Steve Ross

Puttin’ On the Ritz: Steve Ross Sings Fred Astaire and Friends

Birdland, NYC, November 11, 2024

Reviewed by Alix Cohen

Steve Ross told us that he sat beneath his mother’s piano as a child and that after Beethoven she’d play Cole Porter. His absorption of Porter came early. His sumptuous arrangements were a treat tonight. A classical background perhaps fed his ineffable channeling of the writers whose songs epitomized sophistication, style, wit, and world-weary pathos. His later instrumental version of Porter’s “Begin the Beguine” was simply gorgeous.

The title song (by Irving Berlin) arrived crisp, frisky, and rakish as Ross performed with an implicitly raised eyebrow. “I Wanna Be a Dancin’ Man” (Harry Warren/ Johnny Mercer) took its time. “An ambitious mother came from Omaha with two children who became the darlings of the circuit. At the height of their teens, Fred and Adele Astaire climbed the stairs looking for new material in Tin Pan Alley. The house pianist was George Gershwin. ‘I’m going to write a show for you,’ he said to the siblings, and did,” Ross told us.

1924’s Lady Be Good! was about a brother and sister who were out of money and where ready to sacrifice themselves to help each other. We heard “Fascinating Rhythm” and “Lady Be Good.” Ross’ enthusiasm caused him to bounce just a bit on the piano seat. Next the Gershwin’s wrote Funny Face. “He Loves and She Loves” and “’S Wonderful (“’sss wonderful”) followed. Few can, like this artist, sing “In my humble fash…With a tender pash… ‘Magine my emosh… Permanent devosh…and make the language sound natural.”

Ross told us that “Adele and Fred became huge stars on both sides of the Atlantic until she fell in love with a British lord. Her last role was in The Bandwagon.” His version of “Dancing in the Dark” (Howard Dietz/Arthur Schwartz) was dreamlike. From glissandi to whirl, it conjured cascading chiffon as he caressed the lyric.

Fred Astaire was also an accomplished songwriter. “City of Angels” (written with Tommy Wolf) is about his second home, Los Angeles: “Life’s a taste of honey/Where the days are bright and sunny/And you dream of picking money off a tree.” Ross’ performance danced in a graceful soft shoe. On his own, Astaire was pursued by every notable songwriter to debut their material, and many became friends. No one communicated the essence of lyrics with unfussy truth, heart, and aplomb like the he did.

Several selections from Noël Coward’s oeuvre included a version of the tango “Nina” that had incorrigible accent and attitude. Ross understands the difference between wry and broadly funny. The unabashedly romantic “Someday I’ll Find You” (from Private Lives) was the theme song to the popular radio detective series Mr. Keen, Tracer of Lost Persons. Who else but Ross would know that tidbit?

As a salute to Hoagy Carmichael, Astaire sang “The Nearness of You” (lyric by Ned Washington), which was intended for an unproduced Paramount film titled Romance in The Rough. Ross shared it as if he were dolefully recollecting in real time; the sentiment sighed. Porter secured Astaire’s services for The Gay Divorce (which became the film The Gay Divorcee) by presenting him with “After You, Who?” Aching reverie emanated from the stage, and “Night and Day” was transfixing. Ross made the piano sounded like an orchestra.

Ross has performed most of these songs on hundreds of occasions, yet with time, many have grown more powerful. While something in his spirit had innate affinity for the material, his sensitive life experience has added depth and texture. He is one of our foremost romantic balladeers.

“One For My Baby (and One More for the Road)” (Harold Arlen/Mercer) was a disconsolate musing. Ross painted a saloon’s atmosphere; even the hour was apparent. “I’ll Go My Way By Myself” (Dietz/ Schwartz), unlike Astaire’s slick film version disenchantment, was halting, rueful, and real. With “No Strings (I’m Fancy Free)” (Berlin) came Ross’ forbearing shrug; the sequencing was adroit.

A medley from the wonderful film Swingtime was followed by “Let Yourself Go” (Berlin), which included starts and stops, a growl, and a slo-mo vocal. By this time one might have regretted not having taken dance lessons. “As I get older, friendships mean more to me than they ever did” introduced an emotionally translucent “Old Friend” (Gretchen Cryer/Nancy Ford). Our savvy audience joined in on “Cheek to Cheek” with a coda of “Let’s Face the Music and Dance.” (both Berlin). An encore of “They Can’t Take That Away from Me” (the Gershwins) was palpably wistful.

Steve Ross represents an endangered species. It was a pleasure to bask in his talent.