Customer Reviews

Steppin Out: Astaire Sings

5 star:		(21)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

In an album that contains many of the finest songs ever written by Berlin, Porter, Gershwin and others, Fred Astaire proves that it phrasing and timing, and not voice, that make a great singer. This is a truly remarkable CD in all aspects. The sound quality, considering it was recorded in 1952, is superb. Astaire is in incomparable form, with the songs sounding much better than some of his earlier versions. And the sextet supporting Astaire, including the marvelous Oscar Peterson at the keyboard, is as fine as any. Not to be missed for anyone who loves this genre. There is also a 2 CD, complete recording of this session on Amazon.com called The Astaire Story.

According to Hollywood legend, Fred Astaire's 1933 screen test for RKO resulted in this studio memo: "Can't sing. Can't act. Can dance a little." In reality, the dance visionary was an underrated vocal stylist who brought out the best in the compositions of George and Ira Gershwin, Irving Berlin and Cole Porter. Originally produced by Norman Granz, "Steppin' Out" compiles 17 recordings from Astaire's classic 1952 session - accompanied by a stellar jazz combo featuring pianist Oscar Peterson. The sound quality and musicianship are impeccable, with Fred smoothly gliding from one standard to another. A particularly nice touch is the three-minute interview that follows "Cheek to Cheek." If you cannot find the 38-track "Astaire Story," this hour-long Verve CD makes for an excellent overview.

The Great American Song Book reached its highest point in the 1950's with Verve's Jazz recordings of the classic American music of the 1930's. All the Jazz greats stepped back twenty years and breathed new life into the works of Irving Berlin, Rogers and Hart and Cole Porter.

"Steppin' Out" is brilliant because it serves as a link between the Broadway and Hollywood Music of the 1930's and the new Jazz interpretations of the 1950's. Many of the songs covered in this album were written for and first performed by Fred Astaire.

Verve had a first rate idea in asking Fred Astaire to work with Oscar Peterson. The arrangements show all the brilliance that Peterson was capable of achieving and Astaire stepped up to the musical challange. The jazz pace and phrasing worked perfectly for Astaire. His voice and delivery had only improved with time. In my opinion, his voice in the 1930's had a tinny quality to it. But by the 1950's he had matured and there is deepness to his voice that works well in a jazz setting.

There can be little argument that Fred Astaire was one of the great dancers of the Twentieth Century. Although not as well respected as a vocalist, this album quite clearly shows that Astaire could do it all.

If you want to see Fred Astaire dance, watch the movies. If you want to hear him sing -- this album (or the much pricier "The Astaire Story" 2-disc set from which these songs were selected) gives Fred the chance to match his many years of experience on stage and screen with just about the greatest jazz backup band in existence at the time. Oscar Peterson on piano, Ray Brown on bass, Barney Kessel on guitar, etc. This is an all-star jazz band who give their utmost to back up a singing star they respect, and Astaire, with his inimitable stylism, is obviously "in heaven" because he sings better than I've ever heard him sing. There is a palpable sense of mutual love and joy and respect between the musicians who made this album.

To hear it is to love it. Not to knock the big band and orchestra arrangements over which Astaire sang many of these songs in his musical films, but this modest-sized jazz ensemble is obviously more suited to Astaire's singing, in my opinion. It is warm, intimate, and thoroughly enjoyable. Of course, if you like bombast, look elsewhere. If you love subtlety and the highest levels of technical improvisational musicianship, this is it.

This is my all-time favorite album, bought 10 years ago with the thought that it might contain the movie versions of the songs.
Instead, I'd say these are the "musical versions," with the Berlin, Gershwin, Porter, Kern melodies clearly intact, but expressed with such genuine feeling through Astaire's perfect timing and the musicians' obvious comraderie that it's hard to believe there were earlier versions (my apologies to Ginger Rogers). Flip Philips' mellow sax solo on S'Wonderful, guitarist Barney Kessel's wonderfully sweet introduction to They Can't Take that Away from Me, Charlie Shavers' point/counterpoint trumpet "talking" on Nice Work if You Can Get It, Ray Brown's understated bass work on all (That's why he was so good!), Alvin Stoller's drums and of course the great Oscar Peterson on piano as he brings the unexpected swing to Just the Way You look Tonight moves the "steppin" out of the ordinary and into the sublime. A thousand times heard -- easily standing the test of time.

