Billie Holiday The Complete Commodore Recordings Rar Extractor
What can purge my heart Of the song And the sadness? Hum sath sath hain full movie hd 1080p free download. What can purge my heart But the song Of the sadness?
What can purge my heart Of the sadness Of the song? Do not speak of sorrow With dust in her hair, Or bits of dust in eyes A chance wind blows there. The sorrow that I speak of Is dusted with despair.
View credits, reviews, tracks and shop for the 1997 CD release of The Complete Commodore Recordings on Discogs. Billie Holiday - The Complete Decca Recordings (2-Disc Set) What can purge my heart Of the song. In all of her recordings, Billie Holiday imparted the joy, heartbreak, elation and sadness of love and life, and found ways to express the inexpressible, time and time again. Billie Holiday - The Complete Decca Recordings (2.
Voice of muted trumpet, Cold brass in warm air. Bitter television blurred By sound that shimmers– Where? - Langston Hughes, Song For Billie Holiday Billie Holiday would have turned 100 years old today. Holiday lived a life filled with degradation, suffering, harassment, tragedy and abuse of body and mind (by others and herself), and died of cirrhosis of the liver and pulmonary edema, nearly flat broke and handcuffed to her bed (she was arrested by the New York City police for drug possession as she lay dying) in a Harlem hospital on July 17th, 1959, barely 44 years old.
Despite her short life, she left an incredible body of work. And even more than half a century after her death, she is still considered one of the most innovative and influential voices ever in popular music.
Billie recorded her last sides with Columbia Records in late 1942. By the fall of 1943, the label had dumped her, failing to renew her contract and ending a decade-long partnership that made Columbia a lot of money and Holiday a star. Despite the mutual benefits of their business relationship, relations between Holiday and the label had been strained since 1939, when Columbia refused to let her record her then-current show-stopper during her residency at New York's Cafe Society, the anti-lynching protest song 'Strange Fruit'. The best the label would do was allow Holiday to record the song on Milt Gabler's Commodore Records. The record, released with 'Fine and Mellow' on the flip, was a huge hit for her and Commodore, and Billie and Milt became fast friends. Gabler joined Decca Records as an A&R man in late 1941, but continued to run Commodore under a special arrangement he made with the head of Decca, Jack Kapp - as long as Commodore stuck to jazz records and didn't try to encroach into Decca's market with pop recordings, Milt was good to go. After Holiday got dropped by Columbia, she went to Gabler to see if she could record again with him on his jazz label.
Milt quickly agreed, recalling the success they had with 'Strange Fruit'. He was looking forward to recording another half-dozen jazz singles with her over the next year. But one night soon after their agreement, Gabler walked into the New York club where Billie was performing, and heard her belting out 'Lover Man (Where Can You Be)?' He said later that he knew instantly that the song would be a smash hit, but he also knew that if he recorded it on Commodore, he would lose his job at Decca, since the tune was clearly more pop-oriented than most of Holiday's Columbia releases. In a bind, he did what he thought was the best thing for the song and Holiday's career - he convinced Decca to sign her as a pop artist. Billie signed on with the label on August 7th, 1944, an exclusive one-year contract for a minimum of twelve sides, with an additional one-year extension option by the label.
Holiday got plenty in return for this contract. At that time, Decca was the only major label still producing commercial recordings (In 1942, the American Federation of Musicians, led by their union president James Petrillo, had gone on strike against all of the other major American labels over royalty payments - the final label holdouts, RCA Victor and Columbia, didn't settle with the union until late 1944). In addition, for the first time Billie Holiday was treated as an artist of stature; the symbol of that stature was something that few recording artists at the time were provided - for her first sessions at Decca on October 4th, 1944, Holiday was backed by a full string ensemble. She was so overwhelmed with joy by the sight of them when she walked into the studio that day that she immediately walked out to compose herself. 'Lover Man' was the first side she and her new label cut.
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