COLUMBIA 10-CD Set: Lady Day: The Complete Billie Holiday on Columbia 1933-1944

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Background -

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 Lady Day: The Complete Billie Holiday on Columbia 1933–1944 is a box set ten-disc compilation of the complete known studio master recordings, plus alternate takes, of Billie Holiday during the time period indicated, released in 2001 on Columbia/Legacy, CXK 85470. Designed like an album of 78s, the medium in which these recordings initially appeared, the 10.5" × 12" box includes 230 tracks, a 116-page booklet with extensive photos, a song list, discography, essays by Michael Brooks, Gary Giddins, and Farah Jasmine Griffin, and an insert of appreciations for Holiday from a diversity of figures including Tony Bennett, Elvis Costello, Marianne Faithfull, B.B. King, Abbey Lincoln, Jill Scott, and Lucinda Williams. At the 44th Grammy Awards on February 27, 2002, the box set won the Grammy Award for Best Historical Album of the previous year. These recordings were made in a time before the LP album, a technology introduced by Columbia Records in 1948. Starting at approximately the turn of the 19th century into the 20th, recorded music arrived on the market in the form of a ten-inch gramophone record that played at 78 revolutions per minute, two songs of generally no more than four minutes duration per side. The advent of radio increased demand for recorded music played in the home through the 1920s. However, during the Great Depression, home record sales decreased dramatically, but a relatively viable market still existed for the inexpensive play of records in jukeboxes, which had proliferated during the 1920s and 1930s. Initially, these records featuring Billie Holiday were made with that market in mind. John Hammond, who had discovered Holiday singing in a Harlem jazz club in 1933, arranged for her first recording session that same year on November 27. In the company of Jack Teagarden, Gene Krupa, and Hammond's future brother-in-law Benny Goodman, the two sides with Holiday would be released under Goodman's name. A little over nineteen months later, Holiday would be in another New York studio for her second session in association with Goodman again, as well as Ben Webster and Cozy Cole, under the leadership of Teddy Wilson. From July 2, 1935, through August 7, 1941, Holiday would regularly record, for commercial issue, 78s credited to herself or to Wilson. With a few exceptions, these records were originally released on labels other than Columbia which catered to an African American market, then referred to as race records. The labels Brunswick Records and Vocalion Records became fellow companies to Columbia when it was purchased in 1934 by the American Record Corporation, which had owned Brunswick and Vocalion since late 1931. Records credited to Wilson were released on Brunswick; those to Holiday on Vocalion. With the purchase of ARC in 1939 by CBS, the corporation re-organized its record labels under the aegis of Columbia as the parent company. Starting in 1940, the Holiday releases were issued on the Okeh Records imprint, reactivated by CBS to handle its product for the "race record" market. Discs one through six, and disc seven, tracks one through fourteen, present the master takes in chronological recorded order. The remainder of disc seven, along with discs eight through ten, present alternate takes and other items, also in chronologically recorded order. The other items consist of eight tracks not part of the general body of Wilson/Holiday recordings from 1935 to 1941. The first, track 15 of disc seven, is "Saddest Tale" with the Duke Ellington Orchestra, taken from the soundtrack to the movie short Symphony in Black by Paramount Pictures from 1935. Disc eight, tracks three through five, contain airchecks with the Count Basie Orchestra from 1937, the only documentation of Holiday's year-long tenure as Basie's band singer. Disc nine, tracks seven and eight, feature recordings broadcast on the Camel Caravan radio variety program of January 17, 1939; with backing by the Benny Goodman Orchestra, Billie sings alongside Johnny Mercer, Martha Tilton, and Leo Watson on the second song, Mercer's "Jeepers Creepers". The final two tracks of the set, numbers 22 and 23 of disc ten, are from the Esquire Award Winners Concert at the Metropolitan Opera, broadcast and recorded on V-Discs for distribution to servicemen fighting overseas during World War II. Holiday had won top female jazz vocalist for 1943, and became the first African-American woman to sing at the Met. "Do Nothing 'Til You Hear From Me" and "Billie's Blues," under a different title, are performed accompanied by other Esquire poll winners, Roy Eldridge, Barney Bigard, Art Tatum, Al Casey, Oscar Pettiford, and Sidney Catlett. This recording took place more than two years after the final studio session in 1941, and during the Petrillo recording ban; the AFM waived the strike terms for the recording of V-discs. Original recording sessions took place at the following locations in New York City: at the 55 Fifth Avenue Studio on November 27, 1933; at the 1776 Broadway Studio from 1935 through January 1939; at the 711 Fifth Avenue Studio from March 1939 through June 1940; at Liederkranz Hall on East 58th Street in September and October 1940; and at Columbia Studios in their new headquarters at 799 Seventh Avenue in 1941. Known producers for the original recordings are John Hammond and Bernie Hanighen. In terms of a collected body of work combining both influence and quality of achievement, these recordings are some of the most important in jazz history. Ranking jazz records always presents an exercise in both controversy and consternation, but certainly the Wilson/Holiday sides belong in the company of the Hot Five and Hot Sevens of Louis Armstrong, the collated set by Fletcher Henderson later called A Study In Frustration, the early Basie band on Decca, Duke Ellington's records with Ben Webster and Jimmy Blanton for RCA Victor, the Charlie Parker bebop sides for Savoy and Dial, and the Atlantic LPs by Ornette Coleman, not to mention the expanse of albums by Miles Davis and John Coltrane, together and separately. The sessions coincide with the rise of the swing era on its way to becoming the popular music of the United States during the late Depression and war years. Chosen by Hammond, Hanighen, Holiday, or Wilson, many of the musicians present derived from the top swing bands of the day, such as those by Ellington, Basie, Goodman, Artie Shaw, Jimmie Lunceford, and Cab Calloway, among others. Of special note are the records cut with members of the Basie band, Holiday herself hired by Basie in 1937, including his fabulous rhythm section of Freddie Green, Walter Page, and Jo Jones, along with key soloists Buck Clayton and Holiday's musical soul-mate, Lester Young. The roster of Holiday and Wilson sidemen reads like a who's who of jazz soloists from the 1930s, many of whom would be of great influence to later styles of bebop, cool jazz, third stream, virtually every aspect of jazz through the 1960s. Like Armstrong's Hot Five aggregations and The Beatles after 1966, the various bands assembled were purely creatures of the studio, although some sessions featured principally members of Basie's touring band, accustomed to playing together regularly on the road. The sessions acted as a workshop, allowing musicians who usually did not intermix professionally outside of cutting contests to exchange ideas. As has been remarked upon by numerous critics and jazz scholars, the special appeal of Holiday in this setting derived from her fitting in with the other musicians as a musician, taking her solo with the rest of them. General practice of the day dictated that the song be paramount, musicians subservient to the band arrangement or the singing star. Producers Hammond and Hanighen, both aligned more to the artistic than the business of end of jazz, encouraged the musicians rather to play as they wished. The results over six years offered a textbook in swing jazz played by small groups in a relaxed yet committed fashion. As a singer, Holiday had influence on defining the style of a big band vocalist after that of Bing Crosby and her role model, Louis Armstrong. Her records appeared just as the swing era was getting underway; subsequently, singers such as Ella Fitzgerald, Frank Sinatra, Anita O'Day, Peggy Lee, and Doris Day, for instance, starting out with the bands of Chick Webb, Tommy Dorsey, Gene Krupa, Benny Goodman, and Les Brown, all found inspiration in the Holiday records on Brunswick and Vocalion. Her manipulation of rhythm and length of musical phrases, allied to her ability to find emotional resonance in songs, was acknowledged publicly as a template by singers from her own era, Sinatra, Lee, Bennett, and others, and by myriad singers in later eras. As stated by Gary Giddins in the liner notes to the box set: "When I first got to know ["A Sailboat in the Moonlight"], I thought it a fine melody with pretty chord changes and words that might be corny but didn't seem to be so bad when Lady Day delivered them. Then I chanced to find the sheet music at a Midwestern bazaar; at home, I picked out the melody with one finger and was astonished at how different it was from what Holiday sang. Until that moment, I had not fully gauged how freely imaginative her embellishments could be. By ironing out a phrase here, retarding another there, raising this note, slurring that, she transformed a hopelessly banal and predictable melody into something personal, real, meaningful." That Sony would lavish such an expensive box for recordings originally designed for the inexpensive medium of jukebox play from six to seven decades previously stands as testament to the staying power of this body of work. Whatever other record companies involved in actually recording Billie Holiday may claim, there is a general consensus that her years at the various Columbia-owned companies were her greatest. Thus The Complete Billie Holiday on Columbia 1933-1944 has to be a major reissue event. Columbia has at last done Holiday justice by including all extant known sides and alternative takes, plus a few radio broadcast gems, all remastered to a standard rarely heard from that company before but recently becoming something of an accepted fact. Holiday came to the studio microphone through the hard-sell tactics of John Hammond, finishing up a Benny Goodman session primarily dedicated to backing Ethel Waters and bowling over all present. Her singing then made no secret of her emulation of Louis Armstrong: she even affects a rasp to her voice in an effort to more closely approximate her model. This early influence took a considerable time to be fully assimilated, and it is not until the summer of 1936 that Holiday's mature approach is properly established, while her full blossoming has to wait until the arrival of Lester Young in the same studio, in January 1937. Through all of this she is regularly produced and arranged by the leader of most of the early sessions, pianist Teddy Wilson. (In the early years the band is named as hers when Wilson is absent.). Wilson's musical acumen constantly brings forth the best from an endless line of top-class 1930s jazz musicians passing through these sessions (usually reliant on whose band was in town at the time). This fascinating collection shows Holiday growing from featured singer into equal participant and, finally, the main show--her voice and expression deepening as the 1940s begin and her life begins its long unravelling. Don't miss it. By the way, there is an excellent two-CD Columbia selection of highlights from this complete set being issued simultaneously. --Keith Shadwick When Sony/Columbia began its ambitious Legacy reissue project, those who followed their jazz titles knew it was only a question of time before the massive Billie Holiday catalog under their ownership would see the light in its entirety. The question was how? Years before there was a host of box sets devoted to her material, but the sound on those left something to be desired. Would they remaster the material in two- or three-disc sets with additional notes? Would it be one disc at a time? Would the material be issued as budget or midline material or at full price? The last item could be ruled out based on the label's aggressive and very thorough packages of single discs by Charles Mingus, Miles Davis, Duke Ellington, and others. As for the box set issues, how could one successfully package this material with all of the foreign issues in a way that made sense? Again, there were fine precedents in the box set packages of the Miles Davis and Louis Armstrong packages, which are impeccably remastered, designed, and presented -- six Grammy's worth. The answer lies in this lavishly designed ten-CD package that looks on the outside like a 78 album sleeve with a tucked book of notes, track annotations, and rare photographs, and a deck of wondrously remastered CDs that are sequenced in such a way that the entire Columbia story is told in a way that not only makes sense, but is compelling in its revelations of Holiday's development as a vocalist and an interpreter of songs from 1933. The story begins with her first two recordings for the label with Benny Goodman in November and December of 1933, moves to two years later when she recorded another session, and ends some 43 sessions later in 1944 with her own band that starred Roy Eldridge, Barney Bigard, Art Tatum, Oscar Pettiford, and Sidney Catlett. These include a pair of V-disc recordings from that year. In all, this set contains 230 tracks. There are 153 masters recorded for Columbia and its subsidiaries, like Brunswick, Vocalion, Okeh, and Harmony. Thirty-five of these tracks have never before been issued in the United States, and those masters are included here beginning on CD seven and continuing throughout to the end of disc ten. Musically it is inarguable that these 11 years were the high point of Ms. Holiday's career, the stunning recordings she did with her own band that featured some of the greatest legends in jazz as well as those recorded with Teddy Wilson, Benny Goodman, Benny Carter, Count Basie, Eddie Heywood, and even one with Duke Ellington's band in 1935 ("Saddest Tale") from Ellington's Symphony in Black recording session. Musicians like Hot Lips Page, Don Byas, Kenny Clarke, Ben Webster, Lester Young, Charlie Shavers, Freddie Greene, Jo Jones, Cozy Cole, Chu Berry, Henry "Red" Allen, Bud Freeman, Milt Hinton, Buck Clayton, Johnny Hodges, and literally dozens of others contribute to the development of the Holiday legend. What may appear confusing at the outset makes great sense as the set progresses. The first six discs are master takes recorded either with her orchestra or the other groups mentioned. Disc seven begins laying out the alternate takes and airchecks and personnel crisscrosses all over the set. While this might be irritating to some listeners, it serves a two-fold purpose: one is that the integrity of the American masters is preserved, and the second is that the alternates and check-ins can be heard in a sequence that makes sense historically and aesthetically. Believe me, since these too are laid out chronologically as alternates, it's a pleasure to listen to them rather than wading through five or six or even two takes of the same song laid back to back. It's also on the alternates, far from the masters, that we get a different perspective on process and development, not only in terms of Holiday's singing, but also the different accents added or deleted from the orchestral accompaniment. Lastly, being able to go back and forth in these takes, we get to witness the sharp juxtaposition of her development as a singer from the raw, early bluesy material influenced deeply by Bessie Smith to the master songstress who could nuance a maximum emotion from just a few notes, smoothly and without a trace of edginess. The unissued masters are a cipher. Literally, it is confounding that these recordings were previously unavailable here in that they mark her reunion with Benny Goodman or other fine sessions with Basie or her vocal collaborations with Johnny Mercer in 1939. In many ways the purchase of the set is worth it for discs nine and ten alone, as well as the killer packaging. Lastly, it would be shameful not to make mention of the truly amazing liner notes by the esteemed Gary Giddins. He needs no more accolades, but his writing here paints a far bigger portrait of Ms. Holiday's contribution and her era than any previously published. It's a biographical essay written with a critic's eye and holds no punches where Ms. Holiday's particular strengths and limitations lie, and he voices his own surprise at hearing certain things on the set he was previously unfamiliar with. This is a new standard in what liner notes for these kinds of projects should aim for: humanizing a legend and cultural myth and making the contribution stand out somehow as something that exists almost in spite of whatever the human being's life was like. There is also a fine cultural and socio-historical essay by Professor Farah Griffin from Columbia University. Her approach is Holiday's influence trans-aesthetically, her influence upon other singers, writers, painters, and photographers. It's a provocative read and is not written in the dread academy's attempt at communicable language. Griffin writes with heart and directness of purpose. There are tough arguments made here, but she makes them with grace and she makes them plainly. Finally, producer Michael Brooks provides -- along with an introductory essay -- a track-by-track analysis with all the data a jazz historian or musicologist could ever want, including matrix numbers. This set finally puts Ms. Holiday's massive contribution to 20th century art in fitting perspective. There are untold hours to spend listening here for the fanatic or the foundling. The package is worthy of your coffee table instead of a book of photographs of who knows what, and the wealth of knowledge it provides about the history of jazz is literally incalculable. - Thom Jurek This is the most vital reissue of timeless, historically important American music since Legacy's lauded boxed set of Louis Armstrong's Hot Five/Hot Seven recordings last year. Certainly, this 10-disc Holiday project is easier on the modern ear—all the material, 230 tracks, was recorded during the electric recording era. With the vastly updated remastering (the earlier CD reissues of this material reflect the no-noise, kill-the-ambience penchant of that era), Lady Day is a sonic wonder. Remastering aces Mark Wilder and Seth Foster, along with the various transfer engineers, should be especially congratulated. Holiday was still in her teens when she began recording in 1933 (and in earnest by 1935) for labels that eventually became part of Columbia Records. By the mid-'30s, it was clear that Holiday was a major talent, the most breathtaking, breakthrough jazz singer of the time. She phrased with her light but pliant voice like a jazz instrumentalist, with vibrant and unerrant rhythmic sensibilities. Holiday thought nothing of "re-composing" songs, changing a written melody here and there and flirting with the "square" phrasing of a Tin Pan Alley tune, particularly playing with time, holding back, riding it, and anticipating it so deftly and true that she changed the way singers interpret songs in modern times. At the same time, her performances have been arrows to the heart for generations of listeners. Holiday's later recordings featured her as a chanteuse and then a tragedian. But her earlier material showcases an energetic go-getter member of an all-star ensemble of swing giants, producing irresistible barnburners and deeply soulful ballads. It's hard to think of anyone who ever bettered her renditions of "Solitude," "You Go to My Head," "These Foolish Things," "Body and Soul," or "Night and Day." What makes many of these early recordings even more amazing is that Holiday and her studio bands often turned base metal into gold; many of the tunes they were given were definitely not in the same league of those just mentioned. A song like "It's Like Wishing on the Moon," if not sung and swung by Holiday and Co., would have been long forgotten. Also, amazingly, the producers have unearthed 35 unreleased tracks, most of them full alternate (next to best) takes— a cause for close listening and celebration. This mammoth package of young Billie has Grammy Award written all over it. Legacy has also accompanied this set with the more affordable two-CD Lady Day: The Best of Billie Holiday.—BH - Billboard One of the wonderful things about her is that she lights up some pretty average songs, and there's a playfulness on the earlier records. Then it gets far more intense, and you get the great duets, with Lester Young. Sinatra covered a lot of songs that she did. It's interesting that he took so much from Billie Holiday. It's an interesting tribute to her that a singer so self-possessed as Sinatra clearly took so much, and I feel it's because she just imprinted herself all over those songs. — Elvis Costello  “This month there has been a real find in the person of a singer named Billie Halliday [sic],” wrote John Hammond in the British monthly Melody Maker in April 1933. The fledgling columnist had stopped by a small Harlem nightspot named Monette’s, expecting to find Monette Moore in front of the piano; the busy proprietress, to Hammond’s surprise, had been replaced by a talented newcomer. “[A]lthough only 18,” he remarked, “she weighs over 200 lbs…is incredibly beautiful and sings as well as anybody I ever heard.” These words, the first published account of Holiday’s singing, would have consequences beyond the usual public endorsement. The enthusiastic Hammond, only four years her senior, had begun to dabble in producing and frequently put his money where his mouth was. He arranged for her to record on a session led by Benny Goodman (whose orchestra he would help form a year later). Holiday tackled two tunes, “Your Mother’s Son-in-Law” and “Riffin’ the Scotch,” on Nov. 27, 1933. While neither proved particularly successful-she only returned to the studio some 19 months later, experience having replaced some baby fat under her belt-the date would begin a relationship with Hammond that lasted from this, her first recording, through her 150th, nine years later. This brilliant body of work later cemented Holiday’s reputation as the greatest jazz singer of all time. Who wouldn’t love to own it all under a single cover? Once an untenable wish, The Complete Billie Holiday on Columbia (1933-1944) has been fashioned into a satisfying reality: 230 tracks sprawl comfortably across 10 CDs. The alternate takes, radio broadcast air-checks and rarities conveniently gathered at the back of the collection comprise 80 tracks-35 previously unreleased in the U.S. Of course, most of the pleasure derives from the music itself: Holiday warrants this magnum opus with or without her mythic status. As Hammond saw, her gifts were abundant even at an early age and they would bear fruit almost immediately. Through tune after tune we can trace her development. As an ambitious teenager, she tried to project her voice like the premicrophone Bessie Smith, while clearly wearing the influence of Louis Armstrong and Mildred Bailey. In 1935, Hammond paired her with pianist Teddy Wilson, a union that would also last through ’42. He and his estimable sidemen-including Roy Eldridge, Johnny Hodges, Ben Webster, Lester Young and even Buck Clayton in his recording debut-provided their own instantly recognizable contributions, encouraging Holiday’s rhythmic and melodic freedom. Despite her morose reputation later in life, an instinctive joy abounds in the early material, as heard in the exuberant swing of “What a Little Moonlight Can Do” as well as lesser known tunes like “Miss Brown to You,” “What a Night, What a Moon, What a Girl” and “Eeny, Meeny, Miney, Mo.” Owning perhaps the widest expressive palette of any young jazz singer, Holiday sings in a manner alternatingly determined, romantic, playfully knowing or melancholy. As time went on, both her polish and vocal rasp increased. She smoothes the contours of familiar melodies like “Mean to Me,” “He’s Funny That Way” and “All of Me.” Her straight, hornlike buzz reinforces the minimalist aesthetic. The alternate tracks can only add to our appreciation of these skills. Unlike Holiday’s Complete Original American Commodore Recordings, in which little changes from take to take, the Columbia sessions offer some substantive variations: “The Way You Look Tonight,” for example, winds through a different set of curves each time. Others point to what worked and what didn’t, like the four takes of “Practice Makes Perfect.” Her interpretations of “They Can’t Take That Away From Me” and “I Can’t Get Started” backed by Teddy Wilson’s arrangements pale in comparison to two rare air checks of the same tunes arranged and performed by Basie. Other bonuses include “Saddest Tale” with Ellington and His Orchestra, her plaintive contribution to his one-reel film Symphony in Black, and a pair of rare, wartime V-Discs, “I Love My Man” and “Do Nothing ‘Til You Hear From Me/I’ll Get By.” Although the sound quality fluctuates from track to track due to the varying condition of the sources, this newly remastered set vastly improves upon the nine individual CDs released by Columbia starting in 1987. In particular, the rhythm sections attain fresh clarity. We can finally hear the superb guitar work of John Trueheart, a member of Chick Webb’s band; Lawrence Lucie, who worked with Benny Carter and Fletcher Henderson (and still plays in New York City); and Holiday’s love Freddie Green, the glue in Basie’s rhythm section. The set’s packaging-an imitation 78 record album-may not fit readily on CD shelves, but it too improves upon the old, purplish borders framing dreadfully colorized and improperly sequenced photos of previous reissues. If the set can be found lacking, it is in the accompanying booklet: the notes are far less inspired than the material they cover. Gary Giddins, perhaps the greatest contemporary jazz writer, presents a concise version of Holiday’s early life and a general context for these sessions. Uncharacteristically, he seems at a loss for words when discussing her art. Why else would anyone compare her to Edgar Allan Poe’s narrator in “The Fall of the House of Usher,” an odd and unconvincing analogy? Farah Jasmine Griffin, Columbia University professor and author of the recent If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday, ought to be able to illuminate the singer’s mythos, a subject on which she is an expert. Instead, skipping from Ntozake Shange to Langston Hughes to Amiri Baraka, she merely lists Holiday’s literary appearances. Perhaps the benign condescension is unintended, but watered-down, academic prose neither enlightens nor entertains the masses. Reissue producer Michael Brooks, an insider formerly in Hammond’s employ, contributes some bizarre nuggets of his own. His track-by-track  listings-many based on his previous reissue series-tend toward colorful, forcefully stated and unsupported opinions. “What a Little Moonlight Can Do,” for example, rated the following critique: “Lay down a patch of manure and sometimes something wonderful will germinate in it. When the publishers handed John Hammond this piece of dogmeat, they little suspected that it would still generate royalties more than 60 years later.” Perhaps, we all have something to learn from Holiday’s minimalism, even when presented in mass quantities. Thankfully, the music speaks for itself. - Lara Pellegrinelli, JazzTimes This listing is for a very rare, Boxed Set of 10-CDs - an OPENED, Near MINT condition set, PRESSED and ISSUED by COLUMBIA / SONY / LEGACY RECORDS of a highly collectible title from their catalog - a superb title featuring the music of -

