And there was mocking wit. A smile was often lightly evident on her lips and her eyes as if, for once, she could accept the fact that there were people who did dig her. The beat flowed in her uniquely sinuous, supple way of moving the story along; the words became her own experiences; and coursing through it all was Lady's sound — a texture simultaneously steel-edged and yet soft inside; a voice that was almost unbearably wise in disillusion and yet still childlike, again at the centre.
The audience was hers from before she sang, greeting her and saying good-bye with heavy, loving applause. And at one time, the musicians too applauded. It was a night when Billie was on top, undeniably the best and most honest jazz singer alive. Both were less than two years from death.
Young died in March Holiday wanted to sing at his funeral, but her request was denied. When Holiday returned to Europe almost five years later, inshe made one of her last television appearances for Granada's Chelsea at Nine in London. Her final studio recordings were made for MGM Records inwith lush backing from Ray Ellis and his Orchestra, who had also accompanied her on the Columbia album Lady in Satin the previous year see below.
The MGM sessions were released posthumously on a self-titled album, later retitled and re-released as Last Recording. McKay, like most of the men in her life, was abusive. By earlyHoliday was diagnosed with cirrhosis of the liver. Although she had initially stopped drinking on her doctor's orders, it was not long before she relapsed. Her manager Joe Glaser, jazz critic Leonard Feather, photojournalist Allan Morrison, and the singer's own friends all tried in vain to persuade her to go to a hospital.
Anslingerhad been targeting Holiday since at leastwhen she started to perform " Strange Fruit ". A grand jury was summoned to indict her and she was arrested and handcuffed to her bed and placed under police guard. Her funeral Mass was held on July 21,at the Church of St. Paul the Apostle in Manhattan. She was buried at Saint Raymond's Cemetery in the Bronx. The story of her burial plot and how it was managed by her estranged husband, Louis McKay, was documented on NPR in Gilbert Millstein of The New York Timeswho was the announcer at Holiday's Carnegie Hall concerts and wrote parts of the sleeve notes for the album The Essential Billie Holiday see abovedescribed her death in these sleeve notes, dated Billie Holiday died in Metropolitan Hospital, New York, on Friday, July 17,in the bed in which she had been arrested for illegal possession of narcotics a little more than a month before, as she lay mortally ill; in the room from which a police guard had been removed — by court order — only a few hours before her death, which, like her life, was disorderly and pitiful.
She had been strikingly beautiful, but she was wasted physically to a small, grotesque caricature of herself. The worms of every kind of excess — drugs were only one — had eaten her.
The likelihood exists that among the last thoughts of this cynical, sentimental, profane, generous and greatly talented woman of 44 was the belief that she was to be arraigned the following morning.
She would have been, eventually, although possibly not that quickly. In any case, she removed herself finally from the jurisdiction of any court here below. Holiday's public stature grew in the following years. Inshe was voted to the Down Beat Hall Of Fameand soon after Columbia reissued nearly one hundred of her early records.
Holiday was posthumously nominated for 23 Grammy awards. Billie Holiday received several Esquire Magazine awards during her lifetime. Ina statue of Billie Holiday was erected in Baltimore; the statue was completed in with additional panels of images inspired by her seminal song Strange Fruit.
Billie Holiday was among hundreds of artists whose material was reportedly destroyed in the Universal Studios fire. Holiday's delivery made her performances recognizable throughout her career. Her improvisation compensated for lack of musical education.
Holiday said that she always wanted her voice to sound like an instrument and some of her influences were Louis Armstrong and the singer Bessie Smith. I would say that the most emotional moment was her listening to the playback of "I'm a Fool to Want You.
After we finished the album I went into the control room and listened to all the takes. I must admit I was unhappy with her performance, but I was just listening musically instead of emotionally.
It wasn't until I heard the final mix a few weeks later that I realized how great her performance really was. Frank Sinatra was influenced by her performances on 52nd Street as a young man. He told Ebony magazine in about her impact:.
