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AN ANNOTATED BIBLIOGRAPHY OF
NOTATED CHARLIE CHRISTIAN SOLOS
CLIVE DOWNS
Last Updated on
02/08/23
Copyright Clive Downs © 1992
INTRODUCTION
My aim in this paper is to give details of all publications containing
notated solos of Charlie Christian, and to identify every solo included in them.
Several authors have already listed published transcriptions, for example Summerfield
(1978), Voigt (1978), Koger (1985), Hitchcock & Sadie (1986), and Kernfeld (1989), but
all are incomplete and are not intended to be comprehensive. Most list only five or
so sources.
As a discography lists deleted records, so this bibliography gives
details of out-of-print books and periodicals. This will be of value for those who
study Christians music. Christian recorded several versions of certain
compositions, and some records contain solos spliced from different performances or takes.
Most published transcriptions do not give full discographical data, so the aim here
is to provide that information so each notation can be readily identified.
There are few bibliographies of solo transcriptions; Koger (1985)
lists solos published in Down Beat from 1939 to 1985; Downs (1986) is an
earlier attempt to document Christian solos; and Downs (1989) deals with Eric Dolphy
solos. A related genre, the solography, which gives discographical information and
discusses all solos by a specific artist (but does not list published notations) was
pioneered by Jan Evensmo, and Evensmo (1976) documents all known Christian solos.
As Kernfeld (1989) points out, it is accepted that jazz musicians use
solo transcriptions to develop their art, yet there is little discussion of the history or
process in the literature. Notated solos began to be published in the 1920s and more
frequently in the 1930s in such journals as Melody Maker and Down Beat;
and in the 1940s collected albums of transcriptions appeared; jazz education
flourished in the 1970s and 1980s and with it the number of published transcriptions
increased.
Charlie Christian played, it is reported, in a number of local bands
during his youth, but was never recorded then. It is said he was heard by the
impresario John Hammond, who in 1939 arranged for him to audition with Benny Goodman, with
whom he then played until his hospitalization in 1941, shortly followed by his death from
tuberculosis in 1942.
Christians brief recording career, from August 1939 to June 1941,
comprises mainly tunes with the Goodman small groups, where he usually plays short solos
of one chorus or less. He recorded also with Lionel Hampton and Edmond Hall; further
recordings with Jerry Jerome and at Mintons have more extended solos. He is
generally acknowledged to be the major influence on jazz guitar playing ever since.
METHOD USED TO COMPILE BIBLIOGRAPHY
My personal collection was the starting point for the bibliography,
supplemented by inquiries to many publishers, periodicals, libraries, correspondence with
jazz educators, and checking of reference books. In addition, I learned of some
sources through responses to my earlier published bibliography, which included a request
for information. |
1. PUBLICATIONS CONTAINING SOLO
TRANSCRIPTIONS Each publication is followed by a summary
of the notated solos it contains, in alphabetical order of title. Some sources
contain photographic reproductions of previously published notations, and these are
indicated. In some cases, sources include notations which have been transcribed from
previous publications, and these too are identified where possible. In order to
avoid undue repetition in this section, only such comments that apply to all
notations in a compilation are noted. For publications consisting of a single solo
notation, or where only some solos in a compilation are not original
transcriptions, this fact is noted in the next section, a listing of notations in
alphabetical order of solo title.
Some publications do not acknowledge that notations have been copied
from previous sources, and in such cases they have been compared with other transcriptions
and a judgment formed of the most likely source.
Details of each solo are followed by brief discographical information
showing where it was issued. Wherever possible, the most recent US issue on CD
(or CD available in the USA as an import) is cited, except where notations
are clearly transcribed from particular LP issues with tracks containing
solos spliced from various master takes. If a track has not been issued on CD,
details of a representative LP issue are provided, or if never issued on
LP, the 78-rpm catalog number.
Aledort, Andy (see Hal Leonard)
Almo Publications (1978a). Worlds Greatest Jazz
Solos: Flute. Hollywood: Almo Publications.
() (1978b). Worlds Greatest Jazz Solos: Guitar.
Hollywood: Almo.
() (1978c). Worlds Greatest Jazz Solos:
Saxophone. Hollywood: Almo.
() (1978d). Worlds Greatest Jazz Solos:
Trombone. Hollywood: Almo.
() (1978e). Worlds Greatest Jazz Solos:
Trumpet. Hollywood: Almo.
Note: All the above publications notate the same solo, transposed for the
specified instrument.
Solo Flight (take -2) March 4,
1941 Columbia CL 652
Amelar, Chris (see Guitar World)
Antonich, Mark E. (1982). The Jazz Style and Analysis of
the Music of Charlie Christian.
Duquesne University (Pittsburgh): Thesis.
Note: All notations in this thesis are transcribed from previously published
sources.
Air Mail Special (spliced) March
13, 1941 Columbia CL 652
Breakfast Feud (spliced) Dec. 19,
1940 / Jan. 15, 1941 Columbia CL 652
Grand Slam (take B) April 10,
1940 Columbia CK 40846
Guys Got to Go May
1941 Vogue 600135
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
Lips Flips May 1941 Vogue
600135
Profoundly Blue (take -1) February
5, 1941 Blue Note 21260 2
Rose Room October 2,
1939 Columbia CK 40846
Seven Come Eleven November 22,
1939 Columbia CK 40846
Six Appeal (take A) June 11,
1940 Columbia CK 40846
A Smo-o-o-oth One (take -X) March
13, 1941 Columbia Co 36099
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Swing to Bop May 12,
1941 Vogue 600135
Till Tom Special February 7,
1940 Columbia CK 40846
Up on Teddys Hill May
1941 Vogue 600135
Ayeroff, Stan (ed.) (1979). Charlie Christian.
New York: Consolidated Music Publishers.
All transcriptions: Chords identified; annotated;
left-hand fingering denotation (no guitar tablature).
As Long as I Live (take -1) November
7, 1940 Columbia CG 30779
Dinah December 16,
1939 Vintage Jazz Classics VJC-1021-2
Good Morning Blues December 24, 1939
Vanguard 169/71-2
Guys Got to Go (I Got Rhythm) May
1941 Vogue 600135
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Honeysuckle Rose December 24, 1939
Vanguard 169/71-2
Honeysuckle Rose November 19, 1940
Vintage Jazz Classics VJC-1021-2
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Surrender, Dear (take B) April 10,
1940 Columbia CK 45144
Ida, Sweet as Apple Cider April 14, 1941
Vintage Jazz Classics VJC-1021-2
Lips Flips (Stompin at the Savoy) May
1941 Vogue 600135
Paging the Devil December 24,
1939 Vanguard 169/71-2
The Sheik of Araby (take A) April
3, 1940 Columbia CK 45144
The Sheik of Araby April 12, 1940
Vintage Jazz Classics VJC-1021-2
Star Dust September 24,
1939 Columbia CG 30779
Star Dust October 2,
1939 Columbia CK 45144
Swing to Bop (Topsy) May 12,
1941 Vogue 600135
Up on Teddys Hill (Honeysuckle Rose) May
1941 Vogue 600135
() (2005). Swing to Bop: The Music of Charlie
Christian. Pacific, Mo: Mel Bay Publications.
All transcriptions: Complete; chords identified; detailed
analysis;
chord changes in CCs solos are identified; left-hand fingering denotation
(no guitar tablature).
Note: Includes two demo CDs with fast and slow versions.
Transcriptions of tunes marked * had not been previously published.
Ad-Lib Blues October
28, 1940 JazzDocument
va-7997
Good Morning Blues December 24, 1939
Vanguard 169/71-2
Guys Got to Go (I Got Rhythm) May
1941 Vogue 600135
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Honeysuckle Rose November 19, 1940
Vintage Jazz Classics VJC-1021-2
Honeysuckle Rose December 24, 1939
Vanguard 169/71-2
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
I Got Rhythm (spliced) September 24,
1939 Columbia CG 30779
I Never Knew October 28, 1940
Vintage Jazz Classics VJC-1021-2
Ida, Sweet as Apple Cider April 14, 1941
Vintage Jazz Classics VJC-1021-2
Im Confessin December 20, 1939
Columbia C4K 65564 (track A9)
* Jammin’ in Four February 5,
1941 Blue Note 21260 2
Lips Flips (Stompin at the Savoy) May
1941 Vogue 600135
* Oh, Lady Be Good December 24, 1939
Vanguard 169/71-2
On the Alamo January 15,
1941 Columbia CK 45144
Paging the Devil December 24,
1939 Vanguard 169/71-2
Poor Butterfly April 3,
1940 Columbia CK 45144
Profoundly Blue (take -1) February 5,
1941 Blue Note 21260 2 (track 3)
Profoundly Blue (take -2) February 5,
1941 Blue Note 21260 2 (track 4)
* Riffin Around March 13, 1941
Columbia C4K 65564 (track D23a)
Rose Room October 2,
1939 Columbia CK 40846
Rose Room October 9,
1939 Vintage Jazz Classics VJC-1021-2
Rose Room March 13,
1941 Masters of Jazz MJCD 74
Royal Garden Blues (take -1) November
7, 1940 Columbia CK 40846
* Royal Garden Blues (take -2) November
7, 1940 Columbia C4K 65564 (track B22)
Royal Garden Blues (take -3) November
7, 1940 Columbia CG 30779
The Sheik of Araby (take A) April
3, 1940 Columbia CK 45144
* The Sheik of Araby (take B) April 3,
1940 Columbia C4K 65564 (track A23)
The Sheik of Araby April 12,
1940 Vintage Jazz Classics VJC-1021-2
Swing to Bop (Topsy) May 12,
1941 Vogue 600135
Tea for Two September 24,
1939 Columbia CG 30779
These Foolish Things (take A) June
11, 1940 Columbia CK 45144
* These Foolish Things (take B) June 11,
1940 Columbia C4K 65564 (track A26)
* These Foolish Things (breakdown) June
11, 1940 Columbia C4K 65564 (track D14)
Untitled Tune April 3, 1940 Columbia C4K 65564 (track A13)
Untitled Tune (breakdown) April 3,
1940 Columbia C4K 65564 (track D8)
Up on Teddys Hill (Honeysuckle Rose) May
1941 Vogue 600135
* Way Down Yonder in New Orleans December 24,
1939 Vanguard 169/71-2
Ayoub, Marc (2015). Charlie Christian, une voie de modernité.
Rhythme, chromaticisme, superstructure. In Epistrophy – Jazz et Modernité . 01, 2015.
Internet site:
Une voie de modernité Mise en ligne le 11 octobre 2015.
[see also Biographical Bibliography, section 3: Musical Analysis]
As Long As I Live (take -1) November 7, 1940 Columbia CG 30779
Good Morning Blues December 24, 1939 Vanguard 169/71-2
Topsy (Swing to Bop) May 12, 1941 Vogue 600135
Bell, Anne M. (n.d.). Styles Lessons: Charlie
Christian. Boston: Freelance Music.
Note: This publication consists of loose-leaf, photocopied sheets.
Breakfast Feud (take -3) January
15, 1941 Columbia CG 30779
Breakfast Feud (take -4) January
15, 1941 Columbia CG 30779
Good Enough to Keep (take -2) March
13, 1941 Columbia CG 30779
Grand Slam (take B) April 10,
1940 Columbia CK 40846
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Got Rhythm (take 2) September
24, 1939 Columbia CG 30779
On the Alamo January 15,
1941 Columbia CK 45144
Star Dust September 24,
1939 Columbia CG 30779
Waitin for Benny March 13,
1941 Columbia CK 40846
Berish, Andrew S. (2013). Lonesome Roads and Streets of Dreams:
Place, Mobility,
and Race in Jazz of the 1930s and '40s. The University of Chicago Press.
