vocalist and an
EXTD= interpreter of songs from 1933. \n\nThe story begins with her fi
EXTD=rst two recordings for the label with Benny Goodman in November a
EXTD=nd December of 1933, moves to two years later when she recorded a
EXTD=nother session, and ends some 43 sessions later in 1944 with her 
EXTD=own band that starred Roy Eldridge, Barney Bigard, Art Tatum, Osc
EXTD=ar Pettiford, and Sidney Catlett. These include a pair of V-disc 
EXTD=recordings from that year. In all, this set contains 230 tracks. 
EXTD=There are 153 masters recorded for Columbia and its subsidiaries,
EXTD= like Brunswick, Vocalion, Okeh, and Harmony. Thirty-five of thes
EXTD=e tracks have never before been issued in the United States, and 
EXTD=those masters are included here beginning on CD seven and continu
EXTD=ing throughout to the end of disc ten. \n\nMusically it is inargu
EXTD=able that these 11 years were the high point of Ms. Holiday's car
EXTD=eer, the stunning recordings she did with her own band that featu
EXTD=red some of the greatest legends in jazz as well as those recorde
EXTD=d with Teddy Wilson, Benny Goodman, Benny Carter, Count Basie, Ed
EXTD=die Heywood, and even one with Duke Ellington's band in 1935 ("Sa
EXTD=ddest Tale") from Ellington's Symphony in Black recording session
EXTD=. Musicians like Hot Lips Page, Don Byas, Kenny Clarke, Ben Webst
EXTD=er, Lester Young, Charlie Shavers, Freddie Greene, Jo Jones, Cozy
EXTD= Cole, Chu Berry, Henry "Red" Allen, Bud Freeman, Milt Hinton, Bu
EXTD=ck Clayton, Johnny Hodges, and literally dozens of others contrib
EXTD=ute to the development of the Holiday legend. \n\nWhat may appear
EXTD= confusing at the outset makes great sense as the set progresses.
EXTD= The first six discs are master takes recorded either with her or
EXTD=chestra or the other groups mentioned. Disc seven begins laying o
EXTD=ut the alternate takes and airchecks and personnel crisscrosses a
EXTD=ll over the set. While this might be irritating to some listeners
EXTD=, it serves a two-fold purpose: one is that the integrity of the 
EXTD=American masters is preserved, and the second is that the alterna
EXTD=tes and check-ins can be heard in a sequence that makes sense his
EXTD=torically and aesthetically. Believe me, since these too are laid
EXTD= out chronologically as alternates, it's a pleasure to listen to 
EXTD=them rather than wading through five or six or even two takes of 
EXTD=the same song laid back to back. It's also on the alternates, far
EXTD= from the masters, that we get a different perspective on process
EXTD= and development, not only in terms of Holiday's singing, but als
EXTD=o the different accents added or deleted from the orchestral acco
EXTD=mpaniment. Lastly, being able to go back and forth in these takes
EXTD=, we get to witness the sharp juxtaposition of her development as
EXTD= a singer from the raw, early bluesy material influenced deeply b
EXTD=y Bessie Smith to the master songstress who could nuance a maximu
EXTD=m emotion from just a few notes, smoothly and without a trace of 
EXTD=edginess. \n\nThe unissued masters are a cipher. Literally, it is
EXTD= confounding that these recordings were previously unavailable he
EXTD=re in that they mark her reunion with Benny Goodman or other fine
EXTD= sessions with Basie or her vocal collaborations with Johnny Merc
EXTD=er in 1939. In many ways the purchase of the set is worth it for 
EXTD=discs nine and ten alone, as well as the killer packaging. \nLast
EXTD=ly, it would be shameful not to make mention of the truly amazing
EXTD= liner notes by the esteemed Gary Giddins. He needs no more accol
EXTD=ades, but his writing here paints a far bigger portrait of Ms. Ho
EXTD=liday's contribution and her era than any previously published. I
EXTD=t's a biographical essay written with a critic's eye and holds no
EXTD= punches where Ms. Holiday's particular strengths and limitations
EXTD= lie, and he voices his own surprise at hearing certain things on
EXTD= the set he was previously unfamiliar with. This is a new standar
EXTD=d in what liner notes for these kinds of projects should aim for:
EXTD= humanizing a legend and cultural myth and making the contributio
EXTD=n stand out somehow as something that exists almost in spite of w
EXTD=hatever the human being's life was like. There is also a fine cul
EXTD=tural and socio-historical essay by Professor Farah Griffin from 
EXTD=Columbia University. Her approach is Holiday's influence trans-ae