With few exceptions, every major pop singer in the US during her generation has been touched in some way by her genius. It is Billie Holiday who was, and still remains, the greatest single musical influence on me. Lady Day is unquestionably the most important influence on American popular singing in the last twenty years. The biographical film Lady Sings the Bluesloosely based on Holiday's autobiography, was released in and was nominated for five Academy Awardsincluding Diana Ross for Best Actress.
Another film, The United States vs. Billie Holidaystarred Andra Day and was released in Director Lee Daniels saw how Holiday was portrayed in the biopic, and wanted to show her legacy as "a civil rights leader [ It takes place in South Philadelphia in March It premiered in at the Alliance Theatre and has been revived several times. A Broadway production starring Audra McDonald was filmed and broadcast on HBO in ; McDonald received an Emmy Award nomination and a record-breaking Tony Award win, becoming the most decorated performer in Tony history with six awards across all four eligible competitive categories.
Billie Holiday recorded extensively for four labels: Columbia Records, which issued her recordings on its subsidiary labels Brunswick RecordsVocalion Records and OKeh Recordsfrom through ; Commodore Records in and ; Decca Records from through ; briefly for Aladdin Records in ; Verve Records and on its earlier imprint Clef Records from throughthen again for Columbia Records from to and finally for MGM Records in Many of Holiday's recordings appeared on rpm records prior to the long-playing vinyl record eraand only Clef, Verve, and Columbia issued albums during her lifetime that were not compilations of previously released material.
Many compilations have been issued since her death, as well as comprehensive box sets and live recordings. InJoel Whitburn 's company Record Research compiled information on the popularity of recordings released from the era predating rock and roll and created pop charts dating back to the beginning of the commercial recording industry.
The company's findings were published in the book Pop Memories — Several of Holiday's records are listed on the pop charts Whitburn created. Holiday began her recording career on a high note with her first major release, "Riffin' the Scotch", of which 5, copies were sold. During her stay in Wilson's band, Holiday would sing a few bars and then other musicians would have a solo. Wilson, one of the most influential jazz pianists of the swing era,  accompanied Holiday more than any other musician.
He and Holiday issued 95 recordings together. In JulyHoliday began releasing sides under her own name. Holiday had 16 best-selling songs inmaking the year her most commercially successful. It was in this year that Holiday scored her sole number one hit as a featured vocalist on the available pop charts of the s, "Carelessly". InHoliday recorded her biggest selling record, "Strange Fruit" for Commodore, charting at number 16 on the available pop charts for the s.
InBillboard began publishing its modern pop charts, which included the Best Selling Retail Records chart, the precursor to the Hot None of Holiday's songs placed on the modern pop charts, partly because Billboard only published the first ten slots of the charts in some issues. Minor hits and independent releases had no way of being spotlighted. Two of Holiday's songs placed on the chart, "Trav'lin' Light" with Paul Whiteman, which topped the chart, and "Lover Man", which reached number 5.
From Wikipedia, the free encyclopedia. American jazz singer, songwriter and fashion model — This article is about the singer. For her self-titled album, see Billie Holiday album. For the album originally titled Billie Holidaysee Last Recording. Holiday with her dog "Mister", c. Philadelphia, PennsylvaniaU. New York CityU. Jazz swing blues traditional pop. Musical artist. Main article: Billie Holiday discography. Popular Music. JSTOR Retrieved 28 July Archived from the original on December 26, Retrieved March 13, Archived from the original on July 12, New York: Da Capo Press.
ISBN OCLC The Millions. Retrieved January 11, The University Press of Mississippi. Louis Armstrong: Master of Modernism. New York, NY: W. Lady Day's Diary. London: Sanctuary Publishing. Retrieved February 24, Retrieved on November 13, Retrieved November 13, Archived from the original on April 23, Retrieved April 7, Philadelphia: Running Press.