Ch. 4 “Travels
with Charlie Christian: Between Region and Nation.” [pp. 167-205]
[see also Biographical Bibliography, section 3: Musical Analysis]
Note: Transcription of tune marked * has not been
commercially published before.
Flying Home August 19, 1939 Jazz
Archives JA-23
Flying Home (take A) October 2,
1939 Columbia CK 45144
*
Flying Home February 10, 1941 Masters
of Jazz MJCD 75 (track 7)
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Berklee School of Music (n.d.). Transcriptions Library
Archive. Boston: Freelance Music.
Note: This source consists of photocopied, loose-leaf sheets.
Air Mail Special (spliced) March
13, 1941 Columbia CL 652
As Long as I Live (take -1) November
7, 1940 Columbia CG 30779
Bennys Bugle (take -1) November
7, 1940 Columbia CK 40846
Breakfast Feud (spliced) Dec. 19,
1940 / Jan. 15, 1941 Columbia CL 652
Flying Home (take A) October 2,
1939 Columbia CK 45144
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Grand Slam (take B) April 10,
1940 Columbia CK 40846
Honeysuckle Rose November 22,
1939 Columbia CG 30779
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Surrender, Dear April 10,
1940 Columbia CK 45144
Memories of You (take A) November
22, 1939 Columbia CK 45144
Memories of You (take B) November
22, 1939 Columbia CG 30779
Poor Butterfly April 3,
1940 Columbia CK 45144
Profoundly Blue (take -1) February
5 1941 Blue Note 21260 2
Rose Room October 2,
1939 Columbia CK 40846
Seven Come Eleven November 22,
1939 Columbia CK 40846
The Sheik of Araby April 3,
1940 Columbia CK 45144
A Smo-o-o-oth One (take -X) March
13, 1941 Columbia CL 652
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
These Foolish Things June 11,
1940 Columbia CK 45144
Wholly Cats (take -1) November 7,
1940 Columbia CL 652
() (also see Down Beat)
Billmann, Pete (see Hal Leonard)
Birkett, James G. (transcr.) (1987). Jazz
Guitar.
Woodford Green, England: International Music Publications.
I Got Rhythm (spliced) September
24, 1939 Columbia CG 30779
() (1994). Gaining Access to the Inner Mechanisms of Jazz
Improvisation.
The Open University (UK): Ph.D. Thesis.
[see also Biographical Bibliography, section 3: Musical Analysis]
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Got Rhythm (take 2) September
24, 1939 Columbia G 30779
ten Boske, Jim (1989). Akkoord: Christian liet
kicks steeds weer anders klinken.
JazzNu, February, 10/123, pp. 176-177.
Solo Flight (take -2) March 4,
1941 Columbia CL 652
Britt, Stan (1984). The Jazz Guitarists. New
York: Sterling Publishing.
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
Brown, Anthony (1990). Modern Jazz Drumset
Artistry. Black Perspective in Music, no. 18, pp. 39-58.
Swing to Bop May 12,
1941 Vogue 600135
Carter, Rich (1979). Jazz Guitar Masterpieces.
Flat Five Publishing.
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
Chapman, Richard (2000). Guitar: Music
History Players. London: Dorling
Kindersley, pp. 102-103.
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Charupakorn, Joe (2009). Essential Jazz Guitar. Milwaukee: Hal Leonard. “Guitar Signature Licks” series.
Note: Includes CD (TT: 53:07; 35 tracks) with audio re-creation of works by ten artists.
Flying Home (take A) October 2, 1939 Columbia CK 45144
Cherry Lane Music (1997). The Jazz Guitar Sampler.
Port Chester, New York: Cherry Lane Music.
Air Mail Special (take -2) March
13, 1941 Masters of Jazz MJCD 75
Chord Melody Productions (n.d.). Annapolis, Maryland.
Note: Photocopied, loose-leaf, hand-copied sheets.
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Colombo, Roberto (1994). Dentro le note: Charlie
Christian era squadrato?
Musica Jazz, January, 50/1, pp. 52-54.
Gone with What Wind (take A) February
7, 1940 Columbia CK 40846
Grand Slam (take B) April 10,
1940 Columbia CK 40846
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
() (2009). Il Chitarrista di Jazz: Charlie Christian e dintorni. Genova: Erga Edizioni.
[see also Biographical Bibliography, section 3: Musical Analysis]
Note: Includes CD (total time 3:11:42 – in formato mp3) with 47 corresponding tracks by CC.
All Star Strut (take B) February 7, 1940 Columbia CG 30779
As Long As I Live (take -1) November 7, 1940 Columbia CG 30779
Benny’s Bugle (take -1) November 7, 1940 Columbia CK 40846
Benny’s Bugle May 28, 1941 Vintage Jazz Classics VJC-1021-2
Blues in B March 13, 1941 Masters of Jazz MJCD 74
Breakfast Feud (take -1) December 19, 1940 Columbia CL 652
Breakfast Feud (take -4) January 15,
1941 Columbia C4K 65564 (track C15)
Breakfast Feud (take -3) January 15,
1941 Columbia C4K 65564 (track C16)
Breakfast Feud (take -2) January 15,
1941 Columbia C4K 65564 (track C3)
Breakfast Feud (take -1) January 15,
1941 Columbia C4K 65564 (track C17)
Dinah December 16, 1939 Vintage Jazz Classics VJC-1021-2
Down on Teddy’s Hill (I Got Rhythm) May 1941 Vogue 600135 (track 4)
Flying Home October 6, 1939 Collectors Classics CC 18
Gone with “What” Wind (take A) February 7, 1940 Columbia CK 40846
Gone with “What” Wind (take B) February 7, 1940 Columbia CG 30779
Good Enough to Keep (take A) June 11, 1940 Columbia CK 45144
Good Enough to Keep (take -1) March 13,
1941 Masters of Jazz MJCD 75 (track 1)
Good Morning Blues December 24, 1939 Vanguard 169/71-2
Grand Slam (take B) April 10, 1940 Columbia CK 40846
Guy’s Got to Go (I Got Rhythm) May 1941 Vogue 600135 (track
5)
Honeysuckle Rose November 22, 1939 Columbia CG 30779
Honeysuckle Rose December 24, 1939 Vanguard 169/71-2
Honeysuckle Rose November 19, 1940 Vintage Jazz Classics VJC-1021-2
I Can’t Give You Anything But Love (take -1) December 19, 1940 Columbia CK 45144
I Found a New Baby (take-1) January 15, 1941 Columbia CK 40846
I Found a New Baby (take -2) January 15, 1941 Columbia CG 30779
I Got Rhythm (first take) September 24, 1939 Suisa
JZCD 379 (track 1)
I Got Rhythm (second take) September 24, 1939 Suisa
JZCD 379 (track 2)
Lips Flips (Stompin’ at the Savoy) May 1941 Vogue 600135
Memories of You October 23, 1939 Vintage Jazz Classics VJC-1021-2
Memories of You (take B) November 22, 1939 Columbia CG 30779
Oh, Lady Be Good December 24, 1939 Vanguard 169/71-2
Riffin' Around March 13, 1941 Columbia C4K 65564 (track D23a)
Rose Room October 2, 1939 Columbia CK 40846
Royal Garden Blues (take -1) November 7, 1940 Columbia CK 40846
Royal Garden Blues (take -3) November 7, 1940 Columbia CG 30779
Seven Come Eleven November 22, 1939 Columbia CK 40846
The Sheik of Araby April 26, 1940 Masters of Jazz MJCD 40
(track 18)
Six Appeal (take A) June 11, 1940 Columbia CK 40846
Solo Flight (take -1) March 4, 1941 Columbia CK 40846
Solo Flight (take -2) March 4, 1941 Columbia CL652
Star Dust October 6, 1939 Collectors Classics CC 18
Stompin’ at the Savoy May 12, 1941 Vogue 600135
Tea for Two September 24, 1939 Columbia CG 30779
Topsy May 12, 1941 Vogue 600135
Up on Teddy’s Hill (Honeysuckle Rose) May 12, 1941 Vogue 600135
Wholly Cats (take -X) November 7, 1940 Columbia CG 30779
Wholly Cats (take -Y) November 7, 1940 Columbia CG 30779
Wholly Cats (take -2) November 7, 1940 Columbia CK 40846
Dennison, Christopher. (2015). “Primary Sources: An Examination of Ira Gitler’s
Swing to Bop
and Oral History’s Role in the Story of Bebop.” MA thesis, Rutgers University.
Ch. 3 “The Myths of Minton’s: Selected Examples from Bop’s Harlem Origins.”
Part One: “Charlie Christian.” pp. 57-88.
[see also Biographical Bibliography, section 3: Musical Analysis]
Note: All notations are adapted from the transcriptions of
Leo Valdes.
Honeysuckle Rose May 1941 Vogue 600135
Stompin’ at the Savoy May 12, 1941 Vogue 600135
Topsy May 12, 1941 Vogue 600135
Denny, Michael P. (1995). The Influence of Charlie
Christian on Four Modern Jazz Guitarists:
A Comparison of Style through Their Solos on a Twelve-Bar Blues Progression.
University of Oregon (Eugene): Master of Arts Thesis.
[see also Biographical Bibliography, section 3: Musical Analysis]
Wholly Cats October 28,
1940 Vintage Jazz Classics VJC-1021-2
DeVeaux, Scott (1997). The Birth of Bebop: A Social
and Musical History. University of California Press.
Swing to Bop May 12,
1941 Vogue 600135
Dochtermann, Joe (2005). The
Charlie Christian Method for Jazz Guitar. Hamburg: author.
Note: All solos are complete (with the exception of
“Profoundly Blue”) and all contain guitar tablature. Includes CD with
re-creation of solos.
Flying Home (take A) October 2, 1939 Columbia CK 45144
Gone with “What” Wind (take A) February 7, 1940 Columbia CK 40846
I Can’t Give You Anything But Love (take -1) Dec. 19, 1940 Columbia CK 45144
I Found a New Baby (take -1) January 15, 1941 Columbia CK 40846
Poor Butterfly April 3, 1940 Columbia CK 45144
Profoundly Blue (take -1) February 5,
1941 Blue Note 21260 2 (track 3)
Seven Come Eleven November 22, 1939 Columbia CK 40846
Six Appeal (take A) June 11, 1940 Columbia CK 40846
Star Dust October 2, 1939 Columbia CK 45144
Wholly Cats (take -2) November 7, 1940 Columbia CK 40846
Dodge, Roger Pryor (1995). Hot Jazz and Jazz Dance. New
York: Oxford University Press.
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Down Beat (1940, April 15), p. 17. Charlie
Christians Guitar Get-Offs on Flying Home.
Hoyt Jones.
Flying Home (take A) October 2,
1939 Columbia CK 45144
() (1943, January 15), p. 22. By the Late Charlie
Christian.
Rose Room October 2,
1939 Columbia CK 40846
() (1950, February 10), p. 16. Jazz off the Record.
Bill Russo & Lloyd Lifton.
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
() (1950, August 25), p. 12. Jazz off the Record. Bill Russo
& Lloyd Lifton.
Rose Room October 2,
1939 Columbia CK 40846
() (1961, July 20), pp. 25-28. Up Beat: Charlie
Christian.
Note: All solos, with the exception of I Found a New Baby,
were transcribed for
Down Beat by the Berklee School of Music.
Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
Honeysuckle Rose November 22,
1939 Columbia CG 30779
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
On the Alamo January 15,
1941 Columbia CK 45144
Profoundly Blue (take -1) February
5, 1941 Blue Note 21260 2
A Smo-o-o-oth One (take -2) March
13, 1941 Columbia CO 36099
() (1968, October 31), pp. 36-37. Gone with What
Wind.
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
() (1969, July 10). Charlie Christian Solo on Rose
Room.
Rose Room October 2,
1939 Columbia CK 40846
() (1970, June 11), p. 36. A Charlie Christian Blues
Solo.
Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
() (1991, May), pp. 56-57. Charlie Christians Solo
on I Got Rhythm.
I Got Rhythm (spliced) September
24, 1939 Columbia CG 30779
Down Beat (1978). Music 78: The Music
Reference Handbook no. 23, pp. 60-61.
Music Workshop: Charlie Christians Classic Rose Room
Solo.
Rose Room October 2,
1939 Columbia CK 40846
Downs , Clive (2002). Metric Displacement in the
Improvisation of Charlie Christian.
Annual Review of Jazz Studies 11, 2000-2001. pp. 39-68. Rutgers
Institute of Jazz Studies.
[see also Biographical Bibliography, section 3: Musical Analysis]
Bennys Bugle (take -1) November 7,
1940 Columbia CK 40846
Breakfast Feud December 19, 1940 / January 15,
1941 Columbia CL 652 & CG30779
Dinah December 16, 1939
Vintage Jazz Classics VJC-1021-2
Flying Home (take A) October 2,
1939 Columbia CK 45144
Flying Home (take B)
October 2, 1939 Masters of Jazz MJCD 24 (track 8)
Flying Home October 16, 1939
Masters of Jazz MJCD 24 (track 17)
Good Enough to Keep (take -2)
March 13, 1941 Masters of Jazz MJCD 75 (track
2)
Havent Named it Yet October 12, 1939
Avid AMSC 612
Honeysuckle Rose (Up on Teddys Hill)
May 1941 Vogue 600135
I Found a New Baby (take -1)
January 15, 1941 Columbia CK 40846
Ida, Sweet as Apple Cider April 14, 1941
Vintage Jazz Classics VJC-1021-2
Seven Come Eleven November 22, 1939
Columbia CK 40846
Seven Come Eleven May 28, 1940
Masters of Jazz MJCD 40
The Sheik of Araby April 26,
1940 Masters of Jazz MJCD 40 (track 18)
Shivers (take A) December 20,
1939 Columbia CK 45144
Stompin At The Savoy May 12, 1941
Vogue 600135
Tea for Two September 24, 1939
Arbors ARCD 19168
Topsy (Swing to Bop) May 12, 1941
Vogue 600135
Note: The solo transcriptions in this article were
adapted from unpublished notations by LeoValdes.
Versions of his transcriptions published on this site are similar, but in most cases
revised and more
accurate, chiefly in details such as grace notes, tablature, and articulation.
Duchossoir, René (1987). Jazz Guitar True Notes, vol.
1. Paris: Behar.
Star Dust October 2,
1939 Columbia CK 45144
Edmonds, Hank & Bob Prince (transcr.)
(1958). The Swingingest Charley Christian.
New York: Charles Colin.
Guys Got to Go May
1941 Vogue 600135
Lips Flips May 1941 Vogue
600135
Swing to Bop May 12,
1941 Vogue 600135
Up on Teddys Hill May
1941 Vogue 600135
Feather, Leonard (1957). The Book of Jazz. New
York: Horizon.
Up on Teddys Hill May
1941 Vogue 600135
Finkelman, Jonathan (1993). Charlie Christian, Bebop,
and the Recordings at Mintons.
Annual Review of Jazz Studies 6. Rutgers Institute of Jazz Studies.
Charlies Choice May 12,
1941 Vogue 600135
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Got Rhythm (spliced) September
24, 1939 Columbia CG 30779
Seven Come Eleven November 22,
1939 Columbia CK 40846
Stompin at the Savoy May 12,
1941 Vogue 600135
Tea for Two September 24,
1939 Columbia CG 30779
() (1997). Charlie Christian and the Role of Formulas in
Jazz Improvisation.
Jazzforschung / Jazz Research 29, pp. 159-188.
Note: All transcriptions based on Fox (1964), Ayeroff (1979), and Spring
(1980)
except
Havent Named it Yet which was transcribed by the author.
As Long As I Live (take -1) November
7, 1940 Columbia CG 30779
Bennys Bugle (take -1) November
7, 1940 Columbia CK 40846
Bennys Bugle November 19,
1940 Vintage Jazz Classics VJC-1021-2
Bennys Bugle May 28, 1941
Vintage Jazz Classics VJC-1021-2
Breakfast Feud (spliced) December 19,
1940 / January 15, 1941 Columbia CL 652
Charlies Choice (Swing to Bop) May 12,
1941 Vogue 600135
Flying Home August 19, 1939 Jazz
Archives JA-23
Flying Home March 10, 1941 Vintage
Jazz Classics VJC-1021-2
Gone with What Wind (take B)
February 7, 1940 Columbia CG 30779
Gone with What Wind April 6,
1940 Vintage Jazz Classics VJC-1021-2
Good Enough to Keep (take -2) March 13,
1941 Masters of Jazz MJCD 75
Grand Slam (Boy Meets Goy) (take B) April 10, 1940 Columbia
CK 40846
Guys Got to Go May 1941 Vogue
600135
Havent Named it Yet October 12,
1939 Avid AMSC 612
Honeysuckle Rose November 19, 1940
Vintage Jazz Classics VJC-1021-2
I Found a New Baby (take -1) January 15,
1941 Columbia CK 40846
I Got Rhythm (spliced) September 24,
1939 Columbia CG 30779
Ida, Sweet as Apple Cider April 14,
1941 Vintage Jazz Classics VJC-1021-2
Lesters Dream October 28,
1940 Vintage Jazz Classics VJC-1021-2
Lips Flips May 1941 Vogue 600135
Paging the Devil December 24, 1939
Vanguard 169/71-2
Rose Room October 2, 1939 Columbia
CK 40846
Seven Come Eleven November 22, 1939
Columbia CK 40846
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Star Dust September 24, 1939
Columbia CG 30779
Stompin at the Savoy May 12,
1941 Vogue 600135
The Sheik of Araby April 3, 1940
Columbia CK 45144
The Sheik of Araby April 12, 1940
Vintage Jazz Classics VJC-1021-2
Up on Teddys Hill May 1941
Vogue 600135
Wholly Cats (take -X) November 7,
1940 Columbia CG 30779
Wholly Cats (take -Y) November 7,
1940 Columbia CG 30779
Wholly Cats November 19, 1940
Vintage Jazz Classics VJC-1021-2
Fox, Dan (ed.) (1964). The Art of the Jazz
Guitar: Charley Christian.
New York: Regent Music. [reprinted 1988]
Air Mail Special (spliced) March
13, 1941 Columbia CL 652
Bennys Bugle (take -1) November 7,
1940 Columbia CK 40846
Breakfast Feud (spliced) Dec. 19,
1940 / Jan. 15, 1941 Columbia CL 652
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Grand Slam (take B) April 10,
1940 Columbia CK 40846
Seven Come Eleven November 22, 1939
Columbia CK 40846
Shivers (take A) December 20,
1939 Columbia CK 45144
Six Appeal (take A) June 11, 1940
Columbia CK 40846
A Smo-o-o-oth One (take -X) March 13,
1941 Columbia CL 652
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Till Tom Special February 7,
1940 Columbia CK 40846
Wholly Cats (take -1) November 7,
1940 Columbia CL 652
Garner, Jon (2018). Seven Come Eleven Charlie Christian Guitar Solo and Head Standard Notation and Tab.
Internet site: jon g music
Seven Come Eleven November 22,
1939 Columbia CK 40846
Grassell, Jack (1998). Jazz Guitar Standards. Milwaukee:
Hal Leonard.
Stompin at the Savoy May 12,
1941 Vogue 600135
Gress, Jesse (see Guitar Player; Hal Leonard)
Guitar Extra (1990, Summer), p. 15. Analyzing
Charlie Christian.
Seven Come Eleven November 22, 1939
Columbia CK 40846
GuitarOne (2001, February), pp. 125-130.
Whats Between the Lines: Charlie Christian Solo
Flight.
Adam Perlmutter.
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
() (2002, November), pp. 147-150. Whats Between the
Lines: Charlie Christian Seven Come Eleven.
Adam Perlmutter.
Seven Come Eleven November 22,
1939 Columbia CK 40846
() (2004, July), pp. 146-150. Whats Between the
Lines: Flying Home Charlie Christian.
Tom Kolb.
Flying Home October 2,
1939 Columbia CK 45144
Guitar Player (1982, March), pp. 56-57. Charlie
Christians Solo Style: Honeysuckle Rose.
Jas Obrecht.
Honeysuckle Rose November 22,
1939 Columbia CG 30779
() (2000, April), pp. 145-148. Play it Right!:
Rose Room Solo Transcription.
Jesse Gress.
Rose Room October 2,
1939 Columbia CK 40846
Guitar Player (1995). How to Play GuitarJazz
(special magazine from the publishers of Guitar Player), p.57.
Honeysuckle Rose: Charlie Christian in Full Bloom.
Jas Obrecht & Richard Johnston.
Honeysuckle Rose November 22,
1939 Columbia CG 30779
() (1997, May/June). How to Play Guitar, vol. 3,
no. 3, pp. 15-20.
David Hamburger.
Flying Home (take A) October 2,
1939 Columbia CK 45144
Guitar World (1982, January), p. 73. Charlie
Christian Takes Off.
Dave Steen.
Breakfast Feud (take -4) January 15,
1941 Columbia CG 30779
() (2001, April), p. 93-96. The Ax Museum:
Portraits of Guitar Heroes: Charlie Christian.
Keith Wyatt.
Breakfast Feud (spliced) Dec. 19, 1940
/ Jan. 15, 1941 Columbia CG 30779
() (2002, October), p. 154-157. Flying Home:
Charlie Christian.
Chris Amelar.
Flying Home (take A) October 2,
1939 Columbia CK 45144
Hal Leonard (2000). Guitar Standards.
Milwaukee: Hal Leonard.
Jesse Gress.
Seven Come Eleven November 22,
1939 Columbia CK 40846
() (2001). Jazz Guitar Bible. Milwaukee: Hal
Leonard.
Jesse Gress.
Seven Come Eleven November 22,
1939 Columbia CK 40846
() (2003a). Charlie Christian:
A Step-by-Step Breakdown of the Style and Techniques of the Father of Modern Jazz
Guitar.
Milwaukee: Hal Leonard. Featuring Andy Aledort.
Video DVD. 1 hr:23 min
[does not include any printed notation,
but does demonstrate and/or identify each note of the solos, in most cases]
[see also Biographical Bibliography, section 3: Musical Analysis]
Bennys Bugle (take -1) November
7, 1940 Columbia CK 40846
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Good Enough to Keep (take -2) March
13, 1941 Masters of Jazz MJCD 75
Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
Seven Come Eleven November 22,
1939 Columbia CK 40846
Shivers (take A) December 20,
1939 Columbia CK 45144
Solo Flight (take -1) March
4, 1941 Columbia CK 40846
Till Tom Special February 7,
1940 Columbia CK 40846
() (2003b). Charlie Christian: The Definitive
Collection. Milwaukee: Hal Leonard.
Pete Billmann, Jeff Jacobson, Wolf Marshall.
Note: Transcriptions marked * are reproduced from Marshall (2002).
