OSCAR PETERSON & FRAD ASTAIRE - The Astaire Story
Master Jazz Recordings 8892868 2 CD set
Fred Astaire ( vocals & tap dance ) Oscar Peterson ( pno / cond ) Charlie Shavers ( tpt ) Flip Phillips
( tnr ) Barney Kessel ( gtr ) Ray Brown ( bass ) Alvin Stoller ( drs )
Recorded Los Angeles, December 1952
Since the original CD version on Verve was issued two further instrumental tracks have been added by the Oscar Peterson Quartet which are a bonus to what is already an interesting set of recordings.
Listening to tap dancing on audio equipment is in some ways similar to ventriloquism on radio but with tap dancing there is a certain kind of rhythm which is pleasant to the ear. There is only a limited amount of this type of track and the bulk of the album is taken up with Fred’s singing.
Although Fred Astaire didn’t have the greatest voice in the business he had a way of phrasing a song which was admired by many songwriters who wrote songs with Fred in mind. Many of the songs on this album were introduced by Fred Astaire and the way he sung them was copied by many singers and became the definitive to sing them.
All the songs on this album have become part of the Great American Songbook including two written by Fred Astaire himself for which Oscar Peterson is wrongly credited on the sleeve notes has being co-writer.
Irving Berlin and the Gershwin’s are the most represented on the two albums with Berlin just having the edge, Berlin’s “Isn’t this a lovely day” is taken at a slower pace than usual but it works with Astaire paying close attention to the lyrics.
Berlin’s “I used to be color blind” is not one of his songs that singers include in their repertoire and it deserves much more exposure, Astaire gives it a fine reading. “Change partners” is one of Berlin’s best songs and Astaire treats it with a great deal of sensitivity retaining its romantic appeal.
The Gershwin’s “S’wonderful” is given a swinging treatment with a pleasant contribution from Flip Phillips on tenor saxophone. ”Lovely to look at” by Jerome Kern with lyrics by Dorothy Fields has a very telling guitar solo by Barney Kessel.
Oscar Peterson’s piano accompaniment is immaculate throughout and the two horn players make the most of their short solo contributions. Peterson’s quartet tracks stand up well considering the passage of time and his later work.
If you a lover of good songs sung by a singer who understands how to deliver a lyric with understanding this a set which will give you a great deal of pleasure.
Reviewed by Roy Booth
Master Jazz Recordings 8892868 2 CD set
Fred Astaire ( vocals & tap dance ) Oscar Peterson ( pno / cond ) Charlie Shavers ( tpt ) Flip Phillips
( tnr ) Barney Kessel ( gtr ) Ray Brown ( bass ) Alvin Stoller ( drs )
Recorded Los Angeles, December 1952
Since the original CD version on Verve was issued two further instrumental tracks have been added by the Oscar Peterson Quartet which are a bonus to what is already an interesting set of recordings.
Listening to tap dancing on audio equipment is in some ways similar to ventriloquism on radio but with tap dancing there is a certain kind of rhythm which is pleasant to the ear. There is only a limited amount of this type of track and the bulk of the album is taken up with Fred’s singing.
Although Fred Astaire didn’t have the greatest voice in the business he had a way of phrasing a song which was admired by many songwriters who wrote songs with Fred in mind. Many of the songs on this album were introduced by Fred Astaire and the way he sung them was copied by many singers and became the definitive to sing them.
All the songs on this album have become part of the Great American Songbook including two written by Fred Astaire himself for which Oscar Peterson is wrongly credited on the sleeve notes has being co-writer.
Irving Berlin and the Gershwin’s are the most represented on the two albums with Berlin just having the edge, Berlin’s “Isn’t this a lovely day” is taken at a slower pace than usual but it works with Astaire paying close attention to the lyrics.
Berlin’s “I used to be color blind” is not one of his songs that singers include in their repertoire and it deserves much more exposure, Astaire gives it a fine reading. “Change partners” is one of Berlin’s best songs and Astaire treats it with a great deal of sensitivity retaining its romantic appeal.
The Gershwin’s “S’wonderful” is given a swinging treatment with a pleasant contribution from Flip Phillips on tenor saxophone. ”Lovely to look at” by Jerome Kern with lyrics by Dorothy Fields has a very telling guitar solo by Barney Kessel.
Oscar Peterson’s piano accompaniment is immaculate throughout and the two horn players make the most of their short solo contributions. Peterson’s quartet tracks stand up well considering the passage of time and his later work.
If you a lover of good songs sung by a singer who understands how to deliver a lyric with understanding this a set which will give you a great deal of pleasure.
Reviewed by Roy Booth