Lady Sings the Blues. New York: Harlem Moon. Originally published by Doubleday, New York, Da Capo Press. October 4, Retrieved May 7, Billie Holiday. Rosen Publishing Group. Part 3. Her Haunted Heart. London Review of Books. December 20, The Guardian. May 3, July 4, Retrieved January 29, San Francisco Chronicle. Retrieved July 31, The New Yorker.
Retrieved April 6, December 22, The Essential Billie Holiday". Archived from the original on June 25, The Essential Billie Holiday liner notes. From Satchmo to Miles. Retrieved February 22, August 22, Retrieved September 6, Jazz Singer Had Wide Influence". The New York Times. July 18, Retrieved November 25, Billie Holiday, famed jazz singer, died yesterday in Metropolitan Hospital.
Her age was The immediate cause of death was given as congestion of the lungs complicated by heart failure. Detour Ahead". Morning Edition. July 17, A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote or collaborated on more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards.
He also recorded songs written by his bandsmen, such as Juan Tizol 's " Caravan ", which brought a Spanish tinge to big band jazz.
At the end of the s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhornwhom he called his writing and arranging companion. For a few years at the beginning of Strayhorn's involvement, Ellington's orchestra is considered to have been at its peak, with bassist Jimmy Blanton and tenor saxophonist Ben Webster briefly members.
Following a low-profile period Hodges temporarily leftan appearance by Ellington and his orchestra at the Newport Jazz Festival in July led to a major revival and regular world tours. Ellington recorded for most American record companies of his era, performed in and scored several films, and composed a handful of stage musicals.
Although a pivotal figure in the history of jazzin the opinion of Gunther Schuller and Barry Kernfeld"the most significant composer of the genre",  Ellington himself embraced the phrase "beyond category", considering it a liberating principle, and referring to his music as part of the more general category of American Music. He was awarded a posthumous Pulitzer Prize Special Award for music in Both his parents were pianists. Daisy primarily played parlor songsand James preferred operatic arias.
When Edward Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D. At age seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him elegance. His childhood friends noticed that his casual, offhand manner and dapper dress gave him the bearing of a young nobleman,  so they began calling him "Duke".
Ellington credited his friend Edgar McEntree for the nickname: "I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke. Though Ellington took piano lessons, he was more interested in baseball.
His first job was selling peanuts at Washington Senators baseball games. Ellington started sneaking into Frank Holiday's Poolroom at age fourteen. Hearing the music of the poolroom pianists ignited Ellington's love for the instrument, and he began to take his piano studies seriously. He created the piece by ear, as he had not yet learned to read and write music. I was established as having my own repertoire. Ellington continued listening to, watching, and imitating ragtime pianists, not only in Washington, D.
With the additional guidance of Washington pianist and Album) leader Oliver "Doc" Perry, Ellington learned to read sheet musicproject a professional style, and improve his technique. Ellington was also inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts.
His attachment to music was so strong that in he turned down an art scholarship to the Pratt Institute in Brooklyn. Three months before graduating, he dropped out of Armstrong Manual Training School, where he was studying commercial art. Working as a freelance sign-painter fromEllington began assembling groups to play for dances.
Inhe met drummer Sonny Greer from New Jersey, who encouraged Ellington's ambition to become a professional musician.
Ellington built his music business through his day job. When a customer asked him to make a sign for a dance or party, he would ask if they had musical entertainment; if not, Ellington would offer to play for the occasion. He also had a messenger job with the U. Navy and State departments, where he made a wide range of contacts. Ellington moved out of his parents' home and bought his own as he became a successful pianist.
At first, he played in other ensembles, and in late formed his first group, "The Duke's Serenaders" "Colored Syncopators", his telephone directory advertising proclaimed. His first play date was at the True Reformer's Hall, where he took home 75 cents. Ellington played throughout the D. The band included childhood friend Otto Hardwickwho began playing the string bass, then moved to C-melody sax and finally settled on alto saxophone; Arthur Whetsel on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums.
The band thrived, performing for both African American and white audiences, rare in the segregated society of the day. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive with difficult inroad. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smithwho introduced them to the scene and gave them some money.
