Billie Holiday – Simply … Lady Day! (2019 Remaster) (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 03:50:48 minutes | 1,17 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Jube Legends
- Billie Holiday The Complete Commodore Recordings Rar Download Pc
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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. More than a half-century 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
Artist: Billie Holiday Title: The Complete Commodore & Decca Masters Date Of Release: 2009-01-01 Genre: Blues Quality: MP3 320 kBit/s Total Size: 200 MB. Download The Complete Commodore & Decca Masters - Billie Holiday mp3. Tracklist: 1 - Strange Fruit 2 - Yesterdays 3 - Fine and Mellow 4 - I Gotta Right to Sing the Blues 5 - How Am I to Know.
- Listen to Complete Original American Commodore Recordings (Bonus Track Version) ) on Spotify. Billie Holiday Compilation 2001 45 songs.
- Download on Amazon - Billie's Blues. The Complete Commodore Recordings. The Complete Billie Holiday on Columbia 1933-1944, Vol.
- Listen to The Complete Commodore/Decca Masters on Spotify. Billie Holiday Album 2009 52 songs.
- Here you can download billie holiday complete commodore recordings shared files: Billie Holiday (Complete Jazz Series 1958 1959).rar from 4shared.com 44.6 MB, Billie Holiday - (Complete Jazz Series 1957).rar from 4shared.com 61.79 MB, Billie holiday the commodore master takes 2000 from uploaded.to (83 MB), Billie holiday the commodore master.
Tracklist:
01. What a little moonlight can do
02. Miss Brown to you
03. I wished on the moon
04. Swing Time: A fine romance
05. Pennies from heaven
06. If you were mine
07. Billie's Blues
08. Porgy and Bess: Summertime
09. That's life I guess
10. I must have That man
11. Foolin' myself
12. Easy living
13. I cried for you
14. A sailboat in the moonlight
15. Me, myself and I
16. On the avenue: This year's kisses
17. Show Boat: Can't help lovin' dat man
18. Back in your own backyard
19. The blue angel: Falling in love again
20. Paris: Paris: Let's do It, let's fall in love
21. Solitude
22. Am I blue?
23. Georgia on my mind
24. Whoopee: Love me or leave me
25. You'd better go now
26. The blues Are brewin'
27. No greater love
28. Do your duty
29. Blue turning grey over me
30. Rocky Mountain Blues
31. Be fair to me, baby
32. Blue Moon
33. East of the sun and west of the moon
34. Born to dance: Easy to love
35. Dames: Dames: I only have eyes for you
36. Autumn in New York
37. Dancing Lady: Everything I have Is yours
38. I can't face the music
39. If the moon turns green
40. Moonglow
41. Remember
42. Tenderly
43. P.S. – I love you!
44. Blonde Crazy: When your lover has gone
45. Concerto for Cootie: Do nothing till you hear from me
46. Good morning, headache
47. Gee, baby, ain't I good for you?
48. We'll be together again
49. Strange fruit
50. You go to my head
51. Body and soul
52. He's funny That way
53. These foolish things
54. Fine and mellow
55. Mississippi: Easy to remember (Live)
56. Willow, weep for me (Live)
57. Foolin' myself (Live)
58. Don't explain (Live)
59. You've changed
60. Blue Moon (Live)
61. All of me (Live)
62. My man (Live)
63. Them there eyes (Live)
64. I cried for you (Live)
65. What a little moonlight can do (Live)
66. I cover the waterfront (Live)
67. Jam Session on 'Billie's Blues'
68. The New Moon: Jam Session on 'Lover, come back to me'
69. Statement on the Blues
Download:
Fallout 4 difficulty mods. mqs.link_BillieH0lidaySimply…LadyDay2019Remaster20202448.part1.rar
mqs.link_BillieH0lidaySimply…LadyDay2019Remaster20202448.part2.rar
Billie Holiday The Complete Commodore Recordings Rar Download Pc
Artist: Billie Holiday Title: The Complete Commodore & Decca Masters Date Of Release: 2009-01-01 Genre: Blues Quality: MP3 320 kBit/s Total Size: 200 MB. Download The Complete Commodore & Decca Masters - Billie Holiday mp3. Tracklist: 1 - Strange Fruit 2 - Yesterdays 3 - Fine and Mellow 4 - I Gotta Right to Sing the Blues 5 - How Am I to Know.
