Vocal/Piano gon oo Saha eg Kev — Fabian r Body and Soul Ff J Eom ere the Child AS colie Many Nope of YouBillie Holia 12 17 zal 26 SSSES 50 53 57 60 64 67 70 B 77 ORIGINAL KEYS FOR CONTENTS Biography Discography All of Me Billie’s Blues (I Love My Man) Body and Soul Crazy He Calls Me Easy Living Fine and Mellow A Fine Romance God Bless’ the Child Good Morning Heartache 1 Cried for You I Wished on the Moon Lover, Come Back to Me Miss Brown to You Solitude Some Other Spring Strange Fruit This Year’s Kisses The Very Thought of You You've ChangedBio graphy She is one of the most beloved singers in American history, praised by such artists as Tony Bennett, Frank Sinatra, Benny Goodman, Rosemary Clooney, Sylvia Sims, and Judy Garland. While her records swere never huge sellers in their day, most of them have remained in print ever since they were first issued. She is continually discovered and rediscovered by new generations of fans, musicians and singers, and some of her recordings are among the finest vocal performances ever made. Billie Holiday was born Ele is no evidence that they ever married, Her father, Clarence Holiday, a professional guitarist, abandoned jora Harris in Baltimore on April 7, 1915. Her parents were teenagers; there mother and child, and didn't acknowledge Billie as his daughter until she became successful. Life for Eleanora was difficult from the start. She was raped by a neighbor at the age of ten, was packed off to live with Baltimore relatives when her mother moved to New York, and soon after was sent to a home for wayward girls. In 1927, Eleanora joined mother Sadie in Brooklyn, where mother worked as a domestic and daughter (now nicknamed Billie because her mother loved the screen actress Billie Dove) also found domestic work, albeit at a Harlem brothel. Billie was briefly jailed for prostitution. ‘The owner loved jazz, and Billie heard her first Louis Armstrong and Bessie Smith records while working there. Billie later said she leaned to sing by imitating “Pops.” In 1946, she would act and sing with Armstrong in a movie called New Orleans, By her late teens Billie was singing in Harlem clubs, where talent scout and producer John Hammond heard her. Hammond was immediately taken with Holiday's sound and phrasing, and told everyone in his circle of this new singer who sounded like no one he'd ever heard. He arranged for Holiday to ‘make her fitst recordings in November of 1933 with a small group led by Benny Goodman. Hammond later hired het to sing on a series of recordings led by pianist Teddy Wilson for Brunswick. Holiday also made recordings under her own name for the cheaperpriced Vocalion label. While many of the songs ‘were pop fodder, Holiday's vocalising turned them into prized classics, and they were on hundreds of jukeboxes across the country. Hammond also put Billie together with Count Basie, another artist he discovered and promoted. Holiday toured with the Basie band during 1937, but could not record with it since she and Count Were signed to different record labels. Holiday later joined the Artie Shaw orchestra, one of the first black musicians to tour with a white ensemble. It was a daring move in the late 1930s, and Billie did not last long on the tour, although she had nothing but good things to say about Shaw in later life She