Billie Holiday

Box Set title -

Lady Day: The Complete Billie Holiday on Columbia 1933-1944

Track Listing:

1-1 Benny Goodman And His Orchestra - Your Mother's Son-In-Law Clarinet – Benny Goodman Double Bass – Artie Bernstein Drums – Gene Krupa Guitar – Dick McDonough Piano – Buck Washington Tenor Saxophone – Art Karle Trombone – Jack Teagarden Trumpet – Charlie Teagarden, Shirley Clay Written-By – A. Nichols, M. Holiner - 2:45          1-2 Benny Goodman And His Orchestra - Riffin' The Scotch Arranged By – Dean Kincaide Clarinet – Benny Goodman Double Bass – Artie Bernstein Drums – Gene Krupa Guitar – Dick McDonough Piano – Buck Washington Tenor Saxophone – Art Karle Trombone – Jack Teagarden Trumpet – Charlie Teagarden, Shirley Clay Written-By – B. Goodman, F. Buck, D. McDonough, J. Mercer - 2:31          1-3 Teddy Wilson And His Orchestra - I Wished On The Moon Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – John Trueheart Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Roy Eldridge Written-By – D. Parker, R. Rainger - 3:01          1-4 Teddy Wilson And His Orchestra - What A Little Moonlight Can Do Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – John Trueheart Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Roy Eldridge Written-By – H. Woods - 2:56          1-5 Teddy Wilson And His Orchestra - Miss Brown To You Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – John Trueheart Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Roy Eldridge Written-By – L. Robin, R. Rainger, R. Whiting - 2:58          1-6 Teddy Wilson And His Orchestra - A Sunbonnet Blue (And A Yellow Straw Hat) Double Bass – John Kirby Drums – Cozy Cole Guitar – John Trueheart Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Roy Eldridge Written-By – I. Kahal, S. Fain - 2:50          1-7 Teddy Wilson And His Orchestra - What A Night, What A Moon, What A Girl Alto Saxophone – Hilton Jefferson Clarinet – Cecil Scott Double Bass – John Kirby Drums – Cozy Cole Guitar – Lawrence Lucie Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Roy Eldridge Written-By – J. J. Loeb - 2:55          1-8 Teddy Wilson And His Orchestra - I'm Painting The Town Red Alto Saxophone – Hilton Jefferson Clarinet – Cecil Scott Double Bass – John Kirby Drums – Cozy Cole Guitar – Lawrence Lucie Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Roy Eldridge Written-By – C. Newman, C. Tobias, S. Stept - 2:57          1-9 Teddy Wilson And His Orchestra - It's Too Hot For Words Alto Saxophone – Hilton Jefferson Clarinet – Cecil Scott Double Bass – John Kirby Drums – Cozy Cole Guitar – Lawrence Lucie Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Roy Eldridge Written-By – L. Whitcup, T. Powell, W. Samuels - 2:45          1-10 Teddy Wilson And His Orchestra - Twenty Four Hours A Day Double Bass – John Kirby Drums – Cozy Cole Guitar – Dave Barbour Piano – Teddy Wilson Tenor Saxophone – Chu Berry Trombone – Benny Morton Trumpet – Roy Eldridge Written-By – A. Swanstrom, J. Hanley - 3:00          1-11 Teddy Wilson And His Orchestra - Yankee Doodle Never Went To Town Double Bass – John Kirby Drums – Cozy Cole Guitar – Dave Barbour Piano – Teddy WilsonTenor Saxophone – Chu Berry Trombone – Benny Morton Trumpet – Roy Eldridge Written-By – B. Hanighen, R. Freed - 2:42          1-12 Teddy Wilson And His Orchestra - Eeny Meeny Meiny Mo Double Bass – John Kirby Drums – Cozy Cole Guitar – Dave Barbour Piano – Teddy Wilson Tenor Saxophone – Chu Berry Trombone – Benny Morton Trumpet – Roy Eldridge Written-By – J. Mercer, M. Malneck - 3:10          1-13 Teddy Wilson And His Orchestra - If You Were Mine Double Bass – John Kirby Drums – Cozy Cole Guitar – Dave Barbour Piano – Teddy Wilson Tenor Saxophone – Chu Berry Trombone – Benny Morton Trumpet – Roy Eldridge Written-By – J. Mercer, M. Malneck - 3:09          1-14 Teddy Wilson And His Orchestra - These 'N' That 'N' Those Alto Saxophone – Johnny Hodges Clarinet – Tom Mace Double Bass – Grachan Moncur Drums – Cozy Cole Guitar – Dave Barbour Piano – Teddy Wilson Trumpet – Richard Clarke  Written-By – E. Fairchild, M. Pascal - 3:12          1-15 Teddy Wilson And His Orchestra - You Let Me Down Alto Saxophone – Johnny Hodges Clarinet – Tom Mace Double Bass – Grachan Moncur Drums – Cozy Cole Guitar – Dave Barbour Piano – Teddy Wilson Trumpet – Richard Clarke Written-By – A. Dubin, H. Warren - 2:52          1-16 Teddy Wilson And His Orchestra - Spreadin' Rhythm Around Alto Saxophone – Johnny Hodges Clarinet – Tom Mace Double Bass – Grachan Moncur Drums – Cozy Cole Guitar – Dave Barbour Piano – Teddy Wilson Trumpet – Richard Clarke Written-By – J. McHugh, T. Koehler - 2:53          1-17 Teddy Wilson And His Orchestra - Life Begins When You're In Love Clarinet – Rudy Powell Double Bass – Grachan Moncur Drums – Cozy Cole Guitar – John Truehart Piano – Teddy Wilson Tenor Saxophone – Ted McRae Trumpet – Gordon "Chris” Griffin Written-By – L. Brown, V. Schertzinger - 3:02          1-18 Teddy Wilson And His Orchestra  - It's Like Reaching For The Moon Alto Saxophone – Johnny Hodges Clarinet, Baritone Saxophone – Harry Carney Double Bass – John Kirby Drums – Cozy Cole Guitar – Lawrence Lucie Piano – Teddy Wilson Trumpet – Jonah Jones Written-By – A. Lewis, A. Sherman, G. Marqusee - 3:20          1-19 Teddy Wilson And His Orchestra  - These Foolish Things Alto Saxophone – Johnny Hodges Clarinet, Baritone Saxophone – Harry Carney Double Bass – John Kirby Drums – Cozy Cole Guitar – Lawrence Lucie Piano – Teddy Wilson Trumpet – Jonah Jones Written-By – H. Marvell, J. Strachey - 3:17          1-20 Teddy Wilson And His Orchestra  - I Cried For You Alto Saxophone – Johnny Hodges Clarinet, Baritone Saxophone – Harry Carney Double Bass – John Kirby Drums – Cozy Cole Guitar – Lawrence Lucie Piano – Teddy Wilson Trumpet – Jonah Jones Written-By – A. Lyman, A. Freed, G. Arnheim - 3:10          1-21 Teddy Wilson And His Orchestra  - Guess Who Alto Saxophone – Johnny Hodges Clarinet, Baritone Saxophone – Harry Carney Double Bass – John Kirby Drums – Cozy Cole Guitar – Lawrence Lucie Piano – Teddy Wilson Trumpet – Jonah Jones Written-By – B. Lane, R. Freed - 3:08          1-22 Billie Holiday And Her Orchestra  - Did I Remember? Clarinet – Artie Shaw Double Bass – Pete Peterson Drums – Cozy Cole Guitar – Dick McDonough Piano – Joe Bushkin Trumpet – Bunny Berigan Written-By – H. Adamson, W. Donaldson - 2:49          1-23 Billie Holiday And Her Orchestra  - No Regrets Clarinet – Artie Shaw Double Bass – Pete Peterson Drums – Cozy Cole Guitar – Dick McDonough Piano – Joe Bushkin Trumpet – Bunny Berigan Written-By – H. Tobias, R. Ingraham - 2:35          1-24 Billie Holiday And Her Orchestra  - Summertime Clarinet – Artie Shaw Double Bass – Pete Peterson Drums – Cozy Cole Guitar – Dick McDonough Piano – Joe Bushkin Trumpet – Bunny Berigan Written-By – D. Heyward, D. Heyward, G. Gershwin, I. Gershwin - 2:53          1-25 Billie Holiday And Her Orchestra  - Billie's Blues Clarinet – Artie Shaw Double Bass – Pete Peterson Drums – Cozy Cole Guitar – Dick McDonough Piano – Joe Bushkin Trumpet – Bunny Berigan Written-By – B. Holiday - 2:38          2-1 Billie Holiday And Her Orchestra  - A Fine Romance Clarinet – Irving Fazola Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Dick McDonough Piano – Clyde Hart Trumpet – Bunny Berigan Written-By – D. Fields, J. Kern - 2:51          2-2 Billie Holiday And Her Orchestra  - I Can't Pretend Clarinet – Irving Fazola Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Dick McDonough Piano – Clyde Hart Trumpet – Bunny Berigan Written-By – C. Tobias, W.E. Breuder, P. Rusincky - 3:03          2-3 Billie Holiday And Her Orchestra  - One, Two, Button Your Shoe Clarinet – Irving Fazola Double Bass – Artie Bernstein Drums, Vocals [Spoken Intro] – Cozy Cole Guitar – Dick McDonough Piano – Clyde Hart Trumpet – Bunny Berigan Written-By – A. Johnston, J. Burke - 2:47          2-4 Billie Holiday And Her Orchestra  - Let's Call A Heart A Heart Clarinet – Irving Fazola Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Dick McDonough Piano – Clyde Hart Trumpet – Bunny Berigan Written-By – A. Johnston, J. Burke - 2:59          2-5 Teddy Wilson And His Orchestra -  Easy To Love Clarinet – Vido Musso Double Bass – Milt Hinton Drums – Gene Krupa Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Irving 'Mouse’ Randolph Written-By – C. Porter - 3:10          2-6 Teddy Wilson And His Orchestra  - With Thee I Swing Clarinet – Vido Musso Double Bass – Milt Hinton Drums – Gene Krupa Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Irving 'Mouse’ Randolph Written-By – A. Stillman, A. Hyde, Basil Adlam - 3:16          2-7 Teddy Wilson And His Orchestra  - The Way You Look Tonight Clarinet – Vido Musso Double Bass – Milt Hinton Drums – Gene Krupa Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Irving 'Mouse’ Randolph Written-By – D. Fields, J. Kern - 3:00          2-8 Teddy Wilson And His Orchestra  - Who Loves You? Clarinet – Vido Musso Double Bass – Milt Hinton Drums – Gene Krupa Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Irving 'Mouse’ Randolph Written-By – B. Davis, J. F. Coots - 3:13          2-9 Teddy Wilson And His Orchestra  - Pennies From Heaven Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – A. Johnston, J. Burke - 3:15          2-10 Teddy Wilson And His Orchestra  - That's Life I Guess Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – P. DeRose, S. Lewis - 3:08          2-11 Teddy Wilson And His Orchestra  - I Can't Give You Anything But Love (Baby) Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – D. Fields, J. McHugh - 3:26          2-12 Billie Holiday And Her Orchestra  - One Never Knows, Does One? Clarinet, Alto Saxophone – Edgar Sampson Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – H. Revel, M. Gordon - 3:02          2-13 Billie Holiday And Her Orchestra  - I've Got My Love To Keep Me Warm Clarinet, Alto Saxophone – Edgar Sampson Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – I. Berlin - 2:55          2-14 Billie Holiday And Her Orchestra  - If My Heart Could Only Talk Clarinet, Alto Saxophone – Edgar Sampson Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – L. Whitcup, T. Powell, W. Samuels - 3:03          2-15 Billie Holiday And Her Orchestra  - Please Keep Me In Your Dreams Clarinet, Alto Saxophone – Edgar Sampson Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – T. Seymour, V. Lawnhurst - 2:16          2-16 Teddy Wilson And His Orchestra  - He Ain't Got Rhythm Clarinet – Benny Goodman Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – I. Berlin - 2:49          2-17 Teddy Wilson And His Orchestra  - This Year's Kisses Clarinet – Benny Goodman Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – I. Berlin - 3:08          2-18 Teddy Wilson And His Orchestra  - Why Was I Born Clarinet – Benny Goodman Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – J. Kern, O. Hammerstein