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SwingJournal #19
Velvet Mood
Artist : Billie Holiday
Original Recorded Date : August 23 & 25, 1955
Original Label : Clef MG-713 : Verve MG V-8096
Recorded Location : Los Angeles
Producer : Norman Granz
Engineer : Ralph Thorne
Prelude to a Kiss
This famous composition was written by Duke Ellington. Pianist Jimmy Rowles starts short rubato opening and Billie Holiday enters with rhythm section. Bassist John Simmons keeps in-two beat and drummer Larry Bunker responds with his brushes. Therefore we can consider this composition as a walking ballad.
Trumpeter Harry “Sweet” Edison plays the mute trumpet as obbligato behind Holiday. This composition is comprised of four eight-bar phrases in an AABA. Holiday sings in Gb. The first soloist is Benny Carter. The saxophonist, Branford Marsalis once mentioned that “the greatest saxophonist’s task would be to play behind Billie Holiday”. We all believe that he meant this to be about the three tenor saxophonists Ben Webster, Lester Young and Coleman Hawkins in the 1940’s. I will consider this Carter’s solo appearance is the same rank of these three tenor saxophonists. Carter plays all A sections and guitarist Barney Kessel plays the section B. After Carter plays the last A, Holiday returns from section B. For the head-out melody, Kessel, Carter and Edison all play obligato.
When Your Lover Has Gone :
Kessel holds wide-spread F 7 altered chords, and shows the cadence to solve to Bb major chords for Holiday to enter. As soon as she starts singing, the rhythm section picks up the tempo. They play in slow medium tempo with Edison’s obbligato. This composition is comprised of four eight-bar phrases in an ABAC. Kessel plays beautiful solo for half chorus. For some reason, Holiday returns from the top of the composition. The ensemble tries to conclude 16th measure after Holiday returns, but I can assume the cue sign while Holiday is singing which says “keep going, I am still in the middle of the composition”. She and ensemble perform another 16 measures to conclude this melancholy version of “When Your Lover Has Gone”.
Please Don't Talk About Me When I'm Gone :
Carter and Edison plays harmonized unison intro for 8 bars with rhythm section. You can find many youtube videos where Holiday sings this composition in TV broadcasting. The first soloist is Carter. By listening to Carter, you can easily tell that he is the responsible player from Johnny Hodges era to Charlie Parker. Kessel is the second soloist and he has very unique sound. His guitar amp sound reminds me of Charlie Christian’s performance. During his solo, he uses sweeping technique to go up and down on his guitar register. Kessel also uses bending technique like many blues player such as B.B.King. When Edison starts solo, you can notice that Rowles accompanies in traditional manner. This composition is comprised of four eight-bar phrases in an AABA.
Nice Work If You Can Get It :
Audio File
Download Sheet Music for George Gershwin’s “Nice Work If You Can Get It“
Solo Guitar Arrangement/Performance by Hideaki Tokunaga
I Gotta Right to Sing the Blues :
Edison plays the trumpet for 4 bars, and he is not using his mute. Holiday enters with a nice bluesy lyric. Despite of the title of the song, this composition is not blues format. This song is comprised of four eight-bar phrases in an ABAC. There are casual ensemble kicks at the end of section B. Edison keeps playing without mute behind Holiday during the melody, but he doesn’t take a solo. You can enjoy Kessel’s guitar solo between head-in and head-out melody.
What's New? :
Kessel plays rubato intro. When Holiday enters you can listen to the celeste played by Rowles. Holiday is so soulful and Rowles plays very subtle obligate behind Holiday. For this track, Kessel plays full voicing of chords as accompanist. The standard key for this composition is C major and Holiday sings in Eb. Carter plays the solo for half chorus and Holiday returns at the bridge to conclude the composition.
I Hadn't Anyone Till You :
Holiday picks up the starting note without intro. This composition is comprised of four eight-bar phrases in an ABAC. The ensemble plays in-two beats and treats this composition as asking ballade. There is no soloist on this composition. When Holiday starts singing the 2nd chorus, Rowles switches his instruments from piano to celeste. Then Kessel’s quarter note comping becomes very affective. Carter and Edison lay out on this composition and next composition “Everything I Have is Yours”.
Everything I Have Is Yours :
Kessel plays rubato solo guitar as intro to this song. Similar to “I Hadn’t Anyone Till You”, this composition is comprised of four eight-bar phrases in an ABAC. Also there are no solos. Holiday sings head-in and head-out melodies only. However how they switch comping roles are interesting. At the first chorus, Kessel plays obbligato and Rowles keeps straight a quarter beat comping. Half of second chorus, Rowles plays obbligato and Kessel plays a quarter beat comping. The second half toward ending, Kessel plays obbligato again. You will enjoy a fantastic singer with well-selected west-coast studio jazz musician.
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