Billie Holiday - All or Nothing at All
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Category: Music CD
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CD Details
Artist: Billie HolidayEdition: Music CD
CD Release Date: 1995-10-24
Music Label: Polygram Records
Soundtracks:
Music CD 1
- Do Nothin' Till You Hear from Me
- Cheek to Cheek
- Ill Wind
- Speak Low
- We'll Be Together Again
- All or Nothing at All
- Sophisticated Lady
- April in Paris
- I Wished on the Moon
- Moonlight in Vermont
- Foggy Day
- I Didn't Know What Time It Was
- Just One of Those Things
- Comes Love [Alternate Take]
- Comes Love
- Day In - Day Out
- Darn That Dream
- But Not for Me
- Body and Soul
- Just Friends [Instrumental]
- Stars Fell on Alabama
- Say It Isn't So
- Love Is Here to Stay
- One for My Baby (And One More for the Road)
- They Can't Take That Away from Me
- Embraceable You
- Let's Call the Whole Thing Off
- Gee Baby, Ain't I Good to You
Music reviews of All or Nothing at All
Music Review: Late but convincing work from Lady Day
Rating: 4 Stars
At the age in life when other great singers were at their peak (for instance Ella, Sarah, Satchmo), Billie was deteriorating rapidly: her voice was losing strength and collour... But, since the strength and the loudness were never essential for her, and the immaculate sense of tempo, rhythm and emotion lingered on, she could still muster a convincing session or two in the fifties. Some even claim that this weaker Billie actually had additional emotional acuteness (I agree only partially - at times she WAS emotionally more convincing at this stage, but too often she was just unable to deliver a chorus convincingly)
This double CD (made of three LP albums - "All or nothing at all", "Body and Soul" and "Songs for distingue lovers") is a good example of this stage in her career, but also probably the best recordings made in the period. It is full of genuinly emotional, but sometimes also ironic interpretations of great songs from Gershwin and company (Berlin, Porter, Duke...), with only one great instrumental number, recorded while the musicians waited Billie to show up ("Just Friends"; recording not issued on the original albums)...
Edison wisely sticks to the muted trumpet on many songs (too much open horn would outshine the gentle and fragile star of the sessions), but when he removes his mute it is a pleasure indeed, while Ben Webster is also reasonably restrained when compared with his own sessions. However, these two are really magnificent players (and so are the pianist Rowles, the guitarist Kessel and other musicians), capable of high degrees of emotion and providing a swinging back-up, in tune with the singers register and the general idea of the song.
Naturally, this is far from Billie's "Columbia" gems from the 30's (with Teddy Wilson, Lester Young, Buck Clayton, Webster, Benny Goodman...), or from the best of her 40's output, but since the sound is better from the technological point of view, this is a fine way to start exploring the legacy of, many would argue, the greatest singer in the entire jazz history.
And, I repeat again, I have met and read people who actually prefer her emotinally very potent late voice to the superior sounds she produced when she was at her peak... It's probably more common view among Billie's larger, not-strictly-jazz oriented following.
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