# xmcd
#
# Track frame offsets:
#	150
#	12722
#	24262
#	38035
#	51422
#	64972
#	77887
#	91250
#	104750
#	117317
#	130990
#	143345
#	157820
#	172237
#	186830
#	199950
#	213150
#	227005
#	242210
#	257200
#	271675
#	286022
#	298930
#	310800
#	323987
#
# Disc length: 4479 seconds
#
# Revision: 3
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: audiograbber 1.83.01
#
DISCID=73117d19
DTITLE=Billie Holiday / Complete Billie Holiday on COLUMBIA-Disc 01
DYEAR=2001
DGENRE=Jazz
TTITLE0=Your Mothers SonInLaw (196)
TTITLE1=Riffin The Scotch (177)
TTITLE2=I Wished On The Moon (113)
TTITLE3=What A Little Moonlight Can Do (273)
TTITLE4=Miss Brown To You (160)
TTITLE5=A Sunbonnet Blue And A Yellow Straw Hat (156)
TTITLE6=What A Night What A Moon What A Girl (232)
TTITLE7=Im Painting The Town Red (122)
TTITLE8=Its Too Hot For Words (210)
TTITLE9=Twenty Four Hours A Day (221)
TTITLE10=Yankee Doodle Never Went To Town (170)
TTITLE11=Eeny Meeny Meiny Mo (260)
TTITLE12=If You Were Mine (108)
TTITLE13=These N That N Those (107)
TTITLE14=You Let Me Down (103)
TTITLE15=Spreadin Rythm Around (196)
TTITLE16=Life Begins When Youre In Love (177)
TTITLE17=Its Like Reaching For The Moon (103)
TTITLE18=These Foolish Things (098)
TTITLE19=I Cried For You (158)
TTITLE20=Guess Who (190)
TTITLE21=Did I Remember (150)
TTITLE22=No Regrets (132)
TTITLE23=Summertime (108)
TTITLE24=Billie's Blues (120)
EXTD=Lady Day: The Complete Billie Holiday on Columbia (1933-1944) - Disc 01 of
EXTD= 10\n2001 Columbia/Legacy\n\nOriginally Released October 2, 2001\n\nAMG EX
EXTD=PERT REVIEW: When Sony/Columbia began its ambitious Legacy reissue project
EXTD=, those who followed their jazz titles knew it was only a question of time
EXTD= before the massive Billie Holiday catalog under their ownership would see
EXTD= the light in its entirety. The question was how? Years before there was a
EXTD= host of box sets devoted to her material, but the sound on those left som
EXTD=ething to be desired. Would they remaster the material in two- or three-di
EXTD=sc sets with additional notes? Would it be one disc at a time? Would the m
EXTD=aterial be issued as budget or midline material or at full price? The last
EXTD= item could be ruled out based on the label's aggressive and very thorough
EXTD= packages of single discs by Charles Mingus, Miles Davis, Duke Ellington, 
EXTD=and others. As for the box set issues, how could one successfully package 
EXTD=this material with all of the foreign issues in a way that made sense? Aga
EXTD=in, there were fine precedents in the box set packages of the Miles Davis 
EXTD=and Louis Armstrong packages, which are impeccably remastered, designed, a
EXTD=nd presented - six Grammy's worth. The answer lies in this lavishly design
EXTD=ed ten-CD package that looks on the outside like a 78 album sleeve with a 
EXTD=tucked book of notes, track annotations, and rare photographs, and a deck 
EXTD=of wondrously remastered CDs that are sequenced in such a way that the ent
EXTD=ire Columbia story is told in a way that not only makes sense, but is comp
EXTD=elling in its revelations of Holiday's development as a vocalist and an in
EXTD=terpreter of songs from 1933. \n\nThe story begins with her first two reco
EXTD=rdings for the label with Benny Goodman in November and December of 1933, 
EXTD=moves to two years later when she recorded another session, and ends some 
EXTD=43 sessions later in 1944 with her own band that starred Roy Eldridge, Bar
EXTD=ney Bigard, Art Tatum, Oscar Pettiford, and Sidney Catlett. These include 
EXTD=a pair of V-disc recordings from that year. In all, this set contains 230 
EXTD=tracks. There are 153 masters recorded for Columbia and its subsidiaries, 
EXTD=like Brunswick, Vocalion, Okeh, and Harmony. Thirty-five of these tracks h
EXTD=ave never before been issued in the United States, and those masters are i
EXTD=ncluded here beginning on CD seven and continuing throughout to the end of
EXTD= disc ten. \n\nMusically it is inarguable that these 11 years were the hig
EXTD=h point of Ms. Holiday's career, the stunning recordings she did with her 
EXTD=own band that featured some of the greatest legends in jazz as well as tho
EXTD=se recorded with Teddy Wilson, Benny Goodman, Benny Carter, Count Basie, E
EXTD=ddie Heywood, and even one with Duke Ellington's band in 1935 ("Saddest Ta
EXTD=le") from Ellington's Symphony in Black recording session. Musicians like 
