Lady Day: The Complete Billie Holiday on Columbia 1933–1944 explained

Lady Day: The Complete Billie Holiday on Columbia 1933–1944
Type:	Box Set
Artist:	Billie Holiday
Cover:	Ladydaycolumbia19331944.jpg
Released:	October 2, 2001
Recorded:	November 1933 to January 1944
Genre:	Jazz
Length:	11:21:57
Label:	Legacy Recordings
Producer:	Michael Brooks Michael Cuscuna
Prev Year:	2001
Next Title:	A Musical Romance
Next Year:	2002

Lady Day: The Complete Billie Holiday on Columbia 1933–1944 is a 10-CD box set compiling the complete known studio master recordings, plus alternate takes, of Billie Holiday during the time period indicated, released in 2001 on Columbia/Legacy, CXK 85470.^[1] Designed like an album of 78s, the medium in which these recordings initially appeared, the 10.5" × 12" box includes 230 tracks, a 116-page booklet with extensive photos, a song list, discography, essays by Michael Brooks, Gary Giddins, and Farah Jasmine Griffin, and an insert of appreciations for Holiday from a diversity of figures including Tony Bennett, Elvis Costello, Marianne Faithfull, B.B. King, Abbey Lincoln, Jill Scott, and Lucinda Williams. At the 44th Grammy Awards on February 27, 2002, the box set won the Grammy Award for Best Historical Album of the previous year.

History

These recordings were made in a time before the LP album, introduced by Columbia Records in 1948. Recorded music had arrived a few decades earlier in the form of a 10-inch gramophone record playing at 78 revolutions per minute, two songs of around three-and-a-half minute duration per side. During the Great Depression, record sales for domestic use dramatically decrease, but a viable market remained for the playing of records in jukeboxes. Initially, these records featuring Billie Holiday were made with that market in mind.

John Hammond, who had discovered Holiday singing in a Harlem jazz club in 1933, arranged for her first recording session that same year on November 27. In the company of Jack Teagarden, Gene Krupa, and Hammond's future brother-in-law Benny Goodman, the two sides with Holiday would be released under Goodman's name. A little more than 19 months later, Holiday would be in another New York studio for her second session in association with Goodman again, as well as Ben Webster and Cozy Cole, under the leadership of Teddy Wilson. From July 2, 1935, through August 7, 1941, Holiday would regularly record, for commercial issue, 78s credited to herself or to Wilson.

With a few exceptions, these records were originally released on labels other than Columbia which catered to an African American market, then referred to as race records. The labels Brunswick Records and Vocalion Records became fellow companies to Columbia when it was purchased in 1934 by the American Record Corporation, which had owned Brunswick and Vocalion since late 1931. Records credited to Wilson were released on Brunswick; those to Holiday on Vocalion. With the purchase of ARC in 1939 by CBS, the corporation re-organized its record labels under the aegis of Columbia as the parent company. Starting in 1940, the Holiday releases were issued on the Okeh Records imprint, reactivated by CBS to handle its product for the "race record" market.

Content

Discs one through six, and disc seven tracks one through fourteen present the master takes in chronological recorded order. The remainder of disc seven, and discs eight through ten, present the alternate takes and other items, also in chronological recorded order. The other items consist of eight tracks not part of the general body of Wilson/Holiday recordings from 1935 to 1941. The first, track 15 of disc seven "Saddest Tale" with the Duke Ellington Orchestra, was taken from the soundtrack to the short film Symphony in Black released by Paramount in 1935. Disc eight, tracks three through five, contain airchecks with the Count Basie Orchestra from 1937, the only documentation of Holiday's year-long tenure as Basie's band singer. Disc nine, tracks seven and eight, feature recordings broadcast on the Camel Caravan radio variety program of January 17, 1939; with backing by the Benny Goodman Orchestra, Billie sings alongside Johnny Mercer, Martha Tilton, and Leo Watson on the second song, Mercer's "Jeepers Creepers".

