Recorded in five sessions over 1956/57 and released in 1958, the twelve-track affair is loaded with classic standards from Irvin Berlin, Duke Ellington, George Gershwin, and more. Though some claimed Holiday was beyond her peak at this point, it was Miles Davis who countered that the late 50s was actually her most effective time thanks to her “deepest understanding and control” of the repertoire she was performing. Holiday’s supporting cast on this album, which included Barney Kessel (Guitar), Ben Webster (Tenor Sax), “Sweets” Edison (Trumpet), and Jimmy Rowles (Piano), elevate that understanding and control.

All or Nothing at All was mastered by Ryan K. Smith at Sterling Sound from its original analog tapes and pressed on 180-gram vinyl. The record is also packaged in high-quality tip-on gatefold jackets, replicating the original packaging. Featured tracks include “Cheek To Cheek,” “Sophisticated Lady,” and “Love Is Here To Stay.”

As always, all releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world’s largest source for audiophile recordings, and will utilize the unsurpassed production craft of Quality Record Pressings.

Last year, ‘Acoustic Sounds’ released Holiday’s 1957 album Body and Soul as part of an impressive lineup, including Nina Simone’s In Concert (Philips, 1964), Chet Baker’s Chet Baker’s Holiday (Limelight, 1965), and Ella Fitzgerald’s Clap Hands, Here Comes Charlie! (Verve, 1961).

In the first few months of 2025, the series has already released Sonny Rollins’ Alfie, J.J. Johnson & Kai Winding’s The Great Kai and J.J., and Stan Getz’s Getz au Go Go among others.