Departing somewhat from our past discussions on the history of Rock ‘n’ Roll, this time around, we’ll be taking a look at the life and music of a jazz legend—the inimitable Ms. Billie Holiday, whose unmistakable style you may associate with such classics as

Born Eleanora Fagan Gough on April 7, 1915 in Baltimore, MD (Some sources indicate that Philadelphia was her place of birth.), much about her early years is yet unknown; but one thing is for certain—she was no stranger to life’s vicissitudes. Her father, a teenage guitarist named Clarence Holiday, never married her mother, Sadie Fagan, and deserted them shortly after little Eleanora’s birth. Holiday’s mother, perhaps because of her own youthfulness (She was just a teenager, herself, when she gave birth.), would often leave her daughter with rather uncaring relatives. At age 10, she was raped by a neighbor. The neighbor was jailed, but the law, acting on the “old school” notion that women somehow are at fault in rape cases, had her admitted to a Catholic home for wayward girls. Although she was sentenced to remain there until adulthood, a family friend managed to get her released after just two years. In 1927 she and her mother moved, first to New Jersey, then later to Brooklyn, NY.

In the “Big Apple” young Eleanora helped her mother with domestic work, but the need for additional income made her succumb to the lure of the easy money an attractive girl could earn as a prostitute. Legend has it that her singing career began in 1933 when a disastrous dance audition prompted her pianist to ask if she could sing. But it has been documented that she was performing professionally as early as 1930 on a job at a small club in Brooklyn. Adopting the stage name, “Billie Holiday” (in honor of film star, Billie Dove),within a year she moved to a Harlem jazz club called Pod’s and Jerry’s. But it was while working at Monette’s, another Harlem club that she was discovered by record producer, John Hammond. Under Hammond’s supervision, and with the assistance of band leader, Benny Goodman, Billie Holiday’s first commercial recording, “Your Mother’s Son-In-Law” was made on Nov. 27, 1933. (Oddly, the hook line in this song, depicting an eager bride-to-be, is actually, My Mother’s Son-In-Law!)

During a year-long hiatus from the recording studio she was entrenched in the New York jazz club scene. After a debut at the Apollo Theater, and a brief appearance in a film short with Duke Ellington she returned to the studio along with pianist Teddy Wilson, and recorded several Tin Pan Alley tunes.

In 1935 Holiday signed with Louis Armstrong’s manager, Joe Glaser, and shortly afterwards, she toured with the likes of Fletcher Henderson and Count Basie. One Basie-ites, tenor saxophonist Lester Young (who bestowed the moniker, “Lady Day” on her) took an interest in Holiday, and recorded with her during the late 1930’s.

After her stint with Basie, she joined clarinetist Artie Shaw, where she made history as one of the first black female vocalists to sing with a white group. However, unable to endure the racism which she faced as a result of this amalgamation, she attempted to redefine herself as a solo act. This move proved to be pivotal to her career, because a subsequent job at a new Jazz spot called Café Society resulted in her meeting Lewis Allen, one of the club’s regulars, who gave Billie a poignant song about Southern lynchings entitled “Strange Fruit.” Although Hammond refused to allow her to record the tune on Columbia, he did, however, permit her to do so on Milt Gabler’s Commodore records.

Holiday continued recording for Columbia, and in 1941, released her own composition, “God Bless the Child.” Reportedly, she was inspired to pen this masterpiece as a result of having asked for food from her mother’s restaurant, and subsequently being turned down. Later, Holiday was signed by the aforementioned Gabler to Decca Records where he was An A&R (artist and repertoire) consultant. On Decca, she recorded “Lover Man” (written especially for her), her third big hit. Later came “‘Tain’t Nobody’s Business If I Do,” “Them There Eyes,” “Crazy He Calls Me,” and more of her most memorable offerings.

Though artistically at her peak, emotionally her life was in shambles. This was evidenced by her penchant for excessive drinking, drug addiction, and a string of unsuccessful relationships with men. Her mother’s demise took its toll on her, and in 1947, she was convicted for possession of heroin. This mishap made it impossible for her to obtain what was called a cabaret card, which she needed in order to work in New York night spots.

In 1952 she began recording for Verve Records owner, Norman Granz, who teamed her up with Ben Webster, Oscar Peterson, Harry “Sweets” Edison, and others. And during the mid-1950’s she continued recording, toured Europe, and published her autobiography (1956), all of which brought her additional fame.

Sadly, in May, 1959 she became frightfully ill due to heart and liver disease. Unable to wage war against this illness while simultaneously fighting the demons associated with withdrawal from heroin addiction, she passed away on July 17, 1959.

Despite the various tragedies of her life, Billie Holiday remains in our hearts as one of the first (and greatest!) jazz singers of all time. Perhaps the only consolation to be offered in this great American tragedy lies in the fact that some of the finest music ever to found has been preserved forever in her recordings and in our hearts. Long live “Lady Day!”

That’s it for this time, hipsters. Be sure to find your way here next month—same time, same station. Class dismissed.

In 1947, she appeared in a film entitled “New Orleans” with her lifelong idol, Louis Armstrong.

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