Billie Holiday's style of singing has captured the imaginations ofsingers and instrumentalists alike and her interpretations are legendary. The eminent composer, Ned Rorem, acknowledged her influence: “In bending a phrase, stretching a melody, delaying the beat so as to come in wrong just right, she forever influenced my approach to song writing. . . .”
The proposed paper analyzes and compares various recorded (and transcribed) versions of Billie Holiday singing two standard tunes: three versions of “All of Me” from 1941, 1946, and 1954, and two versions of “These Foolish Things” from 1936 and 1952. This not only provides an opportunity to examine general features of her style, but to compare aspects of her style as they developed through her short career. While all versions of the two tunes studied are remarkable interpretations, the general trend from early to late is toward a less literal version of the tune and a more innovative approach to timing. The latest versions of both tunes also reveal a sophisticated development of motivic ideas, as Billie literally recomposes the tune and creates her own integrated structure. Such close analysis identifies specific traits that can be studied in her other songs and opens the door to understanding her unique art of paraphrase. It also provides insight into one artist’s spontaneous, creative process.