The final two tracks of the set, numbers 22 and 23 of disc ten, are from the Esquire Award Winners Concert at the Metropolitan Opera, broadcast and recorded on V-Discs for distribution to servicemen overseas during World War II. Holiday had won top female jazz vocalist for 1943, and became the first African American woman to sing at the Met. "Do Nothing 'Til You Hear From Me" and "Billie's Blues," under a different title, are performed accompanied by other Esquire poll winners, Roy Eldridge, Barney Bigard, Art Tatum, Al Casey, Oscar Pettiford, and Sidney Catlett. This recording took place more than two years after the final studio session in 1941, and during the Petrillo recording ban; the AFM waived the strike terms for the recording of V-discs.

Original recording sessions took place at the following locations in New York City: at the 55 Fifth Avenue Studio on November 27, 1933; at the 1776 Broadway Studio from 1935 through January 1939; at the 711 Fifth Avenue Studio from March 1939 through June 1940; at Liederkranz Hall on East 58th Street in September and October 1940; and at Columbia Studios in their new headquarters at 799 Seventh Avenue in 1941. The producers for the original recordings included John Hammond and Bernie Hanighen, others are not known.

Significance

In terms of a collected body of work combining both influence and quality of achievement, these recordings are some of the most important in jazz history. Ranking jazz records always presents an exercise in both controversy and consternation, but certainly the Wilson/Holiday sides belong in the company of the Hot Five and Hot Sevens of Louis Armstrong, the collated set by Fletcher Henderson later called A Study In Frustration, the early Basie band on Decca, Duke Ellington's records with Ben Webster and Jimmy Blanton for RCA Victor, the Charlie Parker bebop sides for Savoy and Dial, and the Atlantic LPs by Ornette Coleman, not to mention the expanse of albums by Miles Davis and John Coltrane, together and separately.

The sessions coincide with the rise of the swing era on its way to becoming the popular music of the United States during the late Depression and war years. Chosen by Hammond, Hanighen, Holiday, or Wilson, many of the musicians present were members of the leading swing bands of the day, such as those by Ellington, Basie, Goodman, Artie Shaw, Jimmie Lunceford, and Cab Calloway, among others. Of special note are the records cut with members of the Basie band, Holiday herself hired by Basie in 1937, including his rhythm section of Freddie Green, Walter Page, and Jo Jones, along with key soloists Buck Clayton and Holiday's musical soul-mate, Lester Young. The roster of Holiday and Wilson sidemen reads like a who's who of jazz soloists from the 1930s.

As a singer, Holiday had influence on defining the style of a big band vocalist after that of Bing Crosby and her role model, Louis Armstrong. Her records appeared just as the swing era was getting underway; subsequently, singers such as Ella Fitzgerald, Frank Sinatra, Anita O'Day, and Peggy Lee, for instance, starting out respectively with the bands of Chick Webb, Tommy Dorsey, Gene Krupa, and Benny Goodman, all found inspiration in the Holiday records on Brunswick and Vocalion. Her manipulation of rhythm and length of musical phrases, allied to her ability to find emotional resonance in songs, was acknowledged publicly as a template by singers from her own era, Sinatra, Lee, Bennett, and others, and by myriad singers in later eras. As stated by Gary Giddins in the liner notes to the box set:

"When I first got to know ["A Sailboat in the Moonlight"], I thought it a fine melody with pretty chord changes and words that might be corny but didn't seem to be so bad when Lady Day delivered them. Then I chanced to find the sheet music at a Midwestern bazaar; at home, I picked out the melody with one finger and was astonished at how different it was from what Holiday sang. Until that moment, I had not fully gauged how freely imaginative her embellishments could be. By ironing out a phrase here, retarding another there, raising this note, slurring that, she transformed a hopelessly banal and predictable melody into something personal, real, meaningful."^[2]

That Sony would lavish such an expensive box for recordings originally designed for the inexpensive medium of jukebox play from six to seven decades previously stands as testament to the staying power of this body of work.

