THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Thursday, March 23, 1995 TAG: 9503230040
SECTION: DAILY BREAK PAGE: E5 EDITION: FINAL
SOURCE: BY JACK FRIEDEN, SPECIAL TO THE DAILY BREAK
LENGTH: Medium: 66 lines
THE ADVENT of the CD and the flurry of jazz reissues that followed have been a boon for Billie Holiday fans. Much of her recorded legacy, out of print for so long, is available in an embarrassment of riches. Where to start? Here are a few suggestions:
COLUMBIA: Nine CDs, collectively titled ``The Quintessential Billie Holiday,'' trace her 1933-42 recordings on the Vocalion, Brunswick and Okeh labels. Throughout, Holiday sings looser and swings more naturally than she ever would again.
Vol. 5 offers such signatures as ``Can't Help Lovin' Dat Man'' and ``When a Woman Loves a Man.'' Here, she is backed by Teddy Wilson and His Orchestra, including, on some tracks, Lester Young, whose lyrical tenor sax graced so many of her recordings.
Holiday's original rendition of ``God Bless the Child,'' along with heartfelt interpretations of ``Solitude'' and ``Until the Real Thing Comes Along,'' are included on Vol. 9, a standout in the set.
DECCA: The Decca years (mid-'40s to 1950) found Holiday in excellent voice, unaffected by the toll drugs and hard living would take. ``Lady's Decca Days, Vol. 1'' includes a dozen standards, among them ``God Bless the Child'' and ``Don't Explain.'' This is an ideal starting point for any collection.
VERVE: Holiday was only in her late 30s when she recorded for Verve. Her voice, weak and thin, sounded years older. Still, her tenure was not without its charm. ``The First Verve Sessions'' (the 1950s) has her in small groups anchored by Oscar Peterson. While many fans dismiss the combination - Holiday's worn voice and Peterson's busy piano - these recordings, taken on their own merit, have a grainy attractiveness.
TRIBUTES: Over the years, many vocalists and instrumentalists have paid tribute to Holiday. Among the more interesting:
Etta James, ``Mystery Lady'' (Private Music). This recent Grammy winner is recommended for several reasons. James, best known for her raucous blues outings, sounds comfortably restrained and at home in this small-group jazz setting. The first-class standards and pianist Cedar Walton's arrangements and playing round out what is a very satisfying outing.
Abby Lincoln, ``Abbie Sings Billie'' (Enja). In 1987, Lincoln performed a concert in tribute to Holiday. Much like Lady Day, she has never had one of those ``knock em' dead'' voices. But as a stylist, Lincoln at her best is able to capture the raw emotional impact of a lyric in much the way Holiday did.
Rosemary Clooney, ``Here's to My Lady'' (Concord). Although this 1978 tribute may seem incongruous, in some respects Clooney's and Holiday's careers run a parallel course. The major difference: Clooney survived. She makes no attempt to emulate Holiday's style, but by including tenor saxophonist Scott Hamilton and cornetist Warren Vache in her sextet, Clooney could not have picked musicians more capable of evoking the romantic lyricism of a passed era.
Chet Baker, ``Baker's Holiday'' (Emarcy). Shortly after Holiday's death, trumpeter/singer Chet Baker recorded this tribute. The irony is that Baker's career would end on a similar note. His warm instrumental tone is one of the more beautiful sounds in jazz. Fortunately, his marginal vocals, which ranged from wonderfully understated to downright painful, are in great shape. The instrumental settings are imaginative; the results, timeless. MEMO: Jack Frieden is host and producer of ``The Vocal Sound of Jazz,'' airing
at 9 p.m. Saturdays on WHRV-FM, 89.5.
by CNB