Personnel

Fred Astaire-Vocals Bing Crosby-Vocals Marlene Dietrich-Vocals Judy Garland-Vocals Gene Kelly-Vocals Peggy Lee-Vocals Mabel Mercer-Vocals Ethel Merman-Vocals Bob Cooper-Clarinet, Oboe, Sax (Tenor) Harry "Sweets" Edison-Trumpet Maynard Ferguson-Trumpet Ella Fitzgerald-Vocals Herb Geller-Clarinet, Sax (Alto) Benny Goodman-Vocals Lena Horne-Vocals Barney Kessel-Guitar Ted Nash-Clarinet, Flute, Sax (Tenor) Bud Shank-Clarinet, Flute, Sax (Alto) Artie Shaw-Vocals, Orchestra Bobby Short-Vocals Paul Smith-Piano, Celeste Ethel Waters-Vocals Lee Wiley-Vocals Pete Candoli-Trumpet Eileen Farrell-Vocals Jeri Southern-Vocals Corky Hale-Harp Marilyn Martin-Vocals Joe Howard-Trombone Robert Silverberg-assistant producer Buddy Bergman-Arranger, Conductor Milt Bernhart-Trombone Billie Holiday-Vocals Dwight Blocker Bowers-Producer Norman Granz-Producer, Liner Notes Don Freeman-Liner Notes Conrad Gozzo-Trumpet Chuck Gentry-Clarinet (Bass), Sax (Baritone) Lisa Kirk-Vocals Edgar Lustgarten-Cello Joe Mondragon-Bass Aric Lach Morrison-Production Coordination Cole Porter-Vocals George Roberts-Trombone (Bass) Margaret Robinson-Producer Eileen Rodgers and Hal Linden-Vocals Mischa Russell-Concert Master Richard Seidel-Executive Producer Alvin Stoller-Percussion, Drums Lloyd Ulyate-Trombone Steven Hoffman-mastering Michael Lang-Reissue Producer Neil Tesser-Liner Notes Kevin Gray-CD Preparation Suha Gur-mastering Phil Stern-Photography Roberta Ballard-Production Coordination Robert Kimball-Liner Notes Patricia Lie-Art Direction Fred Lounsberry-Liner Notes

Recorded at Capitol Studios, Hollywood, California on February 7-9 and March 27, 1956. Includes original release liner notes by Don Freeman, Fred Lounsberry and Norman Granz and liner notes by Neil Tesser.

From the Great American Songbook. Her coolly detached approach to lyrics is nowhere better displayed than on this album of songs by one of the most sophisticated American songwriters.One of Fitzgerald's great assets was also, paradoxically, one of her failings as a jazz singer. Throughout her long career her voice was that of an innocent girl. This immaturity of sound, allied as it was to consummate musical mastery, weakened her jazz performances, especially in the blues where emotional intensity is of paramount importance. As if sensing this, Norman Granz heard in Ella's voice the ideal vehicle for a selection of readings.