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SOLO FLIGHT THE CHARLIE CHRISTIAN LEGACY |
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CHARLIE CHRISTIAN
The GUITAR of
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The
GUITAR
of
CHARLES HENRY CHRISTIAN “CHARLIE”
Solographer: Jan Evensmo
New
update: Sept. 28, 2020,
based upon research work
by
James Accardi
Born:
Dallas,
Texas,
1916
Introduction: Charlie Christian was great favourite of Oslo Jazz Circle, and personally I consider him not only a brilliant guitar player and improviser, but one of the most important jazz artists ever, having a profound influence on the development of this art form, although he passed away so tragically early, 26 years old. I wrote his solography in my Jazz Solography Series Vol. 4 back in the 1970s, and this work is the basis of the revised solography below.
History: All four of his brothers were musicians, two (at least) worked professionally: Edward (piano/bass) and Clarence; their father, a blind musician, played guitar and sang. The family moved to Oklahoma City in 1921. Charlie started on trumpet, then specialized on guitar from the age of 12, he also worked on string bass and piano during the 1930s. Played in the ‘family’ band from early teens, did local club work at 15 and there met Lester Young for the first time. Played in his brother’s band, ‘The Jolly Jugglers’ during the early 1930s, and is also reported to have worked as a tap-dancer, singer baseball pitcher, and prize-fighter. Played in Anna Mae Winburn’s band, led own band, worked with trumpeter James Simpson in Oklahoma City and toured (playing bass and guitar) with Alphonse Trent ca. 1938. With Leslie Sheffield band in 1939 (by this time, Charlie’s musical skill had been ‘noticed’ by Teddy Wilson, Norma Teagarden, and Mary Lou Williams). On the recommendation of John Hammond he joined Benny Goodman in Los Angeles in August 1939, subsequently made New York debut with Benny Goodman in September 1939. Was featured mainly with the sextet, but occasionally played with the full band. Whilst on a Middle West tour with Goodman he was taken ill and was subsequently admitted to Bellevue Hospital, New York, in June 1941, where tuberculosis was diagnosed. He was transferred to the Seaview Sanitarium, Staten Island, and spent the rest of his brief life there. (ref. John Chilton: “Who’s Who of Jazz”).
Message: I have chosen to omit references to 78s and LPs containing CC’s music but added a CD reference list at the end of the solography. I have also omitted some technical information I got from Jerry Valburn way back then. All references to spliced versions are removed, having no actual importance and interest anymore as the complete and unspliced versions are available. I have used my own original comments and evaluations but occasionally supplemented them with statements by other researchers, particularly Masters of Jazz liner notes by Claude Carrière. Assuming that new information appearing in the last thirty years concerning recording dates is reasonably correct, I have included those in the presentation. Quite a lot of new broadcast items have also been discovered, and they are of course included with comments. Please, dear reader, go carefully through the CC solography below and offer your feedback with regard to possible omissions, errors or otherwise.
Message of Sept. 2020:
More than five years have passed
since the last CC-version. In the meantime James Accardi
has done extensive research, and
finally we
decided to publish
a new version, see below. We don’t expect
many
more CC-items
to turn up now, but we hope we
are wrong!!
BENNY
GOODMAN
SEXTET
LA
Aug.
19, 1939
|
|
41406-1 |
When Lights Are Low |
No solo. (FM) |
|
41406-2 |
When Lights Are Low |
No solo. (FM) |
|
41407-1 |
One Sweet Letter From You |
Obbligato 30 bars. (SM) |
|
41408-1 |
Hot Mallets |
No solo. (F) |
|
41409-1 |
Early Session Hop |
No solo. (FM) |
“Sweet Letter …” belongs to my favourites, perhaps because it is so wonderfully undramatic. CC’s accompaniment on acoustic guitar to Lionel’s vocal effort is all chords and every one so well thought out that it is a marvel. Such relaxed playing is really soothing to the soul. There are many beautiful accompaniments in recorded jazz, perhaps more interesting if you feel that way, but none resembling this one. One cannot leave this session without mentioning the rhythm section, of which Christian with acoustic guitar is a significant part. Perhaps no place ever in jazz is there such a coherent work to be heard, a unity in rhythm (postscript: tough words, what about Basie …?). Note for instance “… Lights …,” everything is so smooth and easygoing that one nearly forgets to be attentive. However when one stops for close listening, rhythmic perfection is obvious. Therefore do not take the “no solo” as a signal for bypassing these items!
Opus Local 802 Solo 32 bars. (M)
Interesting with a new title, and CC plays his usual good self. The sound quality is excellent, and the audience applauds afterwards.
Opus
1/2
Chord intro
4 bars.
(FM)
I Got Rhythm #1 Soli 32 and 32 bars. (F)
I Got Rhythm
#2
Soli 32 and 32 bars. (F)
Stardust
Solo
64 bars.
(SM)
Tea For Two Intro 8 bars. Soli 64 and 32 bars. (F)
Exact information regarding this very interesting session is lacking. Probably it took place during a visit by the Goodman orchestra to Minneapolis in Autumn 1939, and the date Sept. 24, 1939 which has turned up recently may be correct. The setup does not resemble a jam session: there are for instance two versions of “… Rhythm” with the same solo sequence. This implies that the session had a more formal purpose, supported by the fact that no audience is heard. However, the music does not seem to be very carefully planned. In “… Rhythm” there is some uncertainty in the transition from soloist to soloist, and the end of “Tea …” is rather abrupt. Apart from all speculations, the guitar playing is more than usually interesting. Particularly one notes a “Stardust” of “double length.” The first chorus is completely new, being mainly a single string improvisation on the theme, rather straight in the beginning but more luxurious further out and with great elegance. The last chorus is known to us from earlier and later versions, apart from some slight modifications. However, the somewhat higher tempo creates some new rhythmic finesses, and the atmosphere of the piece is rather different from the studio version. “… Rhythm” and “Tea “ belong to Christian’s fastest recordings but do not seem to cause him particular trouble. In the first version of “… Rhythm” he seems perhaps a little uncertain of his role and the contact with his fellow musicians is not the best. The second version, however, is definitely better, and in “Tea …” he really excels, both in ideas and technique.
Stardust Solo 32 bars, last 8 with ens. (S)
Another version of “Stardust” has appeared, and as demanded by Goodman, CC always plays the same solo; the variations are so slight that you should have a very sharp ear to hear to hear any differences. What is interesting however is that this version is notably slower than the other three this autumn.