EXTD=Hot Lips Page, Don Byas, Kenny Clarke, Ben Webster, Lester Young, Charlie 
EXTD=Shavers, Freddie Greene, Jo Jones, Cozy Cole, Chu Berry, Henry "Red" Allen
EXTD=, Bud Freeman, Milt Hinton, Buck Clayton, Johnny Hodges, and literally doz
EXTD=ens of others contribute to the development of the Holiday legend. \n\nWha
EXTD=t may appear confusing at the outset makes great sense as the set progress
EXTD=es. The first six discs are master takes recorded either with her orchestr
EXTD=a or the other groups mentioned. Disc seven begins laying out the alternat
EXTD=e takes and airchecks and personnel crisscrosses all over the set. While t
EXTD=his might be irritating to some listeners, it serves a two-fold purpose: o
EXTD=ne is that the integrity of the American masters is preserved, and the sec
EXTD=ond is that the alternates and check-ins can be heard in a sequence that m
EXTD=akes sense historically and aesthetically. Believe me, since these too are
EXTD= laid out chronologically as alternates, it's a pleasure to listen to them
EXTD= rather than wading through five or six or even two takes of the same song
EXTD= laid back to back. It's also on the alternates, far from the masters, tha
EXTD=t we get a different perspective on process and development, not only in t
EXTD=erms of Holiday's singing, but also the different accents added or deleted
EXTD= from the orchestral accompaniment. Lastly, being able to go back and fort
EXTD=h in these takes, we get to witness the sharp juxtaposition of her develop
EXTD=ment as a singer from the raw, early bluesy material influenced deeply by 
EXTD=Bessie Smith to the master songstress who could nuance a maximum emotion f
EXTD=rom just a few notes, smoothly and without a trace of edginess. \n\nThe un
EXTD=issued masters are a cipher. Literally, it is confounding that these recor
EXTD=dings were previously unavailable here in that they mark her reunion with 
EXTD=Benny Goodman or other fine sessions with Basie or her vocal collaboration
EXTD=s with Johnny Mercer in 1939. In many ways the purchase of the set is wort
EXTD=h it for 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 liner no
EXTD=tes by the esteemed Gary Giddins. He needs no more accolades, but his writ
EXTD=ing here paints a far bigger portrait of Ms. Holiday's contribution and he
EXTD=r era than any previously published. It's a biographical essay written wit
EXTD=h a critic's eye and holds no punches where Ms. Holiday's particular stren
EXTD=gths and limitations lie, and he voices his own surprise at hearing certai
EXTD=n things on the set he was previously unfamiliar with. This is a new stand
EXTD=ard in what liner notes for these kinds of projects should aim for: humani
EXTD=zing a legend and cultural myth and making the contribution stand out some
EXTD=how as something that exists almost in spite of whatever the human being's
EXTD= life was like. There is also a fine cultural and socio-historical essay b
EXTD=y Professor Farah Griffin from Columbia University. Her approach is Holida
EXTD=y's influence trans-aesthetically, her influence upon other singers, write
EXTD=rs, painters, and photographers. It's a provocative read and is not writte
EXTD=n in the dread academy's attempt at communicable language. Griffin writes 
EXTD=with heart and directness of purpose. There are tough arguments made here,
EXTD= but she makes them with grace and she makes them plainly. Finally, produc
EXTD=er Michael Brooks provides - along with an introductory essay - a track-by
EXTD=-track analysis with all the data a jazz historian or musicologist could e
EXTD=ver want, including matrix numbers. This set finally puts Ms. Holiday's ma
EXTD=ssive contribution to 20th century art in fitting perspective. There are u
EXTD=ntold hours to spend listening here for the fanatic or the foundling. The 
EXTD=package is worthy of your coffee table instead of a book of photographs of
EXTD= who knows what, and the wealth of knowledge it provides about the history
EXTD= of jazz is literally incalculable. -- Thom Jurek\n\nAmazon.com Editorial 
EXTD=Review\nThis box set earns the "deluxe" designation not only because of it
EXTD=s handsome packaging, insightful essays by Holiday scholars, and testimoni
EXTD=als from the likes of Tony Bennett, Sonny Rollins, and Etta James, but als
EXTD=o because of the vastly improved remastered sound that makes Lady Day the 
EXTD=definitive issue of Billie Holiday's pivotal 1930s and '40s Columbia/Vocal