returned to New York club work and recording. A breakthrough was being booked into a Greenwich Village nightclub that played to.a sophisticated auclienceOne day Billie heard a song dealing with racism in the South, She immediately wanted to record it, but was turned down by Columbia, the company that bought Brunswick and Vocalion. She complained to Milt Gabler, owner of the Commodore Record Shop on 42nd Street in New York City: Gabler owned his own record label, and got permission to record Holiday singing “Strange Fruit,” The song was immediately banned in Great Britain and many radio stations in the United States refused to play it, but it became a cult hit and was requested repeatedly by Holiday fans, ultimately co her dismay and annoyance. Gabler later became a producer at Decea Records, and one of the first things he did was t0 offer Billie a contract. Upon signing with the label, Holiday requested that a string section be added to her accompaniments, Strings were a rare luxury for jazz sessions of any type, but Gabler agreed, believing that such accompaniment would get Billic’s records the same attention as recordings by Perry Como, Frank Sinatra, and Dinah Shore. Such recordings as “Lover Man,” “No More,” “That Ole Devil Called Love,” and “Good Morning Heartache” date from this period. Most historians agree that her five years with Decea (1944-49) were her strongest vocally. She achieved national fame in the yeats after World War I. Unfortunately, Holiday's drug addiction and her stormy relationships and marriages took their coll on. the singer’s voice and personal life. She spent most of the year 1947 in jail. When she Was released, she was unable to sing in New York clubs due to the loss of her cabaret license, but she toured extensively, her fame boosted by calamity. Impresario Norman Grane added her to his “Jazz at the Philharmonic” tour packages, and recorded her for his Clef and Verve labels during the 1950s. Her voice continued to deteriorate, but performances such as the 1956 Carnegie Hall “comeback” concert were well-publicized and major musical events. She wrote her autobiography, Lady Sings the Blues, with the help of ghostwriter Bill Dufty. While it brought her a burst of celebrity, those who knew the éal story of Billie Holiday knew the book to be mostly fiction. (The film based! on the book, starring Diana Ross, Billy Dee Williams and Richard Pryor, was even more fictionalizeds staunch Holiday fans were outraged by the movie.) (On Mag 31, 1959 Holiday collapsed in her New York apartment and was brought to Metropolitan, Hospital. Police found heroin in her sick room and she was placed under arrest even when severely ill She tiever recovered, and died on July 17, 1959. Holiday left an enormous legacy of hundreds of studio and live performances of rare artistry. Her performances continue to inspire singers of all types of music. Along with Louis Armstrong, Ella Fitzgerald and Sarah Vaughn, Billie Holiday defined 20¢h century vocal jaz2 for all time.Disco graphy Except for “You've Changed,” all of the recordings transcribed in this book were originally issued as 78 RPM single records, The original release number is included in the listing below. During the 1980s, Columbia issued nine individual CDs and one boxed set of the Billie Holiday recordings owned