- Listen to Complete Original American Commodore Recordings (Bonus Track Version) ) on Spotify. Billie Holiday Compilation 2001 45 songs.
- Download on Amazon - Billie's Blues. The Complete Commodore Recordings. The Complete Billie Holiday on Columbia 1933-1944, Vol.
- Listen to The Complete Commodore/Decca Masters on Spotify. Billie Holiday Album 2009 52 songs.
- Here you can download billie holiday complete commodore recordings shared files: Billie Holiday (Complete Jazz Series 1958 1959).rar from 4shared.com 44.6 MB, Billie Holiday - (Complete Jazz Series 1957).rar from 4shared.com 61.79 MB, Billie holiday the commodore master takes 2000 from uploaded.to (83 MB), Billie holiday the commodore master.
Tracklist:
01. What a little moonlight can do
02. Miss Brown to you
03. I wished on the moon
04. Swing Time: A fine romance
05. Pennies from heaven
06. If you were mine
07. Billie's Blues
08. Porgy and Bess: Summertime
09. That's life I guess
10. I must have That man
11. Foolin' myself
12. Easy living
13. I cried for you
14. A sailboat in the moonlight
15. Me, myself and I
16. On the avenue: This year's kisses
17. Show Boat: Can't help lovin' dat man
18. Back in your own backyard
19. The blue angel: Falling in love again
20. Paris: Paris: Let's do It, let's fall in love
21. Solitude
22. Am I blue?
23. Georgia on my mind
24. Whoopee: Love me or leave me
25. You'd better go now
26. The blues Are brewin'
27. No greater love
28. Do your duty
29. Blue turning grey over me
30. Rocky Mountain Blues
31. Be fair to me, baby
32. Blue Moon
33. East of the sun and west of the moon
34. Born to dance: Easy to love
35. Dames: Dames: I only have eyes for you
36. Autumn in New York
37. Dancing Lady: Everything I have Is yours
38. I can't face the music
39. If the moon turns green
40. Moonglow
41. Remember
42. Tenderly
43. P.S. – I love you!
44. Blonde Crazy: When your lover has gone
45. Concerto for Cootie: Do nothing till you hear from me
46. Good morning, headache
47. Gee, baby, ain't I good for you?
48. We'll be together again
49. Strange fruit
50. You go to my head
51. Body and soul
52. He's funny That way
53. These foolish things
54. Fine and mellow
55. Mississippi: Easy to remember (Live)
56. Willow, weep for me (Live)
57. Foolin' myself (Live)
58. Don't explain (Live)
59. You've changed
60. Blue Moon (Live)
61. All of me (Live)
62. My man (Live)
63. Them there eyes (Live)
64. I cried for you (Live)
65. What a little moonlight can do (Live)
66. I cover the waterfront (Live)
67. Jam Session on 'Billie's Blues'
68. The New Moon: Jam Session on 'Lover, come back to me'
69. Statement on the Blues
Download:
Fallout 4 difficulty mods. mqs.link_BillieH0lidaySimply…LadyDay2019Remaster20202448.part1.rar
