|       
  
    | DECEMBER  30,  1939     
    Saturday | CAMEL
    CARAVAN |  
  
    |  | BLUES: | Key of |  | B♭ / E♭ / A♭ | Quarter Note = |  | 188 | Time: |  | 3:00 |  
  
    | [ Goodman:  
    ...and our tune tonight is, appropriately enough, Pick-a-Rib. ] |  
  
    |  |  | 4  bars    drums | B♭        
	(Intro) |  
  
    |  |  | 11  bars    clarinet & vibes | B♭         
	(Theme Riffs) |  
  
    |  |  | 11 + 12  bars    clarinet | B♭         
	(over vibes obbl)   
    [7th bar is missing] |  
  
    |  | • | 11  bars    CC & ensemble | E♭         (Theme Riffs) |  
  
    |  | • | 11  bars    CC & ensemble | A♭         
	(Theme Riffs) |  
  
    |  | • | 24  bars  –  CC & ensemble | A♭         
	(Riffs) |  
  
    |  |  | 12  bars    clarinet | A♭         
	(over vibes obbl) |  
  
    |  | • | 
	(last bar w/ CC chord windup) |  |  
  
    | Composed by: | Lionel Hampton |  
 
  
    | C&A:
 On this night before New Year’s Eve, on the Saturday after the “From 
    Spirituals to Swing” concert on the previous Sunday – the band had stopped 
    at the Waldorf for three unrecorded nights during the week – the schedule 
    called for a radio studio engagement.
 The band’s long-running contract with 
    the R.J. Reynolds tobacco company had expired.  It was back to 
    RCA’s Radio City 
    Studios for the final Saturday night “Camel Caravan” 
    NBC broadcast (Charlie 
    Christian was on the last 19 of the 182 programs) – the sextet is recorded on a novelty tune with a novel 
    structure.  Sorry to say, the recording did not survive in good condition and 
    there are a few beats missing (not in any vital place) but it’s certainly 
    very listenable.
 
 After a 4-bar drum intro, Pick-a-Rib goes into eleven-bar riffs with 23-bar 
    (11+12 bars) solos alternating with the theme riffs – changes key a couple 
    of times before in settles into  A♭ – and ends with 12-bar riff choruses.  
    Charles takes it all seriously enough;  Guarnieri does his best Fletcher 
    Henderson impression;  Goodman thinks shrill suites the mood.
 
 The guitar solo is a good one.  The first part is mostly typical CC with some 
    notable variations here and there.  The start of the second part is the 
    attention-getter – very apropos.  Charles goes on from there with suitable, 
    characteristic sequences.  An exceedingly pleasurable blues excursion by the guitarist.
 
 The novelty piece was named for the NYC restaurant of the bandleader’s bassist brother.
 |  
 
  
    |  | [ LP ] | Aircheck | 34 | (side 2, track 10) |  
  
    |  | [ CD ] | Definitive | DRCD11177 | (disc 2, track 11) |  
  
    |  |  | JSP | JSP909 | (disc 2, track 11) |  
  
    |  |  | Masters of Jazz | MJCD 40 | (track 2) |  
  
    |  |  | Masters of Jazz | MJCD 9004 | (disc 3, track 2) |    
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