26132-A Flying Home Solo 32 bars. (M)
26133-A Rose Room Solo 32 bars. (M)
26134-A Stardust Solo 32 bars, last 8 with ens. (S)
This is the first session that gives a really clear picture of Charlie Christian, and alone it is sufficient to give him a prominent place in jazz history. “Stardust” is already mentioned earlier in the solography. This version is the one which most jazz collectors are acquainted with, and the sound quality is better than on any of the other casual recordings. The logic of the solo is marvelous, and the total result is extremely beautiful. The instrument is exploited to a wide extent, and the alternations between single string and chords are masterly. It is no improvisation as the comparisons show, only a minor modification of a fixed pattern. “… Home” demonstrates the perhaps the most important side of his musical personality, the rather limitless improvisational capabilities. While “Stardust” is fixed, “… Home” is used as a base for rhythmic and harmonic variations, convincingly demonstrated by the existence of two takes. Take A is a real masterpiece of logic, while take B is somewhat looser in shape (this is not meant degradingly, just purely relatively). Note also that Christian uses two different approaches to the opening of the soli. The one in take B is the most common, while the take A approach is only to be found additionally on the version of April 15, 1941. I love them both, but the A is more airy and the one I prefer. The numerous versions of “… Home” bring one to think of Lester Young and his versions of “Lady Be Good.” However, the resemblance is far more important than that. They both were innovators in harmonic sense, using large and unusual intervals daringly. They were masters of rhythmic freedom, playing with a sure touch, around and between the basic rhythmic pattern without ever losing command. They were technically beyond criticism, and they both created a new sound on their instrument. They both were creators. At last do not forget “Rose Room,” a piece as faultless as one can wish for. A lower register phrase in bars 8-12 is utterly original and an example of what a genius can do! If I have to choose what I consider CC’s most beautiful recorded solo in medium tempo, this one would be among the strongest candidates! Important postscript of Sept. 2020: Note that 26132-B “Flying Home / Homeward Bound,” originally issued on V-Disc 731-B together with orchestral “Bolero” has been omitted from the list above!! Later research has documented that it in fact stems from an Oct. 13, 1939 broadcast and is no alternate take from the Columbia session. Nevertheless, we have chosen to let the comments above on the differences between the two versions stand unchanged.
26135-A Unknown Title No CC to be heard. (S)
The item should be noted here, but it seems that CC has left for home now.
Flying Home Solo 32 bars. (M)
Stardust Solo 32 bars, last 8 with ens. (S)
This concert offers new versions of two of the tunes from the studio recording four days earlier and expands the picture of Christian. The “… Home” version resembles take B but is definitely better, both more forceful and continuous. It is a true master solo in its own right. Note for instance the dynamic opening which really swings magnificently. The “Stardust” version is a Siamese twin, and it would have been extremely difficult to separate it from the commercial version if it was not for the surroundings. Only in a very few places are there some slight differences in the accentuations and rhythmic shiftings.
The first of five versions of “Memories …,” slightly faster than the studio versions, and one of the best. It’s difficult to explain why, so I won’t, instead quoting MoJ-liner notes: “He weaves two superb phrases, then pauses at the fourth bar before fashioning a bold line in the lower register that completes the bridge … “. One can hear applauding after a standard solo line-up.
Rose Room Solo 32 bars. (M)
This “Rose Room” is shockingly different from the recorded one. It follows a slower tempo, and the details are all different. It is beautiful and refreshing, and it may even be compared to the unforgettable Columbia version, it is definitely an original solo worthy of a great guitarist.
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42941-1 |
I’m on My Way from You |
No solo. |
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42942-1 |
Haven’t Named It Yet |
Solo 16+8 bars, (tpt) on bridge. (FM) |
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42943-1 |
The Heebie Jeebies Are Rockin’ the Town |
Intro 4 bars. Obbligato with (tpt) 32 and 12 bars. (M) |
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42943-2 |
The Heebie Jeebies Are Rockin’ the Town |
As above. |
“… Yet” is the item calling for our interest, presenting a fine driving solo with no lack of inspiration. There are several charming and inventive details, note in particular the beginning of the last eight bars. “Heebie Jeebies …,” however, is not very engaging, CC’s role is rather ‘accidental’. He fills out when necessary but with no clear purpose like in the earlier “… Sweet Letter ….” Not even the existence of two takes creates more than casual attentiveness. However, the fault is not really CC’s, the whole setup is rather disorganized.
“26132-B” Flying Home / Homeward Bound Solo 32 bars. (M)
The Jazz Me Blues (NC) No solo. (M)
As written as postscript under the Columbia session of Oct. 2, this “... Home” belongs here and is not an alternate take.
Ain’t Misbehavin’ No solo.
AC-DC Current Soli 4, 4 and 4 bars. (FM)
“… Current” is not CC’s baby, and his small tags are not particularly noteworthy. However, there are some minor modifications compared with the studio version of Dec. 20, 1939.
Flying Home Solo 32 bars. (M)
Another “… Home,” and quoting again MoJ-liner notes: “The guitar solo begins with the same rhythmic phrase as on the V-Disc “Homeward Bound” version of the piece, but the rest is different. Note the insistent, very swinging repetition of one particular note between bars 25 and 28.”
Soft Winds In ens/coda. (M)
Quote MoJ-liner notes: “CC plays a purely orchestral role, cleverly exploiting the resources of amplification, on the theme statement he holds the notes in the same way as Goodman. He repeats the process when guitar and clarinet, playing an octave apart, fashion a boogie-woogie motif in support of Hampton’s solo. The CC presence is quite simply indispensable to a performance such as this.”
This version of “Memories …” is really worthy of a great jazz musician. It is clean and well conceived with an unusually beautiful introduction in the lower register. Really masterly! It is also rather different from the other known versions. The sound quality is not very good here.
Rose Room Intro. Solo 32 bars. (M)
A nice new version of “Rose …,” another one of CC’s most successful titles with the sextet, “swings a little more than the other (previous) two,” as MoJ-liner notes states it.
25509-BD1 Deep Sea Blues Part of intro. (SM)
25509
Deep Sea Blues
(complete 1)
Part of intro.
Obbligato
16
bars.
(SM)
25509-2
Deep Sea Blues (complete
2)
Part of intro.
Obbligato
16
bars.
(SM)
25509-BD2
Deep Sea Blues
Part of intro.
Obbligato
8 bars.
(SM)
25509-1
Deep Sea Blues (complete 3)
Part of intro.
Obbligato
16
bars.
(SM)
25510
Death Letter Blues
(complete 1)
Obbligato
12 bars. (S)
25510
Death Letter Blues
(complete
2)
As above.
(S)
25510-BD
Death
Letter
Blues
As above.
(S)
25510-2
Death
Letter Blues
(complete
3)
As above.
(S)
25510-1
Death
Letter Blues
(complete
4)
As above.
(S)
25511
One Hour
Mama (complete
1)
Part of intro. (SM)
25511-BD1
One
Hour
Mama
As
above.
(SM)
25511
One
Hour
Mama
(complete
2)
As above.
(SM)
25511-BD2
One
Hour
Mama
As above.
(SM)
25511-2
One
Hour
Mama
(complete
3)
As above.
(SM)
25511-1
One Hour
Mama (complete
4)
As above.
(SM)
26239-A ‘Fore Day Creep Obbligato 12 bars. (SM)
26240-A Pink Slip Blues Intro 4 bars. Obbligato 12 bars. (S)
26241-A Hard Time Blues Obbligato 12 bars. (S)
26242-A Take Him Off My Mind Obbligato 12 bars. (S)
Note: The differences in matrix sequence is accounted for by the use of two different studios, 25509-25511 at Liederkranz Hall and 26239-26242 at 711 Fifth Avenue.