Flying Home (take A) October
2, 1939 Columbia CK 45144
* Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
* Good Enough to Keep (take -1) March
13, 1941 Masters of Jazz MJCD 75
* Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
* Honeysuckle Rose November 22,
1939 Columbia CG 30779
Rose Room October 2,
1939 Columbia CK 40846
* Seven Come Eleven November 22,
1939 Columbia CK 40846
* Shivers (take A) December
20, 1939 Columbia CK 45144
* Six Appeal (take A) June 11,
1940 Columbia CK 40846
Solo Flight (take -1) March
4, 1941 Columbia CK 40846
* Star Dust October 2,
1939 Columbia CK 45144
Stompin at the Savoy May 12,
1941 Vogue 600135
* Till Tom Special February 7,
1940 Columbia CK 40846
Topsy (Swing to Bop) May 12,
1941 Vogue 600135
* Wholly Cats (take -1) November
7, 1940 Columbia CL 652
Hamburger, David (see Guitar Player)
Hansen, Garry (1998-1999). Charlie Christian: Legend
of the Jazz Guitar.
Internet site: Solo Transcriptions
All transcriptions: Complete; chords identified; not annotated;
include RealAudio sound-clip of solo. Most with separate guitar tablature.
Airmail Special March 17, 1941
Vintage Jazz Classics VJC-1021-2
All Star Strut (take B) February 7,
1940 Columbia CG 30779
Breakfast Feud (take -1) January 15,
1941 Columbia CG 30779
Dinah December 16,
1939 Vintage Jazz Classics VJC-1021-2
Flying Home (take A) October 2,
1939 Columbia CK 45144
Flying Home December 24,
1939 Vanguard 169/71-2
Good Enough to Keep June 11,
1940 Columbia CK 45144
Grand Slam (take B) April 10,
1940 Columbia CK 40846
Havent Named It Yet October 12,
1939 Avid AMSC 612
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
I Got Rhythm (second take) September 24,
1939 Suisa JZCD 379 (track 2)
I Never Knew October 28, 1940
Vintage Jazz Classics VJC-1021-2
On the Alamo January 15,
1941 Columbia CK 45144
Rose Room October 2,
1939 Columbia CK 40846
Rose Room October 9, 1939
Vintage Jazz Classics VJC-1021-2
Royal Garden Blues (take -1) November 7,
1940 Columbia CK 40846
Seven Come Eleven November 22, 1939
Columbia CK 40846
Six Appeal (take A) June
11,1940 Columbia CK 40846
A Smo-o-o-oth One (take -X) March 13,
1941 Columbia CL 652
Star Dust October 4,
1940 Columbia CL 6067
Till Tom Special February 7,
1940 Columbia CK 40846
Wholly Cats (take -2) November 7,
1940 Columbia CK 40846
Henderson, Chip (2016). Charlie Christian: Selected Solos from the Father
of Modern Jazz Guitar. Van Nuys: Alfred Music.
[see also Biographical Bibliography, section 3: Musical Analysis]
Note: Transcriptions of tunes marked * have not been commercially published
before.
All solos are complete and all contain guitar tablature;
a “Lead Sheet” with the theme/melody of each tune is included.
As Long As I Live (take -1) November 7, 1940 Columbia CG 30779
As Long As I Live (take -2)
November 7, 1940 Columbia C4K 65564 (track B24)
* Benny’s Bugle (take v)
November 7, 1940 Columbia C4K 65564 (track D21a)
* Benny’s Bugle (take W)
November 7, 1940 Columbia C4K 65564 (track D21b)
* Benny’s Bugle (take X)
November 7, 1940 Columbia C4K 65564 (track D21c)
* Benny’s Bugle (take y)
November 7, 1940 Columbia C4K 65564 (track D21d)
* Benny’s Bugle (take Z)
November 7, 1940 Columbia C4K 65564 (track D22)
Benny’s Bugle (take -1) November
7, 1940 Columbia C4K 65564 (track B12)
Benny’s Bugle November 19, 1940 Vintage Jazz Classics VJC-1021-2
Benny’s Bugle May 28, 1941 Vintage Jazz Classics VJC-1021-2
Flying Home August 19, 1939 Jazz Archives JA-23
* Flying Home September 9, 1939 Masters of Jazz MJCD 189
Flying Home (take A) October 2, 1939 Columbia CK 45144
Flying Home (take B) October 2,
1939 Masters of Jazz MJCD 24 (track 8)
Flying Home March 10, 1941 Vintage Jazz Classics VJC-1021-2
Gone with “What” Wind (take A) February 7, 1940 Columbia CK 40846
Gone with “What” Wind (take B) February 7, 1940 Columbia CG 30779
Gone with “What” Wind April 6, 1940 Vintage Jazz Classics VJC-1021-2
* Gone with “What” Wind November 4, 1940 Masters of Jazz MJCD 44
Good Enough to Keep (take A) June 11, 1940 Columbia CK 45144
* Good Enough to Keep (take B)
June 11, 1940 Columbia C4K 65564 (track B17)
* Good Enough to Keep (take C)
June 11, 1940 Columbia C4K 65564 (track B18)
Good Enough to Keep (take -2)
March 13, 1941 Masters of Jazz MJCD 75 (track
2)
Good Enough to Keep (take -1)
March 13, 1941 Masters of Jazz MJCD 75 (track
1)
Good Enough to Keep March 17, 1941 Vintage Jazz Classics VJC-1021-2
* Grand Slam (Boy Meets Goy) (take A) April 10, 1940 Columbia C4K 65564
(track A25)
Grand Slam (Boy Meets Goy) (take B) April 10, 1940 Columbia CK 40846
Honeysuckle Rose November 22, 1939 Columbia CG 30779
Honeysuckle Rose November 19, 1940 Vintage Jazz Classics VJC-1021-2
I Found a New Baby (take -1) January 15, 1941 Columbia CK 40846
I Found a New Baby (take -2) January 15, 1941 Columbia CG 30779
Rose Room October 2, 1939 Columbia CK 40846
Rose Room October 9, 1939 Vintage Jazz Classics VJC-1021-2
* Rose Room October 28, 1939 Jazz Band EBCD 2138-2
The Sheik of Araby (take A) April 3, 1940 Columbia CK 45144
The Sheik of Araby (take B)
April 3, 1940 Columbia C4K 65564 (track A23)
The Sheik of Araby April 12, 1940 Vintage Jazz Classics VJC-1021-2
() (2019) Jazz Guitar Omnibook (for C Instruments). Milwaukee: Hal Leonard.
Note: Transcription is adapted from Henderson (2016) with minor alterations.
Rose Room October 2, 1939 Columbia CK40846
Hitchcock, H. Wiley & Stanley Sadie (eds.)
(1986). The New Grove Dictionary of American Music, vol. 1.
New York: Macmillan. (Thomas Owens, Charlie Christian.)
Breakfast Feud (take -1) Dec. 19, 1940
/ Jan. 15, 1941 Columbia CL 652
Ingram, Adrian (1980). Modern Jazz Guitar Technique.
Northampton, England: Hampton.
Grand Slam (take B) April 10,
1940 Columbia CK 40846
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
Ishizawa, Koji (2011). Jazz Guitar Giants. Tokyo: Rittor Music.
Honeysuckle Rose (Up on Teddy’s Hill) May 1941 Vogue 600135
Rose Room October 2, 1939 Columbia CK40846
Solo Flight (take -1) March 4, 1941 Columbia CK40846
Star Dust October 2, 1939 Columbia CK45144
Topsy (Swing to Bop) May 12, 1941 Vogue 600135
() (2013) Jazz Guitar Masterpieces. Tokyo: Rittor Music.
Solo Flight (take -1) March 4, 1941 Columbia CK40846
Jacobson, Jeff (see Hal Leonard)
Jazz Educators Journal (1979, December/January), p. 38.
Seven Come Eleven November 22, 1939
Columbia CK 40846
Jazz Hot (1972, May), p. 283. Charlie Christian:
From Swing to Bop.
Swing to Bop May 12,
1941 Vogue 600135
Johnston, Richard (see Guitar Player)
Jones, Hoyt (see Down Beat)
Kernfeld, Barry (ed.) (1989). The New Grove
Dictionary of Jazz. New York: Macmillan.
(Thomas Owens, Charlie Christian.)
Breakfast Feud (take -1) December 19,
1940 Columbia CL 652
Kolb, Tom (see GuitarOne)
Kuboki, Yasushi (1995). Jazz Guitar Improvisation:
Charlie Christian. Tokyo: Ryuginsha.
Bennys Bugle (take -1) November
7, 1940 Columbia CK 40846
Flying Home (take A) October 2,
1939 Columbia CK 45144
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Good Enough to Keep (take -1) March 13,
1941 Masters of Jazz MJCD 75
Good Morning Blues December 24,
1939 Vanguard 169/71-2
Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
Honeysuckle Rose (Up on Teddys Hill) May
1941 Vogue 600135
I Found a New Baby (take -1) January 15,
1941 Columbia CK 40846
I Got Rhythm (Guys Got to Go) May
1941 Vogue 600135
Oh, Lady be Good December 24,
1939 Vanguard VCD2-47/48
Rose Room October 2,
1939 Columbia CK 40846
Seven Come Eleven November 22,
1939 Columbia CK 40846
Shivers (take A) December 20,
1939 Columbia CK 45144
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Star Dust September 24,
1939 Columbia CG 30779
Stompin at the Savoy (Lips Flips) May
1941 Vogue 600135
Topsy (Swing to Bop) May 12,
1941 Vogue 600135
Wholly Cats (take -1) November 7,
1940 Columbia CL 652
() (2016). The Legend of Charlie Christian. Tokyo: Rittor Music.
[see also Biographical Bibliography, section 3: Musical Analysis]
Honeysuckle Rose (Up on Teddys Hill) May
1941 Vogue 600135
I Got Rhythm (first take) September 24, 1939 Suisa
JZCD 379 (track 1)
I Got Rhythm (second take) September 24, 1939 Suisa
JZCD 379 (track 2)
Profoundly Blue (take -1) February 5,
1941 Blue Note 21260 2 (track 3)
Rose Room October 2,
1939 Columbia CK 40846
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Star Dust October 2,
1939 Columbia CK 45144
Tea for Two September 24,
1939 Columbia CG 30779
Topsy (Swing to Bop) May 12,
1941 Vogue 600135
Lazzini, Cesare (2013). Charlie Christian: Il Pragmatismo in Musica:
Viaggio nella vita e nello stile di Charlie Christian.
Diploma: Istituto Superiore di Studi Musicali “Pietro Mascagni” – Livorno.
[see also Biographical Bibliography, section 3: Musical Analysis]
Note: Mostly short, solo extracts with analysis.