by thar label at that time. In October of 2001, Columbia released a 10 CD complete Billie Holiday set of all of her recordings for the Brunswick, Vocalion, and Okeh labels from 1933-44. This ser is highly recommended for its much-improved sound quality, its extensive notes, and its packaging. The catalog ‘umber is CXK 85470. ‘Similiarly, all of Billie's Commodore and Decca recordings are available in complete boxed sets. ‘The Commodore sides are on Verve, and the Decca sides are on GRP. Recordings on the Brunswick label were led by Teddy Wilson, and were released under his name. Vocalion and Okeh were issued as Billie Holiday and Her Orchestra. Where available, arranger. credits are given, All of Me (3/21/41) - OK 6214 Billie's Blues: (I Love My Man) (4/8/44) - Commodore CMS 614 ‘Bady and Soul (2/29/40) — Vocalion 5481 Crazy He Calls Me (10/19/49 ~ Arr. and Cond. By Gordon Jenkins) ~ Decca 24796 Easy Living (6/1/37) — Brunswick 7911 Fine and Mellow (4/20/39) - Commodore CMS 526 A Fine Romance (7/2/35) — Brunswick 7501 God Bless’ the Child (5/9/41) - OK 6270 Good Morning: Heartache (1/22/46) ~ Decca 23676 1.Cried for You: (7/30/36) — Brunswick 7729 1 Wished on the Moon (7/2/35) - Brunswick 7501 Lover, Come Baek to Me (4/8/44) - Commodore CMS 559 Miss Brown to You (7/2/35) ~ Brunswick 7501 Solitude (2/13/47 — Arr. and Cond. by Bob Haggart) ~ Decea 23853 ‘Some Other Spring (7/5/39) ~ Vocalion 5021 ‘Strange Fruit (4/20/39) ~ Commodore CMS 526 ‘This Year's Kisses (1/25/37) ~ Brunswick 789 The Very Thought of You (9/15/38) ~ Vocalion 4457 ‘You've Clrniged (2/20/58 — Art. and Cond. by Ray Ellis) ~ Columbia CS 8048; CD: ColumbiaALL OF ME ‘Words and Music by SEYMOUR SIMONS ‘and GERALD MARKS Moderately (2-2) bp k F by buy G) Oe cabo 6 Dm Ao ast bo pps Can't you see Ceoyig. 8 by ara seGm? Gbmairyp> chisust Fajr cabo bart.) rest. | Ne. ‘Tocoin" bs Bbm6 ea tI 3 = CTsust a F Dm cis, DS. al Coda min o cuba F NC. G59 F5BILLIE’S BLUES (I Love My Man) ‘Words and Music by BILLIE HOLIDAY oa —— 3 = = rm oa lan if 1 conn 21955, 852 Edward. 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Dar - ting, it's = EB rand; ED, E9ts, A Bbdin 5 just don't un - der - stan. Liv - ing with you FF there's noth = ing in life but you, ____ ae BoE is ea gy liv - ing; it's Fey2 FINE AND MELLOW ‘Words and Music by BILLIE HOLIDAY 4 Medium Blues (J7=.)) My man don't love me, treats me aw oI 3 My — man, he don’t love me, treats me aw capt 10 canard Mare Mace Conpay30 os fare realbis you 3 mo cg o. But when he stars & Sr Love will ‘make you drink and gam - ble, just Tike a fa = cet you stay out all night, it tums off and érink and gam - ble stay out all night ise tl wl ums off andLove will make you that you know lweat_ me right, ba - by, Fr Bb, you eat -me igh ba - by,T know you're gon - na drive copa Some it has twmed off__ and But, way when you ce to me, ba -A FINE ROMANCE Words by DOROTHY FIELOS to Music by JEROME KERN Moderately Fast (=) 3) F Gm FA 8b Baim? F Dm opin oso A cn Uo -Poycam enonlmatig.n—— sm inamatna Cop sesea Al tgnrseenee35 Abi ons co cou = ple of hot seal inthe Arcpants! have = n't gota chance ney = er get the chance. —38 GOD BLESS’ THE CHILD Words and Music by ARTHUR HERZOG JR. ‘and BILLIE HOLIDAY Moderately slow (JJ) ) Bb6 FIA. Fa, a eS ~y om? ome Boma) Bb9 B59 Boma Bb9 bes ma ae ee ~ ‘Them that’s got____shall___ get, them that’s got stall lose, — tyr Fn ee ebmai? ble said and it still Ma = ma may have bebe r Ebms hyp cro cmt P + pa may have, the child that’s got his own, — r r Conroy ond sternatr copyrgn seatBhs “7 bmi? Gpen Fob FD cn_OwF Bbmajp bo Ebay Bbmajo Bb9 B69 Fm bo. cin A as a strong—— gets more while the weak ones fade. Emp Fm Bo Bho Bbmaj? Ebm6 Ma - ma may — have, pa pa may have, arr - Bhp cbs cm BP Bo but God bless’ the child that's got his own,o BmtbS = E7 = Am7bS_— DT Gm Gm(maj?) Gm G6, cia you got y fends, — Dm Em7 AT DT#s(b9) Gm ‘Gmnimaj7) <7 they don’t come no more. — Bbmsjy bo EbGo Bbmaj Bho Bb Fm Bo Bo re = la = tions give, but don’tFm B9BbT Ebmaj? Ebmé take too much, — ‘but God bless’ the child that's got his. own, Ass Abs G9 FASB Bb6 a9 Abo 6 m7 Fao FS BbG .a GOOD MORNING HEARTACHE Words and Music by DAN FISHER, IRENE HIGGINBOTHAM and ERVIN DRAKE Am Bm? E79 Am(maj7) dim? BnyA —Adim7 Amé6 m7 = you old gloom - y sight said good - bye last Em? Gm Fm? Em? r r Cerio oma soya a carne tgs on bel ef Seri Tunes ieee SAY Man Planing 8 Mui Sete West Ns 137203 nro Copeshe caudal gts3 Eno atts) ms bo with the dav, Am? Am Dm? but you're here Daj? Featbs Bo Eno on a Tt seems I met you when my love went a= way. Now ev - ty day I start by_ Fam? Fm? m9 . Ames D = Er > — sy - ing to you: “Good mom ~ ing heart - ache, what'sStop haunt = ing me now. Can't shake you no Bmaj? B6 = AmajT Just leave Bom? Bb? Am br Am? Amé Mon - day blues straight through Sun - day blues. Good mom - ing heart - ache, e ——— Dm? Daj? Fhntbs Bibo Ir here we go a - gain Good mom - ing heart - ache, you're the one who knew me whenTo Coda Em9 3 Gm Feat : Fay Emo ebT Might as well get used 10 you Good mom - ing heart - ache, sit Dini? Dm? Ea/A sc) Gaaj?—_- PS. Coda Emo Ab D Gm9(maj7) Dmajt| CRIED FOR YOU ‘Words and Music by ARTHUR FREED, ‘GUS ARNHEIM and ABE LYMAN NC. rts c ATBbdima? ca baimiyF heart —— yet just B Adimt/C D bit Gs Em? found450 | WISHED ON THE MOON Words and Musi by DOROTHY PARKER ind RALPH RAINGER eb? bdim7/A Abms EbG chr 3 Bb ByBb Bb eb Bb7b9. eb Edi? — ee Wished onthe moon bot some - thing 1 nev - er knew Bb Bypb Bb Bb Bbibo, eb phe * 7 wished on the moor for more than 1 ev ee ‘Soatesecres ahahst oa Fr Bb7 Bb7 Ab pril day Ams Bb? ports eb Ein? Bb Bp begged on the stars___ Bb & Bb7b9) Bb Edin? Bb Byp> to throw me a beam —or___ two,52 Bb kb Bbtb9 Bb bo o Fr —— and asked for a dream Bb? 7 Ab Abms aim? lFe eve Ab Adim7 Ebb Eb33 LOVER, COME BACK TO ME Lyrics by OSCAR HAMMERSTEIN I os ‘Music by SIGMUND ROMBERG Moderately Fast Swing (=) be abo eb 3 and sos, you've. gone any Tt = de thinga= long with you.Fm6 Fibs Ebm/G> ‘And while I'm wait - ing D> Bom Eb Ab Db por o> bmn heart of mine sing - ing, CODA57 MISS BROWN TO YOU Words and Music by LEO ROBIN, RICHARD A. WHITING and RALPH RAINGER ‘Moderately Fast (7 = J) NC of Who? ya think is com You'll nev ~ er guess the lov -a~ ble, hug - a ble Miss — Brown to err My heay -en is Ceoyroh © 103 Renee 96 by Fama Me Caporatan AAP) ‘Ramat Copan cura AlgheReseanssee's send = ing me Em - ‘ly Brows, BbTous4 eb bo Miss — Brown to Ab6 a a lle yale don't you all get 00 fa-mil - iar! Why do you think she’s. com - in’ to town?wait and you'll the Gt cots FT i BbToust to you Bb ares cs rr 59 BbT lov = a= ble, lit de Miss Brown eb Bb