CHARLES CHRISTIAN:  MUSICIAN

by Craig McKinney

There are many myths that surround the biographical accounts of Charlie Christian, the pioneer electric guitarist. Historical inaccuracies about this figure of jazz are to be found in most of the printed literature on the subject. Two problems jazz historians face are these two facts: Charles Christian just didn’t talk too much, and he was stricken with and killed by tuberculosis in 1942. Since his last appearance, legends and rumors surround the memories of this genius.

As an example, the following paragraph is condensed from various sources mentioning Christian. Most of the following is false.

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Charles Christian did live in Oklahoma City, and he did die in New York. But most of the rest of the previous story is false or hints at distortion. Also, Charles did play with Benny Goodman and at Minton’s, a club in Harlem.

Charles Henry Christian was born July 29, 1916 in Bonham, Texas, a small community about 60 miles northeast of Dallas. His family lived in a part of town know as “tank town.” The name “tank town” came from the water supply located here for the railroad. Charles’ family and their neighbors were black. Bonham was also the hometown of Sam Rayburn, who in 1912 would be elected to Congress and would eventually become Speaker of the House, serving longer in that position than any other man. The Rayburns were white. Charles grandmother had worked in the Rayburn house before he was born. Charles’ father worked as a waiter. An important part of his entertainment was baseball. He played on the black teams in the area surrounding Bonham. His wife was called Willie Mae Christian. She was a distinctly beautiful woman. Both were musicians. There were two boys born before Charles. He had no sisters. Edward was the eldest, ten years older than Charles. Edward was born December 23, 1906. Clarence, Jr. was five years older than Charles, born on July 30, 1911. They too were musicians. The house where Charles was born still stands at 51l West Johnson Street in Bonham.² Charles was born into a family of musical tradition. Both his father and his mother were musicians. His grandmother on his mother’s side was a musician. Two of his uncles on his mother’s side were musicians, as were his older brothers.³

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 Before Charles’ second birthday Clarence Christian, Sr. was struck by a mysterious illness. While at work as a waiter his vision in one eye began to fail him. First his left eye went dark, then over several months he lost his sight completely. Clarence Christian, Sr. now faced the problems of supporting a family as a blind man. Already an accomplished musician, Charles’ father now turned to music to break the monotony of his tragic illness. It was music also that would support the family during the very hard times. Charles’ father’s favorite music was sacred music, chords played on string instruments, especially when performed late in the evening. Clarence Christian was an experienced musician; he could be heard to play a tune on about every instrument except the Scottish bagpipes. But he didn’t turn immediately to music to support his young family. Two of Charles’ uncles persuaded him to play what were called “busts” with them. They wanted Clarence to keep active, and not to lose himself in depression. “Busts” might be described as musical performances of the street. (More on “busts” is contained later). Even as a blind man Clarence Christian was determined to provide for his family.⁴

It was during Mr. Christians first year of blindness that Charles Christian was first introduced to the guitar. Charles was about a year and a half in age; it was about the time he was beginning to walk. In the evenings when the boy was sleepy, his father would set him on his lap. In front of Charles lay the eleven string Symphony Harp guitar his father owned. Charles would reach for the strings, and run his fingers across them until he fell asleep. As he grew a bit older the guitar was replaced by the bass. There was something noticeably special about him even at this age.⁵

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An important date for most living in the United States in 1918 was Armistice Day. The armistice was signed November 11. Edward rode his bicycle in the parade and celebration in Bonham. Two days later the family left Bonham for Oklahoma City. Charles’ grandmother was already living there. Clarence’s opportunities for work had dried up in Bonham. Clarence Christian did what he could to provide for his family, but being subjected to racism it was very hard to find work. However, a sense of pride, dignity and necessity drove him. He found a job pumping valves by hand to unload railroad cars. It was a job that required enduring strength, and not the type often selected by a blind man. This move to Oklahoma City relocated his sons near Northeast 2nd Street. Northeast Second or “Deep Second” as it was called, was to be an important school of music education for Edward, Clarence, Jr. and Charles.⁶

Charles’ musical career began when he was quite young; he too was involved in “busts”. His father had bought his two older sons musical instruments. Edward had a mandolin and Clarence, Jr. played the violin. To begin a series of “busts”, they would walk downtown; and after an OK from the establishment’s owner (usually these places were cafes and pool halls) they would play two or three pieces and pass a hat for tips. For the music people would maybe give a nickel, a dime, but a quarter was seldom seen. Edward didn’t care much for this practice because he felt it was ‘beneath his character.” It seemed to be too much like begging to him, but he continued to play. Most of the time they were in the downtown area, but sometimes on their way back home they would go through a white part of town. Here they would play music at homes.

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It was in this section of town they came to, because some people here had the little extra change for music. If the Christians knew someone liked music, they might approach their house, and quietly step up to the porch. Softly, they would begin to play their stringed instruments. People would come to the door; sometimes they might be given food, some gave a nickel or a dime, or perhaps a drink of whiskey Although some wouldn’t give anything, they might compliment the family on their playing. And then, others wouldn’t. These were “busts.” This is what the Christians wanted to do. Clarence Christian Jr. recalls, “We weren’t all that great or nothing, but we had something to offer.” When Charles grew old enough to join in, he was just a board beater; but he “could dance real good.”

Charles Christian was raised in Oklahoma City. He attended Douglas school until the seventh grade. Here he met Mrs. Zelia N. Breaux, it was she who first encouraged Charles to play music.⁷ Mrs. Breaux at one time owned a musical theater on 2nd Street. Many big names appeared at her place including Ma Rainey, Bessie Smith, Ida Cox, Mamie Smith and King Oliver’s band.⁸ Mrs. Breaux was the musical director for the Black public schools for all grade levels. She encouraged Charles to begin with the trumpet; but this did not really appeal to him. The discoloration and corn that builds on a trumpeter’s lip soon drove Charles away from the instrument.⁹ In a few years Charles would take up the instrument that was traditional as his father’s favorite: guitar.

The Christians were a very close family. They found strength at home during many hard times. When Charles was ten, his father died. It should be mentioned here that although Clarence Christian loved and played the guitar, Charles did not begin to learn to play until after his father’s death. His passing left Willie Mae Christian with her mother and three sons.

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Edward was about twenty years old at this time, so he and Charles weren’t around each other too much while growing up. But Clarence, Jr. was only five years older than Charles, and these two were almost inseparable. “When you’d see one, you’d see the other. “ Mrs. Christian and her sons were very close. Her secret, according to her son Clarence, was that she was a “buddy.” The Christians took good care of each other. The family was a strong institution here.¹⁰

Like his father, Charles had a passion for baseball. Much of his time as a youngster (and much of Oklahoma City) was spent playing the game; and according to friends, he probably would have become a professional ball player had he not turned to music.¹¹ And some say if it had been the post-Jackie Robinson era, he probably was talented enough to play in the major leagues.¹² Jerry Jerome, who played music with Charles in 1939 and 1940 with Benny Goodman, noted this talent along with his music skills, “He also was an outstanding third baseman on our baseball team at Catalina Island,”¹³ But one factor in Charles personality limited his future in this field. When Charles did something, he usually put all his energies into it. Charles was a pitcher, a good one; but he liked it so much he wanted to pitch every day. But his friends wouldn’t let him wear himself out. They knew that physically the strain would be too much for any kid. So at this point Charles began to drop away from baseball (most likely he was 11 to 15 years old at this time, 1927-1931). It was at this time he turned seriously to music.¹⁴

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He began to hang around with musicians. Two in particular began to teach Charles what they knew about music and the guitar. They were “Big Foot Chuck” Ralph Hamilton and James Simpson. Ralph Hamilton played the guitar; and James Simpson played the trumpet. These two musicians gave Charles much of his early formal education in music. Clarence Christian, Jr. recalls their efforts:

“…the first thing they (Hamilton and Simpson) taught him, (was) ‘Learn to read, then you won’t have to take anyone’s word for what’s on that paper’. And the term they used was, ‘Learn how to pick them dots,’ that’s read notes. They taught Charles how to build chords, break down chords, transpose, and modulate, and read.”¹⁵

Edward Christian first happened across Ralph Hamilton in Chickasha, Oklahoma. “Big Foot” Chuck, as he was called, was playing his guitar out in the streets. He was accompanying a blind man who played religious music on the washboard with thimbles on his hands. Ralph Hamilton, it should be noted, played guitar, and Charles first wanted to play like him. Hamilton’s style was characterized by his lead chord approach; and because of his knowledge and style, the familiar songs he played were easily recognized.¹⁶

At this time, Charles practically idolized Hamilton. After he quit playing steady baseball, he would be with musicians, especially Simpson and Hamilton. At this time Charles was known to say, “I want my guitar to sound like Chuck’s.” But even then he was different.¹⁷ One fundamental but derivative change from the style of Hamilton to the style of young Christian was Charles expressed himself by playing solo notes, and Chuck, of course, played lead chords. This too, is significant. Charles began playing solo long before most jazz groups featured the guitar as a primary instrument. And when he eventually was exposed to electric guitars, his solo style was already solid, and not merely an adaptation to the guitar’s newly-found volume.