The stage is all set for Ida Cox on this date with no room for soloists, not even Christian. However, some useful obbligato is delivered. The tempi are very slow and perhaps not too inspiring, but CC shows a deep feeling for the blues and executes his parts well. The recording setup does not favor him, but he is heard to particular advantage in “Hard Time …,” “Deep Sea …” and “… Creep.”
Shivers
Chord
intro
4 bars.
Solo 16+8 bars, (clt)
on bridge.
(FM)
This first version of “Shivers” is excellent and highly inspired. It swings beautifully and is definitely more exciting than the otherwise good studio version a little later. Note also the prominent part CC has in the ensemble. And some MoJ-quoting: “Taken at an infectiously bouncy tempo, it has CC wonderfully present throughout,…. Most striking of all, the phrase he invents as he reenters after the bridge bears the mark of an outstanding modern musician.”
Shivers
Solo 16+8 bars,
(clt) on bridge. (FM)
Nothing wrong with
this version either!
I’m a Ding Dong Daddy No solo. (FM)
An unusual tune, and not particularly important with regard to CC, but note a brilliant vibraharp solo!
26284-A
Memories
of
You
Solo
8
bars.
(S)
26284-B
Memories of
You
As above.
(S)
26285-A Soft Winds with ens/coda. (M)
26285-B Soft Winds As above. (M)
26286-A
Seven Come Eleven
Solo 32
bars. (FM)
(Roast Turkey Stomp)
The studio versions of “Memories …” are well played and quite dexterous to be held in slow tempo. They are also remarkably different, although I think I find other versions, like the Oct. 23, 1939 one, more exciting. “the first restrained, the second more adventurous” says MoJ. The two takes of “Soft Winds” offer good music, but CC’s part is limited to ensemble chording apart from some single-string phrasing at the end. At last, “Seven …” is alright but not as flowing as one might wish, and it belongs to CC’s more ordinary ‘products’. The bridge is the most interesting part. Quoting again MoJ-liner notes: CC, as so often on these 32-bars compositions of AABA structure, restricts himself to a series of rhythmic phrases on the A passages, then tears loose on the bridge, giving full vent to his remarkable harmonic sense. Even so, this particular solo by no means ranks among his best.”
Big-band
personnel including Charlie Christian (g)
as soloist.
One title was recorded for Columbia:
26290-A Honeysuckle Rose Solo 32 bars. (FM)
A fine and absolutely inventive solo. However, it is obvious that big band surroundings are not the most fitting. The sound quality of the recording makes CC stand apart from his fellow musicians, but it seems that he did so musically too on this date. The playing is somewhat academic, and in relation to the many other more informal sessions described in this solography, the listener never really jumps. Afterthought, quoting MoJ: “On no account miss the phrase he concocts at the beginning of this final eight bars, a perfect musical transposition of the steps of a great dancer.”
This solo does not resemble any of the others, as far as I can remember There seems to be a small ghost note in bar 2.
Personnel as
Aug. 19.
Mildred Bailey (vo) and
orchestra added on “St. Louis ....”
NBC
“Camel
Caravan” broadcast from
“Waldorf
Astoria
Hotel,”
two
titles:
Seven Come Eleven Solo 32 bars. (FM)
St. Louis Blues No solo. (M)
This version of “... Eleven” is noticeably more relaxed and inspired than the studio performance, he has a more steady grip on the tune here. The ideas come more easily, and the result definitely seems more inventive.
AC-DC Current Soli 4, 4 and 4 bars. (FM)
As said before, “… Current” is not very interesting where CC is concerned, but all the same he manages to create some minor modifications of what is known from the studio recording. Note for instance how he drives his riffs behind Goodman and ensemble – he seems happy!
AC-DC Current Soli 4, 4 and 4 bars. (FM)
Not much to add or subtract from what has been said five days before!
Honeysuckle
Rose
Solo 32
bars. (FM)
An excellent versions of “… Eleven,” as well as “… Rose,” the latter better suited for sextet than full orchestra. Note also that Fletcher Henderson’s participation in the sextet now comes to an end.
Pick-A-Rib Solo 24 bars. (FM)
An exciting solo, tooting on the start of the second chorus.
Dinah Solo 32 bars. (FM)
“Dinah” is a great surprise. It is nice for once to listen to a tune not recorded in studio by the Sextet, and both CC and the rest of the group seem very free and happy. There is some stride-piano accompaniment which sends the guitar off with a flying start. And it continues to fly!
Interesting to compare this version to the one eighteen days earlier, having a change of pianist. CC does not however seem to be influenced by this, playing as good as ever!
The five tracks with
the Sextet are amongst the most attractive numbers on
this concert. CC’s
part is not as
important as
one might
wish though.
He does
not solo at all on two items, however, his playing on the
remaining three is
excellent. This version of “… Home” is
again proof of his masterly improvisational capabilities.
“Memories…” is a great surprise, being very much
different from the previous versions.
It is much more direct
and outward without losing
musical significance. Finally, the
“… Rose” version here is more attractive than the
Columbia big
band recording.
The rhythmic support is much stronger, and the solo
achieves a better continuity with
several fine details. Postscript
quote from MoJ-liner
notes: Particularly memorable are the
bridge of
CC’s solo
on “…
Home,” which he crosses in one
single breathtaking run; and his closing phrase
on the bridge of “… You,”
a
veritable
monument of melodic
and harmonic invention
that within the space of a
few magic
seconds seems to anticipate several
decades of jazz.”
Oh, Lady
Be Good
Solo 3 choruses of 32 bars,
last chorus with
ens.
Solo
8 bars.
(FM)
In my old solography I wrote the following: “CC gets his chance to stretch out on this jam session, but he disappoints us a little. His ideas are all well known, and he lacks drive. He does an able job out of it, but he can do much better.” I must have had a really bad moment then, because it sounds much, much better today! Note also that the abbreviated version we knew then also had abbreviated CC!! He played in fact not two but three choruses!!!
Paging the Devil Solo 24 bars. (SM)
Good Morning Blues Solo 24 bars. (SM)
Way Down Yonder in New Orleans Solo 20 bars. (F)
This is really a jazz historical occasion! The concert is one of the only two recorded encounters between two of the greatest innovators in jazz - Charlie Christian and Lester Young. I have commented upon their musical relationship earlier in the solography, and it is not necessary to add any more. One might perhaps wish that CC had been guitar soloist with the Basie orchestra… Let us however be happy with the existence of this session containing music of a nearly unearthly character. The two important tracks are the slower ones, and CC’s soli are among his greatest ever. His ability to play the slow blues is rarely revealed with the Goodman sextet, and the music on “Good …” and “… Devil” is so perfect that it will be remembered as long as a single jazz fan is alive. Note the balance and the masterly restraint in the first chorus of “Good …." A musician of less stature would never have dared to let the rhythm run along like that without getting panicky. CC however dares and continues with a masterly second chorus, turning the theme upside down. “Way Down …” is rather untidy as a piece, the tempo changes all the time, and when CC starts his solo, he is four bars too late. That he manages to make anything worthy of preservation is quite impressive.
Pick-A-Rib Solo 24 bars. (FM)
A brilliant two
blues choruses
on “Pick-A-Rib,”
dig this
one!
