Compiler Tony Rounce’s 25-track selection represents what he says is ‘a splendid overview of the best of 1940s (and early 1950s) Billie.’ Given that Holiday reissues have proliferated in recent years, some handled in quite random fashion to make a quick buck while others have been presented with meticulous care (I’m thinking of Columbia’s superb 2001 box set), he has set himself quite a task. That said, Rounce has cherry-picked her output carefully, and told her story cogently in a lengthy booklet note while reminding present-day listeners (or newcomers) just how unique and salutary she was. Tragic too, but her enduring aura of publicised misfortune should not debar listeners from appreciating the pleasure of hearing her afresh in these high-quality audio transfers.

Jazz people (and musicians) tend to favour her earlier recording when she was aligned to the likes of Buck Clayton and Lester Young, in small jazz groups led by pianist Teddy Wilson. They liked her behind-the-beat phrasing and her lyric clarity. The insouciant ease with which the young Billie sang these often routine pop songs opened people’s eyes to her quality. Rounce has eschewed these, preferring to explore her Commodore and Decca affiliations and their more orchestral palate.

Even so, many of her signature performances are here, often cushioned by quite plush accompaniments. Nevertheless, it remains magical to hear her handle ‘Fine and Mellow’ or ‘Lover Man’, with that slightly acrid vocal sound and almost laconic command uppermost. Later sides like ‘I Loves You Porgy’ and ‘Ain’t Nobody Business’ helped her to establish a wider reputation, the style more elegant perhaps, but emotional too.