Label: Columbia - 88875082822 • Format: 3x, CD Album, Reissue, Remastered • Country: France • Genre: Jazz • Style: Smooth Jazz
It is the penultimate album completed by the singer and last released in her lifetime her final album, Last Recordingbeing recorded in March and released just after her death. The original album was produced by Irving Townsendand engineered by Fred Plaut. For the majority of the s, Billie Holiday was signed to jazz producer Norman Granz 's Clef Recordswhich was later absorbed into the newly founded Verve Records by All of her work for Norman Granz consisted of small Lick Your Fingers Clean - Jethro Tull - 20 Years Of Jethro Tull combosreuniting her with musicians she recorded with back in the s when she made her first recordings with Teddy Wilson.
There were talks in the early s of Holiday making albums, or songbooks, dedicated to composers such as George and Ira Gershwin and Jerome Kernbut they fell through and ended up going to Ella Fitzgerald when she signed to Verve.
ByHoliday had recorded twelve albums for Granz and was unhappy. Therefore, she decided not to renew her contract. By OctoberHoliday contacted Columbia producer Irving Townsend and expressed interest in recording with bandleader Ray Ellis after listening to his album Ellis in Wonderland. Originally, she wanted to do an album with bandleader Nelson Riddle after hearing his arrangements for Frank Sinatra 's albums, particularly In the Wee Small Hoursbut after hearing Ellis's version of "For All We Know", she wanted to record with him.
When Holiday came to Townsend about the album, he was surprised:. For All We Know (Take 2) - Billie Holiday With Ray Ellis And His Orchestra - Lady In Satin (The Cent got in touch with Ellis about the album.
Ellis, having heard of Holiday's work throughout the s and s, was excited for the project, saying "I couldn't believe it I didn't know she was aware of me. Columbia provided an unlimited budget for the album. Townsend went on to set up the recording dates for late February When Holiday signed her contract for Columbia, the label looked at it as new beginning, for this was her return to the label after sixteen years.
Columbia wanted Holiday If Tragedys Appealing, Then Disasters An Addiction - Various - Vans Warped Tour 06 (2006 Tour Com do an album of songs she had never recorded before,  so the song material for Lady in Satin derived from the usual sources for Holiday in her three decade career, that of the Great American Songbook of classic pop.
Also, unlike the bulk of Holiday's recordings with Norman Granz and her early years at Columbia in the s and early s, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years eight years earlier. She wanted the album to be in the same contemporary vein of Frank Sinatra or Ella Fitzgerald on her Songbooks series.
Ray Ellis made his arrangements of the songs to match Holiday's voice. By the mid- to late s, Holiday's voice changed drastically due to years of alcohol and drug abuse, altering its texture and gave it a fragile, raspy sound.
Despite her voice's setback, she never lost the edge that had always made it so distinctive and was able to still use her style of phrasing that made her a popular jazz singer. Ray Ellis said of Holiday's voice:. Ellis used a forty-piece orchestra, complete with horns, strings, reeds and even a three-piece choir.
It would turn out Den Store Lykken - Gro Anita Schønn - Vit At Jeg Elsker Deg [18 Utvalgte] be Holiday's most expensive music production. Reaction to the album has been mixed.
Holiday's voice had lost much of its upper range in her 40s, although she still retained her rhythmic phrasing. The Penguin Guide to Jazz gave the album a three-star rating out of a possible four stars, but expressed a basic reservation about the album, describing it as "a voyeuristic look at a beaten woman.
It's an album from the late Fifties, when much of Billie's punch was gone. However, trumpeter Buck Clayton preferred the work of the later Holiday to that of the younger woman that he had often worked with in the s.
I would say that the most emotional moment was her listening to the playback of "I'm a Fool to Want You". There were tears in her eyes After we finished the album I went into the control room and listened to all the takes. I must admit I was unhappy with her performance, but I was just listening musically instead of emotionally.
It wasn't until I heard the final mix a few weeks later that I realized how great her performance really was. Lady in Satin was reissued by Legacy Records on September 23,remastering using bit technology with four bonus tracks.
Lady in Satin was inducted into the Grammy Hall of Fame in Roughly seventy minutes' worth of material—including thirteen complete tracks, incomplete tracks, studio chatter, breakdowns, false starts and warm-ups are present on the album. CD One tracks are the songs that appeared on the original Lady in Satin release. CD Two February 19, session reels are tracksFebruary 20, session reels are tracks From Wikipedia, the free encyclopedia. Billie Holiday.
Track listing of The Centennial Edition. The Cash Box. The Cash Box Publishing Co. Retrieved 18 June With Billie. New York: Vintage.
Encyclopedia of Popular Music 4th ed. Oxford University Press. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz 8th ed. New York: Penguin. Lady in SatinColumbia Legacy:reissue liner notesp. Discography Awards and nominations. Book Category. Years indicated are for the recording snot first release except for the film scores. Johnson at the Opera House J. Johnson J. Sonny Stitt, Joyride Stanley Turrentine Mal Waldron.
June  . All or Nothing at All Lady in Satin Last Recordings It would be like Ella Fitzgerald saying that she wanted to record with Ray Conniff. But she said she wanted a pretty album, something delicate. She said this over and over. She thought it would be beautiful. She wasn't interested in some wild swinging jam session She wanted that cushion under her voice.
She wanted to be flattered by that kind of sound. I heard her voice [and] I dug it. I was in love with that voice and I was picturing a very evil, sensuous, For All We Know (Take 2) - Billie Holiday With Ray Ellis And His Orchestra - Lady In Satin (The Cent, very evil Evil is earthy to me. When you say someone is evil, it means very, very bad. I don't mean bad. Penguin Guide to Jazz. Encyclopedia of Popular Music. Fred CootsSam M.
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