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Not long after Charles became proficient on guitar (probably between 1929 and 1931) there was a jam session up at Honey’s. Honey’s was an after hours spot, run by Honey Murphy. It was an exciting place when the jamming started. When the jam sessions began, “whole streets would just empty and go up to Honey’s.” Many bands came through town and when they came, they would jam at Honey’s. On this night Don Redman’s orchestra was there at Honey’s. The jam session included Edward Christian on piano and Ralph “Big Foot Chuck” Hamilton on guitar. Young Charles Christian walked in with his brother, Clarence. Charles was anxious to participate. Charles went up to the rest of the active musicians and pressed his brother, (“Let me play one”).¹⁸

And Edward’s reply was a classical, “Charles, don’t nobody want to hear them old blues”. Luckily Ralph Hamilton intervened on Charles’ behalf. He convinced Edward he should let his youngest brother at least have a chance. There is an explanation for Edward’s attitude. Edward didn’t know Charles had learned to play. Charles was asked by the group what he wanted to play. He chose a tune that most of the crowd knew and was popular with the people. He selected “Sweet Georgia Brown.” The choice was a surprise to Edward; but the band began to play with Edward setting the pace at piano. The song began with soloists each putting in their part. Then it was Charles’ turn.¹⁹

“..so he licked his thumb, and gripped his pick the way he wanted it. And Chuck told him, Come on, Charlie, you can do it.’ Charles set there, and they encored back for sixteen choruses, and every one was different. And my oldest brother like to went through the ceiling. ‘Hey, hey man! This is my brother! This is my brother! Take another one, Charles. Take another one! ‘ You know he was going out, you know...”²⁰

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His impromptu debut that evening was a surprise to many people. Charles’ sixteen choruses were single note solos and this was “way before he started playin’ professionally.” Charles’ brother, Edward, was very surprised, to say the least. Edward was unaware that Charles had been studying music and the guitar under Simpson and: Hamilton, The simple reason for his ignorance was a difference that had come up between Simpson and himself. Both Edward and James Simpson were pursuing the same young lady. Because of this, very little was said between the two.²¹

After this first number at Honey’s, everyone was quite excited and wanted to hear more of Charles on guitar. Charles was asked to choose another number. He politely and shrewdly explained he was not the leader of this session, he was just “sitting in” with the rest of the musicians. Actually Charles had only three songs he knew well, and wanted to play in front of others. He finally suggested they play “Tea for Two” and everyone agreed. Charles again electrified the awaiting crowd with his music. He exploded into his music, and the crowd reciprocated in appreciation.²²

After “Tea for Two” Charles thanked the rest of the guys for letting him play, telling them he felt better now. But everyone wanted to hear more. Charles was very aware he had only one more tune he felt secure playing with this group of musicians. The others begged him to play once more. He consented to one more number, and he chose “Rose Room.”  The crowd was genuinely amazed by what it had heard that night, performed by a young, local musician. It was the talk of the neighborhood, and word spread fast. When Clarence and Charles arrived back home, their mother already knew all about what had happened. And the effect of the incident on Charles’ eldest brother’s opinion of his baby brother’s talent was altered permanently.²³

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“…Edward learned that Charles had progressed so far over his head until they were like two peas in a pod from then on...So getting down to this one point. People talking about what they learned Charles, what they taught him. The principle ingredient there is Ralph Hamilton, James Simpson and his oldest brother, Edward.” ²⁴

This was Charlie Christian’s firs public appearance on guitar. This sixteen solos display of his talent on guitar was not peculiar to this evening. Charles constantly revised; it was an essential and creatively demanding part of his approach-and updated his music; it was a trademark of his style. (Incidentally, John Hammond who later “discovered” Christian, believed Charles had never heard “Rose Room” before he played with Benny. “Rose Room” was to figure prominently in Christian’s first session with Benny Goodman, dubbed the “King of Swing”).²⁵ Oklahoma City doesn’t appear to have been the backwater area or unexposed to New York and California music-wise, which seems to be what some works listing Christian seem to hint. Oklahoma City was a hub, a hot spot for jazz. New York and Los Angeles simply seem to have had little idea what was happening out in the Great Plains. On Northeast 2nd Street one could find all sorts of live music. This is the neighborhood where Charles lived. It was here he met musicians such as Lester Young Lester reportedly had spoken of these days when he said, “We (he and Charlie) used to go out in the alley and jam.” ²⁶ It was here on 2nd Street that Charlie heard and played with members of visiting territorial bands including Andy Kirk, Alphonso Trent, bands from Kansas City, and the Blue Devils whose home base was Oklahoma City. The Blue Devils at one time included Count Basie, Lester Young and many other talented musicians. Musicians were Charles’ kind of folks.

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In the 1930’s, not many musicians had the opportunity to play in mixed crowds meaning those groups including Blacks and whites. One of the earliest instances (or the earliest) of this occurring in Oklahoma City involved Charles, his friends and two white brothers, the Salathiels, and their friends. Their names were Merle and Doyle Salathiel. The Salathiels lived in the south part of Oklahoma City. Their father owned a dancehall called Salathiel’s Barn. Salathiel’s Barn at one time actually was a barn which the Salathiels had remodeled. Merle and Doyle had much in common with the Christians, because they too loved music. They accepted the Christians and their friends as musicians–as equals. Charles and his friends were never sent away here; or forced to enter through the kitchen. But the music itself wasn’t exactly tame. They “had some wild jam sessions there.” The Salathiels and their friends in turn came to 2nd Street to jam in the Christian’s neighborhood at Bridges’: Together, the two groups of musicians would play for hours, and there “was never a cross word” between them. Everybody would pass one bottle around for all to share; and no one disgraced the affair by wiping the bottle. Charles got along very well with this crowd. One of the other musicians with the Salathiels also played a stringed instrument; and he and Charles would make music together for hours.²⁷

Christian’s style was unique. Often it is said by those who have heard Charles’ music for the first time, this music is different in some way than any they’ve heard before. He was different from most other guitarists of the day. To begin with, he started off playing solo, unlike Ralph Hamilton and most other guitarists involved in popular music. There were many blues singers who accompanied themselves with guitars, but fewer played the guitar as if it had a solo voice of its own. With a band, the guitar’s function was rhythm more than lead.

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Charles’ brother, Clarence, doesn’t attempt to explain his brother’s genius, Charles was always different; but eventually he explained part of his approach to the instrument.

“...later on he revealed his secret, his interpretation of music. He said, ‘I don’t look at it as playing a guitar.’ He said, ‘I try to make my guitar sound like I think a saxophone should.’  So he had him a whole new ballgame there. In his mind he’s doing what he thinks a sax player should do. So he picked up something. In other words, right there he went original, something no one else had offered.” ²⁸

Abe Bolar, a musician and a good friend of Charles supports evidence that his ability was recognized years before Charles went east or west. At one time, Abe was the bass player for the Blue Devils, an influential band around Oklahoma City and the region. Abe was older and began his music career before Charles, but they jammed many times. He affirms, “Charles always could play solo.” He remembered Charles to be playing in 1931, and “He could play like hell in ‘34... He was just a natural... he improvised naturally.” And Mr. Bolar claims Charles could play as good as a teenager as he ever did at a later age.²⁹

Jay McShann, pianist and band leader, heard Charles in person only once. This was in 1937 in Kansas City at Wolf’s Buffet. Charles was with Alphonso Trent and his group returning from the Dakotas. There was a jam session from eleven at night till five in the morning. The guys sounded so good McShann says he just wanted to listen. He says about Christian, “Charlie had that thing.” Jay McShann agrees Charles had to have always had this special “thing.” ³⁰

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In the liner notes of a Charlie Christian record album released around 1958, Al Avakian and Bob Prince claim “...Charlie Christian’s Texas birthplace and Oklahoma home were areas relatively untouched by more sophisticated forms and expressions than the blues....” ³¹ Writer Ralph Ellison refuted these claims when they were first made, and correctly so.³² But the blues definitely did have their impact on Christian: although he wanted more, the blues were all around.