mqs.link_BillieH0lidaySimply…LadyDay2019Remaster20202448.part2.rar
Billie Holiday The Complete Commodore Recordings Rar Download Pc
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Session 1939-Apr-20
| Date: | Thursday, April 20, 1939 |
|---|---|
| Location: | New York City, 711 Fifth Avenue, World Broadcasting Studio |
| Band: | Frank Newton and his Café Society Orchestra |
| Type: | AT/MT |
| Photo: |
| No: | Songtitle | Type | Matrix: | Label | Time |
|---|---|---|---|---|---|
| 1 | Strange fruit | AT | WP24403-A | Commodore XFL14428 | 3'21' |
| 2 | Strange fruit | MT | WP24403-B | Commodore 526 | 3'13' |
| 3 | Yesterdays | MT | WP24404-A | Commodore 527 | 3'26' |
| 4 | Yesterdays | AT | WP24404-B | Commodore XFL14428 | 3'00' |
| 5 | Fine and mellow | MT | WP24405-A | Commodore 526 | 3'18' |
| 6 | I gotta right to sing the blues | AT | WP24406-A | Commodore XFL14428 | 2'51' |
| 7 | I gotta right to sing the blues | MT | WP24406-B | Commodore 527 | 2'51' |
Billie Holiday The Complete Commodore Recordings Rar Download Torrent
Albums containing tracks of this session:| No: | Type | Coverage | Albumtitle (albumcode) | SongNo# | |||||
|---|---|---|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | |||
| 1 | 28 | 1 Single Artist (Lata 013) | 2 | 9 | |||||
| 2 | 28 | 18 Top Tracks (CD Jazz 044-005) | 6 | 7 | |||||
| 3 | 42 | 20 Golden Greats (DVLP 2018) | D2 | C4 | C3 | ||||
| 4 | 28 | 20th Century Masters: Millennium Collection (Hip-O 589995) | 1 | 2 | |||||
| 5 | 28 | 25 Greatest Hits (PLATCD 1111) | 2 | 19 | |||||
| 6 | 42 | 40 Great Songs, Vol. 2/2 (MUCD9507) | 13 | 14 | 15 | ||||
| 7 | 28 | 49 Original Recordings, Vol. 1/2 (Platbx 2208) | 2 | 19 | |||||
| 8 | 28 | 49 Original Recordings, Vol. 2/2 (Platbx 2208) | 16 | 7 | |||||
| 9 | 14 | Ain't Nobody's Business If I Do, Vol. 1/4 (CBS ?) | B1 | ||||||
| 10 | 28 | Ain't Nobody's Business If I Do, Vol. 4/4 (CBS ?) | A1 | B1 | |||||
| 11 | 14 | All Of Me (JAZZ CD 001) | 4 | ||||||
| 12 | 28 | Anthology 1944-1959 [Japan Bonus Tracks] (Crown Japan 8846/7) | 18 | 6? | |||||
| 13 | 14 | Ballads (RKC 144) | 18 | ||||||
| 14 | 14 | BD Jazz - Vol. 1/2 Bluesy Billie (JZBD 004) | 20 | ||||||
| 15 | 28 | Best Of 1935-1948, Vol. 1/2 (3046782) | 24 | 25 | |||||
| 16 | 14 | Best Of 1935-1948, Vol. 2/2 (3046782) | 1 | ||||||
| 17 | 14 | Billie Holiday (2MJP 1024) | A5 | ||||||
| 18 | 14 | Billie Holiday (TM1204) | 16 | ||||||
| 19 | 14 | Billie Holiday (Kbox), Vol. 2/3 (KBOX3150A) | 7 | ||||||
| 20 | 57 | Billie Holiday - Commodore Records (LP GXC 3143) | A1 | A2 | A3 | A4 | |||
| 21 | 14 | Billie Holiday - The Jazz Singer (PACK 006) | 8 | ||||||
| 22 | 28 | Billie Holiday 2CD, Vol. 2/2 (KBOX 2101) | 14 | 7 | |||||
| 23 | 57 | Billie Holiday Sings (J-1209) | B2 | A3 | A2 | A1 | |||
