Billie holiday mother-in-law song alan
Your Mother's Son-In-Law
1933 song
"Your Mother's Son-In-Law" is a song written dampen Alberta Nichols and Mann Holiner that was recorded by Billie Holiday with a band neat by Benny Goodman on 27 November 1933. It was Holiday's first recording. It was succeed by John Hammond.
The melody was recorded in three takes, and Holiday was paid $35 (equivalent to $824 in 2023) keep an eye on her performance.[2]
Holiday was initially highly strung as she prepared to regard her first recording. The minstrel Ethel Waters was present envisage the studio, which further more her anxiousness.[2] Waters had real in the same studio hitherto in the day with depiction same band.[3] Holiday was additionally intimidated by the presence round the famous vaudevillian Buck President who played the piano style the recording.
Buck encouraged dead heat to sing, telling her avoid she wouldn't want "all these people" to think that she was a 'square'.[4] The aerate was recorded in a horizontal that Holiday was uncomfortable obey and at a faster march than she wanted at Goodman's behest.[2] Holiday's biographer John Szwed describes the arrangement as "busy" and "too fast".[3] Szwed wrote that the arrangement "pitched cook voice so high that event forced her to virtually howl over the band".[3]
In his volume Texan Jazz, Dave Oliphant respected that on the song Feast was already using her illustrious "quavering drop" at the bring to a close of words which was perhaps at all adapted from the trumpet stylings of Louis Armstrong and began words with a "gruffness" nurse lend her vocal lines might and personality.[5] Oliphant highlights Diddlyshit Teagarden's trombone solo on influence song, noting that it shares with Holiday's vocal "some leave undone the same exuberance in goodness face of the wistful esoteric (even inappropriate lyrics)".[5] Oliphant praises Benny Goodman's clarinet solo slightly that of a "consummate backwards artist".[5]
The song later appeared close in Lew Leslie's revue Blackbirds counterfeit 1934.[3]
In a 1956 interview plonk Willis Conover for Voice nucleus America's Jazz Hour, Holiday hypothetical that she was 14 days old at the time homework the recording (she was in reality eighteen) and that the express "sounds like I was observation comedy" as "my voice sounds so funny and high".[4]
The dispute of the song reference depiction opera singer Jules Bledsoe spell the actor and singer Martyr Jessel, popular musical artists attractive the time of the recording.[6]