Till Tom Special Solo 32 bars. (FM)
Pretty comments will be made about “Till Tom …” later in connection with the studio recording. Let me just say that this version is an unforgettable experience, a masterpiece!
Flying
Home
Solo 32
bars.
(M)
Stardust Solo 32 bars, last 8 with ens. (S)
These
are new items!
Supplied by
James Accardi
upon
my quest
in a newsletter, we get
another version
of
“…
Home” with
a fine
and different guitar solo
from all the others. “Stardust” however is
played exactly as before, obviously Benny demanded it to
be that way.
|
26490-bk |
All Star Strut (NC) |
As below. (M) |
|
26490-A |
All Star Strut |
Solo 12 bars. (M) |
|
26490-B |
All Star Strut |
As above.
(M)
|
Rather
ordinary soli in
surroundings which seem not to be particularly inspired, at least
when it
comes to giving
CC rhythmic
support. Take B is definitely
the best one where guitar is
concerned.
Note the opening phrase on take A
which is not
well conceived and which definitely
contains an error, though a small
one. I do not think there is any similar occasion, a fact which tells
quite a lot of CC’s technical
and musical abilities.
Postscript: A third version has appeared, with a fluff in
the beginning, or is
it technician
which makes the
sound drop?
|
26494-A |
Till Tom Special |
Solo 16+8 bars, (p) on bridge. (FM) |
|
26495-A |
Gone With “What” Wind |
Solo 24 bars. (FM) |
|
26495-B |
Gone With “What” Wind |
As above. (FM) |
“Till Tom …” is really ‘special’ in all respects. It is very blue, and the atmosphere is quite exceptional. The solo is full of ideas, and the inspiration is very much there. Again he uses large harmonic intervals quite easily. Note for instance the last eight bars of this remarkable piece of music. The two choruses on “… Wind” are also fine, swinging along easily on a high musical level without being sensational. The two takes are very different in all respects, not only due to CC.
Again we marvel at the improvisational capabilities of this great guitar player. Each version is different, compare for instance this one with the following one! It is first-rate and easily identifiable by the restrained opening.
Strangely enough CC does not solo on this “… You,” as he usually does, and we are not even sure he is participating.
26718-A
The Sheik of Araby (78)
Soli
32, 4 and 4
bars. (FM)
26718-B
The Sheik
of
Araby
As
above.
(FM)
26719-bk
Poor Butterfly (NC)
No solo. (SM)
26719-A
Poor
Butterfly
Solo 8
bars.
(SM)
No mx-bk Untitled Tune
(NC)
Solo
12 bars.
(M)
No
mx
Untitled
Tune
Soli 12
and 2 bars. (FM)
These soli are of good quality but not sensational. The way CC divides the solo on “The Sheik …” into sub-structures is however very surprising. Note for instance bars 10-12. “Poor …” is nice and unpretentious and deserves no further comments. Postscript: Take B of “The Sheik …” is quite different and possibly with a better guitar solo. Note also that the sound technician is a bit late here, the first bars are weakly recorded. Finally, the appearance of a hitherto unknown blues title is very exciting, but it is understandable rejected, being somewhat loose and undeveloped, as also evident by the increase of tempo from the breakdown to the complete version.
A lovely “untidy” solo with a lot of charming details piled on top of each other just for fun. A happy occasion.
26743-bk1 I Surrender Dear (NC) No solo. (S)
26743-bk2 I Surrender Dear (NC) No solo. (S)
26743-A
I Surrender Dear
As below. (S)
26743-B
I Surrender
Dear
(78)
Solo 16
bars.
(S)
26744-A Grand Slam (Boy Meets Goy) As below. (FM)
26744-B Grand Slam (Boy Meets Goy) (78) Solo 24 bars. (FM)
In “… Dear” one can listen to one of CC’s master soli, a perfect construction of great beauty. Not a single note is superfluous or wrongly placed, and the necessary balance and relaxation are always present. Quoting MoJ: “… offers us a 16-bar solo from CC nothing short of a mini-masterpiece: of perfect structure, striking serenity, immense harmonic richness, and delectable sonority – a sonority approaching that of an acoustic guitar, except for the sustained notes made possible by amplification.” “Boy …” has a well played swinging solo on a pleasant musical level without offering anything sensational. Note that “Goy” is Yiddish and means gentile, or Christian. It was Hammond’s title, and the publisher was furious! Postscript: Two alternate takes appearing since then, particular “… Dear” is exciting, completely different from the 78 rpm. version.
One of the hottest BG-sextet recordings preserved! Everybody play like crazy, and I would like to quote Claude Carrière’s liner notes: “This version … knocks the commercial recording two days earlier (postscript: not correct, see above, nine days) right out of sight. The guitar solo finds Charlie alternating long phrases (bars 8 to 15) with short, breathtakingly imaginative, diabolically swinging flurries (bars 1 to 4, and 19 to 21) that he launches with prodigious rhythmic daring. This rendering is brought to conclusion without the four-bar exchanges of the earlier version.” In the old solography I wrote: “This is really a contrast to the recording session only two days earlier. While the previous “Sheik” was good, this one is much better! It is very daring from the outset, and the way he treats the last 16 bars is shocking. They are subdivided in such a manner that it is incredible that the soloist manages to return from his musical round-trip. In addition, the solo swings like mad!”.
Another quote: “… appears here despite the fact that Christian is given no solo space. His very presence in the rhythm section makes such an impact, however, that inclusion of this piece seems imperative.”
The
last of the
sextet items in
the incredible treasure chest left us
by Bill Savory, and this is the
most valuable of them all,
a magnificent
guitar solo!!
A very inspired version with CC laying down a firm rhythmic support behind all soloists. His own solo is very good also, note particularly the gay opening!
Poor Butterfly Solo 8 bars. (SM)
A
scratchy
acetate
but a
lovely guitar
solo!
|
26809-A/3 |
Just Like Taking Candy From a Baby |
Acc.
(tap-dancing).
(FM) |
|
26809-1 |
Just Like Taking Candy From a Baby |
As above. (FM) |
A combination of orchestra and sextet, with the latter backing Fred Astaire’s vocal and tap-dancing, and CC’s chord guitar can be clearly heard behind the tap. A more peculiar event than really exciting.
Seven Come
Eleven
Solo 32
bars. (FM)
Lovely swinging
version of “… Eleven” here!
It seems that “Six …” was one of those few titles, like “Stardust” where CC was content with repeating more or less a perfect construction, once built.
Avalon (NC) Solo 8 bars. (FM)
A quite unexpected and enjoyable solo in the bridge of the final ensemble. Probably the complete performance also had a full chorus in addition, who knows?
|
26940-bk |
Six Appeal (NC) |
As
take
A.
(M) |
|
26940-bk |
Six Appeal (NC) |
Intro
with
(clt)
4 bars.
(M) |
|
26940-B |
Six Appeal (1st) |
As
take A.
(M) |
|
26940-C |
Six Appeal (2nd) |
As
take
A.
(M) |
|
26940-D |
Six Appeal (3rd) |
As
take
A.