Select collective personnel

Billie Holiday – vocal
Teddy Wilson – piano
Bobby Hackett — cornet
Henry "Red" Allen, Bunny Berigan, Buck Clayton, Harry "Sweets" Edison, Roy Eldridge, Chris Griffin, Harry James, Jonah Jones, Hot Lips Page, Charlie Shavers, Cootie Williams — trumpet
Benny Morton, Dicky Wells, Trummy Young — trombone
Buster Bailey, Benny Goodman, Vido Musso, Artie Shaw — clarinet
Edgar Sampson — clarinet, alto saxophone
Tab Smith — soprano saxophone, alto saxophone
Johnny Hodges, Don Redman — alto saxophone
Benny Carter — alto saxophone, tenor saxophone
Chu Berry, Don Byas, Herschel Evans, Babe Russin, Ben Webster — tenor saxophone
Lester Young — tenor saxophone, clarinet
Harry Carney — baritone saxophone, clarinet
Margaret "Countess" Johnson, Billy Kyle, Joe Sullivan, Claude Thornhill, Sonny White — piano
Dave Barbour, Al Casey, Freddie Green, Carmen Mastren, Dick McDonough, Allan Reuss — guitar
Milt Hinton, John Kirby, Grachan Moncur, Walter Page – bass
Kenny Clarke, Cozy Cole, J.C. Heard, Jo Jones, Gene Krupa — drums

Reissue personnel

Michael Brooks – producer
Michael Cuscuna – producer
Steve Berkowitz – co-producer
Seth Rothstein – co-producer
Mark Wilder – digital remastering
Seth Foster – digital remastering
Phil Schaap – consultant
Ron Jaramillo – art direction, design
Adam Owett – art direction

Track listing

In the writer(s) column the lyricists are named first.

Disc one

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	12/18/33	Columbia 2856D	1934			2:45
2.	12/18/33	Columbia 2867D	1934			2:31
3.	7/2/35	Brunswick 7501	1935			3:01
4.	7/2/35	Brunswick 7498	1935			2:56
5.	7/2/35	Brunswick 7501	1935			2:58
6.	7/2/35	Brunswick 7498	1935			2:50
7.	7/31/35	Brunswick 7511	1935			2:55
8.	7/31/35	Brunswick 7520	1935			2:57
9.	7/31/35	Brunswick 7511	1935			2:45
10.	10/25/35	Brunswick 7550	1935			3:00
11.	10/25/35	Brunswick 7550	1935			2:42
12.	10/25/35	Brunswick 7554	1935			3:10
13.	10/25/35	Brunswick 7554	1935			3:09
14.	12/3/35	Brunswick 7577	1936			3:12
15.	12/3/35	Brunswick 7581	1935	You Let Me Down		2:52
16.	12/3/35	Brunswick 7581	1935			2:53
17.	1/30/36	Brunswick 7612	1936			3:02
18.	6/30/36	Brunswick 7702	1936			3:20
19.	6/30/36	Brunswick 7699	1936			3:17
20.	6/30/36	Brunswick 7729	1936			3:10
21.	6/30/36	Brunswick 7702	1936	Guess Who		3:08
22.	7/10/36	Vocalion 3276	1936			2:49
23.	7/10/36	Vocalion 3276	1936			2:35
24.	7/10/36	Vocalion 3288	1936			2:53
25.	7/10/36	Vocalion 3288	1936			2:38