abs EbSOLITUDE ‘Words and Music by DUKE ELLINGTON, EDDIE De LANGE and IRVING MILLS aba? Abmaj7#s Fo Bbmé_—_ Bom? Gb —— rs cm? DT Dbmaj7 FIb9. Bom, ‘dim? Ab, Gaim, Abmaji3 Tas or te mel ide he OS Conley EM ns Aone, ch ane Ware ros Peston in) fester Copia saad Shapesot Bb Ama? , Bb cm? pbmt Bis 3 ribo Bone, Adinst § Dba bs Dain Ia abo co There's no _ one. Dra A Daim? Aboe> Abe Fim Bom? EbTouss EDT rs, 3 Abmast Bb? cnt a ———6 Dbmait By A ‘Tocuta a Bom A? Abmaj? Bb? back my love, DS. al CodaSOME OTHER SPRING Words and Music by ARTHUR HERZOG, Jr. ‘and IRENE KITCHINGS. Moderately (22=. 2) ab EB ab Eye ab 5 Cave 3 5 r of Bb? ebrés(Ho) ab eb7ts cmtbs Fo Some— oth - er— spring Tn wy to Iove,— Instrumental a Bom? Bhxtbs 9 7 Abo Go) abo Now, I still cling to fresh when worn, left oe bm hobs: Bb Abdim? — Ebnych Ebrts oh © 198 Ed6 Ab ports ccmtbs Fhe, Bom? Bbm7bs oth - er — spring when wi light — falls, will the night — brings a BD Bb AbI3 GT Gh Chay Bom = Db Gaim 5 — 2 oe Not your kind but ech BbT Gm Fem? Fm Bul —: = love is blind = shine’s a= round — me, Tnstrumental ends — Gm FeaimT Fm? bis Cm? ries Bbs —abi3-_ Gas Seep in my heart — rs once you found me,Ghobs FS by brs Ab Ebrts ea fold twice? cmtbs bo bm? Bhmrbs a Bb? will. my hear wake, stir - ring to sing love's ‘ma - gic mus - ic? for - get the Freely Abs Ebés mobs Bots Ab6 bo bs. Abs find Jove in. some othSTRANGE FRUIT ° Words and Music by LEWIS ALLAN Slow Ballad Bom cist) 7 Bbmé—Bbm Bbm or Py Bbms = South ~ ern tres bear a strange — fut Blood on the leaves cbr F cmtbsyEb cmtbs ¥ BbmjBb Ares bmyab Amt/G E 5 Sirange fruit hang. - ing apn © 190 Edad. Maa Mae ComBhm/F ebm = BbnyDb cr8s(Ho) pits Boas Bbm nm Bbm At Bomyab Gaim Ghabs wm ‘The bulg - ing eyes and the twist - ed mouth Bbm bo bm Bo Bhm/Db cobs ‘Scent of —_ mag - no ~ tia of° oh Fr Bbm or FD = - bborm = ing — Here isa fruit for the crows to pluck, bm6 Bhmoc bmyBb arts Freely Bomyab Ne. Daim bmi Bobs Bbms or Fr Bbm6 a strange1m THIS YEAR’S KISSES from the 20th Century Fox Motion Picture ON THE AVENUE Words and Music by IRVING BERLIN G Gaim Amt cmt Gmayr Bhai? An D7 G Gbaimt Disusd/A, pr Disuss/A D G Gaim? Dosuss/A D7 Cong 887 rg en Inwinsonsl coy Ai Ri Rsenesn G chain Disust/A br Disuss/A br G Gonaj7 a Mis - ter Moonn chain? Drsus4/A br Drsus4/A brTHE VERY THOUGHT OF YOU)” Words and Music by RAY NOBLE Moderately slow ({2= 42) thought of the fit’ de of _ os edi mary things that ev - ‘ry one ought 10 do.Fe Br AbT B rem Bras that's ev f ‘The long - ing here forEby 7818 Fem E thought my dove, copa Fe B7as DS. al Coda i's just the Br Baim? Braust Brbs 6/9 Ww thought of \ thought of you my__ E a E Gtm Gm Fem FB EBrsust Asus YOU'VE CHANGED 7 Words and Music by BILL CAREY ‘Moderately Slow( =. 2') ‘and CARL FISCHER GB 4 maj? = You've changed, Bo ; Gaya tbs Disust DB = less yawn,Ab @ maj? by Bbmajy ADT? Abmaj? G7 You're break-ing my heart. You've changed You've changed. Your kiss - es now are 30 AB ATb9ib13) bo ccan't___ un = der - stand, you've changed. You've for-mt Hobs Fup each mem = 0 = ry that_we've Fag cna? atbotts) Dm? + @ you ev = er cared. — 3 You're not the80 To Coda GnyBb Adsust Ano, Disusd ba No need 10 tell me that we're through, DS. al Coda ‘Dbi3 oo Cmaj7 Bbmaj7 Fert se oo Ws all__ 0 ver now. You've changed, You've for ~ DA Dist DB Abi a cna po cmap You've changed,