(M) |
|
26940-A |
Six Appeal (4th, 78) |
Intro
with (clt)
4 bars. |
|
26941-bk |
These Foolish Things (NC) |
Intro
with
(clt)
4 bars.
(S) |
|
26941-A |
These Foolish Things (78) |
Intro
with
(clt) 4 bars. |
|
26941-B |
These Foolish Things |
As
take
A.
(S) |
|
26942-A |
Good Enough to Keep (1st, 78) |
Solo
32 bars.
(FM) |
|
26942-B |
Good Enough to Keep (2nd) |
As
above.
(FM) |
|
26942-C |
Good Enough to Keep (3rd) |
As above. (FM) |
This is a very interesting session, with three titles giving the listener valuable insight into three different parts of CC’s musical personality. “Good Enough …” is swinging and inspired, but most notable is the way he transforms the basic rhythmic pattern of the tune. Sometimes he lies behind, sometimes he lies before he is expected, but it is always done with such cleverness that is is completely overwhelming. It certainly shows how far advanced his musical mind was. Note also the gay phrase of bars 25-26. “These …” is one of his almost unequalled presentations. The intro is surprising enough with clarinet and guitar interweaving without other rhythmic support. The solo itself is wonderful and rare since it utilizes the lower register all through in a very moving way. And last but not least: “Six …," an original and moving piece in a minor mood, which has an equally original and very moving solo. It is one of CC’s most easily recognizable soli beside “Stardust," and probably it was one of his semi-permanent constructions. Comparison with the two later broadcast versions seems to imply this. Postscript: The appearance of several new versions of “Six …” shows that CC always plays the same solo, though with minor variations if you listen closely, and he has some initial problems on take B. However, Lionel’s vibraphone is certainly highly different!! Enough guitar differences on “Good Enough …,” and particularly a magnificent new take of “… Things”!!
Honeysuckle Rose (NC) Part of intro 4 bars. Solo 32 bars. (FM)
Six Appeal Intro with (clt) 4 bars. Solo 16 bars. (M)
A good version of “… Rose” warms us up without giving more than the usual ‘happy’ feeling one gets with good music and CC. However, then comes “Six Appeal," and it blows us completely off the chairs! It is a pity that the Sextet never gave room for extended soloing even on broadcasts, because CC really plays up to his very best here. Just listen to the opening statement and hear how he is applauded by his fellow musicians. A masterpiece!
|
26982-A |
Li’l Boy Love (3rd) |
Solo
6 bars.
(M) |
|
26982-B |
Li’l Boy Love (2nd) |
As above. (M) |
I find it rather peculiar that this CC item was overlooked on 78 rpm. by everybody for so many years, how come? A well recorded, typical and nice solo, although brief, but there ought to have been many Goodman collectors around to have discovered it!? Note also an alternate issued on Columbia CD.
AC-DC Current Soli 4, 4 and 4 bars. (FM)
Yet another version of “AC-DC …” with minor details different, but as mentioned earlier, this tune is not made for CC.
|
28794-fs |
Old Fashioned Love (NC) |
No solo. |
|
28794-1 |
Old Fashioned Love |
No solo. |
|
28794-2? |
Old Fashioned Love |
No solo. |
|
28795-1 |
Star Dust |
Solo 8 bars. (S) |
|
28796-2? |
Exactly Like You |
No solo. |
|
28796-1 |
Exactly Like You |
No solo. |
|
28797-bk |
Wrap Your Troubles in Dreams (NC) |
As below. (S) |
|
28797-n/c |
Wrap Your Troubles in Dreams (NC) |
As below. (S) |
|
28797-bk |
Wrap Your Troubles in Dreams (NC) |
As below. (S) |
|
28797-bk |
Wrap Your Troubles in Dreams (NC) |
As below. (S) |
|
28797-1 |
Wrap Your Troubles in Dreams |
Intro 4 bars. (S) |
We do not hear much from CC on this date, but an exquisite intro on “Wrap …” is worth taking along with us. Also, a new variation on “Stardust," although brief, is valuable. It is actually in the key of C, instead of D-flat (as is every other surviving performance) (ref. James Accardi). The main pattern is quite similar to the Sextet versions, but the details are refreshingly different. The atmosphere is rather lame though, but the playing is well constructed and definitely worth listening to. Postscript: The appearance of a safety acetate for the complete session is exciting but not really for CC. His solo feature “Star Dust” is made easily with one take, and the intro on “Wrap …” is obviously one of those perfect constructions not to be changed; all five versions are close to identical, at least to my modest ears!
Tune Up & Blues 0:17. (FM)
Ad-Lib Blues Solo 24 bars. (M)
I Never Knew Solo 16+8 bars, (p) on bridge. (FM)
Charlie’s Dream Solo 16 bars. (FM)
Lester’s Dream Solo 16 bars. (FM)
Wholly Cats Solo 36 bars. (FM)
This is a lovely day! I must admit that the years of wishful thinking about what the combination Young/Christian might have created did influence me so much that when dreams at last came true, first in “Spirituals to Swing” and recently this date, I cannot be objective. I just think the music is lovely! Well, let’s try to be objective. It is easy to understand why the sides were not released, they have a ‘loose jacket’ atmosphere to them which to us now is heaven, but which understandably wasn’t in 1940. However, the contents of immemorable jazz music is great from all participants. CC’s most memorable contribution is the opening ‘polonaise’ of the session, the “Ad-Lib Blues." He knew how to play the blues! The best solo however is on “I Never Knew” which swings like mad, note particularly the piano/guitar “frenzy” after the bridge, and you will learn what swing is all about! The solo on “… Cats” is also very good and again the creative power of CC is dominant. The two “… Dream”’s are good but the least interesting, CC is cut short before he really gets started. A wonderful session! Postscript: Note a few seconds of tune up on Columbia CD, CC can be heard.
“… Wind” slightly slower in tempo than the Columbia recording and of approximately the same quality. Note also the quote from MoJ: “And we catch ourselves wondering what Goodman’s regular sextet would have sounded like with a bassist and drummer like these two.”
|
29027-5 |
Wholly Cats (1st) |
Solo 24 bars. (FM) |
|
29027-3 |
Wholly Cats (2nd) |
As above. (FM) |
|
29027-4 |
Wholly Cats (3rd) |
As above. (FM) |
|
29027-bk |
Wholly Cats |
No solo. (FM) |
|
29027-1 |
Wholly Cats (4th, 78) |
As above. (FM) |
|
29027-2 |
Wholly Cats (5th, 78) |
As
above.
(FM) |
|
29028-2 |
Royal Garden Blues (1st) |
Soli 8 and 8 bars. (FM) |
|
29028-3 |
Royal Garden Blues (2nd) |
As above. (FM) |
| 29028-1 | Royal Garden Blues (3rd, 78) |
As
above.
(FM) |
| 29029-1 | As Long As I Live (78) |
Solo 8 bars. (SM) |
| 29029-2 | As Long As I Live |
As above. (SM) |
same date
One
additional title, 29030 “Benny’s Bugle”
was recorded, and a
safety acetate lasting
27 ½
minutes
exists, now
also issued
on CD.