Disc two

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	9/29/36	Vocalion 3333	1936			2:51
2.	9/29/36	Vocalion 3333	1936			3:03
3.	9/29/36	Vocalion 3334	1936			2:47
4.	9/29/36	Vocalion 3334	1936			2:59
5.	10/21/36	Brunswick 7762	1936			3:10
6.	10/21/36	Brunswick 7768	1936			3:16
7.	10/21/36	Brunswick 7762	1936			3:00
8.	10/21/36	Brunswick 7768	1936	Who Loves You?		3:13
9.	11/19/36	Brunswick 7789	1936			3:15
10.	11/19/36	Brunswick 7789	1936			3:08
11.	11/19/36	Brunswick 7781	1936			3:26
12.	1/12/37	Vocalion 3431	1937			3:02
13.	1/12/37	Vocalion 3431	1937			2:55
14.	1/12/37	Vocalion 3440	1937			3:03
15.	1/12/37	Vocalion 3440	1937			2:16
16.	1/25/37	Brunswick 7824	1937			2:49
17.	1/25/37	Brunswick 7824	1937			3:08
18.	1/25/37	Brunswick 7859	1937			2:50
19.	1/25/37	Brunswick 7859	1937			2:54
20.	2/18/37	Brunswick 7844	1937			2:59
21.	2/18/37	Brunswick 7840	1937			2:58
22.	2/18/37	Brunswick 7844	1937			2:37
23.	2/18/37	Brunswick 7840	1937			3:08

Disc three

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	3/31/37	Brunswick 7867	1937		Nick Kenny, Charles Kenny, Norman Ellis	3:05
2.	3/31/37	Brunswick 7867	1937			2:29
3.	3/31/37	Brunswick 7877	1937			3:03
4.	4/1/37	Vocalion 3543	1937			2:45
5.	4/1/37	Vocalion 3520	1937			2:36
6.	4/1/37	Vocalion 3520	1937			3:02
7.	4/1/37	Vocalion 3543	1937			2:45
8.	5/11/37	Brunswick 7917	1937			3:06
9.	5/11/37	Brunswick 7917	1937			3:15
10.	5/11/37	Brunswick 7903	1937			3:07
11.	5/11/37	Brunswick 7903	1937			3:06
12.	6/1/37	Brunswick 7911	1937	Foolin' Myself		3:00
13.	6/1/37	Brunswick 7911	1937			3:02
14.	6/1/37	Brunswick 7926	1937			3:01
15.	6/15/37	Vocalion 3593	1937			2:35
16.	6/15/37	Vocalion 3605	1937			2:49
17.	6/15/37	Vocalion 3605	1937			2:38
18.	6/15/37	Vocalion 3593	1937			2:51
19.	9/13/37	Vocalion 3701	1937			3:00
20.	9/13/37	Vocalion 3701	1937			2:32
21.	9/13/37	Vocalion 3748	1937			2:12
22.	9/13/37	Vocalion 3748	1937			2:39

Disc four

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	11/1/37	Brunswick 8015	1937			3:07
2.	11/1/37	Brunswick 8015	1937			3:19
3.	11/1/37	Brunswick 8008	1937			3:01
4.	11/1/37	Brunswick 8008	1937			3:14
5.	1/6/38	Brunswick 8053	1938			2:47
6.	1/6/38	Brunswick 8070	1938			2:50
7.	1/6/38	Brunswick 8070	1938			2:49
8.	1/6/38	Brunswick 8053	1938			3:03
9.	1/12/38	Vocalion 3947	1938			2:58
10.	1/12/38	Vocalion 3947	1938	On the Sentimental Side		3:03
11.	1/12/38	Vocalion 4029	1938			2:40
12.	1/12/38	Vocalion 4029	1938			2:23
13.	5/11/38	Vocalion 4126	1938			2:52
14.	5/11/38	Vocalion 4126	1938			2:55
15.	5/11/38	Vocalion 4151	1938			2:24
16.	5/11/38	Vocalion 4151	1938			2:48
17.	6/23/38	Vocalion 4208	1938			2:28
18.	6/23/38	Vocalion 4208	1938			2:48
19.	6/23/38	Vocalion 4238	1938			2:49
20.	6/23/38	Vocalion 4238	1938			2:06
21.	9/15/38	Vocalion 4457	1938			2:45
22.	9/15/38	Vocalion 4457	1938			2:46
23.	9/15/38	Vocalion 4396	1938			2:42
24.	9/15/38	Vocalion 4396	1938			2:21