| 24 | 57 | Billie Holiday, Vol.2 - Fine And Mellow 1936-1941 (Naxos 8.120583) | 15 | 14 | 16 | 13 | |||
| 25 | 14 | Billie's Blues (Collector's Edition TKC4) | 7 | ||||||
| 26 | 14 | Billie's Blues (Disky) | 14 | ||||||
| 27 | 14 | Billie's Blues (LATA084) | 9 | ||||||
| 28 | 42 | Billie's Blues (MCPS SUN2088) | 6 | 7 | 8 | ||||
| 29 | 28 | Billie's Blues (RGCD 1054) | 18? | 19? | |||||
| 30 | 14 | Billie's Love Songs (NI 2000) | 15 | ||||||
| 31 | 42 | Billy Remembers Billie (Verve 0602498648827) | 12 | 9 | 3 | ||||
| 32 | 42 | Bitter Fruit (Jazz 95) | 2 | 3 | 4 | ||||
| 33 | 57 | Blue Billie - Saga Jazz 57 (981 063-4) | 11 | 12 | 13 | 14 | |||
| 34 | 14 | Blue Moon (FDM 36749-2) | 19 | ||||||
| 35 | 28 | Body And Soul (LATA054) | 2 | 9 | |||||
| 36 | 28 | CD Livre (Cd Livre 2-909828-19-02) | 13 | 14 | |||||
| 37 | 28 | Classic Decade (Prism 254) | 2 | 19 | |||||
| 38 | 57 | Commodore Recording (SL 10007) | B1 | A1 | B4 | A2 | |||
| 39 | 57 | Commodore Jazz Classics (MS 56000, S/6000) | A1 | B3 | A3 | B4 | |||
| 40 | 42 | Complete 1936-1944 Alternates Vol. 2 1938-1940 (BlueMoon CD 1502) | 14 | 15 | 16 | ||||
| 41 | 42 | Complete Billie Holiday Alternates Vol. 2 1938-40 (King Jazz KJ 172 FS) | 16 | 17 | 18 | ||||
| 42 | 100 | Complete Commodore Recordings (Japan), Vol. 1/2 (KICJ 43) | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| 43 | 100 | Complete Commodore Recordings, Original American, Vol. 1/2 (Jazz Factory 22820) | 10 | 1 | 2 | 11 | 3 | 12 | 4 |
| 44 | 100 | Complete Commodore Recordings, Vol. 1/2 (CMD 24012) | 2 | 1 | 3 | 4 | 5 | 7 | 6 |
| 45 | 42 | Easy To Love - CD 1/2 (274 1363.64 1) | 21 | 23 | 22 | ||||
| 46 | 14 | Essential Billie Holiday, The, Vol. 1/3 (SOHO CD002) | 20 | ||||||
| 47 | 28 | Essential Billie Holiday, The, Vol. 2/3 (SOHO CD002) | 7 | 9 | |||||
| 48 | 14 | Essential Billie Holiday, The, Vol. 3/3 (Rajon EMPRCD 899) | 20 | ||||||
| 49 | 14 | Essential Billie Holiday, The, Vol. 3/3 (SOHO CD002) | 3 | ||||||
| 50 | 28 | Feel The Blues (SUMCD 4005) | 14 | 15 | |||||
| 51 | 28 | Fine & Mellow (IGOCD 2034) | 24 | 18 | |||||
| 52 | 57 | Fine And Mellow (Collector's Edition 24) | 11 | 12 | 13 | 14 | |||
| 53 | 57 | Fine And Mellow (Newsound) | 11 | 12 | 13 | 14 | |||
| 54 | 100 | Fine And Mellow 1939 And 1944 (AG 6.24055) | A2 | A1 | A3 | A4 | A5 | A7 | A6 |
| 55 | 100 | Fine And Mellow 1939 And 1944 (Commodore 8.24055) | 2 | 1 | 3 | 4 | 5 | 7 | 6 |
| 56 | 100 | Fine And Mellow Vol. 1 (Commodore) | A2 | A1 | A3 | A4 | A5 | A6 | A7 |
| 57 | 28 | From Baltimore (WES 4005) | 1 | 7 | |||||
| 58 | 42 | Giants Of Jazz, Vol. 3/3 (TimeLife Records) | A5 | A6 | A7 | ||||
| 59 | 57 | God Bless The Child (CDD 3421 Nichevo Productio) | 11 | 12 | 13 | 14 | |||
