MAY 1941 |
Clark Monroes THE UPTOWN HOUSE |
198 West 134th Street, HARLEM, NYC |
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32 BARS
(AABA) |
Key of |
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B♭ |
Quarter Note = |
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166 |
Time: |
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2:20 |
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Preceding the recording of “Guy’s Got to Go” is an MC’s “spliced-in” announcement:
“For our session at Monroe’s guess who these cats are ‘cause they’re anyhow. Look out, Red.” |
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♪ |
1 chor CC |
[ first two beats are missing from the original recording ] |
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♪ |
1 chor CC |
[ first five beats are repeated on the original recording ] |
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• |
16 bars CC & ens |
(riffs) |
|
|
• |
8 bars CC & ens |
(riffs) |
|
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Jam Session Recorded by JERRY
NEWMAN |
Composed by: |
George Gershwin
(lyrics by Ira Gershwin) |
C&A:
An MC’s pronouncement at Monroe’s Uptown House is grafted onto the
recording of Guy’s Got to Go, better known as George Gershwin’s
I Got
Rhythm. Seems that Jerry Newman stuck it there on his original recording
and, presumably, that’s when the first two beats of the tune were lost – possibly
also when we got a five-bar repeat between guitar choruses. In any case,
it’s become part of the tune intro now.
Charlie Christian starts out rather blasé on his solo, then quickly builds
up the intensity but leaving plenty of space between phrases. At times
sounding like a bluesman and at other times pushing well beyond the modern
idiom of that era, often both facets surface concurrently (mm 14-15) in his solo.
Casually, he delays his bridge entry by half a measure.
Second chorus: the original recording is flawed in that the first five beats
of Charles’ second chorus are repeated (so far no commercial releases have
corrected the backward skip). Charles again delays his bridge entry on his
second chorus, by the same expanse, then quickly picks up the fervency with
triplets on an early G7, followed by an early
C7. A good two-chorus solo,
considering the ambiance.
The “rhythm” section at this venue is not anywhere close to the standards
usually presiding at Minton’s, which is what make this jam less valuable than the
superlative sessions at the latter club. But, at least, the beat is steady
(as an inert rock). In his defense, Tinney never claimed to be a jazz
pianist – the same cannot be said of the stoic bassist and drummer.
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[10] |
Esoteric |
ESJ-4 |
(side B, track 2) |
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Vogue |
LD 158 |
(side B, track 2) |
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[LP] |
Bellaphon |
BJS 4042 |
(side B, track 4) |
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Counterpoint |
CPT-548 |
(side B, track 4) |
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Counterpoint |
CPTS-5548 |
(side B, track 4) |
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Esoteric |
ES-548 |
(side B, track 4) |
|
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Everest |
1233 |
(side B, track 4) |
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Everest |
5233 |
(side B, track 4) |
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Everest |
FM-119 |
(side B, track 4) |
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Everest |
FS-219 |
(side B, track 4) |
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Festival |
ALB 377 |
(side B, track 4) |
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Globe |
MJ-7066 |
(side B, track 4) |
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Jazz Anthology |
JA 5122 |
(side B, track 4) |
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Nippon Columbia |
HR-101-EV |
(side B, track 4) |
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Nippon Columbia |
SL-5001-EV |
(side B, track 4) |
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Nippon Columbia |
YS-7071-EV |
(side B, track 4) |
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Presto |
PRE 640 |
(side B, track 2) |
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Saga |
6919 |
(side B, track 2) |
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Saga |
SOC 1036 |
(side B, track 2) |
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Society |
SOC 996 |
(side B, track 4) |
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Upfront |
UPF-181 |
(side B, track 3) |
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Vedette |
VPA 8095 |
(side B, track 4) |
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Vedette |
VRM 36025 |
(side B, track 4) |
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Vedette |
VRMS 325 |
(side B, track 4) |
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Venus |
TKJV-19013 |
(side B, track 4) |
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Vogue |
500114 |
(side B, track 3) |
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Vogue |
CMDEVR 9378 |
(side B, track 4) |
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Vogue |
LD 665-30 |
(side B, track 4) |
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W & G |
WG-25/5233 |
(side B, track 4) |
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[CD] |
BD Jazz |
JZBD022 |
(disc 1, track 1) |
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Black Bird |
Black Bird |
(track 5) |
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Blue Moon Discs |
008 |
(track 7) |
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Century |
CECC 00376 |
(track 5) |
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Charly |
VBCD 306 |
(disc 3, track 20) |
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Chestnut |
CN1003 |
(track 14) |
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CMA Jazz |
CM 15001 |
(track 4) |
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Definitive |
DRCD11177 |
(disc 4, track 10) |
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Dreyfus Jazz |
FDM 36715-2 |
(track 7) |
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Fantasy / Esoteric |
OJCCD-1932-2 |
(track 5) |
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Frémeaux |
FA 046 |
(disc 1, track 7) |
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Fuel 2000 |
302 061 167 2 |
(track 4) |
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Fuel 2000 |
302 061 755 2 |
(track 1) |
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Grammercy |
0156 2 |
(track 4) |
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Jazz Anthology |
550012 |
(track 7) |
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Jazz Classics |
JZCL-5005 |
(disc 2, track 7) |
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JSP |
JSP909 |
(disc 4, track 10) |
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Laserlight / Delta |
17 032 |
(track 4) |
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Legacy International |
373 |
(track 4) |
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Legacy International |
484 |
(track 9) |
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Masters of Jazz |
MJCD 75 |
(track 14) |
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MasterSong |
50354 2 |
(track 4) |
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Music Memoria |
87998 2 |
(disc 2, track 16) |
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Natasha Imports |
NI-4020 |
(track 7) |
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Nippon Columbia |
30CY-1436 |
(track 7) |
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Nippon Columbia |
35C38-7223 |
(track 7) |
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Proper |
PROPERBOX 98 |
(disc 4, track 16) |
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United Audio |
UAE 3066 2 |
(track 13) |
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Venus |
TKCZ-36013 |
(track 5) |
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Venus |
TKCZ-79502 |
(track 5) |
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