II - 2:50          2-19 Teddy Wilson And His Orchestra  - I Must Have That Man Clarinet – Benny Goodman Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – D. Fields, J. McHugh - 2:54          2-20 Teddy Wilson And His Orchestra  - The Mood That I'm In Clarinet, Alto Saxophone, Tenor Saxophone – Cecil Scott Double Bass – John Kirby Drums – Cozy Cole Guitar – Jimmy McLin Piano – Teddy Wilson Tenor Saxophone – Prince Robinson Trumpet – Henry 'Red’ Allen Written-By – A. Silver, A. Sherman - 2:59          2-21 Teddy Wilson And His Orchestra  - You Showed Me The Way Clarinet, Alto Saxophone, Tenor Saxophone – Cecil Scott Double Bass – John Kirby Drums – Cozy Cole Guitar – Jimmy McLin Piano – Teddy Wilson Tenor Saxophone – Prince Robinson Trumpet – Henry 'Red’ Allen Written-By – B. Green, C. Webb, E. Fitzgerald, T. McRae - 2:58          2-22 Teddy Wilson And His Orchestra  - Sentimental And Melancholy Clarinet, Alto Saxophone, Tenor Saxophone – Cecil Scott Double Bass – John Kirby Drums – Cozy Cole Guitar – Jimmy McLin Piano – Teddy Wilson Tenor Saxophone – Prince Robinson Trumpet – Henry 'Red’ Allen Written-By – J. Mercer, R. Whiting - 2:37          2-23 Teddy Wilson And His Orchestra  - My Last Affair Clarinet, Alto Saxophone, Tenor Saxophone – Cecil Scott Double Bass – John Kirby Drums – Cozy Cole Guitar – Jimmy McLin Piano – Teddy Wilson Tenor Saxophone – Prince Robinson Trumpet – Henry 'Red’ Allen Written-By – H. Johnson - 3:08          3-1 Teddy Wilson And His Orchestra  - Carelessly Alto Saxophone – Johnny Hodges Clarinet, Baritone Saxophone – Harry Carney Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Trumpet – Cootie Williams Written-By – C. Kenny, N. Kenny, N. Ellis - 3:05          3-2 Teddy Wilson And His Orchestra  - How Could You? Alto Saxophone – Johnny Hodges Clarinet, Baritone Saxophone – Harry Carney Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Trumpet – Cootie Williams Written-By – A. Dubin, H. Warren - 2:29          3-3 Teddy Wilson And His Orchestra  - Moanin' Low Alto Saxophone – Johnny Hodges Clarinet, Baritone Saxophone – Harry Carney Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Trumpet – Cootie Williams Written-By – H. Dietz, R. Rainger - 3:03          3-4 Billie Holiday And Her Orchestra  - Where Is The Sun? Clarinet – Buster Bailey Double Bass – John Kirby Drums – Alphonse Steele Guitar – Carmen Mastren Piano – Teddy Wilson Tenor Saxophone – Joe Thomas  Trumpet – Eddie Thompkins Written-By – J. Redmond, L. David - 2:45          3-5 Billie Holiday And Her Orchestra -  Let's Call The Whole Thing Off Clarinet – Buster Bailey Double Bass – John Kirby Drums – Alphonse Steele Guitar – Carmen Mastren Piano – Teddy Wilson Tenor Saxophone – Joe Thomas Trumpet – Eddie Thompkins Written-By – G. & I. Gershwin - 2:36          3-6 Billie Holiday And Her Orchestra -  They Can't Take That Away From Me Clarinet – Buster Bailey Double Bass – John Kirby Drums – Alphonse Steele Guitar – Carmen Mastren Piano – Teddy Wilson Tenor Saxophone – Joe Thomas Trumpet – Eddie Thompkins Written-By – G. & I. Gershwin - 3:02          3-7 Billie Holiday And Her Orchestra  - Don't Know If I'm Comin' Or Goin' Clarinet – Buster Bailey Double Bass – John Kirby Drums – Alphonse Steele Guitar – Carmen Mastren Piano – Teddy Wilson Tenor Saxophone – Joe Thomas Trumpet – Eddie Thompkins Written-By – L. Wainer, L. Fien - 2:45          3-8 Teddy Wilson And His Orchestra  - Sun Showers Alto Saxophone – Johnny Hodges Clarinet – Buster Bailey Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – A. Freed, N. Brown - 3:06          3-9 Teddy Wilson And His Orchestra  - Yours And Mine Alto Saxophone – Johnny Hodges Clarinet – Buster Bailey Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – A. Freed, N. Brown - 3:15          3-10 Teddy Wilson And His Orchestra  - I'll Get By Alto Saxophone – Johnny Hodges Clarinet – Buster Bailey Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. E. Ahlert, R. Turk - 3:07          3-11 Teddy Wilson And His Orchestra  - Mean To Me Alto Saxophone – Johnny Hodges Clarinet – Buster Bailey Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. E. Ahlert, R. Turk - 3:06          3-12 Teddy Wilson And His Orchestra  - Foolin' Myself Clarinet – Buster Bailey Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – J. Lawrence, P. Tinturin - 3:00          3-13 Teddy Wilson And His Orchestra  - Easy Living Clarinet – Buster Bailey Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – L. Robin, R. Rainger - 3:02          3-14 Teddy Wilson And His Orchestra  - I'll Never Be The Same Clarinet – Buster Bailey Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. Signorelli, G. Kahn, M. Malneck - 3:01          3-15 Billie Holiday And Her Orchestra -  Me, Myself, And I Clarinet – Edmond Hall Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – James Sherman Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – A. Roberts, A. Kaufman, I. Gordon - 2:35          3-16 Billie Holiday And Her Orchestra -  A Sailboat In The Moonlight Clarinet – Edmond Hall Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – James Sherman Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – C. Lombardo, J. Loeb - 2:49          3-17 Billie Holiday And Her Orchestra  - Born To Love Clarinet – Edmond Hall Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – James Sherman Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – J. Scholl, M.K. Jerome - 2:38          3-18 Billie Holiday And Her Orchestra  - Without Your Love Clarinet – Edmond Hall Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – James Sherman Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. Stryker, J. Lange - 2:51          3-19 Billie Holiday And Her Orchestra -  Getting Some Fun Out Of Life Clarinet – Buster Bailey Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Claude Thornhill Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – E. Leslie, J. Burke - 3:00          3-20 Billie Holiday And Her Orchestra -  Who Wants Love? Clarinet – Buster Bailey Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Claude Thornhill Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. Waxman, G. Kahn - 2:32          3-21 Billie Holiday And Her Orchestra  - Travelin' All Alone Clarinet – Buster Bailey Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Claude Thornhill Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – J.C. Johnson - 2:12          3-22 Billie Holiday And Her Orchestra  - He's Funny That Way Clarinet – Buster Bailey Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Claude Thornhill Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – N. Moret, R. Whiting - 2:39          4-1 Teddy Wilson And His Orchestra  - Nice Work If You Can Get It Clarinet – Prince Robinson Double Bass – Walter Page Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Vido Musso Trumpet – Buck Clayton Written-By – G. & I. Gershwin - 3:07          4-2 Teddy Wilson And His Orchestra  - Things Are Looking Up Clarinet – Prince Robinson Double Bass – Walter Page Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Vido Musso Trumpet – Buck Clayton Written-By – G. & I. Gershwin - 3:19          4-3 Teddy Wilson And His Orchestra  - My Man Clarinet – Prince Robinson Double Bass – Walter Page Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Vido Musso Trumpet – Buck Clayton Written-By – A. Willemetz, C. Pollack, J. Charles, M. Yvain - 3:01          4-4 Teddy Wilson And His Orchestra  - Can't Help Lovin' Dat Man Clarinet – Prince Robinson Double Bass – Walter Page Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Vido Musso Trumpet – Buck Clayton Written-By – J. Kern, O. Hammerstein II - 3:14          4-5 Teddy Wilson And His Orchestra  - My First Impression Of You Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – C. Tobias, S. Stept - 2:47          4-6 Teddy Wilson And His Orchestra  - When You're Smiling Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – J. Goodwin, L. Shay, M. Fisher - 2:50          4-7 Teddy Wilson And His Orchestra  - I Can't Believe That You're In Love With Me Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – C. Gaskill, J. McHugh - 2:49          4-8 Teddy Wilson And His Orchestra  - If Dreams Come True Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – B. Goodman, E. Sampson, I. Mills - 3:03          4-9 Billie Holiday And Her Orchestra  - Now They Call It Swing Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – L. Handman, N. Cloutier, V. De Leath, W. Hirsch - 2:58          4-10 Billie Holiday And Her Orchestra  - On The Sentimental Side Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – J. Monaco, J. Burke - 3:03          4-11 Billie Holiday And Her Orchestra  - Back In Your Own Backyard Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – A. Jolson, B. Rose, D. Dreyer - 2:40          4-12 Billie Holiday And Her Orchestra  - When A Woman Loves A Man Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – B. Hanighen, G. Jenkins, J. Mercer - 2:23          4-13 Billie Holiday And Her Orchestra  - You Go To My Head Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – H. Gillespie, J. F. Coots - 2:52          4-14 Billie Holiday And Her Orchestra  - The Moon Looks Down And Laughs Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – B. Kalmar, H. Ruby, S. Silvers - 2:55          4-15 Billie Holiday And Her Orchestra  - If I Were You Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – B. Bernier, B. Emmerich - 2:24          4-16 Billie Holiday And Her Orchestra  - Forget If You Can Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – J. Manus, K. Upham, L. Joy - 2:48          4-17 Billie Holiday And Her Orchestra  - Having Myself A Time Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – L. Robin, R. Rainger - 2:28          4-18 Billie Holiday And Her Orchestra  - Says My Heart Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – B. Lane, F. Loesser - 2:48          4-19 Billie Holiday And Her Orchestra  - I Wish I Had You Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – A. Stillman, B. Green, C. Thornhill - 2:49          4-20 Billie Holiday And Her Orchestra  - I'm Gonna Lock My Heart (And Throw Away The Key) Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – J. Eaton, T. Shand - 2:06          4-21 Billie Holiday And Her Orchestra  - The Very Thought Of You Clarinet, Tenor Saxophone – Lester Young Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Margaret "Countess” Johnson Trumpet – Buck Clayton Written-By – R. Noble - 2:45          4-22 Billie Holiday And Her Orchestra  - I Can't Get Started Clarinet, Tenor Saxophone – Lester Young Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Margaret "Countess” Johnson Trumpet – Buck Clayton Written-By – I. Gershwin, V. Duke - 2:46          4-23 Billie Holiday And Her Orchestra  - I've Got A Date With A Dream Clarinet, Tenor Saxophone – Lester Young Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Margaret "Countess” Johnson Trombone – Dicky Wells Trumpet – Buck Clayton Written-By – H. Revel, M. Gordon - 2:42          4-24 Billie Holiday And Her Orchestra  - You Can't Be Mine Clarinet, Tenor Saxophone – Lester Young Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Margaret "Countess” Johnson Trumpet – Buck Clayton Written-By – C. Webb, J.C. Johnson - 2:21          5-1 Teddy Wilson And His Orchestra  - Everybody's Laughing Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James  Written-By – B. Oakland, S. Lerner - 3:00          5-2 Teddy Wilson And His Orchestra  - Here It Is Tomorrow Again Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James  Written By – P. Gibbons Written-By – R. Ringwald - 2:44          5-3 Teddy Wilson And His Orchestra  - Say It With A Kiss Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James Written-By – H. Warren, J. Mercer - 2:34          5-4 Teddy Wilson And His Orchestra  - April In My Heart Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James Written-By – H. Meinardi, H. Carmichael - 3:06          5-5 Teddy Wilson And His Orchestra  - I'll Never Fail You Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James Written-By – I. Taylor, V. Mizzy - 2:58          5-6 Teddy Wilson And His Orchestra  - They Say Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James Written-By – E. Heyman, P. Mann, S. Weiss - 3:10          5-7 Teddy Wilson And His Orchestra  - You're So Desirable Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – R. Noble - 2:51          5-8 Teddy Wilson And His Orchestra  - You're Gonna See A Lot Of Me Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – A. Goodhart, A. Hoffman, M. Kurtz - 2:57          5-9 Teddy Wilson And His Orchestra  - Hello, My Darling Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – F. Loesser, F. Hollaender - 2:43          5-10 Teddy Wilson And His Orchestra  - Let's Dream In The Moonlight Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – M. Malneck, R. Walsh - 2:53          5-11 Billie Holiday And Her Orchestra  - That's All I Ask Of You Double Bass – John Williams Drums – Cozy Cole Guitar – Al Casey Piano – Sonny White Tenor Saxophone – Chu Berry Trombone – Tyree Glenn Trumpet – Charlie Shavers Written-By – R.E. Pope - 2:56          5-12 Billie Holiday And Her Orchestra  - Dream Of Life Double Bass – John Williams Drums – Cozy Cole Guitar – Al Casey Piano – Sonny White Tenor Saxophone – Chu Berry Trombone – Tyree Glenn Trumpet – Charlie Shavers Written-By – C. McRae - 2:43          5-13 Billie Holiday And Her Orchestra  - What Shall I Say? Alto Saxophone, Tenor Saxophone – Benny Carter Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Danny Barker Piano – Teddy Wilson Trumpet – Roy Eldridge Written-By – P. Tinturin - 3:04          5-14 Teddy Wilson And His Orchestra  - It's Easy To Blame The Weather Alto Saxophone, Tenor Saxophone – Benny Carter Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Danny Barker Piano – Teddy Wilson Trumpet – Roy Eldridge Written-By – S. Cahn, S. Chaplin - 2:58          5-15 Teddy Wilson And His Orchestra  - More Than You Know Alto Saxophone, Tenor Saxophone – Benny Carter Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Danny Barker Piano – Teddy Wilson Trumpet – Roy Eldridge Written-By – B. Rose, E. Eliscu, V. Youmans - 3:05          5-16 Teddy Wilson And His Orchestra  - Sugar Alto Saxophone, Tenor Saxophone – Benny Carter Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Danny Barker Piano – Teddy Wilson Trumpet – Roy Eldridge Written-By – F. Alexander, M. Pinkard, S. Mitchell - 2:45          5-17 Billie Holiday And Her Orchestra  - You're Too Lovely To Last Double Bass – John Williams Drums – Eddie Dougherty Guitar – Jimmy McLin Piano – Kenny Kersey Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Stanley Payne Trumpet – Hot Lips Page Written-By – C. Beal, E. Frazer, T. McRae - 2:48          5-18 Billie Holiday And Her Orchestra  - Under A Blue Jungle Moon Double Bass – John Williams Drums – Eddie Dougherty Guitar – Jimmy McLin Piano – Kenny Kersey Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Stanley Payne Trumpet – Hot Lips Page Written-By – N. Brisben, R. Conway - 2:55          5-19 Billie Holiday And Her Orchestra  - Everything Happens For The Best Double Bass – John Williams Drums – Eddie Dougherty Guitar – Jimmy McLin Piano – Kenny Kersey Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Stanley Payne Trumpet – Hot Lips Page Written-By – B. Holiday, T. Smith - 2:48          5-20 Billie Holiday And Her Orchestra  - Why Did I Always Depend On You? Double Bass – John Williams Drums – Eddie Dougherty Guitar – Jimmy McLin Piano – Kenny Kersey Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Stanley Payne Trumpet – Hot Lips Page Written-By – T. McRae - 2:31          5-21 Billie Holiday And Her Orchestra  - Long Gone Blues Double Bass – John Williams Drums – Eddie Dougherty Guitar – Jimmy McLin Piano – Kenny Kersey Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Stanley Payne Trumpet – Hot Lips Page Written-By – B. Holiday - 3:05          6-1 Billie Holiday And Her Orchestra  - Some Other Spring Double Bass – John Williams Drums – Eddie Dougherty Guitar – Bernard Addison Piano – Sonny White Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Kenneth Hollon, Stanley Payne Trumpet – Charlie Shavers Written-By – A. Herzog, Jr., I. Kitchings - 3:01          6-2 Billie Holiday And Her Orchestra  - Our Love Is Different Double Bass – John Williams Drums – Eddie Dougherty Guitar – Bernard Addison Piano – Sonny White Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Kenneth Hollon, Stanley Payne Trumpet – Charlie Shavers Written-By – B. Alba, B. Holiday, R. Conway, S. White - 3:13          6-3 Billie Holiday And Her Orchestra  - Them There Eyes Double Bass – John Williams Drums – Eddie Dougherty Guitar – Bernard Addison Piano – Sonny White Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Kenneth Hollon, Stanley Payne Trumpet – Charlie Shavers Written-By – D. Tauber, M. Pinkard, W. Tracey - 2:48          6-4 Billie Holiday And Her Orchestra  - Swing, Brother, Swing Double Bass – John Williams Drums – Eddie Dougherty Guitar – Bernard Addison Piano – Sonny White Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Kenneth Hollon, Stanley Payne Trumpet – Charlie Shavers Written-By – C. Williams, L. Raymond, W. Bishop - 2:54          6-5 Billie Holiday And Her Orchestra  - Night And Day Alto Saxophone – Earle Warren, Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Joe Sullivan Tenor Saxophone – Lester Young Trumpet – Buck Clayton, Harry Edison Written-By – C. Porter - 2:58          6-6 Billie Holiday And Her Orchestra  - The Man I Love Alto Saxophone – Earle Warren, Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Joe Sullivan Tenor Saxophone – Lester Young Trumpet – Buck Clayton, Harry Edison Written-By – G. & I. Gershwin - 3:04          6-7 Billie Holiday And Her Orchestra  - You're Just A No Account Alto Saxophone – Earle Warren, Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Joe Sullivan  Tenor Saxophone – Lester Young Trumpet – Buck Clayton, Harry Edison Written-By – S. Cahn, S. Chaplin - 2:58          6-8 Billie Holiday And Her Orchestra  - You're A Lucky Guy Alto Saxophone – Earle Warren, Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Joe Sullivan Tenor Saxophone – Lester Young Trumpet – Buck Clayton, Harry Edison Written-By – S. Cahn, S. Chaplin - 2:43          6-9 Billie Holiday And Her Orchestra  - Ghost Of Yesterday Alto Saxophone – Carl Frye Clarinet – Jimmy Powell Double Bass – John Williams Drums – Hal West Guitar – Lawrence Lucie Piano – Sonny White Tenor Saxophone – Kermit Scott Trumpet – Roy Eldridge Written-By – A. Herzog, Jr., I. Kitchings - 2:37          6-10 Billie Holiday And Her Orchestra  - Body And Soul Alto Saxophone – Carl Frye Clarinet – Jimmy Powell Double Bass – John Williams Drums – Hal West Guitar – Lawrence Lucie Piano – Sonny White Tenor Saxophone – Kermit Scott Trumpet – Roy Eldridge Written-By – E. Heyman, F. Eyton, J. Green, R. Sour - 2:57          6-11 Billie Holiday And Her Orchestra  - What Is This Going To Get Us? Alto Saxophone – Carl Frye Clarinet – Jimmy Powell Double Bass – John Williams Drums – Hal West Guitar – Lawrence Lucie Piano – Sonny White Tenor Saxophone – Kermit Scott Trumpet – Roy Eldridge Written-By – A. Herzog, Jr., I. Kitchings - 2:39          6-12 Billie Holiday And Her Orchestra  - Falling In Love Again Alto Saxophone – Carl Frye Clarinet – Jimmy Powell Double Bass – John Williams Drums – Hal West Guitar – Lawrence Lucie Piano – Sonny White Tenor Saxophone – Kermit Scott Trumpet – Roy Eldridge Written-By – F. Hollaender, S. Lerner - 2:49          6-13 Billie Holiday And Her Orchestra  - I'm Pulling Through Alto Saxophone – Bill Bowen, Joe Eldridge Double Bass – Walter Page Drums – J.C. Heard Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Kermit Scott, Lester Young Trumpet – Roy Eldridge Written-By – A. Herzog, Jr., I. Kitchings - 3:09          6-14 Billie Holiday And Her Orchestra  - Tell Me More-More-Then Some Alto Saxophone – Bill Bowen, Joe Eldridge Double Bass – Walter Page Drums – J.C. Heard Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Kermit Scott, Lester Young Trumpet – Roy Eldridge Written-By – B. Holiday - 3:07          6-15 Billie Holiday And Her Orchestra  - Laughing At Life Alto Saxophone – Bill Bowen, Joe Eldridge Double Bass – Walter Page Drums – J.C. Heard Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Kermit Scott, Lester Young Trumpet – Roy Eldridge Written-By – B. Todd, C. Kenny, C. Todd, N. Kenny - 2:54          6-16 Billie Holiday And Her Orchestra  - Time On My Hands (You In My Arms) Alto Saxophone – Bill Bowen, Joe Eldridge Double Bass – Walter Page Drums – J.C. Heard Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Kermit Scott, Lester Young Trumpet – Roy Eldridge Written-By – H. Adamson, M. Gordon, V. Youmans - 3:04          6-17 Billie Holiday And Her Orchestra  - I'm All For You Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins  Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – J. Bresler, L. Wynn - 3:08          6-18 Billie Holiday And Her Orchestra  - I Hear Music Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – B. Lane, F. Loesser - 2:39          6-19 Billie Holiday And Her Orchestra  - The Same Old Story Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – M. Field, N. Oliphant - 3:10          6-20 Billie Holiday And Her Orchestra  - Practice Makes Perfect Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – D. Roberts, E. Gold - 2:34          6-21 Billie Holiday Accompanied By Bennie Carter And His All-Star Orchestra -  St. Louis Blues Clarinet, Alto Saxophone – Benny Carter Double Bass – Wilson Myers Drums – Yank Porter Guitar – Ulysses Livingston Piano – Sonny White Tenor Saxophone – Georgie Auld Trombone – Benny Morton Trumpet – Bill Coleman Written-By – W. C. Handy - 2:53          6-22 Billie Holiday Accompanied By Bennie Carter And His All-Star Orchestra -  Loveless Love Clarinet, Alto Saxophone – Benny Carter Double Bass – Wilson Myers Drums – Yank Porter Guitar – Ulysses Livingston Piano – Sonny White Tenor Saxophone – Georgie Auld Trombone – Benny Morton Trumpet – Bill Coleman Written-By – W. C. Handy - 3:15          6-23 Billie Holiday Accompanied By Eddie Heywood And His Orchestra  - Let's Do It Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – C. Porter - 2:55          6-24 Billie Holiday Accompanied By Eddie Heywood And His Orchestra  - Georgia On My Mind Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – H. Carmichael, S. Gorrell - 3:17          7-1 Billie Holiday Accompanied By Eddie Heywood And His Orchestra  - Romance In The Dark Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – G. Niesen, S. Coslow - 2:15          7-2 Billie Holiday Accompanied By Eddie Heywood And His Orchestra  - All Of Me Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – G. Marks, S. Simons - 3:01          7-3 Billie Holiday And Her Orchestra  - I'm In A Low Down Groove Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – R. Jacobs - 3:08          7-4 Billie Holiday And Her Orchestra  - God Bless The Child Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – A. Herzog, Jr., B. Holiday - 2:58          7-5 Billie Holiday And Her Orchestra  - Am I Blue? Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – G. Clarke, H. Akst - 2:44          7-6 Billie Holiday And Her Orchestra  - Solitude Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – D. Ellington, E. Delange, I. Mills - 3:13          7-7 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - Jim Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Al Casey Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – C. Petrillo, E. Ross, N. Shawn - 3:08          7-8 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - I Cover The Waterfront Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Al Casey Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – E. Heyman, J. Green -  2:55          7-9 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - Love Me Or Leave Me Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Al Casey Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – G. Kahn, W. Donaldson - 3:20          7-10 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - Gloomy Sunday Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Al Casey Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – L. Javor, R. Seress, S. Lewis - 3:11          7-11 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - Wherever You Are Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – C. Tobias, C. Friend - 2:59          7-12 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - Mandy Is Two Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – F. McGrath, J. Mercer - 2:59          7-13 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - It's A Sin To Tell A Lie Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – B. Mayhew - 3:02          7-14 Billie Holiday Accompanied By Teddy Wilson And His Orchestra  - Until The Real Thing Comes Along Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – A. Nichols, L.E. Freeman, M. Holiner, S. Cahn, S. Chaplin - 3:08          The Alternate Takes And Air-Checks 7-15 Billie Holiday Accompanied By Duke Ellington And His Orchestra  - Saddest Tale Clarinet, Alto Saxophone – Marshall Royal Clarinet, Alto Saxophone, Baritone Saxophone – Harry Carney Clarinet, Soprano Saxophone, Alto Saxophone – Johnny Hodges Clarinet, Tenor Saxophone – Barney Bigard Double Bass – Wellman Braud Drums – Sonny Greer Guitar – Fred Guy Piano, Arranged By, Leader – Duke Ellington Trombone – Joe 'Tricky Sam' Nanton, Lawrence Brown Trumpet – Arthur Whetsol, Cootie Williams, Freddy Jenkins Valve Trombone – Juan Tizol Written-By – D. Ellington, I. Mills - 2:53          7-16 Billie Holiday And Her Orchestra  - No Regrets Clarinet – Artie Shaw Double Bass – Pete Peterson Drums – Cozy Cole Guitar – Dick McDonough Piano – Joe Bushkin Trumpet – Bunny Berigan Written-By – H. Tobias, R. Ingraham - 2:35          7-17 Teddy Wilson And His Orchestra  - The Way You Look Tonight Clarinet – Vido Musso Double Bass – Milt Hinton Drums – Gene Krupa Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Irving 'Mouse’ Randolph Written-By – D. Fields, J. Kern - 3:07          7-18 Teddy Wilson And His Orchestra  - Who Loves You? Clarinet – Vido Musso Double Bass – Milt Hinton Drums – Gene Krupa Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Irving 'Mouse’ Randolph Written-By – B. Davis, J. F. Coots - 3:14          7-19 Teddy Wilson And His Orchestra  - Pennies From Heaven Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – A. Johnston, J. Burke - 3:13          7-20 Teddy Wilson And His Orchestra  - That's Life I Guess Clarinet – Benny Goodman Double Bass – John Kirby Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Ben Webster Trumpet – Jonah Jones Written-By – P. DeRose, S. Lewis - 3:18          7-21 Billie Holiday And Her Orchestra  - They Can't Take That Away From Me Clarinet – Buster Bailey Double Bass – John Kirby Drums – Alphonse Steele Guitar – Carmen Mastren Piano – Teddy Wilson Tenor Saxophone – Joe Thomas Trumpet – Eddie Thompkins Written-By – G. & I. Gershwin - 2:54          7-22 Billie Holiday And Her Orchestra  - Don't Know If I'm Comin' Or Goin' Clarinet – Buster Bailey Double Bass – John Kirby Drums – Alphonse Steele Guitar – Carmen Mastren Piano – Teddy Wilson Tenor Saxophone – Joe Thomas Trumpet – Eddie Thompkins Written-By – L. Wainer, L. Fein - 2:45          7-23 Teddy Wilson And His Orchestra  - I'll Get By Alto Saxophone – Johnny Hodges Clarinet – Buster Bailey Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. E. Ahlert, R. Turk -  3:06          7-24 Teddy Wilson And His Orchestra  - Mean To Me Alto Saxophone – Johnny Hodges Clarinet – Buster Bailey Double Bass – Artie Bernstein Drums – Cozy Cole Guitar – Allan Reuss Piano – Teddy Wilson Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. E. Ahlert, R. Turk - 3:05          8-1 Billie Holiday And Her Orchestra  - Me, Myself And I Clarinet – Edmond Hall Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – James Sherman Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – A. Roberts, A. Kaufman, I. Gordon - 2:35          8-2 Billie Holiday And Her Orchestra  - Without Your Love Clarinet – Edmond Hall Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – James Sherman Tenor Saxophone – Lester Young Trumpet – Buck Clayton Written-By – F. Stryker, J. Lange - 2:52          8-3 Count Basie And His Orchestra -  They Can't Take That Away From Me Alto Saxophone – Earle Warren Alto Saxophone, Baritone Saxophone – Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano, Leader – Count Basie Tenor Saxophone – Herschel Evans, Lester Young Trombone – Dan Minor, George Hunt Trumpet – Bobby Moore, Buck Clayton, Ed Lewis Written-By – G. & I. Gershwin - 2:23          8-4 Count Basie And His Orchestra -  Swing, Brother, Swing Alto Saxophone – Earle Warren Alto Saxophone, Baritone Saxophone – Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano, Leader – Count Basie Tenor Saxophone – Herschel Evans, Lester Young Trombone – Dan Minor, George Hunt Trumpet – Bobby Moore, Buck Clayton, Ed Lewis Written-By – C. Williams, L. Raymond, W. Bishop - 1:50          8-5 Count Basie And His Orchestra -  I Can't Get Started Alto Saxophone – Earle Warren Alto Saxophone, Baritone Saxophone – Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano, Leader – Count Basie Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton, Dan Minor Trombone, Electric Guitar – Eddie Durham Trumpet – Bobby Hicks, Buck Clayton, Ed Lewis Written-By – I. Gershwin, V. Duke - 2:45          8-6 Teddy Wilson And His Orchestra  - My First Impression Of You Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – C. Tobias, S. Stept - 2:50          8-7 Teddy Wilson And His Orchestra  - When You're Smiling Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton  Trumpet – Buck Clayton Written-By – J. Goodwin, L. Shay, M. Fisher - 3:00          8-8 Teddy Wilson And His Orchestra  - I Can't Believe That You're In Love With Me Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – C. Gaskill, J. McHugh - 2:48          8-9 Teddy Wilson And His Orchestra  - If Dreams Come True Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – B. Goodman, E. Sampson, I. Mills - 3:03          8-10 Billie Holiday And Her Orchestra  - Now They Call It Swing Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – L. Handman, N. Cloutier, V. De Leath, W. Hirsch - 3:04          8-11 Billie Holiday And Her Orchestra  - On The Sentimental Side Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – J. Monaco, J. Burke - 3:04          8-12 Billie Holiday And Her Orchestra  - Back In Your Own Backyard Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Lester Young Trombone – Benny Morton Trumpet – Buck Clayton Written-By – A. Jolson, B. Rose, D. Dreyer - 3:14          8-13 Billie Holiday And Her Orchestra  - You Go To My Head Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – H. Gillespie, J. F. Coots - 2:52          8-14 Billie Holiday And Her Orchestra  - The Moon Looks Down And Laughs Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – B. Kalmar, H. Ruby, S. Silvers - 2:54          8-15 Billie Holiday And Her Orchestra  - If I Were You Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – B. Bernier, B. Emmerich - 2:27          8-16 Billie Holiday And Her Orchestra  - Forget If You Can Clarinet – Buster Bailey  Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Babe Russin Trumpet – Charlie Shavers Written-By – J. Manus, K. Upham, L. Joy - 2:49          8-17 Billie Holiday And Her Orchestra  - Having Myself A Time Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – L. Robin, R. Rainger - 2:29          8-18 Billie Holiday And Her Orchestra  - Says My Heart Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – B. Lane, F. Loesser - 2:43          8-19 Billie Holiday And Her Orchestra  - I Wish I Had You Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – A. Stillman, B. Green, C. Thornhill - 2:59          8-20 Billie Holiday And Her Orchestra  - I'm Gonna Lock My Heart (And Throw Away The Key) Clarinet – Buster Bailey Double Bass – John Kirby Drums – Cozy Cole Guitar [possibly] – Danny Barker Piano – Billy Kyle Tenor Saxophone – Ben Webster Trumpet – Charlie Shavers Written-By – J. Eaton, T. Shand - 2:06          8-21 Billie Holiday And Her Orchestra  - I Can't Get Started Clarinet, Tenor Saxophone – Lester Young Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Margaret "Countess” Johnson Trumpet – Buck Clayton Written-By – I. Gershwin, V. Duke - 2:46          8-22 Billie Holiday And Her Orchestra  - I've