The Astaire Story

~ Veröffentlichung von Fred Astaire (alle Versionen dieser Veröffentlichung ansehen, 4 vorhanden)

Titelliste

1▼CD
Nr.TitelBewertungLänge
1Overture: The Astaire Blues
12:03
2Isn’t This a Lovely Day
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
vocals:
Fred Astaire (in 1935, in 1952-12)
Orchester:
The RKO Radio Studio Orchestra (in 1935)
conductor:
Max Steiner (in 1935)
recording of:
Isn’t This a Lovely Day? (from “Top Hat”) (in 1952-12)
Texter und Komponist(in):
Irving Berlin (in 1935)
Teil von:
Top Hat (1935 film)
4:25
3Puttin’ On the Ritz
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Bassgitarre:
Ray Brown (jazz bassist)
Gitarre:
Barney Kessel
Klavier:
Oscar Peterson (Canadian jazz pianist and composer)
Schlagzeug:
Alvin Stoller
Tenorsaxophon:
Flip Phillips
Trompete:
Charlie Shavers
vocals:
Fred Astaire (in 1952-12)
recording of:
Puttin’ On the Ritz (in 1952-12)
Texter und Komponist(in):
Irving Berlin (in 1929)
publisher:
Berlin Irving Music Corp und Universal Music Publishing Ltd. (UK subsidiary of Universal Music Publishing Group)
Teil von:
Idiot’s Delight (film)
2:52
4I Used to Be Color Blind
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
I Used to Be Color Blind (from "Carefree") (in 1952-12)
Texter und Komponist(in):
Irving Berlin (in 1938)
4:14
5The Continental
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Bassgitarre:
Ray Brown (jazz bassist)
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
The Continental (from the 1934 film "The Gay Divorcee") (in 1952-12)
Texter:
Herb Magidson (in 1934)
Komponist(in):
Con Conrad (songwriter and producer) (in 1934)
publisher:
Harms, Inc., Magidson Music, Inc., The Songwriters Guild und Warner Bros., Inc. (not for release label use!)
Teil von:
Academy Award for Best Original Song (Nummer: 1934 winner)
cover recording of:
The Continental (from the 1934 film "The Gay Divorcee")
Texter:
Herb Magidson (in 1934)
Komponist(in):
Con Conrad (songwriter and producer) (in 1934)
publisher:
Harms, Inc., Magidson Music, Inc., The Songwriters Guild und Warner Bros., Inc. (not for release label use!)
Teil von:
Academy Award for Best Original Song (Nummer: 1934 winner)
3:29
6Let’s Call the Whole Thing Off
Produzent(in):
Norman Granz
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug [drums]:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
phonographisches Urheberrecht (℗) von:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1952)
recording of:
Let’s Call the Whole Thing Off (from “Shall We Dance”) (in 1952-12)
Texter:
Ira Gershwin (in 1937)
Komponist(in):
George Gershwin (composer) (in 1937)
publisher:
Gershwin Publishing Corp (in 1937)
übersetzte Version von:
Vamos a dejarlo ya (Let's Call the Whole Thing Off)
Teil von:
Shall We Dance (1937 film soundtrack)
4:35
7Change Partners
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Change Partners (from “Carefree”) (in 1952-12)
Texter und Komponist(in):
Irving Berlin (in 1938)
publisher:
Irving Berlin Music Corp. und Williamson Music Company
Teil von:
The 11th Academy Award for Best Original Song (Nummer: 2) und Academy Award for Best Original Song (Nummer: 1938 nominee)
3:15
8’s Wonderful
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Gitarre:
Barney Kessel (in 1952-12)
Instrumente:
Charlie Shavers (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
cover recording of:
’S Wonderful (in 1952-12)
Texter:
Ira Gershwin (in 1927)
Komponist(in):
George Gershwin (composer) (in 1927)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Ltd., Ira Gershwin Music, New World Music Company Ltd., Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09) und WB Music Corp. (1929–2019)
enthalten in:
An American in Paris (2015 Broadway musical)
Teil von:
Funny Face (1927 musical)
Teil von:
My One and Only (1983 Broadway musical)
2:57
9Lovely to Look At
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
Lovely to Look at (in 1952-12)
Texter:
Dorothy Fields (American librettist and lyricist) (in 1935)
Komponist(in):
Jerome Kern (in 1935)
zusätzliche(r) Komponist(in):
Jimmy McHugh (songwriter)
Teil von:
Academy Award for Best Original Song (Nummer: 1935 nominee)
recording of:
Lovely to Look at (vom 1952-12 bis heute)
Texter:
Dorothy Fields (American librettist and lyricist) (in 1935)
Komponist(in):
Jerome Kern (in 1935)
zusätzliche(r) Komponist(in):
Jimmy McHugh (songwriter)
Teil von:
Academy Award for Best Original Song (Nummer: 1935 nominee)
3:26
10They All Laughed
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
They All Laughed (from “Shall We Dance”) (in 1952-12)
Texter:
