Billie Holiday Lady in Satin Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Billie Holiday Lady In Satin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Lady In Satin Country: US Released: 1963 MP3 version RAR size: 1233 mb FLAC version RAR size: 1567 mb WMA version RAR size: 1281 mb Rating: 4.6 Votes: 321 Other Formats: AC3 TTA AUD WAV APE MPC AA Tracklist A1 I'm A Fool To Want You A2 For Heaven's Sake A3 You Don't Know What Love Is A4 I Get Along Without You Very Well A5 For All We Know A6 Violets For Your Furs B1 You've Changed B2 It's Easy To Remember B3 But Beautiful B4 Glad To Be Unhappy B5 I'll Be Around B6 The End Of A Love Affair Credits Arranged By, Conductor – Ray Ellis Liner Notes – Irving Townsend Photography By – Arnold Newman Trombone [Solo] – J.J. Johnson (tracks: A4, A6, B1, B4), Urbie Green (tracks: A1, B2, B6) Trumpet [Solo] – Mel Davis (tracks: A3, B3) Barcode and Other Identifiers Matrix / Runout (Side 1): XLP 43015-1D Matrix / Runout (Side 2): XLP 43016-1A Other versions Category Artist Title (Format) Label Category Country Year Billie Holiday With Billie Holiday Ray Ellis And His With Ray Ellis CL 1157 Orchestra - Lady In Columbia CL 1157 US 1958 And His Satin (LP, Album, Orchestra Mono) Billie Holiday Billie Holiday With With Ray Ellis Ray Ellis And His TFL 5032 Fontana TFL 5032 UK 1958 And His Orchestra - Lady In Orchestra Satin (LP, Album) Billie Holiday Billie Holiday With With Ray Ellis Ray Ellis And His PC 8048 Columbia PC 8048 US Unknown And His Orchestra - Lady In Orchestra Satin (LP, Album, RE) Lady In Satin (CD, Columbia, CK 65144 Billie Holiday CK 65144 US 1997 Album, RE, RM) Legacy Billie Holiday With Billie Holiday Ray Ellis And His With Ray Ellis Orchestra - Lady In 88875076132 Columbia 88875076132 Europe 2015 And His Satin (The Centennial Orchestra Edition) (3xCD, Album, RE, RM) Related Music albums to Lady In Satin by Billie Holiday Billie Holiday, Teddy Wilson And His Orchestra - Billie Holiday And Teddy Wilson Billie Holiday - Billies Blues, The Original Recordings By Billie Holiday Billie Holiday - Billie's Blues (The Original Recordings By Billie Holiday) Billie Holiday - Billie Holiday Sings Billie Holiday - The Billie Holiday Songbook Billie Holiday - Lady In Satin Billie Holiday - Last Recording Billie Holiday / Ray Ellis And His Orchestra - Lady In Satin.

Copy Link

Recommended publications

Psaudio Copper
Issue 142 AUGUST 2ND, 2021 Is there a reader among us who doesn’t dig ZZ Top? We mourn the passing of Joseph Michael “Dusty” Hill (72), bassist, vocalist and keyboardist for the tres hombres. Blending blues, boogie, bone-crushing rock, born-for-MTV visuals, humor and outrageousness – they once took a passel of live animals on stage as part of their 1976 – 1977 Worldwide Texas Tour – Hill, drummer Frank Beard and guitarist Billy F. Gibbons have scorched stages worldwide. As a friend said, “it’s amazing how just three guys could make that much sound.” Rest in peace, Mr. Hill. In this issue: Anne E. Johnson gets inspired by the music of Renaissance composer William Byrd, and understands The Animals. Wayne Robins reviews Native Sons, the superb new album from Los Lobos. Ray Chelstowski interviews The Immediate Family, featuring studio legends Waddy Wachtel, Lee Sklar, Russ Kunkel and others, in an exclusive video interview. I offer up more confessions of a record collector. Tom Gibbs finds much to like in some new SACD discs. John Seetoo winds up his coverage of the Audio Engineering Society’s Spring 2021 AES show. Ken Sander travels through an alternate California reality. WL Woodward continues his series on troubadour Tom Waits. Russ Welton interviews cellist Jo Quail, who takes a unique approach to the instrument. In another article, he ponders what's needed for sustaining creativity. Adrian Wu looks at more of his favorite analog recordings. Cliff Chenfeld turns us on to some outstanding new music in his latest Be Here Now column.