Got A Date With A Dream Clarinet, Tenor Saxophone – Lester Young Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green Piano – Margaret "Countess” Johnson Trombone – Dicky Wells Trumpet – Buck Clayton Written-By – H. Revel, M. Gordon - 2:41          9-1 Teddy Wilson And His Orchestra  - April In My Heart Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James Written-By – H. Meinardi, H. Carmichael - 3:12          9-2 Teddy Wilson And His Orchestra  - They Say Alto Saxophone – Benny Carter, Edgar Sampson Double Bass – Walter Page Drums – Jo Jones Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Herschel Evans, Lester Young Trombone – Benny Morton Trumpet – Harry James Written-By – E. Heyman, P. Mann, S. Weiss - 3:03          9-3 Teddy Wilson And His Orchestra  - You're So Desirable Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – R. Noble -  2:53          9-4 Teddy Wilson And His Orchestra  - You're Gonna See A Lot Of Me Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – A. Goodhart, A. Hoffman, M. Kurtz - 2:58          9-5 Teddy Wilson And His Orchestra  - Hello, My Darling Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – F. Loesser, F. Hollaender - 2:42          9-6 Teddy Wilson And His Orchestra  - Let's Dream In The Moonlight Alto Saxophone – Ted Buckner, Toots Mondello Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Al Casey Piano – Teddy Wilson Tenor Saxophone – Bud Freeman, Chu Berry Trombone – Trummy Young Trumpet – Bobby Hacket Written-By – M. Malneck, R. Walsh - 2:54          9-7 Benny Goodman And His Orchestra  - I Cried For You Alto Saxophone – Hymie Schertzer, Noni Bernardi Clarinet, Leader – Benny Goodman Double Bass – Harry Goodman Drums – Buddy Shultz Guitar – Benny Heller Piano – Jess Stacy Tenor Saxophone – Art Rollini, Jerry Jerome Trombone – Red Ballard, Vernon Brown Trumpet – Gordon "Chris" Griffin, Cy Baker, Ziggy Elman Written-By – A. Lyman, A. Freed, G. Arnheim - 2:29          9-8 Benny Goodman And His Orchestra  - Jeepers Creepers Alto Saxophone – Hymie Schertzer, Noni Bernardi Clarinet, Leader – Benny Goodman Double Bass – Harry Goodman Drums – Buddy Shultz Guitar – Benny Heller Piano – Jess Stacy Tenor Saxophone – Art Rollini, Jerry Jerome Trombone – Red Ballard, Vernon Brown Trumpet – Gordon "Chris" Griffin, Cy Baker, Ziggy Elman Vocals – Johnny Mercer, Leo Watson, Martha Tilton Written-By – H. Warren, J. Mercer - 3:01          9-9 Billie Holiday And Her Orchestra  - That's All I Ask Of You Double Bass – John Williams Drums – Cozy Cole Guitar – Al Casey Piano – Sonny White Tenor Saxophone – Chu Berry Trombone – Tyree Glenn Trumpet – Charlie Shavers Written-By – R.E. Pope - 2:58          9-10 Teddy Wilson And His Orchestra  - More Than You Know Alto Saxophone, Tenor Saxophone – Benny Carter Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Milt Hinton Drums – Cozy Cole Guitar – Danny Barker Piano – Teddy Wilson Trumpet – Roy Eldridge Written-By – B. Rose, E. Eliscu, V. Youmans - 3:04          9-11 Billie Holiday And Her Orchestra  - You're Too Lovely To Last Double Bass – John Williams Drums – Eddie Dougherty Guitar – Jimmy McLin Piano – Kenny Kersey Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Stanley Payne Trumpet – Hot Lips Page Written-By – C. Beal, E. Frazer, T. McRae - 3:01          9-12 Billie Holiday And Her Orchestra  - Under A Blue Jungle Moon Double Bass – John Williams Drums – Eddie Dougherty Guitar – Jimmy McLin Piano – Kenny Kersey Soprano Saxophone, Alto Saxophone – Tab Smith Tenor Saxophone – Stanley Payne Trumpet – Hot Lips Page Written-By – N. Brisben, R. Conway - 3:03          9-13 Billie Holiday And Her Orchestra  - Night And Day Alto Saxophone – Earle Warren, Jack Washington Double Bass – Walter Page Drums – Jo Jones Guitar – Freddie Green  Piano – Joe Sullivan Tenor Saxophone – Lester Young Trumpet – Buck Clayton, Harry Edison Written-By – C. Porter - 3:02          9-14 Billie Holiday And Her Orchestra  - Falling In Love Again Alto Saxophone – Carl Frye Clarinet – Jimmy Powell Double Bass – John Williams Drums – Hal West Guitar – Lawrence Lucie Piano – Sonny White Tenor Saxophone – Kermit Scott Trumpet – Roy Eldridge Written-By – F. Hollaender, S. Lerner - 2:46          9-15 Billie Holiday And Her Orchestra  - Laughing At Life Alto Saxophone – Bill Bowen, Joe Eldridge Double Bass – Walter Page Drums – J.C. Heard Guitar – Freddie Green Piano – Teddy Wilson Tenor Saxophone – Kermit Scott, Lester Young Trumpet – Roy Eldridge Written-By – B. Todd, C. Kenny, C. Todd, N. Kenny - 2:54          9-16 Billie Holiday And Her Orchestra  - I'm All For You Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – J. Bresler, L. Wynn - 3:27          9-17 Billie Holiday And Her Orchestra  - I Hear Music Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – B. Lane, F. Loesser - 2:39          9-18 Billie Holiday And Her Orchestra  - The Same Old Story Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – M. Field, N. Oliphant - 3:10          9-19 Billie Holiday And Her Orchestra  - The Same Old Story Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – M. Field, N. Oliphant - 3:09          9-20 Billie Holiday And Her Orchestra  - Practice Makes Perfect Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – D. Roberts, E. Gold - 2:35          9-21 Billie Holiday And Her Orchestra  - Practice Makes Perfect Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – D. Roberts, E. Gold - 2:42          9-22 Billie Holiday And Her Orchestra  - Practice Makes Perfect Alto Saxophone – Don Redman, Georgie Auld Double Bass – Al Hall Drums – Kenny Clarke Guitar – John Collins Piano – Teddy Wilson Tenor Saxophone – Don Byas, Jimmy Hamilton Trumpet – Roy Eldridge Written-By – D. Roberts, E. Gold - 2:43          10-1 Billie Holiday And Her Orchestra Accompained By Bennie Carter And His All-Star Orchestra -  St. Louis Blues Clarinet, Alto Saxophone – Benny Carter Double Bass – Wilson Myers Drums – Yank Porter Guitar – Ulysses Livingston Piano – Sonny White Tenor Saxophone – Georgie Auld Trombone – Benny Morton Trumpet – Bill Coleman Written-By – W. C. Handy - 2:53          10-2 Billie Holiday And Her Orchestra Accompained By Bennie Carter And His All-Star Orchestra -  Loveless Love Clarinet, Alto Saxophone – Benny Carter Double Bass – Wilson Myers Drums – Yank Porter Guitar – Ulysses Livingston Piano – Sonny White Tenor Saxophone – Georgie Auld Trombone – Benny Morton Trumpet – Bill Coleman Written-By – W. C. Handy - 3:15          10-3 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - Let's Do It Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – C. Porter - 2:56          10-4 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - Georgia On My Mind Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – H. Carmichael, S. Gorrell - 2:59          10-5 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - Georgia On My Mind Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins  Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – H. Carmichael, S. Gorrell - 3:05          10-6 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - Romance In The Dark Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – G. Niesen, S. Coslow - 2:18          10-7 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - Romance In The Dark Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – G. Niesen, S. Coslow - 2:14          10-8 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - Romance In The Dark Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – G. Niesen, S. Coslow - 2:26          10-9 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - All Of Me Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – G. Marks, S. Simons - 2:59          10-10 Billie Holiday And Her Orchestra Accompained By Eddie Heywood And His Orchestra  - All Of Me Alto Saxophone – Eddie Barefield, Leslie Johnakins Double Bass – Ted Sturgis Drums – Kenny Clarke Guitar – John Collins Piano – Eddie Heywood Tenor Saxophone – Lester Young Trumpet – Shad Collins Written-By – G. Marks, S. Simons - 3:57          10-11 Billie Holiday And Her Orchestra  - God Bless The Child Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – A. Herzog, Jr., B. Holiday - 2:58          10-12 Billie Holiday And Her Orchestra  - God Bless The Child Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – A. Herzog, Jr., B. Holiday - 2:32          10-13 Billie Holiday And Her Orchestra  - Am I Blue? Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – G. Clarke, H. Akst - 2:45          10-14 Billie Holiday And Her Orchestra  - Am I Blue? Alto Saxophone – Jimmy Powell, Lester Boone Clarinet, Tenor Saxophone – Ernie Powell Double Bass – Grachan Moncur Drums – Herbert Cowens Guitar – Paul Chapman Piano – Eddie Heywood Trumpet – Roy Eldridge Written-By – G. Clarke, H. Akst - 2:45          10-15 Billie Holiday Accompained By Teddy Wilson And His Orchestra  - Jim Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Al Casey Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – C. Petrillo, E. Ross, N. Shawn - 3:04          10-16 Billie Holiday Accompained By Teddy Wilson And His Orchestra  - Gloomy Sunday Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Al Casey Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – L. Javor, R. Seress, S. Lewis - 3:12          10-17 Billie Holiday Accompained By Teddy Wilson And His Orchestra  - Wherever You Are Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – C. Tobias, C. Friend - 2:59          10-18 Billie Holiday Accompained By Teddy Wilson And His Orchestra  - Mandy Is Two Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – F. McGrath, J. Mercer - 2:59          10-19 Billie Holiday Accompained By Teddy Wilson And His Orchestra  - It's A Sin To Tell A Lie Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – B. Mayhew - 3:08          10-20 Billie Holiday Accompained By Teddy Wilson And His Orchestra  - It's A Sin To Tell A Lie Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – B. Mayhew - 3:07          10-21 Billie Holiday Accompained By Teddy Wilson And His Orchestra  - Until The Real Thing Comes Along Clarinet – Jimmy Hamilton Clarinet, Alto Saxophone – Hymie Schertzer Clarinet, Tenor Saxophone – Babe Russin Double Bass – John Williams Drums – J.C. Heard Guitar – Gene Fields Piano – Teddy Wilson Trumpet – Emmett Berry Written-By – A. Nichols, L.E. Freeman, M. Holiner, S. Cahn, S. Chaplin - 3:18          10-22 Billie Holiday With The All-Star Jam Band -  Do Nothing 'Til You Hear From Me/I'll Get By Clarinet – Barney Bigard Double Bass – Oscar Pettiford Drums – Sidney Catlett Piano – Art Tatum Trumpet – Roy Eldridge Written-By – B. Russell, D. Ellington, F. Ahlert, R. Turk - 4:58          10-23 Billie Holiday With The All-Star Jam Band -  I Love My Man Clarinet – Barney Bigard Double Bass – Oscar Pettiford Drums – Sidney Catlett Piano – Art Tatum Trumpet – Roy Eldridge Written-By – B. Holiday - 4:05