They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D. This was followed in September by a move to the Hollywood Club at 49th and Broadway and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. They renamed themselves The Washingtonians.
Snowden left the group in earlyand Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky often referred to as the Kentucky Club.
Ellington then made eight records inreceiving composing credit on three including "Choo Choo". Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and saxophone blues licks of the band members.
For a short time, soprano saxophonist and clarinetist Sidney Bechet played with them, reportedly becoming the dominant personality in the group, with Sonny Greer saying Bechet "fitted out the band like a glove". His presence resulted in friction with Miley and trombonist Charlie Irviswhose styles differed from Bechet's New Orleans influenced playing.
It was mainly Bechet's unreliability—he was absent for three days in succession—which made his association with Ellington short-lived. After recording a handful of acoustic sides during —26, Ellington's signing with Mills allowed him to record prolifically. However, sometimes he recorded different versions of the same tune. Mills regularly took a co-composer credit.
In contrast, the Brunswick's were usually issued as The Jungle Band. Whoopee Makers and the Ten Black Berries were other pseudonyms. In SeptemberKing Oliver turned down a regular booking for his group as the house band at Harlem's Cotton Club ;  the offer passed to Ellington after Jimmy McHugh suggested him and Mills arranged an audition. At the Cotton Club, Ellington's group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, music, and illicit alcohol.
Here, he moved in with a dancer, his second wife Mildred Dixon. Weekly radio broadcasts from the club gave Ellington national exposure. Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington's sound.
One side in particular, " Creole Love Call ", became a worldwide sensation and gave both Ellington and Hall their first hit record.
An alcoholic, Miley had to leave the band before they gained wider fame. He died in at the age of 29, but he was an important influence on Cootie Williamswho replaced him.
From Vodery, as he Ellington says himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scalewith the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources.
It has become customary to ascribe the classical influences upon Duke — DeliusDebussy and Ravel — to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after he met with Vodery. That year, Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom"America's foremost ballroom".
Australian-born composer Percy Grainger was an early admirer and supporter. Unfortunately Bach is dead, Delius is very ill but we are happy to have with us today The Duke".
Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. By his orchestra consisted of six brass instruments, four reeds, and a rhythm section of four players.
A complex, private person, he revealed his feelings to only his closest intimates. He effectively used his public persona to deflect attention away from himself. Ellington signed exclusively to Brunswick in and stayed with them through to late albeit with a short-lived —34 switch to Victor when Irving Mills temporarily moved his acts from Brunswick.
Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Radio exposure helped maintain Ellington's public profile as his orchestra began to tour. While Ellington's United States audience remained mainly African American in this period, the orchestra had a significant following overseas. His longer pieces had already begun to appear.
Ellington had composed and recorded "Creole Rhapsody" as early as issued as both sides of LP 12" record for Victor and both sides of a 10" record for Brunswick. A tribute to his mother, "Reminiscing in Tempo", took four 10" 78rpm record sides to record in after her death in that year.
It introduced Billie Holidayand won an Academy Award as the best musical short subject. For agent Mills, the attention was a publicity triumph, as Ellington was now internationally known. On the band's tour through the segregated South inthey avoided some of the traveling difficulties of African Americans by touring in private railcars. These provided accessible accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities.
However, the competition intensified as swing bands like Benny Goodman 's began to receive widespread attention. Swing dancing became a youth phenomenon, particularly with white college audiences, and danceability drove record sales and bookings.
Jukeboxes proliferated nationwide, spreading the gospel of swing. Ellington's band could certainly swing, but their strengths were mood, nuance, and richness of composition, hence his statement "jazz is music, swing is business". FromEllington began to make recordings with smaller groups sextets, octets, and nonets drawn from his thenman orchestra. InEllington returned to the Cotton Club, which had relocated to the mid-town Theater District.