[Show full text]
Downbeat.Com January 2016 U.K. £3.50
JANUARY 2016 U.K. £3.50 DOWNBEAT.COM DOWNBEAT LIZZ WRIGHT • CHARLES LLOYD • KIRK KNUFFKE • BEST ALBUMS OF 2015 • JAZZ SCHOOL JANUARY 2016 january 2016 VOLUME 83 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ŽanetaÎuntová Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Baxter Barrowcliff ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sam Horn 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York:
[Show full text]
Selected Discography
Part 1 of Selected Discography Milt Hinton as Leader or Co-leader Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. It is estimated that between 1930 and 1995, Milt Hinton performed on more than nine hundred jazz record sessions. He made at least as many records, especially during the ’50s and ’60s, that featured hundreds of non-jazz performers, as well as countless jingles and film and television soundtracks. Specific and comprehensive information about Hinton’s recordings outside of jazz is nearly impossible to obtain. A partial list of non-jazz performers with whom he recorded includes: Paul Anka, Pearl Bailey, Harry Belafonte, Tony Bennett, Brook Benton, Archie Blyer, Teresa Brewer, Diahann Carroll, the Clancy Brothers, Nat King Cole, Perry Como, Sam Cooke, Bing Crosby, Vic Damone, Bobby Darin, Sammy Davis Jr., the Drifters, Percy Faith, Eddie Fisher, Connie Francis, Judy Garland, Jackie Gleason, Arthur Godfrey, Eydie Gormé, Skitch Henderson, John Lee Hooker, Lena Horne, Langston Hughes, Mahalia Jackson, Jack Jones, Frankie Laine, Steve Lawrence, Guy Lombardo, Johnny Mathis, Paul McCartney, Bette Midler, the Mills Brothers, Mantovani, Willie Nelson, Patti Page, Leontyne Price, Leon Redbone, Della Reese, Debbie Reynolds, Frank Sinatra, Kate Smith, Barbra Streisand, Sonny Terry and Brownie McGhee, Bobby Vinton, Dionne Warwick, Roger Williams, Jackie Wilson, and Hugo Winterhalter. The recording location is the New York City area unless otherwise noted. CDs have the same title as the LPs unless otherwise noted. [MH comp] indicates that Hinton was the composer or co-composer of a piece.
[Show full text]
Billie Holiday: a Biography
Billie Holiday: A Biography Meg Greene Greenwood Press BILLIE HOLIDAY Recent Titles in Greenwood Biographies Jane Goodall: A Biography Meg Greene The Leakeys: A Biography Mary Bowman-Kruhm Arthur Ashe: A Biography Richard Steins Cesar Chavez: A Biography Roger Bruns F. Scott Fitzgerald: A Biography Edward J. Rielly Saddam Hussein: A Biography Shiva Balaghi Tiger Woods: A Biography Lawrence J. Londino Mohandas K. Gandhi: A Biography Patricia Cronin Marcello Muhammad Ali: A Biography Anthony O. Edmonds Martin Luther King, Jr.: A Biography Roger Bruns Wilma Rudolph: A Biography Maureen M. Smith Condoleezza Rice: A Biography Jacqueline Edmondson Arnold Schwarzenegger: A Biography Louise Krasniewicz and Michael Blitz BILLIE HOLIDAY A Biography By Meg Greene GREENWOOD BIOGRAPHIES GREENWOOD PRESS WESTPORT, CONNECTICUT • LONDON Library of Congress Cataloging-in-Publication Data Greene, Meg. Billie Holiday: a biography / By Meg Greene. p. cm. —(Greenwood biographies) Includes bibliographical references and index. ISBN 0–313–33629–6 (alk. paper) 1. Holiday, Billie, 1915–1959. 2. Singers—United States—Biography. I. Title. ML420.H58G68 2007 782.42165092—dc22 [B] 2006025382 British Library Cataloguing in Publication Data is available. Copyright © 2007 by Meg Greene All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006025382 ISBN 13: 978–0–313–33629–4 ISBN 10: 0–313–33629–6 ISSN: 1540–1900 First published in 2007 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984).
