Jazz Lines Publications Presents autumn in new york recorded by charlie arker Arranger unknown, ossibly glenn osser - reviously thought to have been arranged by joe liman - edited by jerey sultano ull score rom the original manuscrit jl-8016 Words and Music by Vernon Duke Coyright 1934 by Kay Duke Music Coyright Renewed International Coyright Secured All Rights Reserved Layout, Design, and Logos 2009 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM Published by the Jazz Lines Foundation Inc., a Not-or-Proit Jazz Research Organization Dedicated to Preserving and Promoting America s Musical Heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Srings NY 12866 USA
charlie arker with strings series autumn in new york (1952) Background: When Billie Holiday signed a new recording contract with Decca Records in 1944, she told roducer Milt Gabler she wanted to record with strings. Anxious to establish Holiday as a o singer, Gabler hired six string layers or her i rst session, and the i rst song recorded was Lover Man, one o her biggest hits. Several years later, when Charlie Parker signed with imresario/manager Norman Granz label Cle, Parker asked or strings as well. Granz was obviously keeing costs down, as only i ve string layers were hired or the i rst session (1949), but these were the very to New York session layers; some were members o the NBC symhony conducted by Arturo Toscanini. As much as he d dreamed o laying with strings, reortedly Parker walked out o a ew sessions without laying a note (the number has never been authenticated). He later exlained that the sound o the strings and the thought o working with such distinguished musicians scared him; he thought they were greater artists than he. What i nally took lace was sheer magic. The arts or the string layers were relatively easy, so they listened and enjoyed Parker s imrovisations. The arrangements or the i rst studio session were done by Jimmy Carroll and recorded on November 30, 1949. On July 5, 1950 there was another studio recording session, this time with arrangements by Joe Liman. This second date eatured a larger ensemble including oboe, French horn, 4 violins, 2 violas, cello, har, guitar, iano, bass, and drums. Parker also aeared with his string grou on at least 4 live occassions: Birdland (August, 1950 and March and Aril, 1951), Aollo Theater (August 1950), Carnegie Hall (Setember, 1950), Rockland Palace Dance Hall (Setember, 1952). In 1952 Parker recorded an additional 4 arrangements by Liman eaturing a ull big band with a string section. Parker would later say that the studio recordings with his string ensemble were his avorites o his own work, desite jazz critics condescending reactions and their claims that he was selling out. As it turns out, he was selling in. The albums sold well, and brought Parker to a whole new audience. As ar as his own laying, many o his solos on this i rst album were lovely and insired. Just Friends is one o Parker s i nest records and his solo is remarkable; I can t be the only one who can sing it by heart at a moment s notice. It is a ity that none o the alternate takes seem to have survived. The hit side o the January, 1952 recording date (the tae boxes are not marked), Autumn in New York, was one o the biggest hits written by comoser Vernon Duke. Duke led a double lie; as Vladimir Dukelsky, he comosed concert music, including a ballet commissioned by Serge Diagalev o the Ballet Russe (The Rite o Sring was another Diagalev commission). As Duke (a name suggested by his riend George Gershwin), he wrote many wonderul songs or shows that were not very successul. His music has had a resurgence o interest in recent years, with many new recordings o his scores and individual songs. The Music: Thanks to the rediscovery o the original scores and arts o the Bird with strings arrangements, we now know that Joe Liman did not arrange Autumn in New York. The handwriting on the score is totally dierent rom scores where Liman s name is on the title age, and there is no name to be ound on Autumn. Based on the amount o coy errors on the arts o Temtation, it is clear that this recording date was reared in a hurry, and obviously Liman could not i nish all our scores scheduled. So a ghost was hired to write this score. Ghosting became very common among arrangers when radio networks (stations throughout the country groued together by organizations such as the Columbia Broadcasting System [CBS] and the National Broadcasting Comany [NBC]) were ormed in the late 1920s. With the amount o local and national rogramming broadcast every day that demanded many ages o music to be layed live, sta arrangers who got into a bind made a hone call to one or several other arrangers to get the job done. During the big band era, Horace Henderson comleted arrangements or Benny Goodman that were credited to his brother Fletcher. Ater the war, the recording and television industries rovided work or hundreds o arrangers rom coast to coast, and there was more than enough activity to kee them busy. No one cared about getting credits on record labels or album covers, the arrangers just wanted the work. In New York, Marion Evans, Billy Byers, Neal Heti, Don Costa and a ew other arrangers lived within several blocks o each other in the west 70s, and it was not uncommon or one arranger to call another one to i nish an arrangement while our or i ve coyists sat in an aartment and cranked out arts or a date that would begin twenty minutes rom the arrival o the ghost. Whoever wrote Autumn in New York or Parker was clearly a commercial writer, and this is not meant in a negative way. But there is not a saxohone besides Parker to be heard, and the bulk o the arrangement eatures the strings, although there are two written solos layed by trumet and trombone. The arrangement is a straightorward setting that works beautiully and is not terribly diicult. One instrumentation note: this arrangement reminds us that it was easy to get to musicians in New York when an arranger could write three reed arts that call or bass clarinet.