In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight. However, his situation improved the following year. Mills, though, continued to record Ellington. After only a year, his Master and Variety labels the small groups had recorded for the latter collapsed in late Mills placed Ellington back on Brunswick and those small group units on Vocalion through to Billy Strayhornoriginally hired as a lyricist, began his association with Ellington in Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine".
It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage and in the recording studio.
Two musicians who joined Ellington at this time created a sensation in their own right, Jimmy Blanton and Ben Webster. Blanton was effectively hired on the spot in late Octoberbefore Ellington was aware of his name, when he dropped in on a gig of Fate Marable in St Louis. Terminal illness forced him to leave by late after around two years. Ben Webster's principal tenure with Ellington spanned to An ambition of his, he told his previous employer, Teddy Wilsonthen leading a big band, that Ellington was the only rival he would leave Wilson for.
The two men sat next to each other in the orchestra. Additionally, Nance added violin to the instrumental colors Ellington had at his disposal. Privately made by Jack Towers and Dick Burris, these recordings were first legitimately issued in as Duke Ellington at Fargo, Live ; they are among the earliest of innumerable live performances which survive. Nance was an occasional vocalist as well, although Herb Jeffries was the main male vocalist in this era until while Al Hibbler who replaced Jeffries in continued until Ivie Anderson left in for health reasons after 11 years, the longest term of any of Ellington's vocalists.
Once more recording for Victor fromwith the small groups being issued on their Bluebird label, three-minute masterpieces on 78 rpm record sides continued to flow from Ellington, Billy Strayhorn, Ellington's son Mercer Ellingtonand members of the orchestra. Louis Toodle-Oo ". Ellington and his associates wrote for an orchestra of distinctive voices who displayed tremendous creativity. Ellington's long-term aim, though, was to extend the jazz form from that three-minute Album), of which he was an acknowledged master.
In this, he was helped by Strayhorn, who had enjoyed a more thorough training in the forms associated with classical music than Ellington. The first of these, Black, Brown and Beigewas dedicated to telling the story of African Americans and the place of Lena Horne / Harry Belafonte - Porgy And Bess (Vinyl and the church in their history.
Black, Brown and Beige debuted at Carnegie Hall on January 23,beginning an annual series of Ellington concerts at the venue LP the next four years. While some jazz musicians had played at Carnegie Hall before, none had performed anything as elaborate as Ellington's work. Unfortunately, starting a regular pattern, Ellington's longer works were generally not well received. A partial exception was Jump for Joya full-length musical based on themes of African American identity, debuted on July 10,at the Mayan Theater in Los Angeles.
Ellington objected in the interval and compared Jeffries to Al Jolson. The change was reverted. The singer later commented that the audience must have thought he was an entirely different character in the second half of the show.
Although it had sold-out performances and received positive reviews,  it ran for only performances until September 29,with a brief revival in November of that year. Tonight You Belong to Me That's Amore My Happiness Chances Are Happy, Happy Birthday Baby Petite Fleur Come Go with Me Tears on My Pillow The Big Hurt The Three Bells Book of Love Among My Souveniers I Believe.
Collection 5-CD. Lean On Me 2. Recognition 3. Close Your Eyes 4. Deep As The River 5. How Green Was My Valley 6. Whispering 8. I Still Get A Thrill Farewell To Arms Simple Simple Only One Like Me Smoke Gets In Your Eyes Venezuela Annabelle Lee Chiminey Smoke A-Roving Man Smart Woman Smarter Jerry Shenandoah Scarlet Ribbons For Her Hair Gomen Nasai Forgive Me Springfield Mountain Matilda, Matilda!
Hold Em Joe 3. I'm Just A Country Boy 4. Acorn In The Meadow 6. John Henry 7. Tol' My Captain? Troubles 9. Hello Everybody The Blues Is Man - Part 1 The Blues Is Man - Part 2 Once Was Mary's Boy Child Star-O Mama Look A Bubu Don't Ever Love Me Island In The Sun Coconut Woman Little Bernadette Danny Boy Son Of Mary Tracks of Disc 3 1. The Marching Saints 3. The Waiting Game 5. Ain't That Love 6.