It contains talk, practice, try-outs and complete takes, some rather
half-hearted. Apart from
the guitar soli listed below,
CC is
heard clearly
at least nine
times, so
you had better take half-an-hour to listen
to it all!:
|
Benny’s Bugle (NC) |
Solo 16 bars (NC). (FM) |
|
|
Benny’s Bugle |
Solo 24 bars. (FM) |
|
|
Benny’s Bugle |
Solo 24 bars. (FM) |
|
|
Benny’s Bugle (NC) |
Solo 11 bars (NC). (FM) | |
|
Benny’s Bugle |
Solo 24 bars. (FM) | |
|
Benny’s Bugle |
Solo 24 bars. (FM) |
|
| 29030-1 |
Benny’s Bugle (78) |
Solo 24 bars. (FM) |
Cootie Williams
joined Goodman on Nov. 6, and already the new Septet is in the
recording studio
with no obvious hang-over! Certainly
there are
a lot
of takes but all of them seem rather coherent and not
work of beginners.
To take “As Long …” first,
too bad
this tune
has only one
take, because
it is
a beautiful
melody with a top-quality solo
though too brief, too brief!! Five
takes of one melody is an unequalled
experience and we will
always be
grateful for “Wholly Cats”! If
it wasn’t clear by now, it
is definitely proved here that the
guys improvise! To select favourite soli is a
very difficult task and not necessary really, compare
yourself! “Royal …”
is an excellent
swinger with fine
details. The takes are superficially similar. The first
solo shows him using as large
intervals as possible
while the opening of
the second one contains a
three bar
passage of maximum elegance. This pattern is repeated but with
happy variations on the two
other takes.
Note particularly the ending bar of the last solo, small
surprises! At last “…
Bugle," a fantastic experience,
a real jazz workshop without precedence in the swing-era.
So much can be learned about the way Goodman worked with his
Septet and of the improvisational
capabilities
of the
participants. CC’s soli
are all
different, and try to
rate them is just impossible. Let it
only be said
that this is one of the most important discoveries ever made
in recorded
jazz. Postscript: Wrong, another
take of “As
Long …”
has appeared, and with
regard not only
to CC but the septet as such;
it is even more
different than might be
expected!
Postscript of
Sept. 2020: Note that
there are seven, not six CC soli as I wrote earlier,
pointed out by James
Accardi who has provided me
with a
pitch-corrected copy of both rehearsal
segments.
Benny’s Bugle Solo 24 bars. (FM)
Wholly Cats Solo 24 bars. (M)
Honeysuckle
Rose
Intro 4 bars. Solo 32 bars.
In ens
to coda. (FM)
Again some interesting comparisons can be made to the studio recordings. “… Bugle” is different, indeed, note for instance the surprising ending where CC appears to say goodbye to the melody with a really defiant phrase. “… Cats” has a definitely slower tempo than usual, and the version is easily recognizable by its opening bar, an idea which I never have heard before. “… Rose” is alright with no special merits, however quoting MoJ: “It is on the bridge of his solo chorus that the guitarist, like Lester Young in similar 32-bar contexts, opts to be at his most daring”.
Flying Home (NC) Solo 16+8 bars, (p) on bridge. (M)
This
was exciting! “…
Home” has
got a
new structure
here, and the
sound quality is excellent.
CC’s solo
is brilliant,
listen in
particular to
the beginning
of bars 5-8!
29259-5 Breakfast Feud (1st) Soli 8 and 8 bars. (FM)
29259-4 Breakfast Feud (2nd) Solo 20 bars. (FM)
29259-3
Breakfast Feud
(3rd)
Solo 20
bars. (FM)
29259-bk
Breakfast
Feud
No solo.
(FM)
29259-bk
Breakfast Feud
No solo. (FM)
29259-2
Breakfast
Feud
(4th)
Solo 20
bars. (FM)
29259-1
Breakfast Feud
(5th) Solo
20 bars. (FM)
29260-2
I Can’t Give You
Anything But Love
Solo 16 bars.
(SM)
29260-x
I Can’t Give You
Anything But Love (bkd)
No solo. (SM)
29260-3
I Can’t Give You Anything But Love
As above.
(SM)
29260-1
I Can’t Give You Anything But Love
(78)
As above.
(SM)
29261-bk
Gilly/Gone With What Draft
As below. (FM)
29261-3
Gilly/Gone With What Draft
Intro 4 bars.
In ens 12 bars. (FM)
29261-2
Gilly/Gone
With
What
Draft
As above.
(FM)
29261-1
Gilly/Gone
With What
Draft
As above.
(FM)
I have always
been like a
hound for new
alternates,
but maybe it can be
too much! No,
I do not mean that,
definitely I do
not! But life
would have been
easier and several
dark evenings
might have
been used
for reading instead. The highlight
of the session
has always
been the guitar
solo on
take 1 of
“I Can’t …," and
it still is.
At the same time it has relaxed, pleasant, beautiful phrasing +
technically finger-breaking passages.
Really one of his greatest soli on record! The two newly issued
alternates are also excellent and almost, almost as
memorable. “Gilly,” like “AC-DC
Current” is
not a vehicle
for CC who only receives
some
written-out parts as
his task. He
executes them
perfectly, but one
take is enough. At last “…
Feud” with 96 bars of
guitar
distributed over
five takes. The first rehearsal lets
the ensemble take the first
four bars
of both
choruses, but
other versions
are satisfied
to take the
first chorus
only. To
say that some are good and some bad
is hopeless, it
is all CC at his best. Postscript
of Sept. 2020: A breakdown version of “... Love” exists,
32 seconds, thus no CC solo.
Wholly Cats Solo 24 bars. (FM)
A new archeological discovery, a fine new version of “… Cats," buried in the vaults in Newark!
|
29512-4 |
Breakfast Feud (1st) |
Solo 20 bars. (FM) |
|
29512-3 |
Breakfast Feud (2nd) |
As above. (FM) |
|
29512-1 |
Breakfast Feud (3rd) |
As above. (FM) |
|
29512-2 |
Breakfast Feud (4th, 78) |
As above. (FM) |
|
29513-1 |
On the Alamo |
Solo 8 bars. (SM) |
|
29514-2 |
I Found a New Baby (1st) |
Solo 32 bars. (FM) |
|
29514-1 |
I Found a New Baby (2nd, 78) |
As above. (FM) |
|
29519-bkd |
Gone With What Draft (1st) |
Not available. |
|
29519-3 |
Gone With What Draft (2nd) |
Intro 4 bars. In ens 12 bars. (FM) |
|
29519-2 |
Gone With What Draft (3rd) |
As above. (FM) |
|
29519-1 |
Gone With What Draft (4th, 78) |
As above. (FM) |
Again, a memorable session for several reasons. First and foremost, take 1 of “… Baby” has one of the really great guitar soli. It runs along smoothly, the ideas are inexhaustible, and the swing is formidable. The kind of music you never forget! Take 2 is inferior, both where CC is concerned, and as a whole, but that does not mean it is forgettable. It is not. Play the last four bars of the guitar solo and you will see what I mean. “… Alamo” is lazy but of great beauty without plumbing to the deepest of musical depths. “… Draft”/”Gilly” is updated with three more versions, none giving anything new concerning CC. Then this “… Feud” is upon us again! And better than on the previous date. Four versions this time, all great. Postscript of Sept. 2020: A breakdown version of “... Draft” is known to exist.