EXTD=ion/Brunswick/OKeh oeuvre. The sides here include epochal collaborations w
EXTD=ith Count Basie, Benny Goodman, Lester Young, Teddy Wilson, and others. Si
EXTD=x-plus discs chronologically present 151 masters, with the rest of the 10 
EXTD=CDs' space given to alternate takes and radio air checks. \n\nIt was durin
EXTD=g the early years of this period, of course, that Holiday quickly develope
EXTD=d into one of the 20th century's vocal monuments. Her incisive way with ly
EXTD=ric and melody, often deploying playfulness, wit, and pain in a single son
EXTD=g, became a model for both many a female singer, as well as Frank Sinatra 
EXTD=and Marvin Gaye. These are records to be endlessly replayed for many kinds
EXTD= of appreciation. Played end to end, they introduce ideals of groove and e
EXTD=motional expression that remain fresh and even startling many years on. La
EXTD=dy Day is not only a perfect example of how to reissue key material, but i
EXTD=s an album that will stand as a beacon for veteran Holiday fans and for th
EXTD=e new ones it will no doubt attract. -- Rickey Wright \n\nAmazon.com Custo
EXTD=mer Review\nThe Lady sings..., December 29, 2001 \nReviewer: Jeff Harris (
EXTD=South San Francisco, CA United States)\nOne of the most lavish(and exhaust
EXTD=ive, in good way)box sets to be released is "Lady Day-The Complete Billie 
EXTD=Holiday On Columbia (1933-1944)". Consisting of 230 tracks spread over 10 
EXTD=CD's, this set contains Lady Day's collaborations with Teddy Wilson, Count
EXTD= Basie, and Benny Goodman's Orchestras. Though some of the material is lac
EXTD=kluster(which is to be expected on a compilation of this size)all of the s
EXTD=tandards that she cut for Columbia, Brunswick, Okeh, and Vocalion are incl
EXTD=uded("All Of Me", "God Bless The Child", "Them There Eyes", "The Man I Lov
EXTD=e, "I Cried For You", etc...). The packaging is beautiful, with the box re
EXTD=sembling a 78 record storage booklet. Housed inside the cover is a 120 pag
EXTD=e booklet with rare photos, reproductions of original 78 RPM labels, and e
EXTD=ssays from Gary Giddins, Farah Jasmine Griffin, and Michael Brooks. Though
EXTD= the essays don't really shed any new light on Billie Holiday, they're wel
EXTD=l written and are an enjoyable read. The CD's themselves are packaged in h
EXTD=eavy paper slip cases similar to what 78 records came packaged in. In theo
EXTD=ry it was a creative design idea but not a real practical one. You have to
EXTD= be very careful removing and putting the CD's back to avoid scratching th
EXTD=em(like the Armstrong Hot Fives & Sevens box), which for me is my only bee
EXTD=f with this box set. Lining the pockets with felt or some other soft mater
EXTD=ial could 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 material s
EXTD=ound. The Quintessential Billie Holiday CD's suffered from heavy handed us
EXTD=e of noise reduction, sounding muffled and dull. The songs on the box have
EXTD= much more presence and dynamic range. Like the Louis Armstrong box issued
EXTD= last year, this release has Grammy winner written all over it. For those 
EXTD=who want, need, and must have every note Lady Day recorded during this ele
EXTD=ven year period this box is a must have and comes highly recommended. The 
EXTD=2 CD set culled from this box is fine for more casual fans. \n\nAmazon.com
EXTD= Customer Review\nFirst rate, but some questions linger . . ., December 22
EXTD=, 2001\nReviewer: Nicolas S. Martin (Indianapolis, IN United States) \nThi
EXTD=s is a magnificent collection to be sure, but I am left bewildered. Why, i
EXTD=f this is the "complete" collection, does it omit some tracks that are on 
EXTD=the 8 disc Japanese set, "The Lady: Billie Holiday Complete Collection"? A
EXTD=nd why, if the Japanese set is "complete," does this American box contain 
EXTD=many additional tracks? Billie was a wonder of nature, but the people at S
EXTD=ony are a little slippery.\n\nAmazon.com Customer Review\nIn a word...WOW,
EXTD= October 4, 2001\nReviewer: BRIAN J WEAVER (SCOTTSVILLE, NY USA) \nI have 
EXTD=never been able to appreciate Lady Day's Columbia years because of the bad
EXTD= quality and age of the existing sources...UNTIL NOW. Recordings that used
EXTD= to be a challenge to this listener are now remastered to a quality that s
EXTD=urpasses what would be typically expected from recordings of this vintage.