Mary Mary 7. Gotta Travel On 8. Tarrytown 9. Darlin' Cora Turn Around Fifteen Oh Freedom March Down To Jordan Hole In The Bucket Chickens Mark Twain The Fox Soldier, Soldier Waterboy Noah Unchained Melody Tracks of Disc 4 1. I Do Adore Her 2. Come Back Liza 3. Brown Skin Girl 4. Merci Bon Dieu 5. Come O My Love 6. Eden Was Just Like This 7. Scratch, Scratch 8. Cordelia Brown 9. Silent Night Christmas Is Coming A Fool For You One For My Baby Hallelujah I Love Her So God Bless The Child Green Grow The Lilacs Times Are Gettin' Hard Wake Up Jacob My Lord, What A Mornin' Swing Low Tracks of Disc 5 1.
Sylvie 2. Cotton Fields 3. Hava Nagila 4. Look Over Yonder 7. Another Man Done Gone 8. Swing Dat Hammer 9. Jump Down Spin Around One More Dance I Know Where I'm Going Sweetheart From Venezuela Jump In The Line Kingston Market Crawdad Song Michael Row The Boat Ashore Tongue Tie Baby Dark As A Dungeon Try To Remember.
Mark Twain 2. Man Piaba 3. John Henry 4. Tol' My Captain 5. Kalenda Rock 6. The Drummer And The Cook 7. The Fox 8. Soldier, Soldier 9. The Next Big River Delia Mo Mary Lord Randall Water Boy Troubles Take My Mother Home Jump Down, Spin Around Sylvie Tracks of Disc 2 1. Day-O Banana Boat Song 2.
Jamaica Farewell 4. Scratch, Scratch Lucy's Door Cordelia Brown Love, Love Alone Cocoanut Woman Haiti Cherie Judy Drownded Lead Man Holler Tracks of Disc 3 1. Merci Bon Dieu 2. Once Was 3. Hava Nageela 4. Danny Boy 5. The Drummer And The Cook 6. Come O My Love 7. Shenandoah 8. Mary's Boy Child 9.
Eden Was Like This Loving Hand In The Evenin' Mama The Way That I Feel Cotton Fields Mary Ann Tracks of Disc 4 1. A Star In The East 2. The Gifts They Gave 3. The Son Of Mary 4. The Twelve Days Of Christmas 5. Where The Little Jesus Sleeps 6.
Silent Night 8. Christmas Is Coming 9. Mary, Mary Jehovah The Lord Will Provide I Never Will Marry 3. I'm Goin' Away 4. Small One 5. Bella Rosa 6. All My Trials 7. Green Grow The Lilacs 8. Times Are Gettin' Hard 9. Go 'Way From My Window Delia's Gone Walkin' On The Green Grass Summertime I Wants To Stay Here Bess, You Is My Woman It Ain't Necessarily So My Man's Gone Now Bess, Oh Where's My Bess Introduction: Darlin' Cora 2.
Sylvie 3. Cotton Fields 4. John Henry 5. Take My Mother Home 6. The Marching Saints 7. Day-O Banana Boat Song 8. Jamaica Farewell 9. Hava Nageela Merci Bon Dieu Matilda Tracks of Disc 7 1. Jump Down Spin Around 2. Chickens 5. Vaichazkem 6. The Ballad Of Sigmund Freud 8.
A Hole In The Bucket The Click Song The Ox Drivers The Red Rosy Bush Didn't It Rain Old King Cole La Bamba Look Over Yonder 2. Bald Headed Woman 3. Grizzly Bear 4. Diamond Joe 5. Here Rattler Here 6. Another Man Done Gone 7.
Swing Dat Hammer 8. Go Down Old Hannah 9. Rocks And Gravel Talkin' And Signifyin' My Lord What A Mornin' Ezekiel Buked And Scorned Oh Let Me Fly Swing Low Steal Away Tracks of Disc 9 1. Venezuela 2. Simple, Simple 3. Annabelle Lee 4. Only One Like Me 5. When The Yankees Are Gone 7. The Donkey Song 9. Tomorrow Man Mary Walk Go Down Emanuel Road The Baby Boy Gloria Goin' Down Jordan Monkey These Are The Times Bally Mena Angelina Tracks of Disc 10 1.