Ever since I discovered that Autumn in New York was arranged by someone else, I was determined to i nd out who the mystery arranger was. I now believe that the arranger was Glenn Osser. My reasons are the ollowing: 1) The existence o arrangements written by Glenn Osser or Helen O Connell (now in the ossession o Jazz Lines) has matching handwriting. 2) While it is not known i Osser was a sta arranger with Mercury Records, he had made a number o recordings under his own name or the label, and was writing many arrangements or other Mercury artists during this time. Mercury was distributing Cle Records while Parker was on the label. 3) This is clearly the work o a commercial arranger, and Osser certainly i ts that descrition. This is not meant in a negative way. Osser was a thorough roessional whose work was commonly heard on radio and television since the mid-1940s. He would continue to be rolii c or the next thirty years. 4) Based on recordings he arranged and conducted or Mercury in the early i ties, this sounds like his work. In articular, two o them are now available on YouTube or the reader s enlightenment. Notes to the Conductor: This arrangement is a erect introduction or a jazz ensemble combined with a string section. Rarely do high school and college string layers have oortunities to lay oular music o this quality because it is simly not available, a situation that we at Jazz Lines Publications are slowly rectiying. Every musician must hear the rhythm section, articularly the drums so that all layers can be in synchronization. The reason this arrangement makes such a good irst chart or orchestra is that issues such as laying behind the beat and intonation between strings and winds are minimized. Dynamics are retty much as indicated by the arranger. There were instances where trile- was written on the manuscrit, which is totally imractical or live erormance. Proer balance between the woodwinds and strings is crucial, as the winds can be easily buried. Amlii cation o the instruments may hel, or the dynamics may have to be altered deending on your erormance sace. Jerey Sultano - March 2012
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jl-8016 Score rubato autumn in new york Recorded by Charlie Parker Jazz Lines Publications Words and Music by Vernon Duke Arranger Unknown (Possibly Jimmy Mundy) Edited by Jerey Sultano Solo Alto Sax. Reed 1 (Flute/Clarinet) {F`l`u`t``e```} Reed 2 (Flute/Clarinet/Bass Clarinet) {F`l`u`t``e```} Reed 3 (Clarinet/Bass Clarinet) {C`la`r`i`n```e`t```} Reed 4 (Clarinet/Bass Clarinet) Reed 5 (Oboe/Clarinet) {S`o`l`o`} {O`b`o`e``} m {C`la`r`i`n```e`t```} Trumet 1 Trumet 2 Trumet 3 Trumet 4 Trombone 1 Trombone 2 Trombone 3 Trombone 4 Violin A m Violin B m Violin C m Violas m Celli m Har [D,An] g m [En] g [An,Dn] ~~~~ C6/9 Gliss [Cs,Fs] Guitar Piano Bass {A`r`c`o``} m Drum Set 2 3 4 5 Coyright 1934 by Kay Duke Music Coyright Renewed International Coyright Secured All Rights Reserved Layout, Design, and Logos 2009 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM
Jazz Lines Publications autumn in new york Score - Page 2 jl-8016 A. Sx. C # >9 {S`o`l`o`} a temo q = 90 [A] D>7 E>7 F6 G7 Rd. 1 (Fl.) Rd. 2 (Fl.) {T`o` `C`la`r`i`n```e`t```} Rd. 3 (Cl.) {T`o` `B`a`s`s` `C`la`r`i`n```e`t```} Rd. 4 (Cl.) {T`o` `B`a`s`s` `C`la`r`i`n```e`t```} Rd. 5 (Ob.) {T`o` `C`la`r`i`n```e`t```} Tt. 1 {T`o` `C`u`` `M`u`t`e``````} Tt. 2 {T`o` `C`u`` `M`u`t`e``````} Tt. 3 Tt. 4 {T`o` `C`u`` `M`u`t`e``````} {T`o` `C`u`` `M`u`t`e``````} Tbn. 1 {T`o` `C`u`` `M`u`t`e``````} Tbn. 2 {T`o` `C`u`` `M`u`t`e``````} Tbn. 3 {T`o` `C`u`` `M`u`t`e``````} Tbn. 4 Vln. A {S`o`l`i`} {T`o` `C`u`` `M`u`t`e``````} m Vln. B Vln. C {S`o`l`i`} {S`o`l`i`} Div m m Vla. Vc. Div H. g [An,Bn,Cn] [E,Fn,B] g Gtr. F>7 G>7 A b 6 B b 7sus B b 7 Pno. F>7 G>7 A b 6 B b 7sus B b 7 Bass F>7 {P`i`z`z``} G>7 A b 6 B b 7sus D. S. œ œ œ œ œ œ 6 7 8 9 10