Disc five

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	10/31/38	Brunswick 8259	1938	Everybody's Laughing		3:00
2.	10/31/38	Brunswick 8259	1938			2:44
3.	10/31/38	Brunswick 8270	1938			2:34
4.	10/31/38	Brunswick 8265	1938			3:06
5.	10/31/38	Brunswick 8265	1938			2:58
6.	10/31/38	Brunswick 8270	1938	They Say		3:10
7.	11/28/38	Brunswick 8283	1938			2:51
8.	11/28/38	Brunswick 8281	1938			2:57
9.	11/28/38	Brunswick 8281	1938			2:43
10.	11/28/38	Brunswick 8283	1938			2:53
11.	1/20/39	Vocalion 4631	1939			2:56
12.	1/20/39	Vocalion 4631	1939			2:43
13.	1/30/39	Brunswick 8314	1939			3:04
14.	1/30/39	Brunswick 8314	1939			2:58
15.	1/30/39	Brunswick 8319	1939			3:05
16.	1/30/39	Brunswick 8319	1939			2:45
17.	3/21/39	Vocalion 4834	1939			2:48
18.	3/21/39	Vocalion 4786	1939			2:55
19.	3/21/39	Vocalion 4786	1939			2:48
20.	3/21/39	Vocalion 4834	1939			2:31
21.	3/21/39	Columbia 37586	1941			3:05

Disc six

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	7/5/39	Vocalion 5021	1939	Some Other Spring		3:01
2.	7/5/39	Vocalion 5129	1939			3:13
3.	7/5/39	Vocalion 5021	1939			2:48
4.	7/5/39	Vocalion 5129	1939			2:54
5.	12/13/39	Vocalion 5377	1940			2:58
6.	12/13/39	Vocalion 5377	1940			3:04
7.	12/13/39	Vocalion 5302	1939			2:58
8.	12/13/39	Vocalion 5302	1939			2:43
9.	2/29/40	Vocalion 5609	1940			2:37
10.	2/29/40	Vocalion 5481	1940			2:57
11.	2/29/40	Vocalion 5481	1940			2:39
12.	2/29/40	Vocalion 5609	1940			2:49
13.	6/7/40	Okeh 5991	1941			3:09
14.	6/7/40	Vocalion 5719	1940			3:07
15.	6/7/40	Vocalion 5719	1940			2:54
16.	6/7/40	Okeh 5991	1941			3:04
17.	9/12/40	Okeh 5831	1940			3:08
18.	9/12/40	Okeh 5831	1940			2:39
19.	9/12/40	Okeh 5806	1940			3:10
20.	9/12/40	Okeh 5806	1940			2:34
21.	10/15/40	Okeh 6064	1941			2:53
22.	10/15/40	Okeh 6064	1941			3:15
23.	3/21/41	Okeh 6134	1941			2:55
24.	3/21/41	Okeh 6134	1941			3:17