Performers / Credits Include:

• Billie Holiday – vocal • Teddy Wilson – piano • Bobby Hackett - cornet • Henry "Red" Allen - trumpet • Bunny Berigan - trumpet • Buck Clayton - trumpet • Harry "Sweets" Edison - trumpet • Roy Eldridge - trumpet • Chris Griffin - trumpet • Harry James - trumpet • Jonah Jones - trumpet • Hot Lips Page - trumpet • Charlie Shavers - trumpet • Cootie Williams - trumpet • Benny Morton - trombone • Dicky Wells - trombone • Trummy Young - trombone • Buster Bailey - clarinet • Benny Goodman - clarinet • Vido Musso - clarinet • Edgar Sampson - clarinet, alto saxophone • Artie Shaw - clarinet • Tab Smith - soprano saxophone, alto saxophone • Benny Carter - alto saxophone, tenor saxophone • Johnny Hodges - alto saxophone • Don Redman - alto saxophone • Chu Berry - tenor saxophone • Don Byas - tenor saxophone • Herschel Evans - tenor saxophone • Babe Russin - tenor saxophone • Ben Webster - tenor saxophone • Lester Young - tenor saxophone, clarinet • Harry Carney - baritone saxophone, clarinet • Margaret "Countess" Johnson - piano • Billy Kyle - piano • Joe Sullivan - piano • Claude Thornhill - piano • Sonny White - piano • Dave Barbour - guitar • Al Casey - guitar • Freddie Green - guitar • Carmen Mastren - guitar • Dick McDonough - guitar • Allan Reuss - guitar • Milt Hinton - bass • John Kirby - bass • Grachan Moncur - bass • Walter Page – bass • Kenny Clarke - drums • Cozy Cole – drums • J.C. Heard - drums • Jo Jones - drums • Gene Krupa - drums • A&R [A&R Coordination] – Darren Salmieri, Kristin Kozusko • Art Direction – Adam Owett, Ron Jaramillo • Co-producer – Seth Rothstein, Steve Berkowitz • Compilation Producer – Michael Brooks (2), Michael Cuscuna • Coordinator [Production Coordinator] – Michael Levine (8) • Design – Ron Jaramillo • Graphics – Frank Carbonari, James Hunter (7), Michaela Grey, Michelle C. Holme*, Nancy Sacks • Graphics [Graphic Arts Production] – Charlie Sarrica • Liner Notes ["Ladies Day"] – Gary Giddins • Liner Notes ["Literary Lady"] – Farah Jasmine Griffin • Liner Notes ["The Songs Of Billie Holiday"] – Michael Brooks (2) • Management [Packaging Manager] – Dianne Spoto Shattuck*, Lauren Atlas • Music Consultant – Phil Schaap • Producer – Bernie Hanighen, John Hammond • Remastered By – Mark Wilder, Seth Foster • Research [Photo Research] – Liz Reilly • Transferred By [Sound Restoration, Analogue To Digital Transfers] – Darcy Proper, Harry Coster, Ken Roberston, Matt Cavaluzzo

