Lady Day Is In The House-With Torch Singer Billie Holiday In Mind

 

 

 

 

 

I remember one day many years ago now, although it could have been any number of years before or since, a winter day for sure since I still can feel the frosty feeling I had while the events were unfolding, and so to add to the depression I was feeling over the latest serious quarrel I had had with my wife the chill and bluster had me down as well as I entered a bookstore in Harvard Square (that wife soon to be my ex-wife, an ex-wife who had plenty to do with the particular depression I felt that time but don’t blame the winter for that, don’t ask for the particulars of the dispute, that time, that is another story, a story already done and wrapped up in a bow, and so don’t blame Billie for either the cold or subsequent divorce since people have blamed Billie enough for what ails them and I have come to honor that fresh flower lady day).  I want to say that on that day I was entering the old long gone Paperback Booksmith store but it might have been the still there Harvard Book Store up the street so don’t hold me to the particular bookstore just know that it was a bookstore, in Harvard Square, in the cold raw winter (and you know about the depression part so onward).

In any case that is the day and place where I heard this low sad torchy female voice coming out of the sound system most of those places had (have) to liven things up while you were (are) browsing (or “cruising” as I found out later when somebody told bookstores were the “hot” spot if you were looking for a certain kind of woman [or man], needless to say my kind of woman, bookish, sassy and, well, a little neurotic but the dating circling ritual among the bookish, sassy whatever is also a story for another day).  Not placing the alluring voice since my torch singers of choice then were the likes of Bessie Smith, Dinah Washington, or Peggy Lee I asked one of the clerks who was singing that song, the old Cole Porter tune, Night and Day with such sultry, swaying feeling on the PA. She, looking like a smarmy college student, probably a senior and therefore wise to the worldly now who didn’t mind the job she was doing but was not in the habit of answering questions about who or what was being played over the loudspeaker since she had been hired to cater to where such-and-such a best seller, academic book, or guide book was located,  looked at me like I was some rube from the sticks when she said Billie Holiday, of course (and she could have added stupid, which is what that look meant).      

Now that event was memorable for two things, listening to that song and a follow-up one, All of Me, almost immediately thereafter got me out of my funk despite the fact that the subjects of the songs were about love, or romance anyway, something I was at odds with just that moment (remember the wife, ex-wife business). The other, as is my wont when I hear, see, read something that grabs my attention big time also was the start of my attempt to get every possible Billie Holiday album or tape (yeah, it’s been a while) I could get my hands on. So thereafter any time that I felt blue I would put on a Billie platter or tape and feel better, usually.

In my book, and I am hardly alone on this, Billie Holiday is the torch singer's torch singer. Maybe it is the phrasing on her best songs. That well-placed hush. The hinted pause which sets the next line up. Maybe it is the unbreakable link between her voice when she is on a roll and the arrangements. Hell, maybe in the end it was the dope but, by Jesus, she could sing a modern ballad of love (Cole Porter show tunes, Irving Berlin goof stuff, Gershwin boys white boy soul), lost or both like no other. And if in the end it was the dope, let me say this- a “normal” nice singer could sing for a hundred years and never get it right, the way Billie could get it right when she was at her best. Dope or no dope. Was she always at her best? Hell no, as a review of all her recorded material makes clear. Some recordings, a compilation, for example, done between 1945 and her death in 1959 for Verve show the highs but also the lows as the voice faltered a little and the dope put the nerves on edge toward the end.

Here is the funny thing though, no, the strange thing now that I think about the matter, the politically correct strange thing although those who insist on political correctness in everyday civil life should lay off anybody’s harmless cultural preferences and personal choices if you ask me. One time I was touting Billie’s virtues to a group of younger blacks who I was working with on some education project and the talk came around to music, music that meant something other than background noise, other than a momentarily thrill and I mentioned how I had “met” Billie and under what circumstances she had sung my blues away when times were tough. A few of these young blacks, smart kids who were aware of  more than hip-hop nation and interested in roots music to an extend that I found somewhat surprising, when they heard me raving about Billie startled me when they wrote her off as an empty-headed junkie, a hophead, and so on. Some of their responses reflecting, I think, the influence of the movie version of her life (Lady Sings the Blues with Diana Ross) or some unsympathetic black history 'uplift' “you don’t want to wind up like her so keep your eyes on the prize and stay away from dopers, hustlers, corner boys and the like, or else” views on her life that have written her off as an “addled” doper. I came back on them though, startled them when I said the following, “if Billie needed a little junk, a little something for the head, a little something to get through the night, to keep her spirits up I would have bought her whatever she needed just to hear her sing that low, sultry and sorrowful thing she did that chased my blues away.” Enough said.