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  • 弗雷德·阿斯泰尔：大礼帽、白领带和燕尾服（1933-1936年录音）
    ASTAIRE, Fred: Top Hat, White Tie and Tails (1933-1936)
    专辑号：8.120718
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• • 弗雷德·阿斯泰尔：大礼帽、白领带和燕尾服（1933-1936年录音）/ASTAIRE, Fred: Top Hat, White Tie and Tails (1933-1936)
  • [ 介绍 ]
  • FRED ASTAIRE Top Hat, White Tie & TailsComplete Recordings Vol.3: 1933-1936 With this third volume of Naxos’ Complete Fred Astaire series, the Hollywood years begin. Not only would this period mark Astaire’s ascendancy into worldwide stardom, but it would take his recording career to new commercial and artistic heights, too. The move from Broadway to Hollywood would be a watershed in Astaire’s career. Teamed with his sister, Adele, he had been one of the most potent forces in musical comedy in the late 1920s and early ’30s. But the dawn of talking pictures, the effects of the Depression on the Broadway box office and his sister’s retirement from the stage for married life all conspired to set a new career direction for Fred. And not a minute too soon. The Band Wagon, his last show with Adele, had been a tremendous hit on Broadway. His first solo vehicle, The Gay Divorce, had equalled it. But he was bored and looking for a change. In an interview with Lucius Beebe, of The New York Herald-Tribune, he said, “The stage is beginning to worry me a bit. Just why I can’t say, only perhaps it’s getting on my nerves. I don’t know what I’m going to do about it either.” Producer David O. Selznick, production chief at RKO-Radio Pictures, gave him the answer. Following a screen test, Selznick penned one of his legendary memos, commenting, “I am still a little uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even in this wretched test.” Newly married and armed with an RKO contract, the Astaires flew to Hollywood, where RKO was still trying to get a vehicle pulled together for their new star. Selznick had bolted the studio to work for his father-in-law, Louis B. Mayer, and, since RKO wasn’t ready to launch Astaire’s film career, MGM did. On loan-out, Selznick cast him as himself in the Clark Gable–Joan Crawford film, Dancing Lady. Astaire performed only two numbers, but he provided the only excitement in the dreary film, causing movie audiences that had grown weary of the deluge of early musicals to sit up and take notice. When he was finally put into RKO’s Flying Down to Rio, alongside former Warner Bros. musical comedy second-stringer Ginger Rogers, the Astaire film career finally ignited. Although Astaire and Rogers were subordinate to Dolores Del Rio and Gene Raymond in both the script and the billing of Flying Down to Rio, that’s not the way it seemed to the movie-going public. The new duo easily stole the show. What followed was, of course, one of the most successful strings of musicals in the history of the film industry, quite literally saving RKO at a time when many other film studios were plunging into receiver-ship. The Astaire–Rogers cycle at RKO would last for nine films in all, not ending until 1939. At the same time that Astaire was deftly moving from stage to film star, his recording career took an upswing. As the two previous volumes of this set will have illustrated, his recording career was erratic. He had recorded many of the songs from his stage shows in New York and London for both Columbia and Victor. But he was hardly considered a recording star; rather a Broadway musical comedy star who occasionally recorded. Interesting as all his recordings were, there was no consistency of style from session to session. And some of the orchestrations were down-right rickey-ticky, hardly befitting as polished and sophisticated a performer as Astaire. That pattern seemed destined to continue in the aftermath of Flying Down to Rio, when he recorded the title song and Music Makes Me for Columbia in late 1933. In fairness to the label, the record industry was still deep in the doldrums of the Depression at the time and sales were flat. But so was the Astaire recording session, with uninspired orchestrations and musical direction. Both the U.S. and English release versions of these sides are included here. They were all recorded in London, where Astaire appeared in a short run of his previous Broadway hit, The Gay Divorce, before RKO began production on the film version of the show. The film title, incidentally, acquired an extra “e” because the film censors didn’t want any suggestion that divorce was acceptable. Obviously, a divorce couldn’t be gay, but a divorcee could. As the box office power of Astaire grew, the recording industry at first did nothing. It is unfortunate today that none of the major labels saw fit to have him record the songs from the next two Astaire–Rogers hits, The Gay Divorcee and Roberta. But finally Brunswick took the plunge in 1935 and stumbled on to the perfect presentation of the Astaire voice and personality. In recording the Irving Berlin songs from Top Hat, he was paired with the label’s two most popular society orchestras. The three sides with Leo Reisman – with whom he had recorded on Victor – were good, but not dazzling. It was the session with multi-talented conductor/composer/pianist Johnny Green that would change Astaire’s recording career forever, particularly their collaboration on Top Hat, White Tie and Tails. Green’s sophisticated orchestrations and his nimble piano style were the perfect complements to Astaire’s light voice and superb diction. There is a bounce and polish to the Green recordings that makes the Reisman sides seem flat by comparison. It was the perfect meeting of two talents and two personalities, similar to what would occur in the 1950s when Capitol paired Frank Sinatra with conductor Nelson Riddle. The right combination at the right time creating a sound that would personify an era. Both in manner and performance, Green was the piano-playing, baton-wielding equivalent of Astaire. He was elegant, graceful and witty, a man who never looked more comfortable than when he was dressed in white tie and tails, sitting at the piano performing in a sprightly, well-rehearsed style that matched Astaire’s ability to do the hard things and make them seem effortless. Not to be discounted in this mix was Green’s own admiration and affection for Astaire. He had been a fan since the age of eleven, when he saw him on stage in Apple Blossoms. Their mutual friendships with the Gershwins, Cole Porter and other top composers and performers created another bond and, one suspects, a level of comfort with each other. This Naxos collection demonstrates the growth of Astaire from an artist who also recorded to a true recording artist, particularly thanks to the Green sides. It contains the justly famous and familiar Brunswick sides from the scores of Top Hat, Follow the Fleet and Swing Time, plus the alternate takes of the two songs from Flying Down to Rio. This collection also contains a true rarity. In recording the superb Jerome Kern–Dorothy Fields score for Swing Time, two versions of the Waltz in Swing Time were made. The released take featured Green’s orchestra and piano only. But an earlier version included Astaire’s tapping. That rejected test pressing is heard here for the first time. Greg Gormick, July 2003 Toronto, Ontario, Canada
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      飞向里约热内卢Flying Down to Rio