Ad-Lib Blues October 28, 1940 JazzDocument va-7997
Benny’s Bugle (take X) November 7, 1940 Columbia C4K 65564
(track D21c)
Benny’s Bugle (take -1) November 7, 1940 Columbia CK 40846
Dinah December 16, 1939 Vintage Jazz Classics VJC-1021-2
Good Morning Blues December 24, 1939 Vanguard 169/71-2
Honeysuckle Rose November 22, 1939 Columbia CG 30779
Honeysuckle Rose (Up on Teddy’s Hill) May 12, 1941 Vogue 600135
I Found a New Baby (take -2 January 15, 1941 Columbia CG 30779
I Got Rhythm (first take) September 24, 1939 Suisa
JZCD 379 (track 1)
I Got Rhythm (second take) September 24, 1939 Suisa
JZCD 379 (track 2)
I’m Confessin’ December 20, 1939 Columbia C4K 65564 (track A9)
Oh, Lady Be Good December 24, 1939 Vanguard VCD2-47/48
Paging the Devil December 24, 1939 Vanguard 169/71-2
Poor Butterfly April 3, 1940 Columbia CK45144
Profoundly Blue (take -2) February 5, 1941 Blue
Note 21260-2
(track 4)
Rose Room October 2, 1939 Columbia CK 40846
Rose Room October 9, 1939 Vintage Jazz Classics VJC-1021-2
Rose Room March 13, 1941 Masters of Jazz MJCD 74
Seven Come Eleven November 22, 1939 Columbia CK 40846
Shivers (take A) December 20, 1939 Columbia CK45144
Tea for Two September 24, 1939 Columbia CG 30779
Topsy (Swing to Bop) May 12, 1941 Vogue 600135
Wholly Cats (take -2) November 7, 1940 Columbia CK 40846
Lifton, Lloyd (see Down Beat)
Mairants, Ivor (1988). Famous Jazz Guitar Solos 2.
London: International Music Publications.
Flying Home October 6,
1939 Collectors Classics CC 18
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
() (1996) The Great Jazz Guitarists. Ely,
England: Musicmaker Books.
Honeysuckle Rose November 22,
1939 Columbia CG 30779
I Surrender, Dear April 10,
1940 Columbia CK 45144
Rose Room October 2,
1939 Columbia CK 40846
The Sheik of Araby April 3,
1940 Columbia CK 45144
() (2002) The Great Jazz Guitarists, Part 1.
London: Sanctuary.
[revised version of Mairants (1996), published in two volumes]
Honeysuckle Rose November 22,
1939 Columbia CG 30779
I Surrender, Dear April 10,
1940 Columbia CK 45144
The Sheik of Araby April 3,
1940 Columbia CK 45144
() (also see Melody Maker)
Mann, Woody (see Sing Out!)
Marshall, Wolf (2000). Best of Jazz Guitar.
Milwaukee: Hal Leonard. “Guitar Signature Licks” series.
Honeysuckle Rose November 22,
1939 Columbia CG 30779
() (2002) The Best of Charlie Christian:
A Step-by-Step Breakdown of the Styles and Techniques of the Father of Modern Jazz.
Milwaukee: Hal Leonard. “Guitar Signature Licks” series.
[see also Biographical Bibliography, section 3: Musical Analysis]
Bennys Bugle (take -1) November
7, 1940 Columbia CK 40846
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Good Enough to Keep (take -2) March
13, 1941 Masters of Jazz MJCD 75
Good Enough to Keep (take -1) March
13, 1941 Masters of Jazz MJCD 75
Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
Honeysuckle Rose November 22,
1939 Columbia CG 30779
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
Seven Come Eleven November 22,
1939 Columbia CK 40846
Shivers (take A) December 20,
1939 Columbia CK 45144
Six Appeal (take A) June 11,
1940 Columbia CK 40846
A Smo-o-o-oth One (take -1) March
13, 1941 Columbia CK 45144
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Star Dust October 2,
1939 Columbia CK 45144
Till Tom Special February 7,
1940 Columbia CK 40846
Wholly Cats (take -1) November 7,
1940 Columbia CL 652
() (also see Hal Leonard)
Martin, Henry (1986). Enjoying Jazz. New York:
Schirmer.
I Found A New Baby (take -1) January
15, 1941 Columbia CK 40846
Matzner, Antonín & Igor Wasserberger
(1969). Jazzové Profily. Prague: Supraphon.
Up on Teddys Hill May
1941 Vogue 600135
Melody Maker (1947, August 23), p. 3.
Themeand extemporisation.
Ivor Mairants.
I Surrender, Dear April 10,
1940 Columbia CK 45144
Mongan, Norman (1983). The History of the Guitar in
Jazz. New York: Oak Publications.
Swing to Bop May 12,
1941 Vogue 600135
Obrecht, Jas (see Guitar Player)
Okazaki, Miles & Ethan Iverson (2017). “Stompin’ at Minton’s.” Guest Post in Ethan Iverson blog
Do the M@th.
Internet site: Stompin’
at Minton’s
Stompin at the Savoy May 12,
1941 Vogue 600135
Owens, Thomas (see Hitchcock &
Sadie; Kernfeld; Sadie & Tyrrell)
Perlmutter, Adam (see GuitarOne)
Petersen, Jack (1979). Jazz Styles & Analysis:
Guitar. Chicago: Down Beat.
Air Mail Special (take -1) March 13,
1941 Columbia CL 652
Grand Slam (take B) April 10,
1940 Columbia CK 40846
Rose Room October 2,
1939 Columbia CK 40846
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Polillo, Arrigo (1979). I Grandi del Jazz: Gli
Stilisti. Milan: Fabbri.
On the Alamo January 15,
1941 Columbia CK 45144
Porter, Lewis & Michael Ullman with Edward Hazell
(1993). Jazz: From Its Origins to the Present.
Englewood Cliffs, New Jersey: Prentice-Hall.
Ad-Lib Blues October 28,
1940 JazzDocument va-7997
Regent Music (1944). Solo Flight: Charlie Christian
Guitar Solo with Piano Accompaniment.
New York. [sheet music]
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Richardson, Jerry (1996). B.B. King: Analysis of
the Artists Evolving Guitar Technique.
American Music Research Center Journal, vol. VI, pp. 89-107.
Wholly Cats (take -1) November 7,
1940 Columbia CL 652
Rossi, Umberto (2003). Chitarrista Jazz:
Autodidatta [Teach Yourself Jazz Guitar]
Milan: Carisch.
Rose Room October 2,
1939 Columbia CK 40846
Russo, Bill (see Down Beat)
Sadie, Stanley & John Tyrrell (eds.)
(2001). The New Grove Dictionary of Music and Musicians,
vol. 5, p.
795. London: Macmillan. (Thomas Owens, Charlie Christian.)
Breakfast Feud (take -1) December 19,
1940 Columbia CL 652
Salmon, Shawn (2011). Imitation, Assimilation, and Innovation:
Charlie Christian’s Influence on Wes Montgomery’s Improvisational Style
in His Early Recordings (1957-1960). Dissertation: Ball State University.
[see also Biographical Bibliography, section 3: Musical Analysis]
Note: All are short, solo extracts with analysis.
Benny’s Bugle (take -1) November 7, 1940 Columbia CK 40846
Breakfast Feud (spl.take 29259-1) December 19, 1940 Smithsonian RD 033 (track B24e)
Breakfast Feud (spl.take 29512-4) January 15, 1941 Smithsonian RD 033 (track B24a)
Breakfast Feud (spl.take 29512-3) January 15, 1941 Smithsonian RD 033 (track B24b)
Breakfast Feud (spl.take 29512-2) January 15, 1941 Smithsonian RD 033 (track B24c)
Flying Home (take A) October 2, 1939 Columbia CK 45144
Gone with “What” Wind (take B) February 7, 1940 Columbia CG 30779
Good Enough to Keep (spl.take -2) March 13, 1941 Columbia CL 652 (track A6a)
Good Enough to Keep (spl.take -1) March 13, 1941 Columbia CL 652 (track A6b)
Grand Slam (take B) April 10, 1940 Columbia CK 40846
Honeysuckle Rose November 22, 1939 Columbia CG 30779
I Got Rhythm (Guy’s Got to Go) May 1941 Vogue 600135
Seven Come Eleven November 22, 1939 Columbia CK 40846
Shivers (take A) December 20, 1939 Columbia CK45144
Six Appeal (take A) June 11, 1940 Columbia CK 40846
Solo Flight (take -1) March 4, 1941 Columbia CK 40846
Stompin’ at the Savoy (Lips Flips) May 12, 1941 Vogue 600135
Wholly Cats (take -1) November 7, 1940 Columbia CL 652
Schmitz, Alexander (1992). Jazz Gitarristen.
Collection Oreos. Schaftlach.
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Solo Flight (take -2) March 4,
1941 Columbia CL 652
Schuller, Gunther (1989). The Swing Era. New
York: Oxford University Press.
Breakfast Feud (spliced) Dec. 19, 1940
/ Jan. 15, 1941 Columbia CG 30779
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
Memories of You December 24, 1939
Vanguard 169/71-2
Rose Room October 2,
1939 Columbia CK 40846
Star Dust October 2,
1939 Columbia CK 45144
Stompin at the Savoy May 12,
1941 Vogue 600135
Schütze, Dennis (2003). Der Jazzgitarrist Charlie
Christian:
Studien zu musikalischen Gestaltung anhand von
Transkriptionen der Columbia Studioaufnahmen von 1939 bis 1941.
Julius-Maximilian-Universität Würzburg: M.A. Thesis.
[see also Biographical Bibliography, section 3: Musical Analysis]
Note: All are Columbia studio recordings.
Transcriptions of tunes marked * had never been previously published.
* AC-DC Current December
20, 1939 Columbia CK 45144
* All Star Strut (take A) February
7, 1940 Masters of Jazz MJCD 40 (track 5)
All Star Strut (take B) February
7, 1940 Columbia CG 30779
* All Star Strut (take x) February
7, 1940 Masters of Jazz MJCD 40 (track 4)
As Long As I Live (take -1) November
7, 1940 Columbia CG 30779
* As Long As I Live (take -2) November
7, 1940 Columbia C4K 65564 (track B24)
Bennys Bugle (take -1) November
7, 1940 Columbia CK 40846
* Breakfast Feud (take -3) December
19, 1940 Columbia C4K 65564 (track C11)
Breakfast Feud (take -1) December
19, 1940 Columbia C4K 65564 (track C1)
Breakfast Feud (take -4) January 15,
1941 Columbia C4K 65564 (track C15)
Breakfast Feud (take -3) January 15,
1941 Columbia C4K 65564 (track C16)
Breakfast Feud (take -2) January 15,
1941 Columbia C4K 65564 (track C3)
Breakfast Feud (take -1) January 15,
1941 Columbia C4K 65564 (track C17)
Flying Home (take A) October
2, 1939 Columbia CK 45144
* Flying Home (take B) October 2,
1939 Masters of Jazz MJCD 24 (track 8)
* Gone with What Draft (Gilly) December 19,
1940 Columbia C4K 65564 (track B13)
Gone with What Wind (take A) February
7, 1940 Columbia CK 40846
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Good Enough to Keep (take A) June
11, 1940 Columbia CK 45144
Good Enough to Keep (take -2) March
13, 1941 Masters of Jazz MJCD 75 (track 2)
Good Enough to Keep (take -1) March
13, 1941 Masters of Jazz MJCD 75 (track 1)
Grand Slam (take B) April 10,
1940 Columbia CK40846
Honeysuckle Rose November 22,
1940 Columbia CG 30779
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Found a New Baby (take -1) January
15, 1941 Columbia CK 40846
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Surrender, Dear April 10,
1940 Columbia CK 45144
* Im Confessin December 20,
1939 Columbia C4K 65564 (track A9)
* Lil Boy Love (take A) June
25, 1940 Columbia C4K 65564 (track D3)
* Lil Boy Love (take B) June
25, 1940 Columbia C4K 65564 (track D6)
Memories of You (take A) November
22, 1939 Columbia CK 45144
Memories of You (take B) November
22, 1939 Columbia CG 30779
On the Alamo January 15,
1941 Columbia CK 45144
Poor Butterfly April 3,
1940 Columbia CK 45144
Rose Room October 2,
1939 Columbia CK 40846
Royal Garden Blues (take -1) November
7, 1940 Columbia CK 40846
Seven Come Eleven November 22,
1939 Columbia CK 40846
The Sheik of Araby April 3,
1940 Columbia CK 45144
Shivers December 20,
1939 Columbia CK 45144
Six Appeal (take A) June 11,
1940 Columbia CK 40846
A Smo-o-o-oth One (take -2) March
13, 1941 Columbia C4K 65564 (track C7)
Solo Flight (take -1) March
4, 1941 Columbia CK 40846
Star Dust October 2,
1939 Columbia CK 45144
These Foolish Things June 11,
1940 Columbia CK 45144
Till Tom Special February 7,
1940 Columbia CK 40846
Untitled Tune April 3, 1940 Columbia C4K
65564 (track A13)
Untitled Tune (breakdown) April 3,
1940 Columbia C4K 65564 (track D8)
* Wholly Cats (take -W) November
7, 1940 Columbia CG 30779
Wholly Cats (take -X) November
7, 1940 Columbia CG 30779
Wholly Cats (take -Y) November
7, 1940 Columbia CG 30779
Wholly Cats (take -1) November
7, 1940 Columbia CL 652
Wholly Cats (take -2) November
7, 1940 Columbia CK 40846
Schwab, Jürgen (1998). Die Gitarre im Jazz: Zur
stilistischen Entwicklung von den Anfängen bis 1960.