[Show full text]
JACK Dejohnette NEA Jazz Master (2112)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JACK DeJOHNETTE NEA Jazz Master (2112) Interviewee: Jack DeJohnette (August 9, 1942 - ) Interviewer: Dr. Anthony Brown with sound engineer Ken Kimery Date: November, 10-11th, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 107 Brown: Today is November 10th, 2011, and this is The Smithsonian Oral History Interview with NEA Jazz Master, percussionist, pianist, bandleader, composer, arranger, educator, and my hero, Jack DeJohnette, in his house in Silver Hollow, Upstate New York. How are you doing today, Mr. DeJohnette? DeJohnette: I'm doing great! Brown: Great, great. DeJohnette: Great. Brown: If we could start the interview by you stating your full name, full birth name, birthplace and birth date? DeJohnette: Okay. Jack DeJohnette…born in Chicago, Illinois in the county of Cook, August 9th, 1942. Brown: And if you could tell us the names of your parents. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 DeJohnette: Yeah, my mother's name was Eva Jeanette Wood and my father's name is Jack DeJohnette Sr. in that case. Brown: Oh, so you're a Jr.? DeJohnette: Yeah, I'm a Jr. Brown: No middle name? DeJohnette: No. Brown: And do you know where your parents are originally from? DeJohnette: Yeah, my mother was from Lionel, Georgia. My father was from Oak Ridge, Louisiana. Brown: And did they meet and marry in Chicago, do you know anything about that? DeJohnette: Mm-hmm.
[Show full text]
Representations of African American Women in Blues Lyrics Written by Black Women
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2007 Images and lyrics: Representations of African American women in blues lyrics written by black women Danette Marie Pugh-Patton Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the African American Studies Commons, Ethnomusicology Commons, and the Mass Communication Commons Recommended Citation Pugh-Patton, Danette Marie, "Images and lyrics: Representations of African American women in blues lyrics written by black women" (2007). Theses Digitization Project. 3235. https://scholarworks.lib.csusb.edu/etd-project/3235 This Project is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. IMAGES AND LYRICS: REPRESENTATIONS OF AFRICAN AMERICAN WOMEN IN BLUES LYRICS WRITTEN BY BLACK WOMEN A Project Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication Studies by Danette Marie Pugh-Patton December 2007 IMAGES AND LYRICS: REPRESENTATIONS OF AFRICAN AMERICAN WOMEN IN BLUES LYRICS WRITTEN BY BLACK WOMEN A Project Presented to the Faculty of California State University, San Bernardino by Danette Marie Pugh-Patton December 2007 Approved by: Date Dr. Nathan Carter ABSTRACT The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude 'Ma' Rainey, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique.
[Show full text]
Édith Piaf: a Cultural History
ÉDITH PIAF: A CULTURAL HISTORY ÉDITH PIAF A Cultural History David Looseley LIVERPOOL UNIVERSITY PRESS Édith Piaf: A Cultural History First published 2015 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2015 David Looseley The right of David Looseley to be identified as the author of this book has been asserted by him in accordance with the Copyright, Design and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available print ISBN 978-1-78138-257-8 epdf ISBN 978-1-78138-425-1 Typeset by Carnegie Book Production, Lancaster Printed in the UK by CPI Group (UK) Ltd, Croydon CR0 4YY. Contents CONTENTS Acknowledgements vii Chronology 1 Introduction 15 part i: narrating piaf 1 Inventing la Môme 27 2 Piaf and her public 45 3 A singer at war 65 part ii: piaf and chanson 4 A new Piaf 83 5 High art, low culture: Piaf and la chanson française 97 6 Ideology, tragedy, celebrity: a new middlebrow 113 part iii: afterlives 7 Losing Piaf 135 8 Remembering Piaf 153 9 Performing Piaf 171 Conclusion 185 Notes 193 References 233 Index 243 v For my granddaughter Elizabeth (Lizzie) Looseley-Burnet, with love Acknowledgements Acknowledgements would like to express my gratitude to the following, who in I various ways have helped me with the research for this book: Jacques d’Amboise, Ewan Burnet, Erica Burnham of the University of London in Paris, Di Holmes, Jim House, John and Josette Hughes, the late Tony Judt, Rhiannon Looseley, Bernard Marchois of the Musée Édith Piaf, Sue Miller, Cécile Obligi of the Bibliothèque nationale’s Département des arts du spectacle, Cécile Prévost-Thomas, Keith Reader, Philip Tagg, Florence Tamagne and Vera Zolberg.