Other Information:

Track 10-2 is meant to be an alternate take of "Loveless Love" but it is the same (master) take that appears at track 6-22. Track 7-24 is missing from the track list on the back of the package.  •  Copyright (c) – Sony Music Entertainment Inc. •  Phonographic Copyright (p) – Sony Music Entertainment Inc. •  Manufactured By – Columbia Records •  Remastered At – Sony Music Studios, New York City

The 10-CD Boxed Set is from the rare COLUMBIA / SONY / LEGACY RECORDS series of CDs.

• Catalog # CXK 85470
• CDs issued in 2001
• CDs made in the USA

The CDs, OUTER BOX and INSERTS are all in Near MINT condition! The set is complete and in superb collectors grade condition! A better set would be very difficult to find! The outer box is designed like a 78rpm collection, with textured, leather-like covers with a raised photo of Billie - absolutely gorgeous format!

This CD is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Don't let this rarity slip by!!!

• Condition: Sehr gut
• Condition: Superb boxed set in collector's grade condition - 10-CDs plus booklet, issued in 2001 - superb, definitive issue, formatted like a box set of 78rpm records with textured, leather-like covers! The box set is complete and in gorgeous condition - everything is here. Very little shelf wear noticeable on the outer box and the discs, everything is near mint (you will be hard pressed to find a nicer set).
• Country/Region of Manufacture: United States
• Style: Traditional/Vocal
• Duration: Box Set (10-CDs)
• Edition: Box Set (10-CDs) Limited Edition
• Genre: Pop, Classic Pop Vocals, Pop Vocal
• Special Attributes: 10-CD Boxed Set, Made in the USA, Issued 2001, Anniversary Edition, Collector's Edition, Deluxe Edition, Limited Edition, Special Edition, Anthology, Compilation, Import
• UPC: 0696998547025
• Artist: Billie Holiday
• Format: CD
• Record Label: Legacy
• Release Year: 2001
• Release Title: Lady Day: The Complete Billie Holiday on Columbia 1933-1944 [Box]

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