Regensburg: ConBrio. Ch. 3 Charlie Christian und der Wechsel zur
E-Gitarre.
[see also Biographical Bibliography, section 3: Musical Analysis]
Breakfast Feud (take -4) January 15,
1941 Columbia CG 30779
Flying Home (take A) October 2,
1939 Columbia CK 45144
Flying Home October 6,
1939 Collectors Classics CC18
Gone with "What" Wind (take A) February
7, 1940 Columbia CK 40846
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
A Smo-o-o-oth One (Waitin for Benny) March
13, 1941 Columbia CK 40846
Tea for Two September 24,
1939 Columbia CG 30779
Shinko Music (2008). Jazz Guitar Book, Vol. 16.
Japan: Shinko Music Entertainment Co., Ltd
Note: All notations are excerpts with the exception of two complete
transcriptions,
as marked with an *
Gone with What Wind (take A) [p.27, ex.3&4] February
7, 1940 Columbia CK 40846
Good Enough to Keep (take C) [p.27, ex.2] June
11, 1940 Columbia C4K 65564 (track B18)
Honeysuckle Rose (Up On Teddys Hill) [p.31&33,
ex.3&4] May
1941 Vogue 600135
I Found a New Baby (take -2) [p.29, ex.6] January
15, 1941 Columbia CG 30779
I Got Rhythm (Guys Got to Go) [p.33, ex.5] January
15, 1941 Vogue 600135
Rose Room [p.29, ex.5] October 2,
1939 Columbia CK 40846
Seven Come Eleven [p.27, ex.1] November
22, 1939 Columbia CK 40846
Solo Flight (take -1) [p.29, ex.7] March
4, 1941 Columbia CK 40846
* Stompin at the Savoy [complete] May
12, 1941 Vogue 600135
Stompin at the Savoy [p.31, ex.2] May
12, 1941 Vogue 600135
Stompin at the Savoy (Lips Flips) [p.33, ex.6] May
1941 Vogue 600135
* Tea for Two [complete] September 24,
1939 Columbia CG 30779
Topsy (Swing to Bop) [p.31, ex.1] May
12, 1941 Vogue 600135
Silbergleit, Paul (2015). 25 Great Jazz Guitar Solos.
Milwaukee: Hal Leonard.
I Found a New Baby (take -1) January 15, 1941
Columbia CK 40846
Sing Out! (1977, May/June), vol. 26, no. 1, p. 34. Crow Jane: a blues guitar teach-in by Woody Mann
Good Morning Blues December 24,
1939 Vanguard 169/71-2
() (1977, July/August), vol. 26, no. 2, p. 36. Crow Jane: a blues guitar teach-in by Woody Mann
Paging the Devil December 24,
1939 Vanguard 169/71-2
() (1978, January/February), vol. 26, no. 5, p. 28. Crow Jane: a blues guitar teach-in by Woody Mann
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Smith, Earl & Paul Tharp (transcr.)
(1958). Hot Jazz Guitar Solos.
Pueblo, Colorado: Smith-Tharp Publishing.
Grand Slam (take B) April 10,
1940 Columbia CK 40846
Rose Room October 2,
1939 Columbia CK 40846
These Foolish Things June 11,
1940 Columbia CK 45144
Sokolow, Fred (1988). Solos for Jazz Guitar. New
York: Carl Fischer. Ronny S. Schiff (ed.)
Air Mail Special June 11,
1940 Columbia CK 45144
Air Mail Special (spliced) March 13,
1941 Columbia CG 30779
() (1999). The Roots of Jazz Guitar.
Milwaukee: Hal Leonard. Ronnie Schiff (ed.)
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Honeysuckle Rose November 19,
1940 Vintage Jazz Classics VJC-1021-2
Spaces IV Jazz Fake Book.
Note: All notations are transcribed from previously published sources.
A notation of I
Got Rhythm is included that is attributed to Charlie Christian,
but it does not
correspond to any known performance of that tune.
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Profoundly Blue (take -1) February 5,
1941 Blue Note 21260 2
Rose Room October 2,
1939 Columbia CK 40846
Spring, Howard A. (1980). The Improvisational Style of Charlie
Christian.
York University (Toronto): MFA Thesis.
AC-DC Current November 27,
1939 Jazz Archives JA-42
AC-DC Current June 30,
1940 Vintage Jazz Classics VJC-1021-2
Ad-Lib Blues October 28,
1940 Jazz Document va-7997
Air Mail Special March 17,
1941 Vintage Jazz Classics VJC-1021-2
All Star Strut (take B) February 7,
1940 Columbia CG 30779
As Long as I Live (take -1) November 7,
1940 Columbia CG 30779
Bennys Bugle (take -1) November 7,
1940 Columbia CK 40846
Bennys Bugle November 19,
1940 Vintage Jazz Classics VJC-1021-2
Bennys Bugle May 28,
1941 Vintage Jazz Classics VJC-1021-2
Breakfast Feud (take -1) December 19,
1940 Columbia CL 652
Breakfast Feud (spliced) January 15,
1941 Columbia CG 30779
Charlies Dream October 28,
1940 Vintage Jazz Classics VJC-1021-2
Dinah December 16,
1939 Vintage Jazz Classics VJC-1021-2
Flying Home August 19,
1939 Jazz Archives JA-23
Flying Home March 10, 1941 Vintage
Jazz Classics VJC-1021-2
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Gone with What Wind April 6,
1940 Vintage Jazz Classics VJC-1021-2
Good Enough to Keep June 11,
1940 Columbia CK 45144
Good Enough to Keep (spliced) March 13,
1941 Columbia CG 30779
Good Morning Blues December 24,
1939 Vanguard 169/71-2
Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
Guys Got to Go May
1941 Vogue 600135
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Honeysuckle Rose November 19,
1940 Vintage Jazz Classics VJC-1021-2
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Got Rhythm (spliced) September 24,
1939 Columbia CG 30779
I Never Knew October 28,
1940 Vintage Jazz Classics VJC-1021-2
Ida, Sweet as Apple Cider April 14,
1941 Vintage Jazz Classics VJC-1021-2
Lesters Dream October 28,
1940 Vintage Jazz Classics VJC-1021-2
Lips Flips May 1941 Vogue
600135
Memories of You October 23,
1939 Vintage Jazz Classics VJC-1021-2
Memories of You (take B) November 22,
1939 Columbia CG 30779
On the Alamo January 15,
1941 Columbia CK 45144
Rose Room October 2,
1939 Columbia CK 40846
Rose Room October 9,
1939 Vintage Jazz Classics VJC-1021-2
Royal Garden Blues (take -3) November 7,
1940 Columbia CG 30779
Seven Come Eleven November 22,
1939 Columbia CK 40846
The Sheik of Araby April 12,
1940 Vintage Jazz Classics VJC-1021-2
Six Appeal (take A) June 11,
1940 Columbia CK 40846
Six Appeal June 22,
1940 Vintage Jazz Classics VJC-1021-2
Stompin at the Savoy May 12,
1941 Vogue 600135
Till Tom Special December 31,
1939 Vintage Jazz Classics VJC-1021-2
Till Tom Special February 7,
1940 Columbia CK 40846
Up on Teddys Hill May
1941 Vogue 600135
Wholly Cats October 28,
1940 Vintage Jazz Classics VJC-1021-2
Wholly Cats (take -X) November 7,
1940 Columbia CG 30779
Wholly Cats (take -Y) November
7, 1940 Columbia CG 30779
Wholly Cats November 19,
1940 Vintage Jazz Classics VJC-1021-2
Wholly Cats April 7,
1941 Jazz Archives JA-23
() (1990). The Use of Formulas in the Improvisations of
Charlie Christian.
Jazzforschung / Jazz Research 22, pp. 11-51.
Note: All notations transcribed (some are extracts) from Spring (1980).
Air Mail Special March 17,
1941 Vintage Jazz Classics VJC-1021-2
All Star Strut (take B) February 7,
1940 Columbia CG 30779
Bennys Bugle (take -1) November 7,
1940 Columbia CK 40846
Bennys Bugle November 19,
1940 Vintage Jazz Classics VJC-1021-2
Bennys Bugle May 28,
1941 Vintage Jazz Classics VJC-1021-2
Breakfast Feud (spliced) January 15,
1941 Columbia CG 30779
Dinah December 16,
1939 Vintage Jazz Classics VJC-1021-2
Flying Home August 19,
1939 Jazz Archives JA-23
Flying Home March 10,
1941 Vintage Jazz Classics VJC-1021-2
Gone with What Wind April 6,
1940 Vintage Jazz Classics VJC-1021-2
Good Enough to Keep (spliced) March 13,
1941 Columbia CG 30779
Grand Slam (Boy Meets Goy) (take B) April 10,
1940 Columbia CK 40846
Guys Got to Go May
1941 Vogue 600135
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Honeysuckle Rose November 19,
1940 Vintage Jazz Classics VJC-1021-2
Lips Flips May 1941 Vogue
600135
Memories of You October 23,
1939 Vintage Jazz Classics VJC-1021-2
Royal Garden Blues (take -3) November 7,
1940 Columbia CG 30779
Seven Come Eleven November 22,
1939 Columbia CK 40846
The Sheik of Araby April 12,
1940 Vintage Jazz Classics VJC-1021-2
Stompin at the Savoy May 12,
1941 Vogue 600135
Up on Teddys Hill May
1941 Vogue 600135
Wholly Cats October 28,
1940 Vintage Jazz Classics VJC-1021-2
Wholly Cats (take -X) November 7,
1940 Columbia CG 30779
Wholly Cats (take -Y) November
7, 1940 Columbia CG 30779
Wholly Cats November 19,
1940 Vintage Jazz Classics VJC-1021-2
Wholly Cats April 7,
1941 Jazz Archives JA-23
Steen, Dave (see Guitar World)
Takayanagi, Masayuki. (1975). Charlie Christian Jazz
Improvisation. Tokyo: Nichion.