[Show full text]
Dennis M. Drake Compact Disc Mastering Credits-Polygram Group of Labels
DENNIS M. DRAKE COMPACT DISC MASTERING CREDITS-POLYGRAM GROUP OF LABELS Artist Title Product # Allman Brothers Band “Dreams” 4 CD Set 839417-2 “Beginnings” 827588-2 “Brothers and Sisters” 825092-2 “Live at the Ludlow Garage” 843260-2 “Wipe the Windows, Check the Oil, Dollar Gas” 831595-2 “Win, Lose or Draw” 827586-2 “At the Fillmore East” 2 CD Set 823273-2 Gregg Allman Band “Playin’Up a Storm” 831942-2 “Laid Back” 831941-2 Duane Allman “An Anthology” 831444-2 Louis Armstrong and “Louis Armstrong Meets Oscar Peterson” 825713-2 Oscar Peterson Fred Astaire “The Irving Berl-in Songbook” 829172-2 Bee Gees “Tales from the Brothers Glibb” 843912-2 4 CD Set 843913-2 “A History in Song 1967-1990 843914-2 843915-2 Chuck Berry “Concerto in B Goodell 836074-2 “From St. Louie to Frisco” 836073-2 “Chuck Berry in Memphis” 836071-2 “Live at FillmoreAuditorium” 836072-2 “Chuck Berry’s Golden Hits” 826256-2 Arthur Brown “The Crazy World of Arthur Brown” 833736-2 James Brown “CD of JB” 825714-2 ”CD of JB II’ 831700-2 “Motherlode” 837126-2 “Roots of a Revolution” 2 CD Set -2 “Startime” 4 CD Set 849108-2 Eric Burdon “Star Portrait” 2 CD Set 825231-2 Kenny Burrell “For Charlie Christian and Benny Goodman” 831087-2 Betty Carter “The Betty Carter Album” 835682-2 “The Audience With Betty Carter” 835684-2 2 CD Set Eric Clapton “Crossroads” 4 CD Set 835268-2 11461 Ocean Boulevard” 811697-2 “There’s One in Every Crowd” 829649-2 “No Reason to Cry” 813582-2 “Another Ticket” 827579-2 “Backless” 813581-2 “Eric Clapton” 825093-2 “E.C.
[Show full text]
New World Records
New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org When Malindy Sings Jazz Vocalists: 1938 -1961 New World NW 295 he question of who is and who isn't a jazz Some would just as soon do away with the T singer is perplexing. It's easy enough to note term “jazz singer” completely, claiming that it is those characteristics that separate the jazz singer misleading and confusing. And there are singers from, say, the singer of lieder—the subtler who, although they at least partly follow a jazz changes in inflection, the greater rhythmic loose- approach in tone quality, phrasing, and rhythm, ness, the more flexible tonal quality—but making shun the use of the word to describe themselves the distinction between “jazz” and “popular” out of fear it will limit their audiences. singing is trickier. The easiest way to make the distinction The problem is part of the identity crisis that between popular and jazz singers is to note that jazz has been having for years. On the one hand, although virtually all American popular singers jazz is a “popular” music—it was nurtured in from Crosby (1904-1977) on have been in- dance halls, it is performed in nightclubs, its fluenced by jazz, some (Crosby, Frank Sinatra, repertoire has always been heavily stocked with Peggy Lee) have used jazz elements in creating the popular songs of the past and the present. what is essentially a less inventive, more accessi- On the other hand, it is a “serious” music, far ble style, while others (like the artists in this col- more so than most popular music, much of lection) are more adventurous, their style closer which is ephemeral by nature.The jazz musician to the improvisational approach of a jazz instru- is committed to improvisation as a means of mentalist.
