Autumn in New York - Jazz Piano (Trio)

Hello to all, here a new video for you, played with the Ravenscroft 275 (VI LAB)

The song "Autumn in New York" how some of you surely have noticed this is my arrangement, and I hope soon to make available the score and also the backing track.

For the nice midi keyboard screen visit please : http://www.midiculous.com

More informations about the song:

"Autumn in New York" is a jazz standard composed by Vernon Duke in 1934 for the Broadway musical Thumbs Up! which opened on December 27, 1934, performed by J. Harold Murray. Many versions of the song have been recorded over the years by numerous musicians and singers.
Jazz versions have been performed by Charlie Parker, Billie Holiday, Stan Kenton, Sarah Vaughan and Sheila Jordan. A duet of the song was also recorded by Louis Armstrong and Ella Fitzgerald. Among the instrumental performances of the tune is a legendary version by guitarist Tal Farlow.

Info about the Composer:

Vernon Duke (10 October [O.S. 27 September] 1903 -- January 16, 1969) was an American composer/songwriter, who also wrote under his original name Vladimir Dukelsky. He is best known for "Taking a Chance on Love" with lyrics by Ted Fetter and John Latouche, "I Can't Get Started" with lyrics by Ira Gershwin, "April in Paris" with lyrics by E. Y. ("Yip") Harburg (1932), and "What Is There To Say" for the Ziegfeld Follies of 1934, also with Harburg. He wrote the words and music for "Autumn in New York" (1934). Vernon collaborated with lyricists such as Johnny Mercer, Ira Gershwin, Ogden Nash and Sammy Cahn and his works have been performed and recorded by Count Basie, Bunny Berigan, Billie Holiday, Benny Goodman, Charlie Parker, Thelonious Monk, Bud Powell, the Modern Jazz Quartet, André Previn, Frank Sinatra, Tony Bennett, Wynton Marsalis, and many others.

In 1924, the restless young man left hospitable America for the Old World. In Paris, he received a commission from Serge Diaghilev to compose a ballet. Dukelsky's first theatrical production, Zephyr and Flora, was staged in the 1925 season of Ballets Russes, with choreography by Léonide Massine and scenography by Georges Braque, to great critical acclaim. In a review of musical novelties of the season, Sergei Prokofiev described it as full of "superior melodies, very well designed, harmonically beautiful and not too 'modernist'." Prokofiev was as impressed with the young talent as Diaghilev was, and soon the composers became close friends. They frequently saw each other until the end of the 1930s and corresponded until 1946, when the attacks of Soviet officialdom on Prokofiev (who returned to Russia in 1938 although Duke urged him not to go) made the further exchange of letters too dangerous for Prokofiev. Dukelsky's First Symphony was premiered by Serge Koussevitzky and his orchestra in 1928 in Paris on the same bill as the excerpts from Prokofiev's The Fiery Angel. Some of Dukelsky's and Prokofiev's compositions of the 1930s bear evidence of the sustaining musical dialogue.
In the late 1920s, Dukelsky shared his time between Paris, where his more classical works were performed, and London where he composed numbers for musical comedies under the pen name of Vernon Duke. In 1929, he returned to the United States with an intention of settling in the country permanently. He composed and published much serious music, but devoted even greater efforts to establishing himself on Broadway. Duke's songs "April in Paris" (1932), "Autumn in New York" (1934), "I Like the Likes of You" (1934), "Water Under the Bridge" (1934), "I Can't Get Started" (1936) were among the hits of the 1930s.
The support and devotion of Serge Koussevitzky, who published Dukelsky's chamber music and conductd his orchestral scores, helped him develop his more classical works. Dukelsky's concerto for piano, orchestra and soprano obbligato titled Dédicaces (1935--1937), was premièred by Koussevitzky and the Boston Symphony Orchestra in January 1939 in New York. His oratorio, The End of St. Petersburg, was premiered a year earlier by Schola Cantorum and the New York Philharmonic under Hugh Ross. In 1937, the composer was asked to complete Gershwin's last score, a soundtrack to a Technicolor extravaganza The Goldwyn Follies, for which he contributed two parody ballets, choreographed by George Balanchine, and a song "Spring Again". In 1939, Dukelsky became an American citizen and took Vernon Duke as his legal name. Duke's greatest success came a year later, with the Broadway musical Cabin in the Sky (1940), choreographed by George Balanchine and performed by an all-black cast at the Martin Beck Theater in New York.