As Long as I Live (take -1) November
7, 1940 Columbia CG 30779
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Honeysuckle Rose November 22,
1939 Columbia CG 30779 (note:
complete score)
I Cant Give You Anything But Love (take -1) December
19, 1940 Columbia CK 45144
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
I Surrender, Dear April 10,
1940 Columbia CK 45144
Memories of You (take A) November
22, 1939 Columbia CK 45144
Memories of You (take B) November
22, 1939 Columbia CG 30779
Royal Garden Blues (take -1) November 7,
1940 Columbia CK 40846
The Sheik of Araby April 3,
1940 Columbia CK 45144
Star Dust September 24,
1939 Columbia CG 30779
Star Dust October 6,
1939 Collectors Classics CC 18
Tempo (1947, March), p. 8. By the Late Charlie
Christian.
Rose Room October 2,
1939 Columbia CK 40846
Valdes, Leo (1996). Solo Flight: The Charlie
Christian Newsletter Number 2.
El Paso, Texas: Author.
Stompin at the Savoy June
1941 [unissued]
Tea for Two (intro) September 24,
1939 Arbors ARCD 19168
() (1997). Solo Flight: The Charlie Christian
Newsletter Number 3.
El Paso, Texas: Author.
Poor Butterfly April 27,
1940 [unissued]
Tea for Two (complete) September 24,
1939 Arbors ARCD 19168
() (1998-2020). Solo Flight: The Charlie Christian Legacy. Internet site: Transcriptions”
[see also Biographical Bibliography, section 3: Musical Analysis]
All transcriptions: Complete; chords identified; annotated; chord changes in CCs solos are identified;
with guitar tablature and left-hand fingering denotation.
|
AC-DC Current |
October 14, 1939 |
Masters of Jazz MJCD 24 (track 16) |
AC-DC Current |
November 27, 1939 |
Jazz Archives JA-42 |
AC-DC Current |
December 2, 1939 |
Masters of Jazz MJCD 40 (track 1) |
AC-DC Current |
December 20, 1939 |
Columbia CK 45144 |
AC-DC Current |
June 30, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Ad-Lib Blues |
October 28, 1940 |
JazzDocument va-7997 |
All Star Strut (take x) |
February 7, 1940 |
Masters of Jazz MJCD 40 (track 4) |
All Star Strut (take A) |
February 7, 1940 |
Masters of Jazz MJCD 40 (track 5) |
All Star Strut (take B) |
February 7, 1940 |
Columbia CG 30779 |
As Long as I Live (take -1) |
November 7, 1940 |
Columbia CG 30779 |
As Long as I Live (take -2) |
November 7, 1940 |
Columbia C4K 65564 (track B24) |
Bennys Bugle (take -v) |
November 7, 1940 |
Columbia C4K 65564 (track D21a) |
Bennys Bugle (take -W) |
November 7, 1940 |
Columbia C4K 65564 (track D21c) |
Bennys Bugle (take -X) |
November 7, 1940 |
Columbia C4K 65564 (track D21c) |
Bennys Bugle (take -y) |
November 7, 1940 |
Columbia C4K 65564 (track D21d) |
Bennys Bugle (take -Z) |
November 7, 1940 |
Columbia C4K 65564 (track D22) |
Bennys Bugle (take -1) |
November 7, 1940 |
Columbia CK 40846 |
Bennys Bugle |
November 19, 1940 |
Vintage Jazz Classics VJC-1021-2 (trk 17) |
Bennys Bugle |
May 28, 1941 |
Vintage Jazz Classics VJC-1021-2 (trk 23) |
The Blues |
February 19, 1941 |
< unissued > |
Blues in B |
March 13, 1941 |
Masters of Jazz MJCD 74 |
Breakfast Feud (take -5) |
December 19, 1940 |
Columbia C4K 65564 (track C9a) |
Breakfast Feud (take -x) |
December 19, 1940 |
Columbia C4K 65564 (track C9b) |
Breakfast Feud (take -4) |
December 19, 1940 |
Columbia C4K 65564 (track C10) |
Breakfast Feud (take -3) |
December 19, 1940 |
Columbia C4K 65564 (track C11) |
Breakfast Feud (take -y) |
December 19, 1940 |
Columbia C4K 65564 (track D17) |
Breakfast Feud (take -2) |
December 19, 1940 |
Columbia C4K 65564 (track C12) |
Breakfast Feud (take -1) |
December 19, 1940 |
Columbia C4K 65564 (track C1) |
Breakfast Feud (take -4) |
January 15, 1941 |
Columbia C4K 65564 (track C15) |
Breakfast Feud (take -3) |
January 15, 1941 |
Columbia C4K 65564 (track C16) |
Breakfast Feud (take -2) |
January 15, 1941 |
Columbia C4K 65564 (track C3) |
Breakfast Feud (take -1) |
January 15, 1941 |
Columbia C4K 65564 (track C17) |
Breakfast Feud |
February 17, 1941 |
Masters of Jazz MJCD 74 (track 3) |
Breakfast Feud |
April 14, 1941 |
Masters of Jazz MJCD 75 (track 5) |
Celestial Express |
February 5, 1941 |
Mosaic MD4-109 |
Death Letter Blues (take -2) |
October 31, 1939 |
Document DOCD-5651 (track 4) |
Death Letter Blues (take -1) |
October 31, 1939 |
Document DOCD-5651 (track 3) |
Deep Sea Blues (take -2) |
October 31, 1939 |
Document DOCD-5651 (track 2) |
Deep Sea Blues (take -1) |
October 31, 1939 |
Document DOCD-5651 (track 1) |
Dickies Dream (Charlies Dream) |
October 28, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Dickies Dream (Lesters Dream) |
October 28, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Dinah |
December 16, 1939 |
Vintage Jazz Classics VJC-1021-2 |
Edmond Hall Blues |
February 5, 1941 |
Mosaic MD4-109 |
Flying Home |
August 19, 1939 |
Jazz Archives JA-23 |
Flying Home |
September 9, 1939 |
Masters of Jazz MJCD 189 |
Flying Home (take A) |
October 2, 1939 |
Columbia CK 45144 |
Flying Home (take B) |
October 2, 1939 |
Masters of Jazz MJCD 24 (track 8) |
Flying Home |
October 6, 1939 |
Collectors Classics 18 |
Flying Home |
October 16, 1939 |
Masters of Jazz MJCD 24 (track 17) |
Flying Home |
December 24, 1939 |
Vanguard 169/71-2 |
Flying Home |
January 15, 1940 |
Jazz Heritage Society 5291134 |
Flying Home |
February 10, 1941 |
Masters of Jazz MJCD 75 (track 7) |
Flying Home |
February 19, 1941 |
< unissued > |
Flying Home |
March 10, 1941 |
Vintage Jazz Classics VJC-1021-2 |
Flying Home |
May 5, 1941 |
Masters of Jazz MJCD 75 (track 9) |
Four Day Creep |
October 31, 1939 |
Affinity AFS 1015 |
Gone with What Draft (Gilly) (take -1) |
December 19, 1940 |
Columbia C4K 65564 (track B13) |
Gone with What Draft
(Gilly) (take -x) |
December 19, 1940 |
Columbia C4K 65564 (track D19) |
Gone with What Draft
(Gilly) (take -3) |
December 19, 1940 |
Columbia C4K 65564 (track B25) |
Gone with What Draft
(Gilly) (take -2) |
December 19, 1940 |
Columbia C4K 65564 (track B26) |
Gone with What Draft (take -3) |
January 15, 1941 |
Columbia C4K 65564 (track C19) |
Gone with What Draft (take -2) |
January 15, 1941 |
Columbia C4K 65564 (track C29) |
Gone with What Draft (take -1) |
January 15, 1941 |
Columbia C4K 65564 (track C6) |
Gone with What Draft |
February 16, 1941 |
Masters of Jazz MJCD 74 (track 2) |
Gone with What Draft |
February 24, 1941 |
Masters of Jazz MJCD 74 (track 4) |
Gone with “What” Wind (take A) |
February 7, 1940 |
Columbia CK 40846 |
Gone with “What” Wind (take B) |
February 7, 1940 |
Columbia CG 30779 |
Gone with “What” Wind |
March 19, 1940 |
Suisa JZCD 379 |
Gone with “What” Wind |
April 6, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Gone with “What” Wind |
November 4, 1940 |
Masters of Jazz MJCD 44 |
Gone with “What” Wind |
February 19, 1941 |
Encore 7001 |
Good Enough to Keep (take A) |
June 11, 1940 |
Columbia CK 45144 |
Good Enough to Keep (take B) |
June 11, 1940 |
Columbia C4K 65564 (track B17) |
Good Enough to Keep (take C) |
June 11, 1940 |
Columbia C4K 65564 (track B18) |
Good Enough to Keep (take -2) |
March 13, 1941 |
Masters of Jazz MJCD 75 (track 2) |
Good Enough to Keep (take -1) |
March 13, 1941 |
Masters of Jazz MJCD 75 (track 1) |
Good Enough to Keep |
March 17, 1941 |
Vintage Jazz Classics VJC-1021-2 |
Good Morning Blues |
December 24, 1939 |
Vanguard 169/71-2 |
Grand Slam (take A) |
April 10, 1940 |
Columbia C4K 65564 (track A25) |
Grand Slam (take B) |
April 10, 1940 |
Columbia CK 40846 |
Hard Time Blues |
October 31, 1939 |
Affinity AFS 1015 |
Havent Named It Yet |
October 12, 1939 |
Avid AMSC 612 |
The Heebie Jeebies Are Rockin the Town (take -2) |
October 12, 1939 |
Avid AMSC 612 (track B24) |
The Heebie Jeebies Are Rockin the Town (take -1) |
October 12, 1939 |
Avid AMSC 612 (track B8) |
Honeysuckle Rose |
November 22, 1939 |
Columbia CG 30779 |
Honeysuckle Rose |
December 24, 1939 |
Vanguard 169/71-2 |
Honeysuckle Rose |
June 22, 1940 |
Masters of Jazz MJCD 44 |
Honeysuckle Rose |
November 19, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Honeysuckle Rose |
May 1941 |
Vogue 600135 |
I Cant Believe That Youre In Love with Me |
March 13, 1941 |
Definitive DRCD11176 |
I Cant Give You Anything But Love (take -3) |
December 19, 1940 |
Masters of Jazz MJCD 68 (track 1) |
I Cant Give You Anything But Love (take -2) |
December 19, 1940 |
Masters of Jazz MJCD 68 (track 2) |
I Cant Give You Anything But Love (take -1) |
December 19, 1940 |
Masters of Jazz MJCD 68 (track 3) |
I Found a New Baby (take -2) |
January 15, 1941 |
Columbia CG 30779 |
I Found a New Baby (take -1) |
January 15, 1941 |
Columbia CK 40846 |
I Got Rhythm (first take) |
September 24, 1939 |
Suisa JZCD 379 (track 1) |
I Got Rhythm (second take) |
September 24, 1939 |
Suisa JZCD 379 (track 2) |
I Got Rhythm (Down on Teddys Hill) |
May 1941 |
Vogue 600135 (track 4) |
I Got Rhythm (Guys Got to Go) |
May 1941 |
Vogue 600135 (track 5) |
I Hadnt Anyone Till You |
March 13, 1941 |
Masters of Jazz MJCD 74 |
I Never Knew |
October 28, 1940 |
Vintage Jazz Classics VJC-1021-2 |
I Surrender, Dear (take A) |
April 10, 1940 |
Columbia C4K 65564 (track A24) |
