Lady in Satin
| Lady in Satin | ||||||||||
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| Studio album by Billie Holiday | ||||||||||
| Released | June 1958 | |||||||||
| Recorded | 19–21 February 1958 Columbia 30th Street Studio, New York City, New York |
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| Genre | Vocal jazz | |||||||||
| Length | 44:36 | |||||||||
| Label | Columbia | |||||||||
| Producer | Irving Townsend | |||||||||
| Billie Holiday chronology | ||||||||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| AllMusic |   |
| Penguin Guide to Jazz | ( ) |
| The Rolling Stone Jazz Record Guide | |
| Lady in Satin: The Centennial Edition | |
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| Studio album by Billie Holiday | |
| Released | April 14, 2015 |
| Recorded | 19–21 February 1958 Columbia 30th Street Studio, New York City, New York |
| Genre | Vocal jazz |
| Length | 2:47:01 |
| Label | Columbia |
| Producer | Irving Townsend |
Lady in Satin is an album by jazz singer Billie Holiday released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is the penultimate album completed by the singer and last released in her lifetime (her final album, Last Recording, being recorded in March 1959 and released just after her death). The original album was produced by Irving Townsend, and engineered by Fred Plaut.
For the majority of the 1950s, Billie Holiday was signed to jazz producer Norman Granz's Clef Records, which was later absorbed into the newly founded Verve Records by 1956. All of her work for Norman Granz consisted of small jazz combos, reuniting her with musicians she recorded with back in the 1930s when she made her first recordings with Teddy Wilson. There were talks in the early 1950s of Holiday making albums, or songbooks, dedicated to composers such as George and Ira Gershwin and Jerome Kern, but they fell through and ended up going to Ella Fitzgerald when she signed to Verve. By 1957, Holiday had recorded twelve albums for Granz and was unhappy. Therefore, she decided not to renew her contract.
By October 1957, Holiday contacted Columbia producer Irving Townsend and expressed interest in recording with bandleader Ray Ellis after listening to his album Ellis in Wonderland. Originally, she wanted to do an album with bandleader Nelson Riddle after hearing his arrangements for Frank Sinatra's albums, particularly In the Wee Small Hours, but after hearing Ellis' version of "For All We Know", she wanted to record with him. When Holiday came to Townsend about the album, he was surprised:
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