“...Of course, he’d been around blues all his life, ‘cause we strictly lived in a blues environment. ‘Cause along then when Charles just started out trying to play guitar everybody sat down to the piano, everybody picked up a guitar, mandolin, a little fiddle; it was blues. And Charlie really didn’t like blues. But for his kind of playing, his kind of music, his type of music style, there wasn’t enough action in blues. I don’t mean to say this boastfully, but when you sit down to listen to Charles play there’s never a pause. He’s always doing something. He’s digging in everything. But in motion, you know, that continuous something. You look for a pause, and he’s putting something in there....” ³³

“Deep Second” was extremely fertile ground for a budding musician such as Charles Christian. Without having to leave town, or even his neighborhood, he acquired experience playing at the many sessions on Northeast 2nd Street. The places he met with the other musicians were pool halls, and after hours joints; places where a man could get a drink. Frequented often were Honey’s (mentioned earlier), Deep Deuce, Band Box, The Hole and Ruby’s Grill. Honey Murphy’s and Hallie Richardson’s were two of the important centers for musicians in this area. Hallie Richardson owned a “shining parlor,” and Honey Murphy ran the upstairs, this part of the building overflowed with people during the day. Ruby’s was built as a ballroom which tended for better use for crowds. The ‘Hole’ was run by Big Bridges and was located in a basement, and above it on the first floor was the ‘Band Box’ which began as a pool hall.³⁴

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 Charles musical ability did not go unnoticed in Oklahoma City. Although many dates are often cited indicating when Charles first left home to play with a traveling band, this author’s research has found no conclusive evidence for precision. He first left probably sometime between 1931 and 1937. At any rate, he was very young. Although both of Charles’ brothers also had had earlier offers to leave Oklahoma City for musical careers, only Charles received his mother’s OK. Edward had his chance to go with Buster Moten. And Clarence, Jr. also had a chance to do musical work in California. But their mother wouldn’t allow it in these two cases. When Charles’ chance came, Clarence, Jr. helped convince his mother that she should let her youngest give it a try. He persuaded her this was the time to let him go because with their two jobs they would be financially capable of bringing Charles home if things went sour on the road, as many times just so happened. Also, Clarence convinced her that at this early date Charles would still have the necessary moral support needed to keep him in the right track.³⁵

Alphonso Trent was the leader and organizer of one of the popular traveling orchestras in the Midwest. He had heard of Charles, and came to Oklahoma City and hear him. Trent’s bands had a very good reputation musically in the area; and Alphonso asked Charles to play with his band. Charles had to practically beg his mother to let him go. She understandably didn’t want her youngest to leave. But Mr. Trent promised her he would take care of Charles. So after Charles made all of his promises to his family concerning what he would and would not do, he left with Trent.³⁶

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Alphonso promised to take care of Charles, but there were a few dangers. At first, Charles played the guitar for the band, but because of the kinds of places they were playing and the hazards, this did not continue. The jobs the band held were north of Oklahoma in Deadwood, South Dakota, Bismarck, North Dakota and Casper, Wyoming. Most of the mail his family received bore postmarks from Deadwood and Bismarck. The clientele at these places were miners, not always the crowd easiest to please. The band wasn’t paid much of a salary for each of the engagements; so most of their revenue was tips from the audience. But here lay the danger. Paper money was very scarce in the area at this time; all that was usually to be found was coin. Usually the men would just throw their money at the bandstand, and this was very hazardous for the musicians. “Some guys come in there, they’d get to feeling good, he’d bust up your instrument, your head, (and) anything else.” ³⁷ So to keep part of the flying coin from doing too much damage, a net was set up in front of the bandstand to protect the musicians. Charles was very worried about his new guitar. Before he left Oklahoma he had bought himself a new guitar. Since he was making payments on the guitar, he didn’t want it to be broken or ruined. So he started playing bass fiddle instead.³⁸

A young school girl home on vacation also had the opportunity to see this electric guitarist while he was with Alphonso Trent. The place was Bismarck, North Dakota. The time was September 1938. The band was a swinging sextet she recalls. She walked in after hearing about this guitarist. She heard Charles playing, but it was new, different and she didn’t even know what instrument was making this music. Then she saw him. Later in the evening he played “St. Louis Blues.” She was familiar with Django Reinhardt’s version. Mary Osborne claims Charles played Django’s version exactly. This is an example of his approach. Charles loved music and musicians, and when it came to music education, he knew songs and musicians’ styles that no one even expected to hear. Charles was full of surprises when it came to his knowledge of musicians.  Django was an important pre-Christian solo jazz guitarist. He was known as the Belgian Gypsy. Mary Osborne met Charles the next evening. She describes him as “very nice, exceptionally nice.” ³⁹

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The places which Charles and the rest of the group would stay ware “average.” But usually the crowds were rough; and Charles was unhappy with his role on bass fiddle. He wanted to play his guitar. So after about a year or a little more with Alphonso Trent, he returned to Oklahoma City.⁴⁰

After an undetermined length of time back home, Charles again had an opportunity to travel with a band. Charles’ mother was no more pleased about him leaving this time than she was the first. This time Charles went with a orchestra headed by Anna Mae Winburn. Charles again went north, playing places in Kansas City, Chicago and other cities. It has been claimed that he toured the southwest with Anna Mae, but it appears this is not true. He was not touring Texas and the southwest with Trent and Winburn; he was exploring north. But fate did not smile on this orchestra; the band became stranded. The bus that they traveled in was taken back into the “hands of the receivers.” Luckily, Charles’ family had enough money to bring him back home safely.⁴¹

Charles Christian was a respected musician around Oklahoma City and his ability was known to many local musicians. For an undetermined period of time, over a year possibly, Charles was back home in Oklahoma City. Here he played music on 2nd Street with many musicians in town, and also with those passing through town. Two of the local bands were popular, their leaders were Leslie Sheffield and Edward Christian. Charles would play with one for a month or so, then with the other. Everyone in both these groups gave Charles plenty of solo time. He was acquiring a reputation as a wizard on the guitar throughout the area.⁴²

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Charles’ nickname around the area gives one indication of his reputation. His nickname was Charles Christian “The Great.” In jam sessions if one musician outplayed the next, they were said to have “cut his head.” “...So Charles cut every head come here carrying a guitar.” ⁴³ Soon, Charles name was put in front of a band’s, such was his popularity with the public. When Andy Kirk’s group came to town, below the advertisement for this nationally known group was another smaller announcement.

...Every Thursday, Saturday and Sunday nights will be regular attraction nights with music on Sunday by Charles Christian’s band. No extra charges will be added for service in the “Lyons Den”.⁴⁴

It seems natural that Charles Christian turned to the electric guitar; his solo approach was mature and ready to be heard along side horns and the rest of the band. Charles started off playing a loud unamplified guitar, an acoustic Epiphone. It was this guitar that allowed his solos to be heard before he was able to acquire the newly developed electric guitar. When he played a piece with a group, the rest of the band would play softly so he could be heard. Sometime before he was “discovered” Charles acquired one himself. A woman in Oklahoma City told Charles about a place where he could get one. He went down and bought his first electric from Lee Taggart, who owned a music shop in Oklahoma City. He made payments he could afford to finance the purchase. Later, with his first check from John Hammond, to go to Los Angeles, he paid off the balance. His next electric guitars were furnished after he joined Benny Goodman. The second was a beautiful, big white Gibson guitar (Charlie preferred Gibsons). This guitar was cherished by his family who kept it after he died, but in the 1950’s it was stolen from their home.⁴⁵

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In the summer of 1939 Charles Christian was swept away from Oklahoma to New York and Los Angeles and the expanding mass media network–the national scene. This included appearances, radio performances and records. In astoundingly little time, a few months, Charles would be in the center of the popular jazz of that day via Benny Goodman.