[Show full text]
Louis Armstrong -Portrait of the Artist As a Young Man 1923-1934
Louis Armstrong—Portrait of the Artist as a Young Man 1923-1934 Dan Morgenstern Grammy Award for Best Album Notes 1994 Columbia/Legacy Smithsonian Institution Press C4K 57176 Transcript provided by Hank Hehmsoth – National Endowment for the Arts 2019 INDEX OF RECORDINGS: for discographical reference and music commentary, see designated page next to each selection. Title Page A Monday Date ............................................................................................................................. 19 Ain’t Misbehavin’ .......................................................................................................................... 16 Alone at Last .................................................................................................................................. 10 Anybody Here Want to Try My Cabbage? .................................................................................... 07 Basin Street Blues (rec. 1928) ...................................................................................................... 20 Basin Street Blues (rec. 1933) ...................................................................................................... 33 Beau Koo Jack ............................................................................................................................... 21 Between the Devil and the Deep Blue Sea .................................................................................... 33 Big Butter and Egg Man ................................................................................................................
[Show full text]
IHCC Library Jazz CD Collection 1
IHCC Library Jazz CD Collection 1 Call No. ARTIST TITLE Style Notes 0024 various Kings of Swing Big Band Swing Basie, Goodman, Miller, etc 0025 Louis Armstrong Louis Armstrong New Orleans/Swing various groups 0026 Glenn Miller Glenn Miller Big Band Swing 0028 Count Basie Count Basie Big Band Swing rec. live 1954 0030 Ella Fitzgerald & Louis Amstrong Ella & Louis Swing rec. 1956-1957 0031 various Cotton Club Days early Swing Ellington, Calloway, Horne 0032 Sidney Bechet Sidney Bechet New Orleans/Swing rare recordings 1947-1953 0033 Fats Waller Fats Waller early Swing compilation 1923-1939 0034 Glenn Miller Glenn Miller and The Army Air Force Band Big Band Swing 0035 Artie Shaw Artie Shaw Big Band Swing compilation 1938-1941 0036 Lionel Hampton Lionel Hampton Big Band Swing compilation 1937-1938 0037 Louis Armstrong Hot Five and Hot Seven New Orleans/Chicago selections 1925-1928 0038 Tony Bennett/Count Basie Tony Bennett/Count Basie Big Band Swing/Vocal rec. 1958 0039 various The First Esquire Concert Swing Live concert w/Armstrong, Hawkins, Holiday, Tatum, others 0040 Benny Goodman Benny Goodman Trio & Quartet Swing rare recordings 1935-1936 0041 Harry James Harry James and His Orchestra Big Band Swing various selections 0042 various Smithsonian Collection of Classic Jazz various 6 CD Historical Compilation 0043 various Big Band Jazz (Smithsonian Collection) Big Band Swing 3 CD Compilation 0202 Thad Jones/Mel Lewis Orchestra The Complete Solid State Recordings Modern Big Band Volumes I-II, 6 CDs, rec. 1966-1970 0278 Wynton Marsalis & Ellis Marsalis Joe Cool's Blues Contemporary Mainstream 0284 New England Ragtime Ensemble The Art of the Rag Ragtime orchestrated ragtime classics 0299 Benny Goodman Quartet Together Again Swing rec.
[Show full text]
PLAYNOTES Season: 44 Issue: 01
PLAYNOTES season: 44 Issue: 01 Background InformatIon IntervIews & commentary author BIography Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. CONTENT ADVISORY: This issue of PlayNotes references difficult themes from Lady Day at Emerson’s Bar & Grill, including but not limited to drug and alcohol addiction, rape, prostitution, misogyny, and suicide. The issue also discusses racialized oppression, segregation, Jim Crow, police violence, slavery, and lynching.
[Show full text]