EXTD=sthetically, her influence upon other singers, writers, painters,
EXTD= and photographers. It's a provocative read and is not written in
EXTD= the dread academy's attempt at communicable language. Griffin wr
EXTD=ites with heart and directness of purpose. There are tough argume
EXTD=nts made here, but she makes them with grace and she makes them p
EXTD=lainly. Finally, producer Michael Brooks provides - along with an
EXTD= introductory essay - a track-by-track analysis with all the data
EXTD= a jazz historian or musicologist could ever want, including matr
EXTD=ix numbers. This set finally puts Ms. Holiday's massive contribut
EXTD=ion to 20th century art in fitting perspective. There are untold 
EXTD=hours to spend listening here for the fanatic or the foundling. T
EXTD=he package is worthy of your coffee table instead of a book of ph
EXTD=otographs of who knows what, and the wealth of knowledge it provi
EXTD=des about the history of jazz is literally incalculable. -- Thom 
EXTD=Jurek\n\nAmazon.com Editorial Review\nThis box set earns the "del
EXTD=uxe" designation not only because of its handsome packaging, insi
EXTD=ghtful essays by Holiday scholars, and testimonials from the like
EXTD=s of Tony Bennett, Sonny Rollins, and Etta James, but also becaus
EXTD=e of the vastly improved remastered sound that makes Lady Day the
EXTD= definitive issue of Billie Holiday's pivotal 1930s and '40s Colu
EXTD=mbia/Vocalion/Brunswick/OKeh oeuvre. The sides here include epoch
EXTD=al collaborations with Count Basie, Benny Goodman, Lester Young, 
EXTD=Teddy Wilson, and others. Six-plus discs chronologically present 
EXTD=151 masters, with the rest of the 10 CDs' space given to alternat
EXTD=e takes and radio air checks. \n\nIt was during the early years o
EXTD=f this period, of course, that Holiday quickly developed into one
EXTD= of the 20th century's vocal monuments. Her incisive way with lyr
EXTD=ic and melody, often deploying playfulness, wit, and pain in a si
EXTD=ngle song, became a model for both many a female singer, as well 
EXTD=as Frank Sinatra and Marvin Gaye. These are records to be endless
EXTD=ly replayed for many kinds of appreciation. Played end to end, th
EXTD=ey introduce ideals of groove and emotional expression that remai
EXTD=n fresh and even startling many years on. Lady Day is not only a 
EXTD=perfect example of how to reissue key material, but is an album t
EXTD=hat will stand as a beacon for veteran Holiday fans and for the n
EXTD=ew ones it will no doubt attract. -- Rickey Wright \n\nAmazon.com
EXTD= Customer Review\nThe Lady sings..., December 29, 2001 \nReviewer
EXTD=: Jeff Harris (South San Francisco, CA United States)\nOne of the
EXTD= most lavish(and exhaustive, in good way)box sets to be released 
EXTD=is "Lady Day-The Complete Billie Holiday On Columbia (1933-1944)"
EXTD=. Consisting of 230 tracks spread over 10 CD's, this set contains
EXTD= Lady Day's collaborations with Teddy Wilson, Count Basie, and Be
EXTD=nny Goodman's Orchestras. Though some of the material is lacklust
EXTD=er(which is to be expected on a compilation of this size)all of t
EXTD=he standards that she cut for Columbia, Brunswick, Okeh, and Voca
EXTD=lion are included("All Of Me", "God Bless The Child", "Them There
EXTD= Eyes", "The Man I Love, "I Cried For You", etc...). The packagin
EXTD=g is beautiful, with the box resembling a 78 record storage bookl
EXTD=et. Housed inside the cover is a 120 page booklet with rare photo
EXTD=s, reproductions of original 78 RPM labels, and essays from Gary 
EXTD=Giddins, Farah Jasmine Griffin, and Michael Brooks. Though the es
EXTD=says don't really shed any new light on Billie Holiday, they're w
EXTD=ell written and are an enjoyable read. The CD's themselves are pa
EXTD=ckaged in heavy paper slip cases similar to what 78 records came 
EXTD=packaged in. In theory it was a creative design idea but not a re
EXTD=al practical one. You have to be very careful removing and puttin
EXTD=g the CD's back to avoid scratching them(like the Armstrong Hot F
EXTD=ives & Sevens box), which for me is my only beef with this box se
EXTD=t. Lining the pockets with felt or some other soft material could
EXTD= have avoided this and it's a move I hope Legacy considers in the
EXTD= future. Sonically this is by far the best I've ever heard this m
EXTD=aterial sound. The Quintessential Billie Holiday CD's suffered fr
EXTD=om heavy handed use of noise reduction, sounding muffled and dull
EXTD=. The songs on the box have much more presence and dynamic range.
