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Fred Astaire|Fred Astaire's Finest Hour

Fred Astaire's Finest Hour

Fred Astaire

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It's obvious from a moment's thought that Fred Astaire's finest hour occurred in the movie studio, not the recording studio. And while Astaire's musical career was fine indeed, his best performances date from the '30s, when "Night and Day" or "Top Hat, White Tie and Tails" weren't pop standards but a pair of magical, effervescent songs just unleashed on the public. Fred Astaire's Finest Hour, the Verve collection, consists of recordings from a pair of '50s dates that have been packaged and repackaged many times over the years. Surprisingly, although he suffered from a thinner voice two decades after his prime, Astaire's sense of melodious fluidity had diminished not a whit. The 1952 LP The Astaire Story, which furnished most of the tracks for this compilation, featured a stately swinging band -- the JATP backbone of Oscar Peterson, Charlie Shavers, Barney Kessel, and Ray Brown -- that fit Astaire's light, airy performances perfectly. They recorded nearly all of Astaire's most famous movie hits, and though his voice had degraded slightly, he also showed he'd learned much since his '30s heyday. Five other tracks date from the 1959 LP Now, which also earns notices for its arrangements (by Marty Paich).

© John Bush /TiVo

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Fred Astaire's Finest Hour

Fred Astaire

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1
Steppin' Out With My Baby
00:02:22

Barney Kessel, Guitar, AssociatedPerformer - Irving Berlin, ComposerLyricist - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Oscar Peterson, Piano, AssociatedPerformer - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

2
Let's Call The Whole Thing Off
00:04:37

George Gershwin, ComposerLyricist - Ira Gershwin, ComposerLyricist - Barney Kessel, Guitar, AssociatedPerformer - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

3
They Can't Take That Away From Me
00:02:30

George Gershwin, ComposerLyricist - Ira Gershwin, ComposerLyricist - Fred Astaire, MainArtist

℗ 1959 UMG Recordings, Inc.

4
Cheek To Cheek
00:05:40

Barney Kessel, Guitar, AssociatedPerformer - Irving Berlin, ComposerLyricist - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

5
They All Laughed
00:02:47

George Gershwin, ComposerLyricist - Ira Gershwin, ComposerLyricist - Fred Astaire, MainArtist

℗ 1959 UMG Recordings, Inc.

6
No Strings (I'm Fancy Free)
00:02:54

Barney Kessel, Guitar, AssociatedPerformer - Irving Berlin, ComposerLyricist - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Oscar Peterson, Piano, AssociatedPerformer - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1953 UMG Recordings, Inc.

7
Puttin' On The Ritz
00:02:49

Barney Kessel, Guitar, AssociatedPerformer - Irving Berlin, ComposerLyricist - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Oscar Peterson, Piano, AssociatedPerformer - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

8
Oh, Lady Be Good!
00:04:28

George Gershwin, ComposerLyricist - Ira Gershwin, ComposerLyricist - Barney Kessel, Guitar, AssociatedPerformer - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Oscar Peterson, Piano, AssociatedPerformer - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

9
Isn't This A Lovely Day (To Be Caught In The Rain?)
00:03:25

Irving Berlin, ComposerLyricist - Fred Astaire, MainArtist

℗ 1959 UMG Recordings, Inc.

10
The Continental
00:03:28

Barney Kessel, Guitar, AssociatedPerformer - RAY BROWN, Double Bass, AssociatedPerformer - Herbert Magidson, ComposerLyricist - Fred Astaire, MainArtist - Con Conrad, ComposerLyricist - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

11
'S Wonderful
00:02:57

Conrad Salinger, Recording Arranger, AssociatedPerformer - George Gershwin, Composer - Ira Gershwin, Author - Barney Kessel, Guitar, AssociatedPerformer - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Alexander Courage, Recording Arranger, AssociatedPerformer - Skip Martin, Recording Arranger, AssociatedPerformer - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer - Van Cleave, Recording Arranger, AssociatedPerformer

℗ 1952 UMG Recordings, Inc.

12
Something's Gotta Give
00:03:00

Johnny Mercer, ComposerLyricist - Fred Astaire, MainArtist

℗ 1959 UMG Recordings, Inc.

13
Fascinating Rhythm
00:02:41

George Gershwin, ComposerLyricist - Ira Gershwin, ComposerLyricist - Barney Kessel, Guitar, AssociatedPerformer - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Oscar Peterson, Piano, AssociatedPerformer - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

14
Night And Day
00:04:59

Cole Porter, ComposerLyricist - Barney Kessel, Guitar, AssociatedPerformer - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

15
Dancing In The Dark
00:04:46

Barney Kessel, Guitar, AssociatedPerformer - RAY BROWN, Double Bass, AssociatedPerformer - Howard Dietz, Author - Arthur Schwartz, Composer - Fred Astaire, MainArtist - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

16
Top Hat, White Tie And Tails
00:03:47

Barney Kessel, Guitar, AssociatedPerformer - Irving Berlin, ComposerLyricist - RAY BROWN, Double Bass, AssociatedPerformer - Fred Astaire, MainArtist - Oscar Peterson, Piano, AssociatedPerformer - Alvin Stoller, Drums, AssociatedPerformer - Charlie Shavers, Trumpet, AssociatedPerformer - Flip Phillips, Saxophone, AssociatedPerformer - Norman Granz, Producer

℗ 1952 UMG Recordings, Inc.

17
The Afterbeat
00:02:33

Johnny Mercer, ComposerLyricist - Fred Astaire, MainArtist, ComposerLyricist

℗ 1959 UMG Recordings, Inc.

Presentación del Álbum

It's obvious from a moment's thought that Fred Astaire's finest hour occurred in the movie studio, not the recording studio. And while Astaire's musical career was fine indeed, his best performances date from the '30s, when "Night and Day" or "Top Hat, White Tie and Tails" weren't pop standards but a pair of magical, effervescent songs just unleashed on the public. Fred Astaire's Finest Hour, the Verve collection, consists of recordings from a pair of '50s dates that have been packaged and repackaged many times over the years. Surprisingly, although he suffered from a thinner voice two decades after his prime, Astaire's sense of melodious fluidity had diminished not a whit. The 1952 LP The Astaire Story, which furnished most of the tracks for this compilation, featured a stately swinging band -- the JATP backbone of Oscar Peterson, Charlie Shavers, Barney Kessel, and Ray Brown -- that fit Astaire's light, airy performances perfectly. They recorded nearly all of Astaire's most famous movie hits, and though his voice had degraded slightly, he also showed he'd learned much since his '30s heyday. Five other tracks date from the 1959 LP Now, which also earns notices for its arrangements (by Marty Paich).

© John Bush /TiVo

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