I’M A FOOL TO WANT YOU
BILLIE HOLIDAY
SONGWRITER: FRANK SINATRA; JACK WOLF, JOEL HERRON
& TAITO VAINIO
COUNTRY: U. S. A.
ALBUM: LADY IN SATIN
LABEL: COLUMBIA
GENRE: JAZZ
YEAR: 1958
Lady in Satin is an album by jazz singer Billie Holiday released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is
the penultimate album completed by the singer and last released in her lifetime
(her final album, Last Recording, being recorded in March 1959
and released just after her death). The original album was produced by Irving Townsend, and engineered by Fred Plaut.
For the majority of the 1950s, Billie Holiday
was signed to jazz producer Norman Granz's
Clef Records, which was later absorbed into
the newly founded Verve Records by 1956. All of her work
for Norman Granz consisted of small jazz combos,
reuniting her with musicians she recorded with back in the 1930s when she made
her first recordings with Teddy Wilson.
There were talks in the early 1950s of Holiday making albums, or songbooks, dedicated
to composers such as George and Ira Gershwin and Jerome Kern, but they fell through and ended
up going to Ella Fitzgerald when she signed
to Verve. By
1957, Holiday had recorded twelve albums for Granz and was unhappy. Therefore,
she decided not to renew her contract.
By October 1957, Holiday contacted Columbia producer Irving Townsend and expressed
interest in recording with bandleader Ray Ellis after
listening to his album Ellis in Wonderland. Originally, she wanted to do
an album with bandleader Nelson Riddle after hearing his arrangements for Frank Sinatra's albums, particularly In the Wee Small Hours,
but after hearing Ellis's version of "For All We Know",
she wanted to record with him. When Holiday came to Townsend about the album, he was surprised:
It would be like Ella Fitzgerald saying that
she wanted to record with Ray Conniff. But she said she wanted a pretty
album, something delicate. She said this over and over. She thought it would be
beautiful. She wasn't interested in some wild swinging jam session...She wanted
that cushion under her voice. She wanted to be flattered by
that kind of sound.
Townsend
got in touch with Ellis about the album. Ellis,
having heard of Holiday's work throughout the 1930s and 1940s, was excited for
the project, saying: "I couldn't believe it...I didn't know she was aware
of me." Townsend arranged a meeting for both Holiday and Ellis to sign a
contract with Columbia. Columbia
provided an unlimited budget for the album. The musicians in the orchestra were
paid $60 for the three sessions and Holiday was paid $150 per side in advance.
Townsend went on to set up the recording dates for late February 1958.
I'm a fool to want
you
I'm a fool to want you
To want a love that can't be true
A love that's there for others too
I'm a fool to hold you
Such a fool to hold you
To seek a kiss not mine alone
To share a kiss the Devil has known
Time and time again I said I'd leave you
Time and time again I went away
But then would come the time when I would need you
And once again these words I'd have to say
I'm a fool to want you
Pity me, I need you
I know it's wrong, it must be wrong
But right or wrong I can't get along
Without you
Time and time again I said I'd leave you
Time and time again I went away
But then would come the time when I would need you
And once again these words I'd have to say
I'm a fool to want you
Pity me, I need you
I know it's wrong, it must be wrong
But right or wrong I can't get along
Without you.
Pity me, I need you
I know it's wrong, it must be wrong
But right or wrong I can't get along
Without you.
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