It was pianist-arranger, Mary Lou Williams, who first brought Charles to the attention of New York and John Hammond. Mary Lou Williams was the pianist-arranger for Andy Kirk and his Clouds of Joy. They had both toured the mid-west and recorded in New York.⁴⁶ John Hammond, on the other hand, had just recently gone to work for Columbia Records, Inc., a new enterprise owned by CBS network. His position was that of associate recording director. He came into this job after and as a result of his successful production of the 1938 “Spirituals to Swing” concert featuring Black artists from all over the United States.⁴⁷ Hammond was also responsible for recording Benny Goodman’s groups at this time; and was intimately involved with finding new personnel for Benny.

John Hammond was not looking for a guitarist in particular at this time, but he was out trying to find the best musicians. Weeks before John Hammond had ever heard of Christian, Andy Kirk and his Clouds of Joy were playing at the Trianon Ballroom in Oklahoma City. This was July 10, 1939. Included in Kirk’s band was Mary Lou Williams on piano, and Floyd Smith on guitar. The performance was to be a benefit dance; proceeds would go to the entertainment committee of the local Negro Business League. Advance tickets were 56 cents, while at the door the charge would be 78 cents.⁴⁸ Mary Lou may have heard Charles a few years before, but it was probably this encounter that was fresh in her mind at a recording session in New York a few weeks later. In Oklahoma City, at this appearance or afterwards, a jam session took place.

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According to Mary Lou, everyone wanted Charles to bring Kirk’s guitarist down a bit, even the members of Kirk’s band. First Charles played. Everyone encouraged him to do his bit, to show the other guitarist up. But Charles wouldn’t, yet. Then the other guitarist played. He tried very hard to do his best. Then Charles played again, much stronger than the first time. Charles was too good. The other guitarist would not tolerate it and walked out.⁴⁹

Mary Lou and the band were soon back in New York. But she had not forgotten what she had heard. The band was playing the Apollo, and also making recordings. At the recording session Hammond heard a guitarist who played “the Hawaiian guitar sound.” After speaking with Mary Lou, and telling her he cared very little for this guitar music, he jarred Mary. Lou’s memory.⁵⁰

Hammond remembers Mary Lou saying, “If you really want to hear an electric guitar played like an acoustic guitar... you’ve got to go to ...Oklahoma City, where Charlie Christian works. He’s the greatest electric- guitar player I’ve ever heard.” ⁵¹

Hammond was already planning to go to Los Angeles to begin recordings for Goodman on Columbia. He decided to stop and give Charles an audition.⁵² Mr. Hammond subsequently wrote Charles inquiring about an audition. Charles wrote back inviting him to stop and hear.

Clarence Christian, Jr. remembers this same period:

“...Truly, John Hammond did come here. And to show what kind of life we were living, we didn’t have a car, didn’t have a bicycle. So Charles went to a friend of his...the musicians’ friend...Hallie Richardson...He had housed, clothed and fed a many musician.... Charles went and explained to Hallie what he had going for him. So, Hallie told him, “Say well now, I got an old Plymouth down there.” He said, “We’ll just go to the airport and meet him.” ⁵³

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As was mentioned earlier, Charles was working at Ruby’s Grill and the Lyons Den owned by Ruby Lyons. At the first meeting between Christian and Hammond, Ruby and Hallie were there also. They talked for awhile, and Hammond asked if there were more good musicians in the area. Charles hadn’t auditioned yet, so Hammond suggested the following evening. First, he needed a hotel room and asked Charles about it. Charles suggested the Hucksins Hotel where his mother worked. This is where Hammond stayed.⁵⁴

So Hammond told Charles to gather up the good musicians he knew, and asked him to meet the next evening at 8 o’clock. The next evening at 8 o’clock sharp the band started their theme song and Hammond walked in. He listened to four or five numbers, and then he got up to leave. He provided the musicians drinks for the night for everyone that wanted them. Plus, at this time he said, “You’ll hear from me in a few days. “ Then he left.⁵⁵

Hammond saw Christian’s connection with the horn players. He saw a Texas influence, and he notes that Christian was “endlessly inventive.” What surprised Hammond, he wrote, was like all the greats he “discovered,” why hadn’t anyone heard it before?

“…I knew immediately, for instance, that Charlie Christian belonged in the Goodman small group, I was on my way to join Benny; what could I tell him that would convince him? I called California.
“I’ve just heard the greatest guitar player since Eddie Lang,” I told him. “He plays electric guitar and...”
“Who the hell wants to hear an electric-guitar player?” Benny interrupted.
“I don’t know,” I admitted, “but you won’t believe him until you hear him...” ⁵⁶

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Hammond convinced Goodman to allow Christian to be brought out on the budget allowed by the Camel Cigarette sponsors. The Camel Company supported a radio program and Benny had a contract with them for regular national radio appearances.

After Hammond left Oklahoma, Charles was left with no idea of what Hammond had thought of him. About ten days after the event Charles received a telegram. It read something close to this:

“Come at once. Have position with Benny Goodman.”

Clarence recalls what Charles’ reaction was:

“And Charles set down and laughed. I said, ‘Charles, what are you laughing about?’
He said, ‘Man, that man’s in Los Angeles.’
I said, ‘I know it.’
‘How in the hell am I going to make it to Los Angeles if I ain’t got cab fare down town?’” ⁵⁷

Charles didn’t have any money. So his brother, Clarence, and his friends, policeman Ernest Jones and Hallie Richardson raised enough money between themselves to send Charles off. But before they had a chance to present Charles with this money, he had found his own way of solving the problem. Charles wired Hammond back; and in return Hammond sent $300. This was accompanied by a second telegram which said, “If this is not enough, will wire more. See you.” ⁵⁸

Benny Goodman was tremendously popular at this time, and it was a boost for most musicians to just be part of his orchestra. Charles still hadn’t met the leader, and his new boss hadn’t heard him play. His position was to play with the orchestra according to the local report from The Black Dispatch. It described the event as “one of the biggest breaks ever received by a local musician” With the three hundred dollars Hammond had sent him Charles completed the payments on his electric guitar. A party was given at Ruby’s Grill on Sunday, August 13, 1939, for Charles. The next afternoon he left  town by train.⁵⁹ The possibilities ahead for this young musician were unknown. Benny certainly had made few plans, probably none, for this new musician he had never heard.

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Charles Christian’s thoughts about this world usually were not broadcasted. Charles was “soft-spoken, shy-like” in conversation. His answers to friends’ questions many times were not words, but grunts. So to understand him meant one had to know Charlie pretty good, He did not complain much. One of the few times he did worry about was to his family just before he left to join Benny Goodman. He was working moving cabinets inside a building when one of his fingers was mashed between a wall and the cabinet. He was very worried this would hinder his playing, and he had not yet been heard by Goodman. By the time he left, although sore, the finger was well enough for Charles to play.⁶⁰

Persons who knew and heard Charles before he went with Goodman agree Charles’ style was developed before he ever met Benny Goodman. It was mentioned earlier that Charles was taught to play and read music by Ralph Hamilton, James Simpson and Edward Christian. But Charles quickly progressed, There was something unique about his ability even as a baby. And in his first jam session his ever changing improvisations surprised much of the neighborhood, not to mention other musicians, present. So where did he get it? First of all, it should be remembered Charles was a very agreeable and likeable person. He would borrow from any musician he came in contact with or any kind of music. He would use the blues, folk songs, jazz classics, popular tunes, hillbilly music and he even surprised a few with his knowledge of classical music, Charles would use stuff no one else would try.⁶¹

Page 23

Charles Christian did hear a saxophone inside his head. As a solo guitarist he was unusual because he played on his guitar lines he thought a saxophonist should play.⁶²

His music was constantly changing. For example, he was known to play a beautiful solo. Then when asked to repeat it again after his efforts, he would say, “What?”. He wasn’t being snobbish at these times, or really meek. It is just the ideas he had the moment before were gone and new sounds were filling his head. He was constantly revising.⁶³

