Kandace Springs - Lady in Satin

(SRP Records, 2025)

Kandace Springs

It takes a special fortitude (or hubris) to take on Billie Holiday’s iconic Lady in Satin (Columbia, 1958). This is the musical equivalent of Citizen Kane (RKO Radio Pictures, 1941) or The Godfather, Part II (Paramount Productions, 1974), two films that one could scarcely equal in a remake, much less improve. While Kandace Springs does not better the original, that was never the intention; she shines her creative light through the original, illuminating those unheard tones and whispers in such a way as to complement and elevate Holiday and her controversial masterpiece to a rarefied place.

Lady in Satin arrives as Spring’s sixth release since her debut as a leader on Soul Eyes (Blue Note, 2016). Her talent is such that she also has several collaborations, also, including with Black Violin (“Stay Clear” from Stereotypes (Deutsche Grammophon, 2015), pianist Lang Lang (“New York Minute” from New York Rhapsody (Sony Classical, 2016), and trumpeter Ambrose Akinmusire (“Daydream” on Blue Note Review: Volume One—Peace, Love & Fishing (Blue Note, 2017).

Lady in Satin serves as a respectful homage to both Holiday and her recording. Springs does not mimic Holiday; instead, she places her personal stamp on the well-loved material, a gilded one. Twenty-first century technology, as well as the 60-piece Orquestra Clássica de Espinho in Portugal, under the baton of conductor Diogo Costa. Arrangements are by notable Portuguese arrangers, creating a fresh orchestral backdrop reminiscent of the lush Ray Ellis orchestrations from the original, but with their own modern charms.

The songs included on the new recording remain faithful to the original, save for the programming order, which differs slightly. Springs’ approach is philosophical. With understated grace, she delivers each song, colored by its own historic existence, as shown through a magic crystal, creating a new sonic world with a voice sensitive to mood, nuance, and color. “You’ve Changed” becomes a languid, delicious kiss-off, while “Glad to be Unhappy” expresses the most bitter mixed emotions. “But Beautiful” sums up this beautiful album:

“Beautiful to take a chance
And if you fall, you fall
And I'm thinking
I wouldn't mind at all.”