Ira Gershwin (in 1937)
Komponist(in):
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK) und Gershwin Publishing Corp (in 1937)
Teil von:
Shall We Dance (1937 film soundtrack)
2:55
11Cheek to Cheek
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Bassgitarre:
Ray Brown (jazz bassist)
Gitarre:
Barney Kessel
Klavier:
Oscar Peterson (Canadian jazz pianist and composer)
Schlagzeug:
Alvin Stoller
Tenorsaxophon:
Flip Phillips
Trompete:
Charlie Shavers
vocals:
Adele Astaire und Fred Astaire (in 1952-12)
cover recording of:
Cheek to Cheek (from “Top Hat”) (in 1952-12)
Texter und Komponist(in):
Irving Berlin (in 1935)
publisher:
Irving Berlin (England) Music Ltd., Irving Berlin Music Company, Irving Berlin Music Corp., シンコーミュージック・エンタテイメント (Shinko Music Entertainment Co., Ltd.) und ユニバーサル・ミュージック・パブリッシング Synch事業部 (Universal Music Publishing, Synch Division)
Teil von:
Academy Award for Best Original Song (Nummer: 1935 nominee)
Teil von:
Top Hat (1935 film)
recording of:
Cheek to Cheek (from “Top Hat”)
Texter und Komponist(in):
Irving Berlin (in 1935)
publisher:
Irving Berlin (England) Music Ltd., Irving Berlin Music Company, Irving Berlin Music Corp., シンコーミュージック・エンタテイメント (Shinko Music Entertainment Co., Ltd.) und ユニバーサル・ミュージック・パブリッシング Synch事業部 (Universal Music Publishing, Synch Division)
Teil von:
Academy Award for Best Original Song (Nummer: 1935 nominee)
Teil von:
Top Hat (1935 film)
5:40
12Steppin’ Out With My Baby
2:21
13The Way You Look Tonight
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
The Way You Look Tonight (from “Swing Time”) (in 1952-12)
publisher:
Jerome Kern (am 1936-07-24)
Texter:
Dorothy Fields (American librettist and lyricist) (in 1936)
Komponist(in):
Jerome Kern (in 1936)
publisher:
Aldi Music Company, Chappell & Co., Inc. (USA), Chappell Music Ltd., Polygram Music, PolyGram Music Publishing Ltd., Shapiro Bernstein & Co. Ltd., Shapiro, Bernstein & Co., Inc., The Songwriters Guild und Universal PolyGram International Publishing, Inc. (existed only since ca. 1998) (in 1936)
sub-publisher:
シンコーミュージック・エンタテイメント (Shinko Music Entertainment Co., Ltd.) und ユニバーサル・ミュージック・パブリッシング Synch事業部 (Universal Music Publishing, Synch Division)
Teil von:
The 9th Academy Award for Best Original Song (Nummer: 1) und Academy Award for Best Original Song (Nummer: 1936 winner)
Teil von:
Swing Time (film)
2:58
14I’ve Got My Eyes on You
2:58
15Dancing in the Dark
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Bassgitarre:
Ray Brown (jazz bassist)
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Dancing in the Dark (in 1952-12)
Texter:
Howard Dietz (librettist)
Komponist(in):
Arthur Schwartz
publisher:
Arthur Schwartz Music Ltd., Chappell Music Ltd., Harms, Inc., Warner Bros., Inc. (Warner Bros. Music Division) und WC Music Corp.
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) und ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
Teil von:
The Band Wagon (1953 film)
4:46
16The Carioca
4:47
17Nice Work If You Can Get It
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Nice Work If You Can Get It (in 1952-12)
Texter:
Ira Gershwin (in 1937)
Komponist(in):
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA) und Gershwin Publishing Corp (in 1937)
Teil von:
A Damsel in Distress (1937 film score)
Teil von:
Crazy for You (1992 musical)
Teil von:
My One and Only (1983 Broadway musical)
2:07
18New Sun in the Sky
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
New Sun in the Sky (in 1952-12)
Texter:
Howard Dietz (librettist)
Komponist(in):
Arthur Schwartz
Teil von:
The Band Wagon (1953 film)
2:27
19I Won’t Dance
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
I Won’t Dance (1935, lyrics by Dorothy Fields, from “Roberta”) (in 1952-12)
Texter:
Jimmy McHugh (songwriter) und Dorothy Fields (American librettist and lyricist) (in 1935)
Komponist(in):
Jerome Kern
publisher:
Chappell Music Ltd., Cotton Club Publishing, EMI Music Publishing Ltd. (PRS‐affiliated), Memory Lane Music Ltd., T.B. Harms Co. und Universal Music Publishing Ltd. (UK subsidiary of Universal Music Publishing Group)
basiert auf:
I Won’t Dance (1934, lyrics by Hammerstein/Harbach, from “Three Sisters”)
3:01
20Fast Dances (ad lib)
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
E-Gitarre [guitar]:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
tap dance:
Fred Astaire (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Fast Dances (Ad Lib) (in 1952-12)
2:42
2▶CD

Nennungen

Veröffentlichungsgruppe

Wikipedia:en: The Astaire Story [Info]
Allmusic:https://www.allmusic.com/album/mw0000202081 [Info]
Wikidata:Q7714739 [Info]