When critics attempt to explain where Charlie Christian came from, one should remember Charles’ own words. He was a quiet man, but he told his brother, Clarence, his philosophy many times. Although Charles didn’t talk much, he did give his brother this piece of philosophy:

“Don’t never try to be like somebody else. Let somebody else try to be like you. Because when you start being a copycat, they are a dime a dozen.” ⁶⁴

This approach put him in the same category as the top line soloists, while not losing the function of the guitar as a rhythm instrument. Charles” favorite bands when he left Oklahoma City were Duke Ellington’s and Count Basie’s. But “he was strictly a Duke man,” (which questions the theory that Charles’ style was taken from Lester Young). He would not rate musicians as who was better than whom; he would not categorize his fellow musicians. His philosophy was that those that were playing had to be good to be up there. Charles eventually played with some of the biggest names in jazz in his day, but it didn’t matter to him who he was playing with, just as long as he had a chance “to unbutton himself.” Playing with Benny or Count Basie or whoever, Charles Christian just seemed to always want to add to what was going down as he was able. He could play anywhere.⁶⁵

Page 24

Charles first played with Benny Goodman in Beverly Hills, California at the Victor Hugo restaurant. It was not Benny’s intentions to have Charlie as part of his small group, but it must have proved to Goodman that he needed Christian. At least Christian proved he was too skilled to be left in the background.

On August 16, 1939 Charles met Benny for the first time. On that date, two days after he had left Oklahoma by train, Charles walked into the studio where the band was recording. John Hammond noted that Benny was anxious about his opening night, and not very interested when he first met Christian.⁶⁶

At this point Charles left with the Black members of the band to go to Watts. Hammond told Christian before they left to meet back at the kitchen of the Victor Hugo later that evening. This first audition was followed up by a second, and more public one that evening, a plan was to give Charles another chance. Hammond called musician friends of his in the area, and told them not to miss the show that evening. Hammond and Benny Goodman’s bass player, Artie Bernstein, secretly set up Charlie’s amplifier on stage, and the scene was set. Unknown to the “King of Swing,” Charles would be part of the Benny Goodman Sextet that evening, and subsequently important to Benny Goodman’s  organization the next two years.⁶⁷

Page 25

It was opening night that evening. Benny Goodman and his Quintet took to the stage. Los Angeles was segregated as was much of the United States, and through the kitchen door appeared Charles Christian. Charles walked up to the stage. Benny was not too pleased with this last minute surprise. He chose to play “Rose Room” which seemed to Hammond to be Benny’s revenge. “I am reasonably certain Christian had never heard “Rose Room” before, because it was a West Coast song not in the repertoire of most Black bands.” ⁶⁸ Actually,  this is one of the only three songs that Charles wanted to put before the public back in the original jam session with Don Redman’s Orchestra years before.⁶⁹ The number began. Between Benny Goodman and Lionel Hampton riffs began to pass; then Charles would come in with his parts, improvising in a way that was part of his trademark. He played at least twenty solos, all of them different.⁷⁰

“…Before long the crowd was screaming with amazement. “Rose Room” continued for more than three quarters of an hour and Goodman received an ovation unlike any even he had before. No one present will ever forget it, least of all Benny.” ⁷¹

So Charles was now standing on the inside with Benny Goodman. He was accepted by Goodman. For the next entire week, however, Charles was not to play with the band. He was instructed instead to get acquainted with each of the other members and their styles. Charles was even surprised to receive a check at the end of this first week for he hadn’t performed with the group again at all.⁷² L Charles was reportedly paid $150 a week.⁷³ But Charles quickly made friends with the group, and pleased Benny Goodman also.⁷⁴

Page 26

It has been said that Charles and Benny didn’t interest each other much personally, but apparently both were very interested in what the other was doing. Part of the beginnings of a stronger bond between the two came when Charles in these early days of the new Sextet was calling the other band members “Mister” as a sign of respect. Clarence Christian remembered what Charles told him about the occasion. Charles was no Uncle Tom; but he was humble. But it bugged Benny that he was calling his fellow musicians by this title. Swiftly, Benny corrected Charlie. He explained to Charles that in his band there were no whites or Blacks, Misters or Mrs. The band was to be one unit, and Charles could just call him Benny. Charles was impressed. Benny did suggest at this time that Charles was too formal for the public. From then on he was to be known not as Charles, but as “Charlie Christian.” ⁷⁵

D. Russell Connor, author of two bio-discographies entitled B.G. off the Record, and BG on the Record, also agrees that Charles did interest Benny very much, especially as a musician. He wrote in 1978:

“I think it quite likely is true...that Charlie was someone special to Benny. Benny realized that Charlie was young and unsophisticated when he first joined the band. In addition to that, Benny recognized (and said at the time) that Charlie’s was a great and unique talent; and no one respects talent more than Benny Goodman.” ⁷⁶

In fact, Benny apparently liked Charles, and Charles liked Benny. He told his family he had “never met a more down to earth person.” Benny always had a good word for Charlie, while at the same time he watched out for Charlie. Because of Charles’ inexperience Benny kept an eye on him and when they played engagements on the road Goodman would ask Charles to stay with him in his room. Within weeks of their initial meeting Charlie Christian was incorporated into the Goodman program, His duties were to be vital to the new Benny Goodman Sextet, Goodman’s feature group.⁷⁷ In contrast to this, Charles was not obscured in his orchestra. Charles position was right at the front, just as John Hammond had hoped.

Page 27

The rest of Goodman’s performances and records featured the orchestra. But Charles played here only occasionally since Goodman had two other guitarists. The guitar chair here was held by either Arnold Covey and Mike Bryan. The Sextet was to perform before the full orchestra’s appearance, and between intermission and the second half of the program.⁷⁸ Charles was definitely new and unique. The electric guitar itself would be presented for the first time to mass audiences across the nation by live radio broadcasts, performances and by record. By being featured with Benny Goodman,⁷⁹ Charlie was no longer the unknown musician, a legend of the Great Plains. There was probably no quicker road to national exposure than to play with Goodman.

Charles was now making more money than ever before. When he first received his instructions he was amazed by the amount of his paycheck and the short duration of his appearance. His salary was reportedly $150 a week. “Now Charles looked at that and at his salary and said, ‘Well good! But this can’t last.’” ⁸⁰

Every check that Charles received, his family received part of it. Speaking of his family, times were still not easy for the Black community in Oklahoma City. Charles wanted badly to help his family. What he wanted most to be done with his new-found wealth was to buy a house for his grandmother. But the area of town Charles decided on was too far from downtown. His grandmother wanted to be closer to the city. This problem plus Charles’ unexpected illness laid these plans to rest. “But Charlie, he went from one good thing to another.” ⁸¹

The band left California not long after Charles joined the organization. They were playing engagements while also doing a weekly performance for the “Camel Caravan” show. Charles flew to Atlantic City, Detroit, and then on to the New York World’s Fair on September 6. Charles gradually became acquainted with others in the Goodman band. The first evidence of him performing as a member of the Sextet was at Detroit on September 2. Benny told the crowd that group for about two weeks now one of the first numbers he heard performed by Charles was “Stardust” and that he was very impressed. The crowd was then given a glimpse of Charles; and “Stardust” was the only song performed by the Sextet that evening. Recordings of this exist somewhere.⁸²

Page 28

Early in his career with Goodman Charles had a request by mail from his mother. She wanted him to play a song for her, But Charles had to explain to her that he just could not do that, even though they did take some requests from the public.

“…And he finally answered and told her that the audience was so vast and demanding, he couldn’t just single her out because she was his mother. He said, ‘But I have a piece, regardless of where I am or who I’m playing for, this one particular piece is always dedicated to you from...“Stardust.”’ And he turns loose something in “Stardust” that he don’t seem to turn loose in no other record.” ⁸³

Later in September Charles was in the studio for the first time: but it appears it was not with Goodman. Lionel Hampton, another major ingredient in that contemporary Goodman sound, had been recording at the RCA Victor studios since 1937 when he was in New York, The recording director for RCA Victor had opened this door for Hampton, and in return Hampton gathered together many great musicians, and recorded them together here between 1937 and 1941. The musicians present on the 11th and 12th of September 1939, besides Charles and Lionel included Coleman Hawkins, Chu Berry, Ben Webster, Clyde Hart, Dizzy Gillespie, Benny Carter, Milt Hinton, Cozy Cole, Henry Allen, J.C. Higginbotham, Earl Bostic, Artie Bernstein and Sid Catlett. Seven numbers include Christian on both electric and acoustic guitar. Two alternate takes of a couple numbers are also included.⁸⁴

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A photograph at this time was released, and appeared in The Black Dispatch in Oklahoma City. The photo was taken at the RCA Victor studios at the time of these recordings.⁸⁵ The picture has since been used for two album covers of Columbia Records Charlie Christian releases. One of the most widely recognized albums is Solo Flight, 1972, from which the drawing on the cover was adapted from this photo. It was also the picture used in the obituary in the Oklahoma newspaper.