29517-1 May I Never Love Again Intro 4 bars. (S)
This is a nice and unexpected surprise, and it is no doubt CC who plays the soft intro on “... Again,” otherwise the vocal group has nothing to offer in the way of jazz.
A simple uncomplicated solo of good quality, swinging fine but easy to forget.
|
3459-A |
Jamming In Four |
Solo
60
bars. Acc.
(b) 24
bars.
(FM) |
|
3460 |
Edmond Hall Blues |
No
solo.
(S) |
|
3461-A |
Profoundly Blue |
Solo 36 bars. (S) |
|
3461-B |
Profoundly Blue |
As
above.
(S) |
|
3462-A |
Celestial Express |
Acc. (clt) 24 and 24 bars. (FM) |
I suppose I will be called a heretic, but I do not take part in the chorus of praise for this session. I consider it as an example of how one particular opinion manages to achieve a kind of immortal life, which nobody dares to or even contemplates to challenge. Well, I do. The use of the celeste is a fatal failure. Particularly “… Express” is a nightmare, and also the other fast medium title, “… Four," suffers from a celeste accompaniment so penetrating that it destroys every possible musical balance. If I with great difficulty manage to concentrate upon the guitar playing, I find mostly music of medium quality, without sensations. “… Four” is a typical example. “... Blue” might have been the most significant tune with two takes as a special attraction. The ultraslow tempo ought to fit CC, but he seem s somewhat bored. The music lack surge, the swing is only moderately present, and even if the two takes definitely have different details, they have the touch of routine work to me. The best CC on this session is to be found among his accompaniment parts, particularly to Hall’s soli in fast medium tempo. Only there are we introduced to a master player and a musical elegance which at best may be compared to the Hampton session accompaniment of Sept. 11, 1939. Postscript: Quoting MoJ-liner notes: “Opinions are divided on the quality of CC’s playing at this session, yet surely we can agree that, despite the rather overwhelming presence of celeste, his five blues choruses on “… Four” (on the blues theme of “St. Louis Blues” launched by Edmond Hall) are outstanding by any standards” and “Surely, too, we can appreciate the guitarist’s genuinely profound feeling for the blues on his three slow choruses that open both versions of “… Blue,” statements firmly rooted in the great blues tradition of his native Middle West.” Yes, good points, maybe I was too negative, then.
Wholly
Cats
Solo 24
bars.
(FM)
Flying
Home
Solo 32
bars.
(M)
This “Flying
…” is different
from all others with
a xylophone added to the
ordinary septet, but of
course sounding
different from
Hampton. The tempo is also
slower than usual, and
I believe CC
has better versions than
this one. Note
orchestra added
in the last part.
And note also in particular the opening of the second
chorus of “… Cats," a
version very swinging
and different from all previous versions. Important quote from
MoJ: “From the first
few bars, we
detect a difference in
the rhythm section, the immense
class of
drummer Dave
Tough placing
him head and
shoulders above his predecessor”.
Breakfast Feud Solo 8 bars. (FM)
Note that “… Feud” here is different from all other known versions by containing only one chorus, which is good enough.
Rose Room (NC) Solo 4 bars (NC). (SM)
Flying
Home
Solo 32
bars.
(M)
The
Blues
Solo 24
bars.
(S)
The
Sheik of Araby
No
solo.
Body and
Soul
No
solo.
Gone
With “What”
Wind
Solo 24
bars.
(M)
Stompin’ at the Savoy
(Theme)
Solo
8 bars, drowned
behind (mc).
(M)
A
complete Benny Goodman small-band
session on a broadcast,
kindly supplied by James
Accardi,
something
quite special,
mostly there
is a
combination of small band and orchestra. Fine
versions of old vehicles
like “… Home”
and “… Wind,” while
most of
CC’s guitar
solo on “Rose …” is performed before the
program starts. The
highlight of the
day is however clearly “The Blues,”
two slow blues choruses
are not
everyday occurrence!
Gone With What Draft Intro 4 bars. In ens 12 bars. (FM)
Six Appeal
Intro behind announcer.
Solo
16 bars.
In ens
to coda.
(M)
Chonk,
Charlie, Chonk
Solo with orch 64 bars.
(M)
(Solo Flight)
“Six …” presents a solo which like “Stardust” is almost note for note identical to the Columbia studio version. However, the atmosphere is quite different, somewhat arrogant, and the tempo is much quicker. CC wails along with the beat, swinging like hell, and the listener is taken completely by surprise. Really a sensation! ”Solo Flight” is an abbreviated version compared to the studio recordings the next day but good and somewhat more loose-jacket and informal.
|
29865-1 |
Solo Flight |
Soli with orch 80 and 16 bars. (M)
|
|
29865-2 |
Solo Flight |
As above. (M)
|
It seems that CC thrives with the full Goodman orchestra on this occasion. The ideas come easily with many fine details, and the swing is more than sufficient. No sensations appear, and “Solo Flight” does not belong to his most important works, but it shows him to advantage in an unusual setting. The two takes are equal in quality, comparatively similar but with many different details which identify them. Quote MoJ: “… the second is perhaps the better … this was not the take selected by Goodman for release, however, no doubt because of his own somewhat untidy solo. This being said, CC’s solo on the issued version is of extremely high caliber, and only fractionally inferior to his second run.”
Flying
Home
Solo 32
bars.
(M)
Another very
interesting version, different from the others.
Particularly the opening phrase and the characteristic
“knocking” of the last eight
bars serve to identify
it completely. Note also Krupa
guesting on drums.
Rose
Room
Collective
improvisation
4:00.
(M)
I Hadn’t Anyone Till You
Collective
improvisation
2:00. (M)
Blues in B
Collective improvisation
1:30.
(M)
same
date
Cootie Williams (tpt),
Benny Goodman (clt), Georgie
Auld (ts),
Johnny Guarnieri (p),
Charlie
Christian (g),
Artie
Bernstein (b), Dave Tough (d).
Two titles
were recorded
for
Columbia:
|
29942-3 |
A Smo-o-o-oth One (1st) |
Intro 4 bars. Solo 8 bars. (SM) |
|
29942-1 |
A Smo-o-o-oth One (2nd) |
As above. (SM) |
|
29942-2 |
A Smo-o-o-oth One (3rd, 78) |
As
above.
(SM) |
|
29943-2 |
Good Enough To Keep (1st) |
Solo 32 bars. (FM) |
|
29943-1 |
Good Enough To Keep (2nd, 78) |
As above. (FM) |
Note: “Good Enough
To Keep”
is better
known as
“Air Mail
Special”.