| 60 | 28 | Greatets Hits (AA08606) | A1 | B3 | |||||
| 61 | 57 | Henry Allen: Red Allen And His Friends (Merrit 26) | A1 | A2 | A3 | A4 | |||
| 62 | 14 | Her Best Recordings: 1935-1942 (Best Of Jazz 4003) | 12 | ||||||
| 63 | 42 | Her Finest Studio Recordings, Vol. 1/3 (BT 3007) | 5 | 6 | 7 | ||||
| 64 | 57 | History Of Jazz - Billie Holiday (Joker SM 3289) | B4 | A3 | A2 | A1 | |||
| 65 | 42 | Hits & Highlights - Billie Holiday - Ghost Of Yesterday - CD 1/2 (BLUE101CD(1)) | 14 | 16 | 15 | ||||
| 66 | 57 | I've Gotta Right To Sing The Blues (Jazz Greats JG-622) | B2 | A3 | A2 | A1 | |||
| 67 | 57 | Immortal Sessions (Sonet SLP 1000) | A1 | A2 | A3 | A4 | |||
| 68 | 57 | Immortal Sessions - As Time Goes By (DLP 2-788) | A1 | C2 | D5 | C1 | |||
| 69 | 14 | Immortal Sessions 1939-45 Vol 1 (7') (Sonet SXP 2023) | A1 | ||||||
| 70 | 28 | In A Soulful Mood CD 2/2 (MCCD597) | 23 | 18 | |||||
| 71 | 14 | Jazz After Dark, Vol. 2 (Public Music 8007) | 2? | ||||||
| 72 | 28 | Jazz After Hours (Jazz After Hours 200004) | 5 | 16? | |||||
| 73 | 14 | Jazz Classic's, Vol.1/2 (52197-2 Zaiks/Biem) | 3 | ||||||
| 74 | 14 | Jazz Masters (JZ 003) | 7 | ||||||
| 75 | 57 | Jazz Roots, Vol.4/4 (CDB 1804/4) | 9 | 10 | 8 | 7 | |||
| 76 | 14 | Jukebox Hits (ACMCD 4078) | 18 | ||||||
| 77 | 28 | Ken Burns Jazz (Verve 549 081) | 5 | 6 | |||||
| 78 | 57 | Kind Of Holiday Vol. 03/10 - Early Greats Vol. 3 (220121/3) | 1 | 2 | 3 | 4 | |||
| 79 | 28 | L'Art Vocal, Vol.1, La Sélection 1935 - 1939 (DK025) | 21 | 22 | |||||
| 80 | 57 | La Regina Del Blues (Variety LP. No. Rel-St 19186) | B1 | A5 | A4 | A1 | |||
| 81 | 14 | Lady Blues (Imagem 6054) | A1 | ||||||
| 82 | 57 | Lady Day (Tristar 80903) | 9 | 8 | 12 | 5 | |||
| 83 | 14 | Lady Day - The Very Best Of Billie Holiday (MOODCD52) | 13 | ||||||
| 84 | 28 | Lady Day Vol. 2/3 (GSS 5289) | 8 | 13 | |||||
| 85 | 57 | Lady Day Vol. 3 (Magnum 34 / CECD 034) | 3 | 2 | 4 | 1 | |||
| 86 | 28 | Lady Day Vol. 3/3 (GSS 5289) | 1 | 3 | |||||
| 87 | 28 | Lady Day's 25 Greatest 1933 – 1944 (CD AJA 5181) | 25 | 16 | |||||
| 88 | 57 | Lady Day's Immortal Performances 1939 - 1944 (LPJT 40 Sarabandas) | B6 | A7 | A8 | A2 | |||
| 89 | 57 | Lady Day's Immortal Performances, Vol. 3/3 (Giants Of Jazz CDB1204) | 4 | 3 | 2 | 1 | |||
| 90 | 57 | Lady Day, Vol. 2/7 - 'Lady Day's Immortal Performances' (LP JT40) | B6 | A7 | A8 | A2 | |||
| 91 | 57 | Lady Of Jazz, Vol. 3/4 (CD Dig 11) | 11 | 12 | 13 | 14 | |||
| 92 | 57 | Lady Sings The Blues (6188442) | 15 | 12 | 2 | 1 | |||
| 93 | 42 | Lady Sings The Blues (BGTS LATA 085) | 7 | 8 | 6 | ||||
| 94 | 14 | Lady Sings The Blues - Vol. 4/4 (TKO LATA527A) | 1 | ||||||
| 95 | 14 | Leading Ladies - Vol. 2/3 (Wegram KBOX3190A) | 2 | ||||||