Did You Hear About Jerry 6. On Top Of Old Smoky 7. Who's Gonna Be Your Man Long About Now Bamotsweri Betty An' Dupree Summertime Love Lyla, Lyla Zombie Jamboree Try To Remember Dark As A Dungeon. Island In The Sun 2. Cocoanut Woman 3. Scarlet Ribbons 4. Mama, Look A Boo-Boo 5. Man Piaba 6. Tol' My Captain 8. Hold 'Em, Joe I'm Just A Country Boy Matilda, Matilda Sylvie I Do Adore Her Dolly Dawn Come Back, Liza Jamaica Farewell 2.
Try To Remember 3. Merci Bon Dieu 4. Once Was 5. Hava Nagila 6. Danny Boy 7. Losing Hand Sinner's Prayer Bella Rosa Tracks of Disc 3 1. Mary's Boy Child 3. The Son Of Mary Greensleeves 5.
Jump In The Line 6. Times Are Getting Hard, Boys 8. Turn Around 9. Michael, Row The Boat Ashore Look Over Yonder Diamond Joe Swing Dat Hammer The Midnight Special Gotta Travel On Night and Day 2. The Shadow of Your Smile 3. Kiss of Fire 5. Because of You 7. The Second Time Around 8. My Romance 9. When I Fall in Love Love Me or Leave Me 2.
Makin' Whoopee 5. I'm Confessin' 6. Crying in the Chapel 8. Just in Time 9. My Funny Valentine You You You 2. Don't You Know 3. All the Way 4. Love Letters 5. My Love 7. Without You 8. The Power of Love Mama Look a Boo Boo 4. Scarlet Ribbons 5. Cocoanut Woman 6. Day - O Banana Boat Song 7. Island In the Sun 8. Jump Down, Spin Around 9. My Angel Malaika Jump In the Line A Hole In the Bucket Turn the World Around Tongue Tie Baby 2. Who's Gonna Be Your Man 3. Lyla, Lyla 4.
Bamotsweri 6. Zombie Jamboree 7. Try To Remember 9. Betty An' Drupree Bess, Oh Where's My Bess? My Favorite Things 3. Sleigh Ride 4. Frosty The Snowman 5.
White Christmas 7. What Child Is This? O Holy Night 9. God Rest Ye Merry, Gentlemen Jingle Bells It's Christmas Day 2. O Little Town Of Bethlehem 3. Jesu, Joy Of Man's Desiring 4. The Hallelujah Chorus 5. Silent Night 6. Let It Snow! The Little Drummer Boy 8. Santa Baby 9. Rudolph, The Red Nosed Reindeer Silver Bells 2. Blue Christmas 3. Joy To The World 5.
Carol Of The Bells 6.
Moonlight & Roses - Various - Golden 60 Organ Favorites (Vinyl, LP), Cricco Castelli - Till The Dawn EP (Vinyl), Tank - Emerson, Lake & Palmer - Works Volume 1 (CD, Album), Clocks - Coldplay - Em Dobro Live In Germany 2011 & Live In Glastonbury 2011 (DVD), Ke$ha* - Warrior (CD, Album), Eterna Divina (Opera Mix), Loma Lip Lava - Little Guilt Shrine - Mean People Suck (CD, Album), The End Of The World - Various - The Best Hits 100 Super 60s (CD), Souls - Various - Sound System (Vinyl, LP), Chevy Chase - Chevy Chase (Vinyl, LP, Album), I Am (Im Me) - Twisted Sister - Big Hits And Nasty Cuts: The Best Of Twisted Sister (File, MP3), Don Edito El Gruva - The Nice - Ars Longa Vita Brevis (CD, Album)