Ella Fitzgerald : Twelve Nights in Hollywood.

This morning, its typhoon no 8 in Hong Kong and we will have to wait till typhoon 3 in order to get back to office.

Since I have to wait, I might as well listen to some music and this morning, I took out Ella Fitzerald 12 nights in Hollywood....

Recording information: 1961.Verve originally released Ella Fitzgerald's Twelve Nights in Hollywood, drawn from performances at the Crescendo nightclub in 1961 and 1962, as a four-CD set in 2009. I was lucky to be able to buy the 4 CD set.

Album Features
UPC:	602527044026
Artist:	Ella Fitzgerald
Format:	CD
Release Year:	2010
Record Label:	Hip-O Select
Genre:	Classic Pop Vocals, Pop Vocal
Number Of Discs:	4

Track Listing

DISC 1:

1. Introduction

2. Lover Come Back to Me

3. Too Close for Comfort

4. Little White Lies

5. On the Sunny Side of the Street

6. Ac-Cent-Tchu-Ate the Positive

7. Baby, Won't You Please Come Home

8. I Found a New Baby

9. On a Slow Boat to China

10. My Heart Belongs to Daddy

11. Perdido

12. I've Got a Crush on You

13. But Not for Me

14. You Brought a New Kind of Love to Me

15. Across the Alley from the Alamo

16. I'm Glad There Is You

17. 'Round Midnight

18. Take the 'A' Train

19. Mr. Paganini - (mono)

DISC 2:

1. Nice Work If You Can Get It

2. I Can't Get Started

3. Give Me the Simple Life

4. Caravan

5. One for My Baby

6. Lorelei

7. A-Tisket, A-Tasket

8. Witchcraft

9. Gone with the Wind

10. Happiness Is Just a Thing Called Joe

11. It's De-Lovely

12. Lady Is a Tramp, The

13. That Old Black Magic

14. Lullaby of Birdland

15. Ella Introduces the Band

16. Imagination

17. Blue Moon

18. Joe Williams' Blues

DISC 3:

1. Lady's in Love with You, The

2. Love Is Here to Stay

3. Come Rain or Come Shine

4. Anything Goes

5. This Could Be the Start of Something Big

6. Candy

7. Little Girl Blue

8. You're Driving Me Crazy

9. It's All Right with Me

10. Just Squeeze Me (But Please Don't Tease Me)

11. 'S Wonderful

12. How High the Moon

13. Deep Purple

14. In the Wee Small Hours of the Morning

15. Mack the Knife

16. Exactly Like You

17. Rock It for Me - (mono)

18. Stompin' at the Savoy - (mono)

19. Love for Sale - (mono)

20. St. Louis Blues - (mono)

DISC 4:

1. All of Me - (mono)

2. Hard Hearted Hannah - (mono)

3. Broadway - (mono)

4. My Kind of Boy - (mono)

5. It Had to Be You - (mono)

6. C'est Magnifique - (mono)

7. How Long Has This Been Going On? - (mono)

8. When Your Lover Has Gone - (mono)

9. Taking a Chance on Love - (mono)

10. Good Morning Heartache - (mono)

11. Clap Hands! Here Comes Charlie! - (mono)

12. Hallelujah I Love Him So - (mono)

13. Angel Eyes - (mono)

14. Ol' Man Mose - (mono)

15. Teach Me Tonight - (mono)

16. Medley: Too Darn Hot/Ella's Twist - (remix, mono)

17. Too Darn Hot - (mono)

18. Bewitched - (mono)

19. Bill Bailey - (mono)

20. Bill Bailey Reprise - (mono)

Details
Playing Time:	251 min.
Distributor:	Universal Distribution
Recording Type:	Live
Recording Mode:	Stereo
SPAR Code:	n/a

Album Notes

Personnel: Herb Ellis (guitar); Paul "Scooby" Smith, Lou Levy (piano); Gus Johnson , Stan Levey (drums).Audio Mixer: Val Valentin.Liner Note Authors: Harry Weinger; Richard Seidel.Recording information: The Crescendo (05/11/1961-06/30/1962).Photographers: Rolf Ambor; Riccardo Schwamenthal; Chuck Stewart.An appearance in Hollywood for a first-rate jazz vocalist was not necessarily an opportunity to broadcast your visage and pander to everyone from Tacoma to Tallahassee. It could also include a date at the Crescendo, the Sunset Strip's best chance to find premier jazz. Gene Norman's nightclub hosted dozens of jazz legends (and a comic or two), and produced more than its share of excellent LPs recorded on location. Better even than Mel Tormé's 1954 classic, the Ella Fitzgerald LP that resulted from her May 1961 appearances generated one of the best (and certainly most underrated) live records in her discography -- and almost 50 years later, it became a four-CD set compiling ten days' worth of performances. All of her hallmarks (technical wizardry, breakneck scatting, irrepressible humor and warmth) are on full display, with a small but expressive quartet backing her performance, including pianist Lou Levy, guitarist Herb Ellis, drummer Gus Johnson, and bassist Wilfred Middlebrooks. Although it's full of brilliance, the highlights are clear: a seven-minute scat masterpiece of "Take the 'A' Train," with chorus after chorus of variations, and the shorter but still excellent "Mr. Paganini." The balladry is masterful as well, with "Baby, Won't You Please Come Home" high on the list. Verve label-head Norman Granz recorded each of Ella Fitzgerald's sets between May 11th and 21st, 1961, at the Crescendo, and Twelve Nights in Hollywood contains the fruits of that labor -- 75 songs with nary a repeat in the list (although the fourth disc actually consists of a 1962 date finding Fitzgerald back at the Crescendo). Although its comprehensiveness may be a hindrance, Twelve Nights in Hollywood is a classic glimpse of Ella at her on-stage best. ~ John Bush

Editorial Reviews

5 stars out of 5 -- Fitzgerald is utterly immutable -- her instincts beyond the reach of time, her vocal powers scaling the heavens.

Down Beat 

Now, the collection has been repackaged as two two-CD sets. On the third and fourth discs, Fitzgerald reveals herself as an engaged performer with a strong sense of communication with her audience. She takes requests, whether she can remember the lyrics or not. (It doesn't matter, since she can improvise good words or just scat.) She introduces ringside celebrities including Walter Winchell and Carl Reiner. When she spots songwriter Mack David, she spontaneously decides to perform his song "Candy," noting, "I hope I don't mess it up. That's the only ones that sell these days." She is thinking of her recent Top 40 hit version of "Mack the Knife," on which she went up on the words to delightful effect. "You're Driving Me Crazy" has an appropriately crazy arrangement, with tempo shifts galore, while "How High the Moon" typically serves as a platform for the album's most ambitious scatting. She borrows from Billie Holiday's repertoire for "Good Morning Heartache," providing a good example of the contrast in their styles; in Fitzgerald's reading, there isn't much heartache, but it's a powerful musical performance. Toward the end, she takes up the then-current fad for twisting before finishing with two versions of "Bill Bailey," in which she sings impressions of Sophie Tucker, Della Reese, Pearl Bailey, Louis Armstrong, and Dinah Washington. In other words, these shows are anything but formal jazz sessions. Rather, they represent an entertainer dedicated to entertaining by any means at hand, who also happens to have the best vocal jazz chops in the business. ~ William Ruhlmann