This date will be remembered far into the future by any guitar/swing/CC addict for the two informal tracks, “Blues …” and “Waitin’“, which are rehearsals before the real recording session starts. They are very informal indeed, just music for the fun of it, showing how meager a view of jazz music one gets through records. “Blues …” is for CC the most significant track, letting him show off for five choruses. We hear that the music evolves from nothing. Somebody shouts: “Hey Charlie, let’s play the Blues. Let’s play the Blues in B!." And they do! They sort out after two choruses and note the exuberant start of the third chorus. Time is non-existent, and the improvisation could go on for ever. That it is cut off after one and a half minutes is very sad and seemingly unnecessary. “Waitin’…," lasting a whole five minutes, is also a joy to the heart. CC has the lead during the first half, doing not very much from a melodic point of view, more or less warming up. However, he swings like everything and makes a foundation for his fellow musicians. He picks up a phrase, throws it in the air and catches it like nothing. One of these is the theme of “A Smo-o-o-oth One," later in the session recorded in a more formal way. This theme really sets Williams and Auld going, and the swing is completely overwhelming for a while. When CC wants to return, the supervisor is there again but more in his right, because there are signs of deterioration to be heard. The two ‘planned’ titles are almost insignificant compared with the two mentioned above. “… One” features CC in arranged parts, a chord intro and a bridge, and the takes are identical. “Good …," however, offers two excellent soli, quite similar in general structure but with several refreshing differences. Take 1 is the better, note the ending! Their obvious inspiration places them among the best soli with the Septet. Postscript: After this was written, much more warming-up appeared, with lots of goodies. Note how CC plays along behind Cootie and ensemble or duets with tenor sax on “I Can’t Believe …." Or how he guides the guys along into and around “Rose …”! So exciting!! Note also that this is CC’s last studio recording session with the septet, followed only by three months of occasional broadcasts.
Caprice XXIV (Paganini) No solo.
Southpaw Serenade No solo.
Benny’s Bugle No solo.
“Breakfast …” fits
nicely into
the family
of similar
versions.
“Song …” is also a very pleasant surprise, another “new” number for the Septet with excellent music all over. CC’s part is not the most important, but his introduction to the tune together with Goodman is beautiful and moving.
A much too brief version for CC’s
part,
but good as
such. The whole
setup is
rather untidy.
Stompin’
at the
Savoy
Solo 2
choruses of
32 bars.
In ens 5 choruses at the end,
particularly in
the
1st,
4th
and
5th
chorus. (FM)
A
recently-discovered
(then)
additional jam
on “…
Savoy.” The
sound is
inferior to the
well-known one
but quite
acceptable. The two
solo
choruses are
excellent and comparable to the choruses on May 12. The
conclusion of the jam
is a rather disorganized
five chorus’ “everybody-takes-part.”
However, on close listening
one can follow CC nearly all the
way through the
mess, and it is definitely worth it. He seems to be
‘the fixed
point about
which everything
revolves’. We
are happy to take
part!
Note: “Up …” and
“Down …” are “Honeysuckle
Rose” and “I
Got Rhythm” respectively.
“Down
…” is
also issued as “Rhythm-A-Ning.”
Quite
the same immortality is
not present at this session compared to the
previous one. This
is partly due
to a drummer with
heavier
manners.
The playing
also seems to
lack
continuity
and concentration. However, the
session is
valuable enough,
it just suffers from the comparison to the fantastic
“Topsy.” Both items really have worthy soli with
fine details,
note for instance the
last chorus of
“Up On …”.
Guy’s Got
to Go
Some warming up behind the announcer,
then
Solo
64 bars. (M)
On
with
Charlie
Christian
Solo 80
bars. (FM)
Note: “… Go” and “On …” are “I Got Rhythm” and “Stompin’ at the Savoy” respectively. “On With …” is also issued as “Lips Flips.”
This jam session is the weakest one of those recorded by the amateur Jerry Newman (may his name be praised). It seems that CC has to do everything by himself here, the rhythm section is of very little help, and he sounds somewhat uninspired. But of course there are positive details to be found, particularly in “On ...”.
Another fine version of “… Bugle,” quoting MoJ: “on which the guitarist, no doubt spurred by the brisker than usual tempo, comes up with a joyous solo that is bursting with vitality.”
Solo Flight Soli with orch 80 and 16 bars. (M)
Stompin’
at the Savoy
(NC)
Solo
22 bars
(NC). (M)
This broadcast version of “Solo Flight” fits nicely in as a “third take” of the studio recording three months earlier. We find the same setup, the same atmosphere, the same quality and the same inspiration. But as always, we find new details, always reminding us about the master in the art of improvisation.
No further recording sessions.
Corrections of July 6, 2012 and Sept. 28, 2020:
Rose Room Solo 16 bars. (SM)
Quoting from my ‘very old’ solography: “Although the Sextet is announced, it sounds more like a trio, piano, clarinet and guitar, though bass and drums are present. CC plays quietly, very relaxed and quite different from the other versions known. In fact, this is a quite memorable piece with a very good cooperation within the group.” Although this now has been shown not to be a CC item, I am not afraid to show my/our mistake, because the solo really sounds like CC!
The early summer of 1941 was to become the conclusion of Charlie Christian’s musical life, this extraordinarily creative musician whose art would have far reaching influence also after his death. After the famous jam sessions at Minton’s and Monroe’s (and what a luck that his illness still had not progressed so far as to stop him from joining!), there were only a few casual broadcasts, nevertheless showing that he could still play as well as ever before. I wish he had had the opportunity to say goodbye with a colourful final recording session, but that was never to be. Nine months after the diagnosis, Charlie Christian died.
Final quote from MoJ-liner notes by Claude Carrière: “After a religious service at the Calvary Baptist Church in Walnut Avenue, Oklahoma City, Charlie Christian was buried on 9 March 1942 at the Gates Hill Cemetery in Bonham. It would seem there was not enough money to have his name engraved on his tombstone”.
CD Availability section, main sources:
For the serious collector of Charlie Christian’s exceptional music, I have tried to identify the most easy way to obtain completeness. There are two major productions, and you need to have both:
* Columbia C4K65564, a four-CD set containing (almost) complete the Benny Goodman studio recordings.
* Masters of Jazz, Vol. 1-9 (MJCD 24, 29, 40, 44, 67, 68, 74, 75 and 189),
containing a solid part of the Benny Goodman studio recordings (but not as complete as the Columbia set), and also a more or less complete set of broadcast versions.
Finally Jazz Unlimited UCD2013 contains a few breakdowns not elsewhere.
Postscript:
* Session of Jan. 15, 1940: Currently available only on Jazz Heritage Society CD 5262997
* Session of Feb. 19, 1941: “Gone With “What” Wind” and “The Sheik of Araby” currently available only on Encore CD: “Benny Goodman – A Tour de Force: The Small Groups LIVE! 1937 - 1972”
* Bill Savory collection items are currently available only if you go to the National Jazz Museum in Harlem!
* Note the Rutgers University – Institute of Jazz Studies collection items, go to Newark!
Final note of Sept. 26, 2020: The recording of “You’re A Lucky Guy” from Minton’s including Thelonious Monk has otherwise unknown personnel, leading to a lot of very weakly founded speculations. Both Benny Goodman and Lester Young have been suggested, quite wrongly in our opinion. Even CC has been suggested, playing bass!! Without anything substantial to present, such out-of-the-air ideas should not be published, as they are almost impossible to get rid of.
… ooo …
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