C&A:
Although two of the four takes of Gone with What Draft that were recorded
on this date briefly appeared on advance (d.j.) 78-rpm pressings (takes -1
and -2) all ultimately ended up rejected for commercial release. Take
-2 is the most polished of the lot. (One take was a
breakdown that went on long enough to include Charles’ featured cadenza.)
The talented Kenny Kersey was the pianist on this lengthy recording
session. In 1951, Goodman renamed this tune Gilly to honor a step-daughter.
complete take
CO 29261-1
(first released in 1951 on Columbia LP “Benny
Goodman Combos” as Gilly)
breakdown
CO 29261-x
(first released in 1993 on Jazz Unlimited CD “The
Rehearsal Sessions 1940-41” as Gilly)
complete take
CO 29261-3
(first released in 1956 on Columbia EP album “Ode
to Swing” as Gilly)
complete take
CO 29261-2
(first released in 1973 on Jazz Archives LP
“Charlie Christian / Lester Young – Together, 1940” as Gilly)
Claude Carrière:
in “Charlie Christian • Volume 6 •
1940-1941” Masters of Jazz MJCD 68
… three takes of Gone With What Draft, a piece that
Goodman would rechristen Gilly – in honor of one of his
daughters-in-law – when it was first issued on LP on 7 September
1951. This piece, not to be confused with Gone With “What”
Wind, does not feature a Charlie Christian solo as such, but
does offer two interesting guitar breaks, both largely borrowed
from Eddie Durham, who played them in the early part of his
arrangement of Avalon recorded by the Jimmie Lunceford orchestra
in 1935. Moreover, these three renderings derive much of their
undoubted vitality from the guitar, which immediately sets up a
delightfully bouncy tempo, then serves up an infectiously
swinging riff behind the clarinet solo, goes on to contribute
the two aforementioned breaks, and finally makes a telling
contribution to the closing ensembles. |
The following month the sextet would again undertake the recording of the
tune at another long session for Columbia, with more satisfactory commercial
results.
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