{"id":5163,"date":"2013-10-18T17:08:04","date_gmt":"2013-10-19T00:08:04","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5163"},"modified":"2013-10-18T17:09:44","modified_gmt":"2013-10-19T00:09:44","slug":"early-autumn-three-ways","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/10\/early-autumn-three-ways\/","title":{"rendered":"Early Autumn Three Ways"},"content":{"rendered":"<p>First, from an upstairs window looking across the valley. This is a fine time of year to live in the high desert at the foot of the Cascades.<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/10\/Early-Autumn-From-Upstairs.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-5164\" alt=\"Early Autumn From Upstairs\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/10\/Early-Autumn-From-Upstairs.jpg\" width=\"450\" height=\"450\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/10\/Early-Autumn-From-Upstairs.jpg 450w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/10\/Early-Autumn-From-Upstairs-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/10\/Early-Autumn-From-Upstairs-300x300.jpg 300w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/10\/Early-Autumn-From-Upstairs-70x70.jpg 70w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/10\/Early-Autumn-From-Upstairs-110x110.jpg 110w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\" \/><\/a><\/p>\n<p>Next, in the exquisite 1948 original adapted by Ralph Burns from a movement of his <em>Summer Sequence<\/em> suite for the Woody Herman Ochestra. <a href=\"http:\/\/www.amazon.com\/Keeper-Flame-Complete-Recordings-Brothers\/dp\/B000002V0O\/?_encoding=UTF8&amp;camp=1789&amp;creative=9325&amp;linkCode=ur2&amp;tag=rifftidougram-20\" target=\"_blank\">This is the recording<\/a> that sent young Stan Getz on his way to tenor saxophone fame. A <em>YouTube<\/em> contributor identified as ZOrkaz added the autumnal photographs.<\/p>\n<div style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/cFFjeO_EoJM?rel=0\" height=\"355\" width=\"440\" allowfullscreen=\"\" frameborder=\"0\"><\/iframe><\/div>\n<p><p>If Johnny Mercer had written nothing but, &#8220;There&#8217;s a dance pavilion in the rain, all shuttered down, a winding country lane all russet brown,&#8221; he would be in the lyricist hall of fame for evocative imagery. Jo Stafford sang Mercer&#8217;s lyric with the perfection of simplicity. Her husband, Paul Weston, wrote the arrangement.<\/p>\n<div style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/mMzRr9faOR0?rel=0\" height=\"355\" width=\"440\" allowfullscreen=\"\" frameborder=\"0\"><\/iframe><\/div>\n<p><p>Stafford&#8217;s &#8220;Early Autumn&#8221; is in her collection&#8221;\u00a0<a href=\"http:\/\/www.amazon.com\/Big-Band-Sound-Jo-Stafford\/dp\/B0000010KL\/?_encoding=UTF8&amp;camp=1789&amp;creative=9325&amp;keywords=Jo%20Stafford%20The%20Big%20Band%20Sound&amp;linkCode=ur2&amp;qid=1382140317&amp;s=music&amp;sr=1-1&amp;tag=rifftidougram-20\" target=\"_blank\"><em>The Big Band Sound<\/em><\/a>, released on the Westons&#8217; Corinthian label in 1993 and, happily, still available. <\/p>\n<p><p>There is no evidence that Miley Cyrus was influenced by Jo Stafford.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>First, from an upstairs window looking across the valley. This is a fine time of year to live in the high desert at the foot of the Cascades. Next, in the exquisite 1948 original adapted by Ralph Burns from a movement of his Summer Sequence suite for the Woody Herman Ochestra. This is the recording [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5163","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5163","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5163"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5163\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5163"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5163"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}