| 96 | 57 | Les 100 Plus Belles Chansons De Billie Holiday, Vol. 2/4 (7243 8106052) | 18 | 19 | 20 | 21 | |||
| 97 | 14 | Lover Man (WMO 90334) | 11 | ||||||
| 98 | 100 | Masters Of Jazz - Vol. 08 '39 (MJCD 070) | 8 | 9 | 10 | 11 | 12 | 13 | 14 |
| 99 | 28 | Masters Of Jazz, Vol. 2/2 (Média 7 R2CD 8007/2) | 1 | 2 | |||||
| 100 | 14 | Me Myself And I (35717-2) | 15 | ||||||
| 101 | 14 | Members Edition (Members Edition 30122) | 5 | ||||||
| 102 | 42 | Mémoire Du Jazz (7243 8 39345 2 2) | 11 | 12 | 13 | ||||
| 103 | 28 | Milt Gabler Story, The (B0003911-00) | 1 | 2 | |||||
| 104 | 28 | Moanin' Low, Vol. 1/2 (AJS 282 2) | 25 | 16 | |||||
| 105 | 14 | More Billie Holiday (GRP GRBD-9917) | 3 | ||||||
| 106 | 14 | Night And Day (RAJCD 857) | 9 | ||||||
| 107 | 14 | On The Sentimental Side (LATA083) | 5 | ||||||
| 108 | 57 | Portrait, Vol. 1/2 (Storyville) | A1 | A2 | A3 | A4 | |||
| 109 | 14 | Prime All–Time– Hits Vol.1 (WSC 99901) | 1 | ||||||
| 110 | 28 | Real Gold, CD 2/2 (Licensemusic. APS) | 14 | 7 | |||||
| 111 | 28 | Retrospective 1935-1952, CD 1/3 (Saga 983 953-3) | 14 | 10 | |||||
| 112 | 28 | Side By Side - Ella Fitzgerald And Billie Holiday (Newsound 304) | 10 | 15 | |||||
| 113 | 42 | Sings The Blues (KATCD209) | 5 | 2 | 17 | ||||
| 114 | 14 | Sings The Great American Songbook (Jazz Factory 22818) | 14 | ||||||
| 115 | 14 | Songbook (Jazz Factory 22817) | 4 | ||||||
| 116 | 14 | Star Power: Billie Holiday (Direct Source 1457) | 4 | ||||||
| 117 | 28 | Stormy Weather (2 CD Box), Vol. 2/2 (BB242) | 14 | 7 | |||||
| 118 | 57 | Strange Fruit (Atlantic SD 1614) | B1 | A8 | B4 | A5 | |||
| 119 | 14 | Strange Fruit (Crown Collection 2014) | 20 | ||||||
| 120 | 57 | Strange Fruit (Giants Of Jazz CD 53085) | 4 | 3 | 2 | 1 | |||
| 121 | 57 | Strange Fruit (Proper 1202) | 19 | 20 | 21 | 22 | |||
| 122 | 28 | Strange Fruit (7') (Sonet SXP 2800) | A1 | A2 | |||||
| 123 | 14 | Summertime (Mastersound 50088) | 19 | ||||||
| 124 | 14 | Tenderly (BGTS LATA 086) | 7 | ||||||
| 125 | 28 | That Ole Devil Called Love (Prism Leisure 567) | 16 | 7 | |||||
| 126 | 14 | The Best Of Billie Holiday & Lester Young (CN1028) | 19 | ||||||
| 127 | 57 | The Best Of Billie Holiday, Vol.3 (Carlton 311172) | 4 | 19 | 11 | 10 | |||
| 128 | 14 | The Best, Vol. 1 (Platinum Disc 1607) | 4 | ||||||
| 129 | 14 | The Best, Vol. 2 (Platinum Disc 1608) | 8? | ||||||
| 130 | 42 | The Billie Holiday Collection, CD 2/2 (MUS 10003-2) | 1 | 11 | 10 | ||||
| 131 | 42 | The Billie Holiday Story, 4-CD-Set, Vol. 4/4 (LPS 8001/2) | 1 | 2 | 3 | ||||
| 132 | 57 | The Chronological 1939-1940 (Melodie Jazz Classics 601) | 3 | 4 | 5 | 6 | |||
| 133 | 57 | The Commodore Master Takes (GRP 543272) | 1 | 2 | 3 | 4 | |||
