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C&A:
Columbia Records must not have been very impressed by this untitled tune—they
decided not to consider it for release. Since it hasn’t been released yet,
I’ve included the theme in the transcription. The tune changes keys three times
after the initial theme and vibes solo. After the 32-bar theme and the 12-bar vibes
solo, Charles gets only 12 bars to make his statement, and he makes the most of it.
Charlie Christian’s solo has more than a couple of tension-and-release
sequences. He starts out with a long-held A♭ that immediately initiates
tension. At mm. 4, there’s an unusual D♭7 run that starts a highly syncopated
phrase with a weak ending on mm 7 placing emphasis on the climax at mm 8-10—a unique
A♭7 phrase. The
D♭7 (actually
D♭13) phrase includes an augmented fifth
(A♮) that CC often uses but
was uncommon in that era. He ends his solo with a phrase that’s very similar to
the ending of his solo on Grand Slam. Short but so very sweet.
The other take of this tune is a complete take. After the clarinet solo, the
ensemble plays 16 bars of the theme (A/A in D) followed by a 4-bar guitar interlude in the
key of C, and a 12-bar clarinet solo. CC’s solo on the complete take is not
nearly as good as on this breakdown take.
[ This take has now been released in Sony’s 4-CD deluxe box set ] |