Disc seven

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	3/21/41	Okeh 6214	1941			2:15
2.	3/21/41	Okeh 6214	1941			3:01
3.	5/9/41	Okeh 6451	1941		Roy Jacobs^[3]	3:08
4.	5/9/41	Okeh 6270	1941			2:58
5.	5/9/41	Columbia 37586	1941			2:50
6.	5/9/41	Okeh 6270	1941			3:13
7.	8/7/41	Okeh 6369	1941			3:08
8.	8/7/41	Columbia 37493	1945			2:55
9.	8/7/41	Okeh 6369	1941			3:20
10.	8/7/41	Okeh 6451	1941			3:11
11.	2/10/42	Harmony 1075	1947			2:59
12.	2/10/42	Columbia CL6163	1950			2:59
13.	2/10/42	Harmony 1075	1947			3:02
14.	2/10/42	Columbia 37493	1945			3:08
15.	3/12/35	Legacy C3K 47724	1991			2:53
16.	7/10/36	previously unreleased		No Regrets (Take 2)		2:35
17.	10/21/36	previously unreleased		The Way You Look Tonight (Take 1)		3:07
18.	10/21/36	previously unreleased		Who Loves You? (Take 3)		3:14
19.	11/19/36	previously unreleased		Pennies from Heaven (Take 2)		3:13
20.	11/19/36	previously unreleased		That's Life I Guess (Take 2)		3:18
21.	4/1/37	previously unreleased		They Can't Take That Away from Me (Take 2)		2:54
22.	4/1/37	previously unreleased		Don't Know If I'm Comin' or Goin' (Take 2)		2:45
23.	5/11/37	Columbia C3L40	1964	I'll Get By (Take 2)		3:06
24.	5/11/37	Columbia C3L40	1964	Mean to Me (Take 2)		3:05

Disc eight

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	6/15/37	Columbia CL6129	1951	Me, Myself, and I (Take 1)		2:35
2.	6/15/37	Columbia CL6163	1951	Without Your Love (Take 2)		2:52
3.	6/30/37*	Columbia C3L21	1964			3:23
4.	6/30/37*	Columbia C3L21	1964			1:50
5.	11/3/37*	Columbia C3L21	1964			2:45
6.	1/6/38	Columbia C3L40	1964	My First Impression of You (Take 3)		2:50
7.	1/6/38	Columbia 36208	1945	When You're Smiling (Take 4)		3:00
8.	1/6/38	Columbia 36335	1945	I Can't Believe That You're in Love with Me (Alternate take)		2:48
9.	1/6/38	Columbia JG34837	1976	If Dreams Come True (Take 2)		3:03
10.	1/12/38	Columbia C3L40	1964	Now They Call It Swing (Take 1)		3:04
11.	1/12/38	Columbia C3L21	1964	On the Sentimental Side (Take 1)		3:04
12.	1/12/38	Columbia JG34837	1976	Back in Your Own Backyard (Take 2)		3:14
13.	5/11/38	previously unreleased		You Go to My Head (Take 2)		2:52
14.	5/11/38	previously unreleased		The Moon Looks Down and Laughs (Take 2)		2:54
15.	5/11/38	previously unreleased		If I Were You (Take 1)		2:27
16.	5/11/38	previously unreleased		Forget If You Can (Take 1)		2:49
17.	6/23/38	Legacy C3K 47724	1991	Having Myself a Time (Take 2)		2:29
18.	6/23/38	Legacy C3K 47724	1991	Says My Heart (Take 2)		2:43
19.	6/23/38	previously unreleased		I Wish I Had You (Take 1)		2:59
20.	6/23/38	Columbia C3L40	1964	I'm Gonna Lock My Heart (and Throw Away the Key) (Take 2)		2:06
21.	9/15/38	Columbia JG34837	1976	I Can't Get Started (Take 2)		2:46
22.	9/15/38	Columbia JG34837	1976	I've Got a Date with a Dream (Take 2)		2:41