Charlie almost always executed his solos originally different every set, even with Benny Goodman. This includes those takes in the studio where one number might be recorded over five times the same session. Charles can be heard changing and revising each take. This is illustrated on many record albums that are available. Nick Fatool, who was the drummer for the Sextet for most of the first year with Charles commented on the impact of Christian on the Sextet’s style and ideas:

“Charlie had a lot of ideas. He would start a riff, then Benny and Lionel and the rest would join in and finally make an arrangement.” ⁸⁶

In fact, Charles was probably the important “inventor” for most of the ideas behind the new Sextet sound. One of these “ideas” resulted in a tune recorded during Charles’ first studio recording session with the Benny Goodman Sextet. It was October 2, 1939, and the tune was “Flying Home.” “No one has ever denied that most of the riffs that have become standard on this otherwise slight concoction were Charlie’s, and the same was to apply to most of the other Sextet ‘specials.’” ⁸⁷ But the credits for this number go to Lionel Hampton and Goodman. Although it was not always recognized, his genius was to be tapped consistently for the next two years. 

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On October 2, the first studio recordings were made of the new Benny Goodman Sextet. An interesting indication of the impact Christian had on this group is the three tunes the group chose to record that day: “Flying Home,” “Rose Room” and “Stardust.” These were the songs that especially featured Charles in his first efforts with Goodman. Two days later the entire Goodman organization began an engagement at the Waldorf-Astoria Hotel in New York. On October 6, Charlie was playing with Goodman at Carnegie Hall,⁸⁸ less than two months after he had left his salary of $7.50 a week at Ruby’s Grill in Oklahoma City.⁸⁹ Benny’s precedent had been set a year before, as he was the first jazz man to play Carnegie Hall. The Sextet performed both “Stardust” and “Flying Home” which if they can be found, are on bootleg records. On the 14th of October a “Camel Caravan” broadcast from the Waldorf featured Louis Armstrong with the big band, and the Sextet introduced “AC-DC Current” referring to Christian’s and Hampton’s electric instruments.⁹⁰

The band continued with its engagements in New York at the Waldorf-Astoria and sustained the “Camel Caravan” broadcasts. The Benny Goodman Sextet at this time included Benny, of course, on clarinet, Christian on the electric guitar, Lionel Hampton on the vibraphone, Fletcher Henderson on piano, Artie Bernstein with his bass, and Nick Fatool at the drums.

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On November 22, 1939, the importance of the new addition to the Goodman fold was evident by the studio recording of two numbers: “Seven Come Eleven” and “Honeysuckle Rose.” “Seven Com Eleven” was an idea that began when Nick Fatool and Artie Bernstein started off the number, and then Charles charted most of the rest of the course.⁹¹ The credits on this one are listed Goodman and Christian. “Honeysuckle Rose” was probably Charles first solo effort with the big band. This number was an arrangement by Fletcher Henderson of Fats Waller’s classic. Charles played with the orchestra at times, but it had its own regular guitarist, and Charles’ duties were concentrated on the Sextet.

Actually, it was Fletcher Henderson that was one of the few musicians that Charles didn’t feel welcomed by. Charles was receiving special attention and consideration from the boss; and this possibly frightened Henderson, who was also a Black musician and arranger that was very important to Goodman’s sound. But this evaluation of what Henderson’s motives were is total conjecture on the author’s part. Regardless, Charles’ story was that Fletcher had given him bad information one too many times. Fletcher would tell Charles exactly when to be at practice, except he would give him a time that was a half hour late. This happened about three times, and Benny wanted to know why Charles couldn’t make it on time. Charles hadn’t told Benny what the reason was before, and Charles’ bags were packed. He was ready to leave if things could not be worked out. Benny asked, and Charles told him exactly why he was late. Benny told Charles to come to him personally and there would not be any more trouble over this issue. There wasn’t.⁹²

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On Christmas Eve that year, Charles again found himself at Carnegie Hall. John Hammond had organized a second “Spirituals to Swing” concert. The first had featured exclusively Black musicians which was only appropriate considering the theme title of the concert. This 1939 concert was also Black, except for the white musicians in the Benny Goodman Sextet (Goodman, Fatool and Bernstein). Hammond recalled of the event:

“…Charlie Christian had become very important to Benny. He was also the innocent cause of the first serious falling out between Benny and me....Without thinking much about it, I sneaked Charlie Christian in ahead of Goodman to play with Buck Clayton and Lester Young in the Kansas City Six, something I had done in a studio with happy results, though never before the public. Benny was furious...” ⁹³

Hammond went on to say that he believed it didn’t hurt Benny’s Sextet appearance.⁹⁴ Charlie performed superbly as usual; he had remarkable consistency in his live performance. There is also to be found on the recording of this concert a jam session including Count Basie’s band, the Benny Goodman Sextet and pianists James P. Johnson and Albert Ammons on “Lady Be Good.” ⁹⁵

On December 30 was the last show by the Sextet from the Waldorf-Astoria. The group then played a Town Hall Swing Concert, while still in New York. Then everyone went on vacation; and Benny went to Florida as he was troubled by his sciatica troubling his lower back.⁹⁶

Those vacations that he was able, Charlie would go home to Oklahoma City. The time he had to spend at home was limited, but Charles wanted to see everyone he could. He had a pattern he adhered to for these vacations. Usually he had about eight days. The first two days he paid calls on the upper class and middle class community he knew. This included professionals and the like. The next two days he spent in some of the worst (economically speaking) areas of the neighborhood. He would go see everyone he knew here. But he didn’t go see them out of pity or condescendingly. Charles was very respectful to all, and social  class didn’t matter.

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During his last few days on vacation he would be found with his family at home. Here he would practice his guitar along with records, think and be with his family.⁹⁷

When recalling his character, Charles’ brother has strong feelings:

“...I admired him because he didn’t, regardless of the fame that they had bestowed upon him, he didn’t have the time to look down on nobody. And that’s saying a lot, but it’s the truth. This is what I would like anybody to know, regardless of what they think or say; he was very unselfish.”  ⁹⁸

During his visit back home, Charles would find time to play. He would go into his room, turn off all the lights and make the room as dark as possible. Then he would put on records on the record player, especially those of Benny Goodman that included himself. He would set the speed of the record to coincide with his guitar’s tuning. Then Charles would play; and he would criticize his playing on the record, then play it the way he thought it should sound. He was always changing his music, experimenting with new ideas.⁹⁹

Charles was rising very fast in the jazz circles of New York. In February, less than six months after he joined Benny Goodman, Charles Christian was voted in as one of the Metronome All Stars,¹⁰⁰ Sickly ironic, most Black musicians were ignored at this time by the “jazz” polls.¹⁰¹ Both the Metronome A11 Star Band and the Metronome All Star Nine gathered together for a short recording session. Christian can be found on both of these. On this same date the Sextet recorded in the studio with Count Basie taking the piano chair (Basie had not taken part in the earlier session). After this date the band headed to Chicago.

