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Billie Holiday 1 2 BILLIE HOLIDAY Repères biographiques 1915. Naissance le 7 avril à Philadelphie d'Eleanor (ou Eleanora) Fagan. 1920-27. Enfance difficile à Baltimore (parents peu présents, viol, séjours en maison de redressement). Découvre le jazz sur le phonographe d'un bordel. 1928-33. Arrivée à New York. Emprisonnée pour prostitution. A sa libération, commence à chanter dans les bars de Harlem. 1933. Découverte par l'influent John Hammond, qui la fait Photo : Frank Driggs collection enregistrer avec l'orchestre de Benny Goodman. 1934. Début de son amitié avec le saxophoniste Lester Young, qui la surnomme Lady Day. Elle enregistrera régulièrement avec lui entre 1937 et 1946. 1935. Enregistre avec Duke Ellington pour le court métrage Symphony in black. Choisit son nom de scène définitif : Billie Holiday. 1935-38. Nombreux enregistrements pour les filiales de Columbia, avec les formations de Teddy Wilson, Count Basie, Artie Shaw. 1939. Interprète "Strange fruit" au Cafe Society de New York. Columbia refusant de publier cette chanson controversée, elle la grave pour le label Commodore de Milt Gabler. 1944. Fin de son contrat avec Columbia. Elle retrouve Milt Gabler chez Decca, marque pour laquelle elle peut enregistrer avec un orchestre à cordes. 1946. Participe au tournage du film New Orleans, avec Louis Armstrong. 1947. Condamnation à un an de prison pour détention et consommation de stupéfiants. A sa sortie, elle n'est plus autorisée à chanter dans les cabarets. 1952. Commence à enregistrer pour le label Clef (futur Verve) de Norman Granz. 1956. Publication de son "autobiographie" Lady sings the blues, rédigée par William Dufty. 1958. Enregistre pour Columbia son dernier album : Lady in satin 1959. Mort de son ami Lester Young le 15 mars. Le 30 mai, Billie Holiday est admise au Metropolitan Hospital de New York. Alors qu'elle fait l'objet de nouvelles poursuites judiciaires pour possession de drogue, elle y décède le 17 juillet. 3 L’art, la douleur et la joie de Billie Holiday Conférence de Franck Bergerot "Figure de l’Amérique noire, icône du féminisme, tout à la fois victime et rebelle, Billie Holiday est plus qu’un personnage romanesque, plus même qu’une simple chanteuse. Elle est une musicienne de jazz à part entière qui imposa le respect aux plus grands improvisateurs par sa musicalité héritée de Louis Armstrong et Bessie Smith." (Franck Bergerot) Le conférencier Rédacteur en chef de Jazz Magazine, Franck Bergerot a collaboré a de nombreux journaux depuis ses débuts de jazz critic (Jazz Hot, Le Jazzophone, Jazzman, Le Monde de la musique). Cosignataire avec Arnaud Merlin de L’Epopée du jazz en deux volumes dans la collection "Découvertes" chez Gallimard, il est l’auteur du Jazz dans tous ses états dans la collection "Comprendre et reconnaître" chez Larousse et de plusieurs ouvrages sur Miles Davis (Miles Davis, introduction à l’écoute du jazz moderne ; Miles de A à Z ; We Want Miles, texte courant du catalogue de l’exposition à la Cité de la musique). Il a enseigné l’histoire du jazz à Paris X, au Centre d’Informations Musicales, à la Bill Evans Academy et intervient régulièrement au Conservatoire National Supérieur de Paris. Ouvrages de Franck Bergerot à emprunter dans les médiathèques de Vincennes : L'Epopée du jazz. 1 : du blues au bop/ Franck Bergerot et Arnaud Merlin. Gallimard, 1991. - 160 p. (Découvertes Gallimard). Cote: 781 BER (médiathèque). Cote: 781 JAZ (bibliothèque SUD). Cote: 781.57 BER (bibliothèque EST). L'Epopée du jazz. 2 : au-delà du bop/ Franck Bergerot et Arnaud Merlin. Gallimard, 1991. - 160 p. (Découvertes Gallimard). Cote: 781 BER (médiathèque). Cote: 781.57 BER (bibliothèque EST). Cote: 781 JAZ (bibliothèque SUD). Le Jazz dans tous ses états : histoire, styles, foyers, grandes figures/ Franck Bergerot. Larousse, 2011. - 287 p. (Comprendre et reconnaître). Cote: 781 BER (médiathèque). Miles Davis : introduction à l'écoute du jazz moderne/ Franck Bergerot. Seuil, 1996. - 188 p. Cote: 781 DAV (médiathèque). Cote: 781 DAV (bibliothèque SUD). Miles : de A à Z/ Franck Bergerot Castor Astral, 2012. - 410 p. Cote: 781 DAV (médiathèque). 