Disc nine

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	10/31/38	previously unreleased		April in My Heart (Take 2)		3:12
2.	10/31/38	Columbia C3L40	1964	They Say (Take 2)		3:03
3.	11/28/38	previously unreleased		You're So Desirable (Take 2)		2:53
4.	11/28/38	previously unreleased		You're Gonna See a Lot of Me (Take 2)		2:58
5.	11/28/38	previously unreleased		Hello, My Darling (Take 2)		2:42
6.	11/28/38	previously unreleased		Let's Dream in the Moonlight (Take 1)		2:54
7.	1/17/39*	Legacy C3K 47724	1991			2:29
8.	1/17/39*	Legacy C3K 47724	1991			3:01
9.	1/20/39	previously unreleased		That's All I Ask of You (Alternate take)		2:58
10.	1/30/39	Columbia C3L40	1964	More Than You Know (Take 2)		3:04
11.	3/21/39	previously unreleased		You're Too Lovely to Last (Take 2)		3:01
12.	3/21/39	previously unreleased		Under a Blue Jungle Moon (Take 2)		3:03
13.	12/13/39	Legacy C3K 47724	1991	Night and Day (Take 2)		3:02
14.	2/29/40	Columbia C3L40	1964	Falling in Love Again (Take 2)		2:46
15.	6/7/40	Columbia C234849	1977	Laughing at Life (Take 2)		2:54
16.	9/12/40	Columbia C3L40	1964	I'm All for You (Take 2)		3:27
17.	9/12/40	Columbia C3L40	1964	I Hear Music (Take 2)		2:39
18.	9/12/40	Columbia C3L40	1964	The Same Old Story (Take 2)		3:10
19.	9/12/40	previously unreleased		The Same Old Story (Take 3)		3:09
20.	9/12/40	Epic SN6042	1964	Practice Makes Perfect (Take 2)		2:35
21.	9/12/40	Columbia C3L40	1964	Practice Makes Perfect (Take 3)		2:42
22.	9/12/40	previously unreleased		Practice Makes Perfect (Take 4)		2:43

Disc ten

Track	Recorded	Catalogue	Released	Song Title	Writer(s)	Time
1.	10/15/40	previously unreleased		St. Louis Blues (Take 2)		2:50
2.	10/15/40	previously unreleased		Loveless Love (Take 2)		3:15
3.	3/21/41	Columbia C234849	1977	Let's Do It (Take 2)		2:56
4.	3/21/41	previously unreleased		Georgia on My Mind (Take 2)		2:59
5.	3/21/41	previously unreleased		Georgia on My Mind (Take 3)		3:05
6.	3/21/41	previously unreleased		Romance in the Dark (Take 2)		2:18
7.	3/21/41	previously unreleased		Romance in the Dark (Take 3)		2:14
8.	3/21/41	previously unreleased		Romance in the Dark (Take 4)		2:26
9.	3/21/41	Columbia C234849	1977	All of Me (Take 2)		2:59
10.	3/21/41	Columbia C234849	1977	All of Me (Take 3)		3:57
11.	5/9/41	Time-Life STL3	1978	God Bless the Child (Take 2)		2:58
12.	5/9/41	Legacy C3K 47724	1991	God Bless the Child (Take 3)		2:32
13.	5/9/41	previously unreleased		Am I Blue? (Take 2)		2:45
14.	5/9/41	previously unreleased		Am I Blue? (Take 3)		2:45
15.	8/7/41	previously unreleased		Jim (Take 2)		3:04
16.	8/7/41	previously unreleased		Gloomy Sunday (Take 2)		3:12
17.	8/7/41	previously unreleased		Wherever You Are (Take 2)		2:59
18.	8/7/41	previously unreleased		Mandy Is Two (Take 2)		2:59
19.	8/7/41	previously unreleased		It's a Sin to Tell a Lie (Take 2)		3:08
20.	8/7/41	previously unreleased		It's a Sin to Tell a Lie (Take 3)		3:07
21.	8/7/41	Legacy C3K 47724	1991	Until the Real Thing Comes Along (Take 2)		3:18
22.	1/26/44*	V-Disc 672	1948			4:58
23.	1/26/44*	V-Disc 28	1948			4:05

live recordings

Notes and References

Web site: Discogs Billie Holiday – Lady Day (The Complete Billie Holiday On Columbia) (1933-1944) . Discogs . 30 July 2021.
Giddins, Gary. Lady Day: The Complete Billie Holiday on Columbia 1933–1944. Legacy Records: insert booklet, p. 27
Web site: Billie Holiday - I'm in a Low-Down Groove Mood . Hitparade.ch.