Fred Astair is best known for his his dancing, but this CD demonstrates that Mr. Astair's singing abilities deserve a second (and third) listen. Anyone who has studied music and or voice can appreciate the demands on the voice that many of these songs command. And just as Astair made his dance routines look effortless, he glides through these tunes with ease. Don't be fooled. His phrasing is inpeccable, his timing supurb. Even more impressive is the fact that these songs were recorded with little or no rehearsal. The artist was reaching for a relaxed and fun feel on this album. He certainly achieved it. From the first infectious notes of "Stepping Out With My Baby" you find yourself dreaming of a world of martinis, big bands and nightclubs with cigarette girls. It also helps to have some of the best jazz musicians around at the time to back you up. If you are just getting into old standards and jazz, this is a great introduction to them both. Great cocktail party music to boot! The only reason it got four stars instead of five is because one of Fred's all-time best songs "Isn't It a Lovely Day" is missing from this album. But, of course, nothing is stopping me from ordering another Fred Astair album. And I think I will...

All of the other good reviews speak of the outstanding quality and musicianship of this album: Fred's amazingly subtle and expressive voice, the finest words and music by America's greatest composers, and the exceptionally hip and hot Oscar Peterson Ensemble. But there is more to it than that, there's the way this music makes you feel. For those of us who missed the Golden Age of Hollywood Musicals and the Golden Age of Jazz, it is a total treat. Musicals--especially those starring Fred Astaire--and jazz, are the two most important and uniquely American contributions to the arts. This album reminds us of that fact once again. Listening to these songs conjures up a time when America was so very different. A time when we didn't need to be titilated, grossed out, or offended to be entertained. The attitudes, manners, and mores that defined early and mid-twentieth century America can be heard in the music and the lyrics found in this collection. I prefer romance to raunch, glamour to grunge, and class to corruption. Listening to Astaire sing these songs makes me feel happy, and proud of America's past. I am grateful it's been preserved on film and on this disc.

Both recorded in 1952, this Astaire album is similar to Fascinating Rhythm, but has slightly better sound, although a few less songs. It's digitally remastered, so quality is great. If you like Fred, you'll LOVE this! With Oscar Peterson and his musicians, the jazz arrangements are terrific. It has a very intimate feel and laid-back tempo, and it seems as if Fred is singing just to "you."

For something recorded in 1952, this is some of the freshest music today. These songs from stage and movies are given new life by putting show tunes to the take-your-time, more sensitive, less hackneyed rhythms of jazz. Lacking the necessity to carry a movie, Astaire's phrasing and intonations have a very different quality than the original versions.

A certain subtlety comes through and the lyrics are freed from sentimentality, as Astaire masterfully burnishes a deeper and more heartfelt thoughtfulness. "Steppin' Out With My Baby" and "I Won't Dance" have a simpler, carefree quality, and the accompaniement by greats such as Oscar Peterson on piano and Charlie Shavers, Flip Phillips, Barney Kessel, Ray Brown and Alvin Stoller are first rate. This is a must have for not only Fred Astaire afficionados, but also for anyone who really wants to hear how to take an old hit, change it around and come out with something totally fresh.

Fans will like his interview on the final track, "Cheek to Cheek." As it says in the cover note, Tony Bennett proclaimed Fred Astaire our national treasure. Fred Astaire's versatility and willingness to risk putting these standards to a new rhythm should stand as both proof and inspiration.

If you like Astaire, Jazz or the American songbook you will love this. The understated virtuoso arrangements let the songs shine and Astaire is the real thing.