4 Titres diffusés pendant la conférence Les notices discographiques sont mentionnées ainsi : Chef d'orchestre ou principal soliste : titre du morceau (origine de l'enregistrement. « Titre de l'édition qui a servi à l'écoute » Label sous lequel est diffusée l’édition utilisée, conseillée ou le plus fréquemment disponible) Personnel artistique. Duke Ellington & his Orchestra : Symphony in Black (part Two: A Triangle/The Blues) (fin 1934. Duke Ellington « The Centennial Collection » Bluebird) Film de Fred Waller produit par Paramount. Solistes : Tricky Sam Nanton (trombone), Barney Bigard (clarinette), Billie Holiday (chant). Billie Holiday et Jimmy Rowles : Everything Happens to Me (répétition à l’appartement du contrebassiste Artie Shapiro à Los Angles, le 22 août 1955. « The Complete Billie Holiday on Verve, 1949-1959 » Verve) Bessie Smith : Down Hearted Blues (séance Columbia du 16 février 1923. « The Quintessence » Frémeaux) Bessie Smith (chant), Clarence Williams (piano). Louis Armstrong : West End Blues (séance Okeh du 28 juin 1928. « The Complete Hot Five and Hot Seven Recordings » Frémeaux) Louis Armstrong & his Hot Five: Louis Armstrong (trompette, chant), Fred Robinson (trombone), Jimmy Strong (clarinette), Earl Hines (piano), Mancy Carr (banjo), Zutty Singleton (batterie). Fletcher Henderson : Hot and Anxious (séance Columbia du 19 mars 1931. « The Chronogical, 1931 » Classics) Fletcher Henderson Orchestra, avec Clarence Holiday (guitare). Ethel Waters : Travlin’ All Alone (séance Columbia du 11 juillet 1929. « The Chronogical Ethel Waters, 1929-1931 » Classics) Ethel Water (chant), Frank Signorelli (piano) + cordes. Billie Holiday : Trav’lin’ Alone (séance Vocalion du 13 septembre 1937. « Complete Edition, Volume 4, 1937 » Masters of Jazz) Billie Holiday (chant, direction), Buck Clayton (trompette), Buster Bailey (clarinette), Lester Young (sax ténor), Claude Thornhill (piano), Freddie Green (guitare), Walter Page (contrebasse), Jo Jones (batterie). Benny Goodman : Your Mother’s Son-in-Law (séance du 27 novembre 1933. Billie Holiday « Complete Edition, Volume 1, 1933-1936 » Masters of Jazz) Benny Goodman and his Orchestra : Charlie Teagarden, Shirley Clark (trompette), Jack Teagarden (trombone), Benny Goodman (clarinette), Arthur Karle (sax ténor), Buck Washington (piano), Dick McDonough (guitare), Artie Bernstein (contrebasse), Gene Krupa (batterie), Billie Holiday (chant), Dean Kincaide (arrangement). Teddy Wilson : Eeny Meeny Miney Mo (séance Brunswick du 25 octobre 1935. Billie Holiday « Complete Edition, Volume 1, 1933-1936 ») Roy Eldridge (trompette), Benny Morton (trombone), Leon « Chu » Berry (sax ténor), Teddy Wilson (piano, direction), Dave Barbour (guitare), John Kirby (contrebasse), Cozy Cole (batterie), Billie Holiday (chant). Helen Forrest : I Cried for You (musique du film de Bathing Beauty à Hollywood le 14 juillet 1943. « Les Grandes Chanteuses swing, 1936-1952 » Frémeaux) Helen Forrest (chant) avec Harry James & his Orchestra. Teddy Wilson and his Orchestra : I Cried for You (séance ARC Brunswick du 30 juin 1936. Billie Holiday « Complete Edition, Volume 1, 1933-1936 » Masters of Jazz) Jonah Jones (trompette), Johnny Hodges (sax alto), Harry Carney (sax baryton), Teddy Wilson (piano), Lawrence Lucie (guitare), John Kirby (b), Cozy Cole (batterie), Billie Holiday (chant). Billie Holiday : Billie’s Blues (séance Vocalion du 10 juillet 1936. « Complete Edition, Volume 2, 1936-1937 » Masters of Jazz) Billie Holiday (chant), Bunny Berigan (trompette), Artie Shaw (clarinette), Joe Bushkin (piano), Dick McDonough (guitare), Pete Peterson (contrebasse), Cozy Cole (batterie). Billie Holiday : Billie’s Blues (I Love My Man) (séance Commodore du 8 avril 1944. « The Commodore Master Takes » Commodore /GRP) Billie Holiday (chant), Eddie Heywood (piano, direction), John Simmons (contrebasse), Sidney Catlett (battterie). 5 Billie Holiday : Billie’s Blues (I Love My Man) (concert au Carnegie Hall du 10 novembre 1956. « The Complete Billie Holiday on Verve, 1945-1959 » Verve) Billie Holiday (chant), Buck Clayton (trompette), Tony Scott (clarinette), Al Cohn (sax ténor), Carl Drinkard (piano), Kenny Burrell (guitare), Carson Smith (contrebasse), Chico Hamilton (batterie). Teddy Wilson : I’ll Never Be the Same (séance Brunswick du 1er juin 1937. Billie Holiday & Lester Young « Lady & Pres, 1937-1941 » Frémeaux) Buck Clayton (trompette), Buster Bailey (clarinette), Lester Young (sax ténor), Teddy Wilson (piano), Feddie Green (guitare), Walter Page (contrebasse), Joe Jones (batterie). Billie Holiday : Strange Fruit (séance Commodore du 20 avril 1939. « The Commodore Master Takes » Commodore /GRP) Billie Holiday (chant), Frankie Newton (trompette), Tab Smith (sax alto), Kenneth Hollon, Stan Payne (sax ténor), Sonny White (piano), Jimmy McLinn (guitare), John Williams (contrebasse), Eddie Dougherty (batterie). Billie Holiday : Don’t Explain (séance Decca du 8 novembre 1944. « The Quintessence, 1935-1944 ») Billie Holiday (chant) + Toots Camarata and his Orchestra : Russ Case (trompette), Hymie Schertzer, Larry Binyon, Paul Ricci (anches), Dave Bowman (piano), Carl Kress (guitare), Haig Stephens (contrebasse), Johnny Blowers (batterie). Billie Holiday : What a Little Moonlight Can Do (séance Verve du 14 avril 1954. « Billie Holiday » Cabu/Masters) Billie Holiday (chant), Charlie Shavers (trompette), Oscar Peterson (piano), Herb Ellis (guitare), Ray Brown (contrebasse),
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