12/5/2023 0 Comments Autumn in new york lead sheet pdf![]() ![]() As crime associated with bootlegging wound down, so did many of its stellarįigures. In 1934, the construction of cocktail lounges becameĪ major part of the building industry. That the law was effective only in the production of gangsters connected with the bootlegging industry. It was repealed in 1933 by the 21st Amendment, as everyone ultimately recognized Prohibition of the public manufacture of alcoholic beverages had been established in 1919, through the Eighteenth Amendment to the Constitution. Looking down on the city I hate and adore! Mark Turner, from Mark Turner, New York, December 7, 1995.Īnd prepare for my share of adventures and battles 13, live at Maybeck Recital Hall, Berkeley, California, November 18, 1990 Steve Kuhn, from Live at Maybeck Recital Hall, Vol. Shelly Manne, Jimmy Giuffre, and Shorty Rogers, from The Three & The Two, Hollywood, September 10, 1954 Modern Jazz Quartet, from Django, June 25, 1953ĭexter Gordon, from Daddy Plays the Horn, Hollywood, September 18, 1955 Recommended versionsįrank Sinatra, New York, December 4, 1947īud Powell (with Charles Mingus), live at Birdland, New York, May 30, 1953 This is a stream-of-consciousness version of “Autumn in New York,” which eventually gets us to Manhattan, but only after many detours. And for his solo piano performance at the Maybeck Recital Hall, from 1990, Steve Kuhn does occasionally insert a chord or two, but they typically bear no obvious relation to those Vernon Duke provided in his sheet music. On his 1954 recording, Shelly Manne dispenses with bass and harmony instruments entirely, instead engaging in an avant-garde musical conversation with Shorty Rogers and Jimmy Giuff re. ![]() Taylor, is both eloquent and disturbing, with jarring cross-rhythms and a tonal palette that occasionally seems more suited for a horror film soundtrack than a modern jazz trio. Bud Powell’s Birdland performance from 1953, where he is joined by Charles Mingus and Art The song has inspired more than a few outré reconfiguration. Sinatra, whose renditions remain the measuring rods forĪll other versions of “Autumn in New York,” would return to it again during two fall sessions: an October 1957 date for Come Fly with Me, and, finally, on an autumn day in New York itself, at his celebrated Madison Square Garden concert Little fanfare greeted “Autumn in New York” at the time, and the song languished for 15 years, before Frank Sinatra turned it into a hit record with his 1947 interpretation. But the show, which opened in December 1934, never made it to autumn, closing in early May after 156 performances. “Autumn in New York” found a home in Murray Anderson’s 1934 revue Thumbs Up -Duke offered it when he learned the producer was looking for a song celebrating Manhattan in the fall. The melody, with its alternation of downward-stepping and upward-sweeping phrases, perfectly When the song eventually resolves into F minor, you can look back and contemplate the intricacy and misdirection of a structure that never states that chord at any point in its first 24 bars. Vernon Duke also doubled as a serious composer, and this piece, more than any of his other popular efforts, seems to straddle the divide between conservatory ambitions and commercial considerations, especially in its unusual harmonic movement. ![]() How many tune smiths, seeking a rhyme for “inviting,” would settle on the syntactically challenged “thrill of first-nighting”? Or, with New Yorkers inmind, envision “dreamers with empty hands” sighing for “exotic lands”? Even so, Duke gets kudos for the daring of his wordplay. Earlier in 1934, he had enjoyed a huge hit with “April in Paris,” and his new song imitated the same “city and season” concept as well as the nostalgic imagery that lyricist Yip Harburg had contributed to the prior work. Yet, I can’t give Duke all the credit here. Yet this orphan tune would prove to be one of Duke’s most popular works, and until John Kander and Fred Ebbs raised the bombast level with their song “New York, New York” in 1977, it would stand as the definitive Big Apple standard. Unlike most of his other well-known works, this tune was written without a commission or show in mind, inspired merely by the composer’s longing for New Yorkĭuring a stay in Westport, Connecticut, in the late summer of 1934. The circumstances were happenstance, but the results enduring. Autumn in New YorkĬomposed by Vernon Duke (Jazz Transcription)ĭuring the course of his career, composer Vernon Duke worked with the most talented lyricists of the period-including Johnny Mercer, Ira Gershwin, Sammy Cahn, Yip Harburg, and Ogden Nash-but for this song he contributed his own words. Best Sheet Music download from our Library.
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