      

      1: 飞向里约热内卢 Flying Down to Rio

      02:47

      飞向里约热内卢（美国发行本）Flying Down to Rio (US issue)

      

      2: 飞向里约热内卢（美国发行本） Flying Down to Rio (US issue)

      02:40

      音乐造就了我Music Makes Me

      

      3: 音乐造就了我 Music Makes Me

      02:28

      音乐造就了我（美国发行本）Music Makes Me (US issue)

      

      4: 音乐造就了我（美国发行本） Music Makes Me (US issue)

      02:28

      颊对颊Cheek to Cheek

      

      5: 颊对颊 Cheek to Cheek

      03:17

      没有弦乐No Strings

      

      6: 没有弦乐 No Strings

      02:33

      多美好的一天Isnt This a Lovely Day

      

      7: 多美好的一天 Isnt This a Lovely Day

      03:16

      大礼帽Top Hat

      

      8: 大礼帽 Top Hat

      02:39

      皮科利诺The Piccolino

      

      9: The Piccolino The Piccolino

      03:16

      随心所欲Let Yourself Go

      

      10: 随心所欲 Let Yourself Go

      02:36

      自食其果吧Lets Face the Music and Dance

      

      11: 自食其果吧 Lets Face the Music and Dance

      02:28

      我们看见了大海We Saw the Sea

      

      12: 我们看见了大海 We Saw the Sea

      02:21

      我孤注一掷Im Putting All My Eggs in One Basket

      

      13: 我孤注一掷 Im Putting All My Eggs in One Basket

      02:47

      我宁愿指挥乐队Id Rather Lead a Band

      

      14: 我宁愿指挥乐队 Id Rather Lead a Band

      02:30

      我变得极其沮丧Im Building Up to an Awful Let-Down

      

      15: 我变得极其沮丧 Im Building Up to an Awful Let-Down

      03:05

      站起来Pick Yourself Up

      

      16: 站起来 Pick Yourself Up

      02:57

      你今晚看上去的样子The Way You Look Tonight

      

      17: 你今晚看上去的样子 The Way You Look Tonight

      03:09

      别去跳舞Never Gonna Dance

      

      18: 别去跳舞 Never Gonna Dance

      03:11

      哈莱姆黑人区的踢踏舞者Bojangles of Harlem

      

      19: Bojangles of Harlem 03:05 Bojangles of Harlem

      03:05

      优美的浪漫曲（带讽刺意味的爱情歌曲）A Fine Romance (A Sarcastic Love Song)

      

      20: 优美的浪漫曲（带讽刺意味的爱情歌曲） A Fine Romance (A Sarcastic Love Song)

      02:53

      摇滚乐时代的圆舞曲The Waltz in Swing Time

      

      21: 摇摆的圆舞曲 The Waltz in Swing Time

      02:42

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