EXTD= Like the Louis Armstrong box issued last year, this release has 
EXTD=Grammy winner written all over it. For those who want, need, and 
EXTD=must have every note Lady Day recorded during this eleven year pe
EXTD=riod this box is a must have and comes highly recommended. The 2 
EXTD=CD set culled from this box is fine for more casual fans. \n\nAma
EXTD=zon.com Customer Review\nFirst rate, but some questions linger . 
EXTD=. ., December 22, 2001\nReviewer: Nicolas S. Martin (Indianapolis
EXTD=, IN United States) \nThis is a magnificent collection to be sure
EXTD=, but I am left bewildered. Why, if this is the "complete" collec
EXTD=tion, does it omit some tracks that are on the 8 disc Japanese se
EXTD=t, "The Lady: Billie Holiday Complete Collection"? And why, if th
EXTD=e Japanese set is "complete," does this American box contain many
EXTD= additional tracks? Billie was a wonder of nature, but the people
EXTD= at Sony are a little slippery.\n\nAmazon.com Customer Review\nIn
EXTD= a word...WOW, October 4, 2001\nReviewer: BRIAN J WEAVER (SCOTTSV
EXTD=ILLE, NY USA) \nI have never been able to appreciate Lady Day's C
EXTD=olumbia years because of the bad quality and age of the existing 
EXTD=sources...UNTIL NOW. Recordings that used to be a challenge to th
EXTD=is listener are now remastered to a quality that surpasses what w
EXTD=ould be typically expected from recordings of this vintage. You c
EXTD=an now fully appreciate Holiday's delicacy in her phrasing, the a
EXTD=rrangements, all brought back to life. This may be considered a p
EXTD=ricey set for some, and one may decide on the highlight disc inst
EXTD=ead. But to have this whole set and have the songs all in their r
EXTD=ecorded order is Holiday heaven. You really won't know what you'r
EXTD=e been missing, some real gems, until you own this set. One track
EXTD= flows so nicely into the next. Repeated takes are all saved for 
EXTD=the last discs so there is no disruption in the flow. And the pac
EXTD=kaging and book are lush and handsomely packaged, most aesthetica
EXTD=lly pleasing. A most prized and eagerly awaited complete addition
EXTD= to the Holiday catalogue. A treasure.\n\nHalf.com Album Credits\n
EXTD=Artie Shaw, Contributing Artist\nBen Webster, Contributing Artist
EXTD=\nBenny Goodman, Contributing Artist\nCount Basie & His Orchestra
EXTD=, Contributing Artist\nDuke Ellington/Ray Brown, Contributing Art
EXTD=ist\nGene Krupa, Contributing Artist\nLester Young, Contributing 
EXTD=Artist\nMilt Hinton, Contributing Artist\n\nAlbum Notes\nIncludes
EXTD= a 116-page booklet containing essays by Gary Giddins, Farah Jasm
EXTD=ine Griffin and song-by-song commentary by Michael Brooks.\n\nPer
EXTD=sonnel includes: Billie Holiday, Johnny Mercer (vocals); Johnny H
EXTD=odges, Benny Carter, Tab Smith (alto saxophone); Lester Young, Be
EXTD=n Webster, Chu Berry (tenor saxophone); Harry Carney (baritone sa
EXTD=xophone); Buck Clayton, Roy Eldridge, Harry James, Charlie Shaver
EXTD=s, Red Allen, Cootie Williams, Bunny Berigan, Hot Lips Page (trum
EXTD=pet); Dicky Wells, Jack Teagarden, Benny Morton (trombone); Artie
EXTD= Shaw, Benny Goodman, Edmond Hall, Buster Bailey (clarinet); Tedd
EXTD=y Wilson, Count Basie, Claude Thornhill, Billy Kyle (piano); Fred
EXTD=die Green, Lawrence Lucie, Carmen Mastren (Guitar); Walter Page, 
EXTD=Milt Hinton, John Kirby (bass); Jo Jones, Gene Krupa, Sid Catlett
EXTD=, Cozy Cole, Kenny Clarke (drums); Duke Ellington & His Orchestra
EXTD=.\n\nProducers include: John Hammond, Bernie Hanighen.\n\nCompila
EXTD=tion producers: Michael Brooks, Michael Cuscana.\n\nDigitally rem
EXTD=astered by Mark Wilder & Seth Foster (Sony Music Studios, New Yor
EXTD=k, New York).\n\nLADY DAY won the 2002 Grammy Award for Best Hist
EXTD=orical Album.
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