EXTD= You can now fully appreciate Holiday's delicacy in her phrasing, the arra
EXTD=ngements, all brought back to life. This may be considered a pricey set fo
EXTD=r some, and one may decide on the highlight disc instead. But to have this
EXTD= whole set and have the songs all in their recorded order is Holiday heave
EXTD=n. You really won't know what you're been missing, some real gems, until y
EXTD=ou own this set. One track flows so nicely into the next. Repeated takes a
EXTD=re all saved for the last discs so there is no disruption in the flow. And
EXTD= the packaging and book are lush and handsomely packaged, most aesthetical
EXTD=ly pleasing. A most prized and eagerly awaited complete addition to the Ho
EXTD=liday catalogue. A treasure.\n\nHalf.com Album Credits\nArtie Shaw, Contri
EXTD=buting Artist\nBen Webster, Contributing Artist\nBenny Goodman, Contributi
EXTD=ng Artist\nCount Basie & His Orchestra, Contributing Artist\nDuke Ellingto
EXTD=n/Ray Brown, Contributing Artist\nGene Krupa, Contributing Artist\nLester 
EXTD=Young, Contributing Artist\nMilt Hinton, Contributing Artist\n\nAlbum Note
EXTD=s\nIncludes a 116-page booklet containing essays by Gary Giddins, Farah Ja
EXTD=smine Griffin and song-by-song commentary by Michael Brooks.\n\nPersonnel 
EXTD=includes: Billie Holiday, Johnny Mercer (vocals); Johnny Hodges, Benny Car
EXTD=ter, Tab Smith (alto saxophone); Lester Young, Ben Webster, Chu Berry (ten
EXTD=or saxophone); Harry Carney (baritone saxophone); Buck Clayton, Roy Eldrid
EXTD=ge, Harry James, Charlie Shavers, Red Allen, Cootie Williams, Bunny Beriga
EXTD=n, Hot Lips Page (trumpet); Dicky Wells, Jack Teagarden, Benny Morton (tro
EXTD=mbone); Artie Shaw, Benny Goodman, Edmond Hall, Buster Bailey (clarinet); 
EXTD=Teddy Wilson, Count Basie, Claude Thornhill, Billy Kyle (piano); Freddie G
EXTD=reen, Lawrence Lucie, Carmen Mastren (Guitar); Walter Page, Milt Hinton, J
EXTD=ohn Kirby (bass); Jo Jones, Gene Krupa, Sid Catlett, Cozy Cole, Kenny Clar
EXTD=ke (drums); Duke Ellington & His Orchestra.\n\nProducers include: John Ham
EXTD=mond, Bernie Hanighen.\n\nCompilation producers: Michael Brooks, Michael C
EXTD=uscana.\n\nDigitally remastered by Mark Wilder & Seth Foster (Sony Music S
EXTD=tudios, New York, New York).\n\nLADY DAY won the 2002 Grammy Award for Bes
EXTD=t Historical Album.
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
EXTT9=
EXTT10=
EXTT11=
EXTT12=
EXTT13=
EXTT14=
EXTT15=
EXTT16=
EXTT17=
EXTT18=
EXTT19=
EXTT20=
EXTT21=
EXTT22=
EXTT23=
EXTT24=
PLAYORDER=