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The dates are confusing, but it could have been around this time that recordings were made of Charles and friends in Minneapolis, Minnesota, These recordings are invaluable since it is another example of Charles’ ability in the jam session setting. The place was the Breakfast Club, an after hours joint. The recordings are substandard since they were made by a disc jockey with the only available equipment; but for those who can overlook technical imperfection that is now demanded by the public, these recordings are classics. Jerry Jerome, the saxophonist on these tunes, in 1978 described Charles’ method when he wrote, “He (Christian) literally wrote music when he played solos.” But Mr. Jerome believed, as some others claim, that saxophonist Lester Young was an important influence on Christian. “He was a very sweet, friendly, extremely creative musician largely affected (influenced) by Lester Young.” ¹⁰²

It should be remembered that Lester and Charles were part of the same regional culture, but this author believes the saxophone that Charles was hearing was the one in his head, not a copy of Lester’s. Oscar Pettiford, who also was involved in this session, might have met Charles at an earlier date. They had met at a place called Musician’s Rest. Pettiford recalled, “We had a wonderful time blowing with Charlie. I never heard anybody like that, who could play with so much love – that’s what it was, pure love of jazz, and great happiness just to be a part of this thing called  music.” ¹⁰³

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On March 19, 1940, after a vacation, the band was back in California at the Coconut Grove of the Hotel Ambassador in Los Angeles. When Charles would speak of New York and California when he returned home periodically, it was apparent he had formed some distinct impressions of these to places. New York was a place that nothing happened twice according to Charles. His advice to those who were to travel to these two places, “Don’t ever go there on the mercy of the people, always be able to pay your way....” ¹⁰⁴ In Los Angeles Charlie took the guitar chair with the big band on some broadcasts, and kept this position on all of the recordings made there. The band stayed around Los Angeles, and in June they opened at the Casino on Catalina Island.¹⁰⁵

Of Course, Charles being Black and playing with a “mixed” band at this time was the exception rather than the rule. At Catalina Island Charles was faced with the injustice (a simple word for a too crude reality) he had faced all his life: racial hatred and Jim Grow. Fletcher Henderson, Lionel Hampton and Charlie Christian were not allowed to enter through the front door. But after he was known and accepted as part of Benny’s band, this happened less frequently.¹⁰⁶ The importance and impact of the racial scars in the United States cannot be discounted here, but this author cannot claim to have the eloquence, ability or experience to be able to succinctly describe the atmosphere and effects accurately.

Sometime before this Charles had become dissatisfied with his guitar’s sound. The guitar he owned when he had left Oklahoma City was made of wood; and due to the change in climate from Oklahoma to the coast, the front had worked its way loose from the body. The next guitar (which possibly is now in the jazz hall of fame) according to Charles would not stay tuned. The damp air had caused the strings to stretch. Charles became angry and aggravated with this.

He said, “Benny, I’m sick of this guitar, I can’t keep it tuned.”
Benny said something like, “what do you want to do about it?”
“I want another one,” Charles replied.
“I want a big white one, one I can be seen with.”

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So with Benny’s OK Charles went out to buy a big white guitar, a Gibson 500 in particular. At that time the guitar and amplifier cost $985.00. When he told the man at the music store what he wanted, he was asked, “Who is this for?” When he replied that the guitar was to be his own, Charlie Christian’s, the proprietor asked if he was the Charlie Christian. Charles told him that he was the only one he knew of, and when the storekeeper started calling him Mr. Christian, Charles told him that he was just plain Charlie. The man at the store insisted that he take the guitar with him for free. It was great promotion for the store for the Charlie Christian to be using one of their guitars.¹⁰⁷

In late October, Benny began to regroup his forces. His recovery from the operation was steadily allowing him to regain his strength. Beautiful recordings were made that were not released until 1975. Present were Lester Young, Count Basie, Jo Jones, Buck Clayton, Freddie Green and Walter Page with Basie, and Benny and Charles. On November 4, a Goodman group appeared on “ABC, NBC, Mutual Networks and independent radio stations” for the 1940 presidential election on behalf of Franklin D. Roosevelt.

On November 7, 1940, Benny Goodman had a new Sextet, featuring Count Basie’s piano along with the new sounds of “Cootie” Williams and Georgie Auld on trumpet and saxophone respectively. There are important documents on the records made this day.¹⁰⁸ It is here possible to compare the different takes of recordings made on this date since they (the different takes) have been released on separate albums. It is possible to document Charles’ incredible originality consistently surfacing anew. From this date there are five takes of “Wholly Cats”, three of “Benny’s Bugle” and two of “Royal Garden Blues”. Each offers the same conclusion; Charles was never at the same place twice. Even in live broadcasts which are available from recordings made from the radio shows he participated in, Charles always had something new and different to offer the people.

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One evening Charles had a surprise for the audience with something new. The audience also had a surprise for him. As a boy Charles and his brother went to the movies when they were able to find the money. Their idols at the time included George Raft, Bette Davis and Edward G. Robinson. When the day came that they were coming to see him he couldn’t believe it, and Charles told his brother about it:

“Charles said he had rehearsed and prepared himself to play with the band before an audience... He said they went on stage and everybody was setting up, and Benny put him over in front of the drummer right next to the footlights. Charles said they tapped off and were about ready to raise the curtains. They’d started playing, you know, and the curtain started going up...
“He said, ‘I like to fell out of that chair’,
“I said, “Why?”
“‘You can’t guess who was standing right there in front of me.’
I said, ‘No. I don’t have the slightest idea.’
He said, ‘George Raft standing there with his arms around Bette Davis. I like to swallow my tongue.’
He said, ‘I shut my eyes just as quick as I could and I played the whole rest of the show with my eyes shut.’
(Charles said) “I got to thinking how hard we used to scuffle to get 15 cents to see them in the movies, and there they was paying a hundred dollars a plate to come in and hear me! To hear me play!’” ¹⁰⁹

Charles and Bette Davis later became friends, and whenever he was in town “she would call him up, send him some kind of memento or something.” ¹¹⁰

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At this point Charles was not just another talented musician, his work was rearranging the status quo on the music scene in New York. In 1941, it might seem that Charles’ career came to a peak. But of course  this would be an unfair judgment no matter who should say it. John Hammond described the period this way:

“...When the Goodman band reached New York, Charlie would go to jam sessions at Minton’s Playhouse, on the ground floor of the Hotel Cecil at 118th Street. There he became the new King of Harlem. As soon as Benny finished his night’s work at the New Yorker Hotel, Charlie would take off for Minton’s to join Dizzy Gillespie and Charlie Parker in experimenting with the various harmonic and rhythmic variants that produced the music of the bop era.
        “During this period the Goodman Sextet records on Columbia also revolutionized jazz....” ¹¹¹

Christian’s career was brought to great heights by his own ability, repeatedly his debut or audition was centered around the jam session. At Minton’s and Monroe’s Christian touched down on another peak. At these two after hours clubs Charles was able to play with a great many of the fine musicians in the New York area. Former bandleader Teddy Hill was the manager at Minton’s. He made the club’s policy favorable to musicians. A small band was hired to encourage musicians to jam, and the audience of musicians was more likely to appreciate any new efforts. Minton’s Playhouse is frequently cited for its importance in the formation of “modern jazz.” It has also been suggested that this period was an important step in the future of Charlie Parker and Dizzy Gillespie and their music.¹¹²

Minton’s was where it was happening. The bandstand was crowded almost every night, while musicians also made up much of the clientele. Teddy Hill would provide free supper on Monday nights for members of bands playing the Savoy and at the Apollo. At Minton’s one could find many of the great musicians of that day. The list of those who made it by Minton’s to participate is long, but it included Jimmy Blanton, Roy Eldridge, Fats Waller, Lionel Hampton, Lester Young, Ben Webster, Jo Jones, “Count” Basie, Walter and Lips Page, Buck Clayton and Buddy Anderson.¹¹³ Ella Fitzgerald and Billie Holiday supposedly had sung with Christian here. Even Benny Goodman had been here.

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 “One other musician was there irregularly, but there was one the crowd came to hear–Charlie Christian.” ¹¹⁴ It has been said that it was pianist Mel Powell who first introduced Charlie to Minton’s Playhouse, located on 118th Street in Harlem. Charles was playing engagements with Goodman, and after he finished performing with the Sextet, he would take a cab to Harlem. Many times he would be wearing the same clothes that he had performed in with Benny. He might arrive around 1:30 AM and stay until the place closed at 4:00.¹¹⁵ A11 the participating musicians would be up jamming on the small bandstand trying to cut each other, in friendly competition like Charles was used to back home in Oklahoma. But no one tried to outdo Charles on guitar, it was too well known that this wasn’t really very likely to occur. Charles had taken New York by storm. But Christian did not try to dominate the action. When others jammed he gave them respect and would just sit playing his style of chording. Teddy Hill, the manager, liked Charlie so much he bought him an amplifier for use there so Charles wouldn’t have to lug his with him. “Minton’s became Charlie’s home. As far as the manager was concerned, Charlie owned the place.” ¹¹⁶

In May of 1941, just two months before Charles’ illness would keep him from playing publicly, a recording was made by Jerry Newman that captured the incandescence of Minton’s. These recordings first released in 1947 are claimed by some to be the first “bebop” jazz ever recorded. (Others have claimed his work with the Sextet also painted this picture.) But claims and counter claims about the origin of bebop are many. Whatever this shall be called, it is a fine example of Charles’ wizardry on electric guitar foreshadowing the future developments not only in jazz, but also in “country music” and “rock and roll.”