| 134 | 57 | The Commodore Years (Decca AHC 184) | A1 | A2 | A3 | A4 | |||
| 135 | 14 | The Definitive Collection 1939-1948, Vol. 1/2 (CDRTV0130) | 13 | ||||||
| 136 | 28 | The Diva Series (Verve 065 204-2) | 11 | 15 | |||||
| 137 | 28 | The Essential Lady Day, Vol.2 (CPCD 8264-2) | 1 | 2 | |||||
| 138 | 14 | The Essential Billie Holiday (MCUTACD19) | 1 | ||||||
| 139 | 28 | The Essential Billie Holiday (METRO CD098) | 24 | 18 | |||||
| 140 | 14 | The Genius Of Billie Holiday, Vol. 1/2 (Ucj - 9828894) | 19 | ||||||
| 141 | 28 | The Genius Of Billie Holiday, Vol. 2/2 (Ucj - 9828894) | 1 | 14 | |||||
| 142 | 42 | The Golden Era Of Jazz Vol.2, CD 1/2 (RMB 4012-2 A) | 1 | 11 | 10 | ||||
| 143 | 28 | The Great Jazz Artist Series (OB-3023) | 9 | 10 | |||||
| 144 | 57 | The Incomparable, Vol. 4 (ABMMCD 1144) | 10 | 11 | 12 | 13 | |||
| 145 | 14 | The Lady Sings (Charly Budget 1005) | 11 | ||||||
| 146 | 57 | The Lady Sings The Blues (CeDe International 66002) | 14 | 3 | 13 | 1 | |||
| 147 | 14 | The Life And Songs Of Billie Holiday (CMCD.01) | 2 | ||||||
| 148 | 14 | The Man I Love (FDM 36723-2) | 19 | ||||||
| 149 | 42 | The Man I Love (PD 5065-2 Zyx Music) | 1 | 12 | 11 | ||||
| 150 | 42 | The Man I Love (PDI 6110-2) | 1 | 12 | 11 | ||||
| 151 | 14 | The Most Important Recordings Of Billie Holiday, Vol. 1/2 (Official Denmark 83048-2) | 16 | ||||||
| 152 | 42 | The One And Only Lady Day, CD 2/2 (PRMCD6026A) | 1 | 2 | 3 | ||||
| 153 | 28 | The Very Best (APWCD1186) | 11 | 16 | |||||
| 154 | 14 | The Very Best Of Billie Holiday - Gold - God Bless The Child - CD 3/3 (White Puma Records 6633) | 8 | ||||||
| 155 | 28 | The Very Best Of Billie Holiday, CD 1/2 (Mastertech 580292) | 8 | 9 | |||||
| 156 | 14 | The Very Best Of Billie Holiday, CD 2/2 (Mastertech 580292) | 20 | ||||||
| 157 | 14 | The Very Best Of Billie Holiday, Vol.1 (Verve 547 494-2) | 4 | ||||||
| 158 | 100 | The Voice Of Jazz Complete Recordings 1933-1940 Vol. 7/8 (AFS BOX 1019-7) | 8 | 9 | 10 | 11 | 12 | 14 | 13 |
| 159 | 28 | The Voice Of Lady Day, The Essential Billie Holiday - CD 2/2 (METROCD552 CD2) | 1 | 2 | |||||
| 160 | 14 | These Foolish Things, Vol. 1 (IMPORT-GBR) | 7 | ||||||
| 161 | 28 | Trav'lin' Light, Trav'lin' All Alone (CDCD 1202) | 19 | 5 | |||||
| 162 | 42 | Yesterdays (PIESD 043) | 19 | 14 | 10 | ||||
| 163 | 14 | You Go To My Head (FDM 36742-2) | 10 |
| Instrument | Musician Name: |
|---|---|
| Bass | Williams, John |
| Drums | Dougherty, Eddie |
| Guitar | McLin, Jimmy |
| Piano | White, Sonny |
| Sax, Alt | Smith, Tab |
| Sax, Soprano | Smith, Tab |
| Sax, Tenor | Hollon, Kenneth / Payne, Stanley |
| Trumpet | Newton, Frankie |
Billie Holiday The Complete Commodore Recordings Rar Download Free
Monday, October 5 2020, 20:25
