Billie Holiday Commodore Master Takes Rar

She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, 'I always wanted Bessie's big sound and Pops' feeling'), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. More than a half-century after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. The New Moon: Jam Session on 'Lover, come back to me' Concerto for Cootie: Do nothing till you hear from meĦ5. Blonde Crazy: When your lover has goneĤ5. Dancing Lady: Everything I have Is yoursĤ4.

Dames: Dames: I only have eyes for youģ7. Paris: Paris: Let's do It, let's fall in loveģ5.

Billie Holiday Commodore Master Takes Rar