Customer Reviews

The Commodore Master Takes

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The "official" amazon.com review above says that these recordings wrre made "mostly" in 1939, which is misleading; four of the tunes, among them "Strange Fruit," were recorded then, but the other twelve are from 1944. The reviewer also says that the recordings contain no traces of her later "deterioration," but I hear considerably more raggedness here than on the earlier Columbia recordings. This isn't a criticism; these sides, I think, strike just the proper blanace between the chipper just-one-of-the guys vibe of the Columbias and the sometimes oppressively tragic atmosphere of the later Verve albums.

These are small-group recordings, but the accompaniments are more low-key than on the Columbias and the instrumentalists get much less solo space. So there is nothing here akin to Holiday's relationship with Lester Young on those earlier recordings. On the other hand, the material on the Commodores is superior; she recorded only the finest standards and blues, as opposed to the hokum she was regularly forced to deal with for Columbia. As for highlights, "Strange Fruit" is a remarkable historical document, more effective as moving propaganda than as a popular song. "I Cover the Waterfront" is one of the best versions of a classic tune, and her version of "How Am I To Know?" is especially striking, as she begins her vocal with a dramatically isolated "Oh!" before beginning her mournful reading of the lyric.

A highly-recommended CD. If you prefer Billie Holiday backed by a quartet or piano as opposed to a full-scale orchestra, then this is for you. What makes this a treat is Billie's singing, which is o-so sublime. Her voice is clear, full, and flushed with melancholic phrasing, with none of the harsh tone or roughness that was to creep up in time. Put this CD in your player and be prepared to be transported to a dimly-lit cabaret room in the early '40s, serenaded by Billie's warm, sensual vocals. Some of the songs are cornerstones of the American pop catalog (i.e. I'll be Seeing You, Embraceable You...) that have been covered by other artists such as Sinatra, but Billie makes these songs entirely her own.

Billie Holiday is the most exquisite jazz vocalist of all time. Her voice was like no other, and her phrasing almost always perfect. But even when she was not perfect and her voice a bit ragged, she still had a connection with every song she sang and every song sounded like it was written for her - she could sing anything and interpret every song to fit her own unique style. This is a great CD because it compiles the music from some of Billie's best years. Her voice is top notch on this CD and the band is truly solid. She was always so much more at home with small bands. Though in my opinion not as essential as the Verve collection (Lady In Autumn), this is still a great collection and highlighting Holiday at her peak.

I am hard pressed to think of a Billie Holiday CD I have not thoroughly enjoyed. It is really hard to go wrong with her recordings.

The Commodore Master Takes has excellent songs all performed by one of the greatest songbirds ever, that masterful Billie Holiday, also known as "Lady Day." Billie could take anything and make it sound better than just about anyone else ever could; and that's truly remarkable. Billie always sang with a great deal of genuine passion; it's as if she was truly experiencing every little nuance of all the feelings conveyed by the lyrics of the songs she performs. She may have left us all too soon; but of course she lives on very well through her songs and music. The quality of the sound on this CD is pretty good considering the age of these recordings.

"Strange Fruit," one of Billie's standards, starts the CD with Billie singing her heart out; and it has a fine piano arrangement as well. Wow! "Fine and Mellow" features Billie squarely in the spotlight; her excellent diction is impressive and it enhances her performance all the more. "I Gotta Right To Sing the Blues" is very nicely done; Billie gives this the royal treatment and she sways gently to give this blues number just the right touch--excellent! I love it.

"How Am I To Know?" has Billie front and center; the quality of this track is really quite good. The music that plays certainly provides the perfect accompaniment to Billie's vocals, too. In addition, "I'll Get By (As Long As I Have You)" stuns me with its beauty; Billie delivers this like the champ she always was and always will remain! "I'll Get By (As Long As I Have You)" is quite a strong highlight of this album; I could never tire of hearing Billie perform this. The brass sounds so good as she sings, too. "I Cover the Waterfront" has a slow bluesy tempo; and listen for Billie to outdo even herself on "I'll Be Seeing You." "I'll Be Seeing You" has always been one of my favorite classic tunes and Billie does great justice to it--it's wondrous!

"Embraceable You" just doesn't get any better than it does when Billie Holiday sings it; she delves deep to make this ballad shine brighter than silver and gold combined! "Embraceable You" is a sublime Gershwin tune that Billie handles with grace and elegance; and the music is equally elegant. "As Time Goes By" was sung by Dooley Wilson in the movie "Casablanca;" and I think he would have been proud of Billie's rendition! "He's Funny That Way" is another outstanding number that Billie aces as effortlessly as if it were mere breathing--but of course we know that it really wasn't all that easy. Billie's talent always carried her through.

"Billie's Blues" is very memorable; and the album ends so very well with Billie Holiday performing "On the Sunny Side of the Street." "On the Sunny Side of the Street" sparkles bright in Billie's capable hands; and it leaves me wanting more.

I highly recommend this CD for Billie's fans. In addition, this CD is so good it's also a wonderful starter album for newcomers to Billie Holiday's incredible artistry.

This is the great (and quite possibly the greatest) Billie Holiday at her peak, singing "Fine and Mellow", "I'll Get By", "Billie's Blues", "I Gotta Right to Sing the Blues"...
I'm not such a big fan of "Strange Fruit", although I recognize and commend its political and ethical significance.
It is only a pitty the fine musicians, such as Frankie Newton on trumpet or Vic Dickenson on trombone were not put to a better use...
Billie's earlier recordings with the Prez, Teddy Wilson, Roy Eldridge and other jazz giants prove how even she can grow in good company; her late recordings, where she had very little voice left also speak for this; on Sound of jazz she delivered Fine and Mellow as fine and mellow as anything she had ever recorded, and with Ben Webster and Harry Edison, her late (and potentially sad) recordings still provide some fine music...
Still, this IS Billie at her peak; her rhythm, melody and timbre impeccable, gently swinging like no other singer...

Famous detour between Holiday's "Columbia" and "Decca" recordings, "Commodore" dared to record/release "Strange Fruit" and here is the rest.
Besides that famous protest song,the rest is as usual ultra-mellow and relaxed but not so different from what Lady did with "Columbia" - she floats through set of standards (and even re-records her own "I Cover The Waterfront") backed by small combo and is in sparkling form.
If you don't know better,you would think these are her famous small-band "Columbia" recordings.
The very next moment she would switch to "Decca" and sing with strings and backing chorus.

A highly-recommended CD. If you prefer Billie Holiday backed by a quartet or piano as opposed to a full-scale orchestra, then this is for you. What makes this a treat is Billie's singing, which is o-so sublime. Her voice is clear, full, and flushed with melancholic phrasing, with none of the harsh tone or roughness that was to creep up in time. Put this CD in your player and be prepared to be transported to a dimly-lit cabaret room in the early '40s, serenaded by Billie's warm, sensual vocals. Some of the songs are cornerstones of the American pop catalog (i.e. I'll be Seeing You, Embraceable You...) that have been covered by other artists such as Sinatra, but Billie makes these songs entirely her own.

Flawless. Billie's wonderfully melancholy voice can make even the sunny side of the street sound shady. I'm something of a jazz and blues novice, but when I heard the amazing and powerful "Strange Fruit" [a somewhat gruesome song about lynching], I knew I needed to hear more Holiday; I wasn't disappointed.

billie can sing life into any song or phrase that she pleases. she can turn the most vulgar of songs into the sweetest; the most degrading of them into the most tempting. an impossible to forget from the first time you here it voice is what billie has. shes probably one of the most if not THE most emotional singer youll ever here