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Two jazz writers, Alun Morgan and Raymond Horricks researched this period and its effects upon modern jazz. Their theories are relevant here. From their point of view:

“... In New York the stage was set and the actors already assembling for the projection of a new force in jazz to replace the outmoded constitution. 1940 saw the spark applied to the pile of kindling wood as guitarist Charlie Christian led the whole progressive movement out into the open.
     “A core of steadfast supporters soon gathered about Christian. Usually young musicians working only spasmodically in New York and concerned more with a musical search than with a regular meal ticket.
     “...Christian at this stage was way ahead of his contemporaries in many ways; in harmony, in the reshaping of melody, in the elevation of new instruments and in the basing of improvisation upon a more technical source. He certainly was the first man to collect the instruments of the rhythm section into a unit of fresh conception and approach. He actually had the rhythm section into a unit of fresh conception and approach. actually had the rhythm section working in co-ordination with modern front line soloists…
     “...His passing left musicians groping. The Later unison-ensemble small group, the first practical stage out of the Minton experiments, was a quick face-saver to replace Christian’s steadily mounting tower of creation. It remained a crude service for the modern jazzmen to base their expression on for several years, for a giant like Charlie Parker...
     “The orchestral state in the 1950’s, only a decade afterwards, shows the considerable spread and success germinated by Christian’s concept; a concept which saw promise in a series of jam sessions...” ¹¹⁷

A good starting point to help attempt to explain why Charles Christian was lost in the history books was the color of his skin. Although this can not be downplayed there are other factors. Charles was only before the public with Goodman for less than two years, he never had his own group. But another possibility is his own character. Speaking of his brother, but not in the context of this paragraph, Clarence Christian said in an interview:

“..Charlie, he was modest to say the least. I never heard him say, ‘I’m the first to do this. I’m the cause of this.’ He never put himself on a pedestal.” ¹¹⁸

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 In 1941 there were other important recordings made by Christian, but not at Minton’s. With clarinetist Edmund Hall and a small combo Christian recorded “Profoundly Blue” on acoustic guitar, and three other tunes. With Benny Charles was not restricted just to Sextet work. A showpiece for the big band was written featuring Christian. The song was “Solo Flight”, and credits went to C. Christian, B. Mundy and B. Goodman. This solo work by the young man from Oklahoma with the most popular big band (among musicians) put a mark on record in his last few months.¹¹⁹ One can only imagine the thoughts of Christian hearing his own creation backed up by such a full sounding orchestra.

Mr. Charles Christian’s whole life was that of a nova star, bringing a smooth, steady intensity that illuminated all of those who were around him. This type of unbelievable ability often doesn’t last. It didn’t. On a trip from Catalina Island to Toronto, Canada, the sudden change in the climate facilitated Charlie’s contraction of bronchial pneumonia. This condition developed into TB of the intestines. At least that was the doctor’s report.¹²⁰ It is confusing to try to document what was happening to Charles Christian during this period. The reports are hazy.

It has been written that Charles was taken to Benny’s doctor in Chicago, and these TB scars were spotted. Supposedly he already knew about it.¹²¹ But if Charles did know about his failing health he didn’t tell 

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his family about it. Clarence Christian believes, “If he knew, he never did admit it. I don’t think he knew what was wrong with him...” Benny had insisted Charles have physical checkups. So Charles and Benny went a couple times. Nothing was found, and Charles didn’t go anymore.¹²² John Hammond also claims his tuberculosis was discovered in Chicago at Michael Reese Hospital. His condition was evident by a cough which marked his fading health. There at Michael Reese, a spot was found on one of his lungs. It apparently was not foreseen as fatal at this point.¹²³

In July of 1941 Charles was admitted to Seaview city sanatorium on Staten Island in New York. Eventually he contracted pneumonia. Eight months later at the same institution Charles Christian died. Friends in New York had been out to see him during his seven to eight month stay, but the Verrazano Bridge didn’t exist at this time and few were able to make the trip. Dr. Sam McKinney came from Harlem each week or so to check Charlie’s progress. Benny was at the Mayo Clinic for his slipped disc. “The one person Charlie wanted most see was Benny, but he never heard from him.” ¹²⁴ Teddy Hill, manager of Minton’s had gone out to Seaview every Sunday to see him.

Charles had made plans for his release from the hospital. Cootie Williams announced Charles was to be joining Williams’ new band. Charles was reported “much improved” and “Progressing rapidly toward complete recovery.” ¹²⁵ A few weeks later Charles died. “Oklahoma City lost its most famous musician Monday, March 2, at 8:15 when the Grim Reaper called America’s No. 1 guitarist, Charles Christian...”  began the obituary printed March 7 in Oklahoma City’s Black Dispatch.¹²⁶ In the two white dailies there was no mention of his passing. But the funeral was no secret.

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“As the warm sun, steaming through the stained windows of Calvary Baptist Church shed its rays upon the flower banked casket of Charles Henry Christian, thousands, from all walks of life, paid tribute to the memory of the 25 year old musician.” ¹²⁷ The funeral was one of the largest, perhaps the largest Black funeral in the history of the state. As far as a color line at this funeral was concerned, there “all colors of the rainbow” attended the last rites for the young musician. A large spray of flowers was sent by Benny Goodman’s band, and an arrangement of flowers provided by local musicians was there near the casket in the shape of a guitar. Charles’ family also provided flowers for the funeral. The family received many telegrams, letters and flowers in sympathy for their loss.¹²⁸ The Black Dispatch described the funeral as “...perhaps the most elaborate seen in Oklahoma City in a number of years.” ¹²⁹ At the same time as the service in Oklahoma City, there were simultaneous services in New York and Chicago.¹³⁰ Charles’ body had been sent from New York in the cheapest coffin available.¹³¹ In Oklahoma City his family felt this was beneath his dignity, and in a very niece top line casket was buried.¹³²

The final train trip took Charles’ body back by “Tank Town” in Bonham, Texas. Another service was held, which is still remembered today by many residents who never met Charles but knew the family. He was buried in the Black cemetery south of town.

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FOOTNOTES

1          Leonard Feather, The Book of Jazz: From Then Till Now (New York: Horizon Press, 1976), p. 30.

2          Clarence Christian, Jr., older brother of Charles, personal interview with the author at Clarence Christian’s home, Oklahoma City, Oklahoma, 7 January 1978.
Present were Clarence Jr., and wife Ella Mae Christian,  Kevin and Patty Centlivre and the author.

3          Ibid.

4          Ibid. plus Clarence Christian, Jr., personal interview with Kevin Centlivre and the author at Clarence Christian’s home, Oklahoma City, 24 March 1978.

5          Christian, op. cit. 7 January 1978.

6          Christian, op. cit. 7 January and 24 March 1978.

7          Christian, op. cit., 7 January 1978.

8          Blesh, Combo: USA. (New York: Chilton Book Company, 1971), pp. 163-164

9          Christian, op. cit., 7 January 1978.

10        Ibid.

11        LEAVE BLANK

12        Blesh, Combo: USA, p. 165.

13        Jerry Jerome, Sarasota, Florida, letter, 24 March 1978, to the author.

14        Christian, op. cit., 7 January 1978.

15        Ibid.

16        Ibid.

17        Ibid.

18        Ibid.

19        Ibid.

20        Ibid.

21        Ibid.

22        Ibid.

23        Ibid.

24        Ibid.

25        John Hammond with Irving Townsend, John Hammond on Record: An Autobiography (New York: Ridge Press/Summit Books, 1977)

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