I Surrender, Dear (take B) |
April 10, 1940 |
Columbia CK 45144 |
I Surrender, Dear (take x) |
April 10, 1940 |
Columbia C4K 65564 (track D10) |
Ida, Sweet as Apple Cider |
April 14, 1941 |
Vintage Jazz Classics VJC-1021-2 |
Im Confessin |
December 20, 1939 |
Columbia C4K 65564 |
Jammin in Four |
February 5, 1941 |
Blue Note 21260 2 |
Just Like Taking Candy from a Baby (take X) |
April 30, 1940 |
Mosaic MD7-240 (track B16) |
Just Like Taking Candy from a Baby (take A) |
April 30, 1940 |
Masters of Jazz MJCD 189 |
Lil Boy Love (take A) |
June 25, 1940 |
Columbia C4K 65564 (track D3) |
Lil Boy Love (take B) |
June 25, 1940 |
Columbia C4K 65564 (track D6) |
Memories of You |
October 7, 1939 |
Masters of Jazz MJCD 24 |
Memories of You |
October 23, 1939 |
Vintage Jazz Classics VJC-1021-2 |
Memories of You (take A) |
November 22, 1939 |
Columbia CK 45144 |
Memories of You (take B) |
November 22, 1939 |
Columbia CG 30779 |
Memories of You |
December 24, 1939 |
Vanguard 169/71-2 |
Oh, Lady Be Good |
December 24, 1939 |
Vanguard 169/71-2 |
On the Alamo |
January 15, 1941 |
Columbia CK 45144 |
One Hour Mama (take -W) |
October 31, 1939 |
Rosetta RRCD 1300 |
One Hour Mama (take -X) |
October 31, 1939 |
Document DOCD-5651 (track 5) |
One Hour Mama (take -y) |
October 31, 1939 |
Document DOCD-5651 (track 6) |
One Hour Mama (take -Z) |
October 31, 1939 |
Document DOCD-5651 (track 7) |
One O’Clock Jump |
January 16, 1941 |
Masters of Jazz MJCD 68 |
One Sweet Letter from You |
September 11, 1939 |
Avid AMSC 612 |
Opus ½ |
September 23, 1939 |
Queen-Disc Q-016 |
Paging the Devil |
December 24, 1939 |
Vanguard 169/71-2 |
Pick-a-Rib |
December 30, 1939 |
Masters of Jazz MJCD 40 |
Pink Slip Blues |
October 31, 1939 |
Affinity AFS 1015 |
Poor Butterfly |
April 3, 1940 |
Columbia CK 45144 |
Poor Butterfly |
April 27, 1940 |
Masters of Jazz MJCD 189 |
Profoundly Blue (take -1) |
February 5, 1941 |
Blue Note 21260 2 (track 3) |
Profoundly Blue (take -2) |
February 5, 1941 |
Blue Note 21260 2 (track 4) |
Riffin Around |
March 13, 1941 |
Columbia C4K 65564 (track D23a) |
Rose Room |
October 2, 1939 |
Columbia CK 40846 |
Rose Room |
October 9, 1939 |
Vintage Jazz Classics VJC-1021-2 |
Rose Room |
October 28, 1939 |
Jazz Band EBCD 2138-2 |
Rose Room |
February 19, 1941 |
< unissued > |
Rose Room |
March 13, 1941 |
Masters of Jazz MJCD 74 |
Rose Room |
June 6, 1941 |
Suisa JZCD 379 |
Royal Garden Blues (take -1) |
November 7, 1940 |
Columbia CK 40846 |
Royal Garden Blues (take -2) |
November 7, 1940 |
Columbia C4K 65564 (track B22) |
Royal Garden Blues (take -3) |
November 7, 1940 |
Columbia CG 30779 |
Seven Come Eleven |
November 22, 1939 |
Columbia CK 40846 |
Seven Come Eleven |
November 25, 1939 |
Masters of Jazz MJCD 29 (track 8) |
Seven Come Eleven |
May 28, 1940 |
Masters of Jazz MJCD 40 |
The Sheik of Araby (take A) |
April 3, 1940 |
Columbia CK 45144 |
The Sheik of Araby (take B) |
April 3, 1940 |
Columbia C4K 65564 (track A24) |
The Sheik of Araby |
April 12, 1940 |
Vintage Jazz Classics VJC-1021-2 |
The Sheik of Araby |
April 26, 1940 |
Masters of Jazz MJCD 40 (track 18) |
Shivers |
November 4, 1939 |
Masters of Jazz MJCD 29 (track 1) |
Shivers (take x) |
December 20, 1939 |
Masters of Jazz MJCD 29 (track 11) |
Shivers (take A) |
December 20, 1939 |
Columbia CK 45114 |
Six Appeal |
June 4, 1940 |
Masters of Jazz MJCD 40 |
Six Appeal (take y) |
June 11, 1940 |
Columbia C4K 65564 (track D12) |
Six Appeal (take B) |
June 11, 1940 |
Columbia C4K 65564 (track B14) |
Six Appeal (take z) |
June 11, 1940 |
Columbia C4K 65564 (track D13) |
Six Appeal (take C) |
June 11, 1940 |
Columbia C4K 65564 (track B15) |
Six Appeal (take x) |
June 11, 1940 |
Columbia C4K 65564 (track B16) |
Six Appeal (take A) |
June 11, 1940 |
Columbia CK 40846 |
Six Appeal |
June 22, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Six Appeal |
March 3, 1941 |
Masters of Jazz MJCD 74 |
A Smo-o-o-oth One (Waitin for Benny) |
March 13, 1941 |
Columbia CK 40846 |
A Smo-o-o-oth One (take -X) |
March 13, 1941 |
Columbia CL 652 |
A Smo-o-o-oth One (take -1) |
March 13, 1941 |
Columbia CK 45144 |
A Smo-o-o-oth One (take -2) |
March 13, 1941 |
Columbia C4K 65564 (track C7) |
Soft Winds |
October 21, 1939 |
Masters of Jazz MJCD 24 |
Soft Winds (take A) |
November 22, 1939 |
Columbia C4K 65564 (track A20) |
Soft Winds (take B) |
November 22, 1939 |
Columbia C4K 65564 (track A5) |
Soft Winds |
April 13, 1940 |
Masters of Jazz MJCD 40 |
Solo Flight
(Chonk, Charlie, Chonk) |
March 3, 1941 |
Masters of Jazz MJCD 74 (track 6) |
Solo Flight (take -1) |
March 4, 1941 |
Columbia CK 40846 |
Solo Flight (take -2) |
March 4, 1941 |
Columbia CL 652 |
Solo Flight
(Chonk, Charlie, Chonk) |
June 1941 |
Masters of Jazz MJCD 75 (track 18) |
Song of the Islands |
April 28, 1941 |
Masters of Jazz MJCD 75 |
South of the Border |
November 18, 1939 |
Masters of Jazz MJCD 189 |
Star Dust |
September 2, 1939 |
Masters of Jazz MJCD 189 |
Star Dust |
September 24, 1939 |
Columbia CG 30779 |
Star Dust |
October 2, 1939 |
Columbia CK 45144 |
Star Dust |
October 6, 1939 |
Collector’s Classics CC 18 |
Star Dust |
January 15, 1940 |
Jazz Heritage Society 5291134 |
Star Dust |
October 4, 1940 |
Columbia CL 6067 |
Stompin at the Savoy |
February 19, 1941 |
< unissued > |
Stompin at the Savoy |
May 8, 1941 |
Masters of Jazz MJCD 189 |
Stompin at the Savoy |
May 12, 1941 |
Vogue 600135 (track 2) |
Stompin at the Savoy |
May 1941 |
Vogue 600135 (track 6) |
Stompin at the Savoy |
June 1941 |
Masters of Jazz MJCD 189 |
Take Him Off My Mind |
October 31, 1939 |
Affinity AFS 1015 |
Tea for Two |
September 24, 1939 |
Arbors ARCD 19168 |
These Foolish Things (take A) |
June 11, 1940 |
Columbia CK 45144 |
These Foolish Things (take B) |
June 11, 1940 |
Columbia C4K 65564 (track A26) |
These Foolish Things (take x) |
June 11, 1940 |
Columbia C4K 65564 (track D14) |
Till Tom Special |
December 31, 1939 |
Vintage Jazz Classics VJC-1021-2 |
Till Tom Special |
February 7, 1940 |
Columbia CK 40846 |
Topsy (Swing to Bop) |
May 12, 1941 |
Vogue 600135 |
Tune Up & Blues (false
start) |
October 28, 1940 |
Columbia C4K 65564 (track D15) |
Untitled Tune |
April 3, 1940 |
Columbia C4K 65564 (track A13) |
Untitled Tune (breakdown) |
April 3, 1940 |
Columbia C4K 65564 (track D8) |
Way Down Yonder in New Orleans |
December 24, 1939 |
Vanguard 169/71-2 |
Wholly Cats |
October 28, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Wholly Cats (take -W) |
November 7, 1940 |
Columbia CG 30779 |
Wholly Cats (take -X) |
November 7, 1940 |
Columbia CG 30779 |
Wholly Cats (take -Y) |
November 7, 1940 |
Columbia CG 30779 |
Wholly Cats (take -z) |
November 7, 1940 |
Jazz Unlimited JUCD 2013 (track 4) |
Wholly Cats (take -1) |
November 7, 1940 |
Columbia CL 652 |
Wholly Cats (take -2) |
November 7, 1940 |
Columbia CK 40846 |
Wholly Cats |
November 19, 1940 |
Vintage Jazz Classics VJC-1021-2 |
Wholly Cats |
February 10, 1941 |
Masters of Jazz MJCD 74 |
Wholly Cats |
April 7, 1941 |
Jazz Archives JA-23 |
Wrap Your Troubles in Dreams |
October 4, 1940 |
Columbia CL 6067 |
Weidlich, Joseph. (2015). Trading
Licks: Charlie Christian & T-Bone Walker. Anaheim Hills: Centerstream.
Note: Includes 83-track CD with guitar examples of related bends, blues licks, and pentatonic figures.
Contains the first commercially published transcription of Shivers (partial – Nov 4, 1939)
Flying Home August 19, 1939 Jazz Archives JA-23
Flying Home September 9, 1939 Masters of Jazz MJCD 189
Flying Home (take A) October 2, 1939 Columbia CK 45144
Flying Home (take B) October 2, 1939 Masters of Jazz MJCD 24
(track 8)
Flying Home October 16, 1939 Masters of Jazz MJCD 24
(track 17)
Gone with “What” Wind (take B) February 7, 1940 Columbia CG30779
I Surrender, Dear (take B) April 10, 1940 Columbia CK 45144
Poor Butterfly April 3, 1940 Columbia CK 45144
Rose Room October 2, 1939 Columbia CK 40846
Seven Come Eleven November 22, 1939 Columbia CK 40846
The Sheik of Araby April 3, 1940 Columbia CK 45144
Shivers November 4, 1939 Masters of Jazz MJCD 29
(track 1)
Star Dust October 2, 1939 Columbia CK 45144
Till Tom Special February 7, 1940 Columbia CK 40846
Wise Publications (1987a). Jazz
Transcriptions for the Alto Saxophone. New York: Wise
Publications.
I Surrender, Dear April 10,
1940 Columbia CK 45144
() (1987b). Jazz Transcriptions for the Guitar. New
York: Wise Publications.
Star Dust September 24,
1939 Columbia CG 30779
() (1996). Greatest Jazz Solos for Guitar Tab. New
York: Wise Publications.
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
() (2001). Great Jazz and Blues Solos for Guitar.
London: Wise Publications. pp. 88-96 [Part 1].
[incorporates Greatest Jazz Solos for Guitar Tab, published 1996]
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Wyatt, Keith (see Guitar World)
Boukas (1977) does not contain any Christian notations, although Voigt
(1978) indicates that it does.
Gridley (1978) reports that the publisher Giant Steps produced
transcriptions of Charlie Christian solos, but it has not been possible to obtain a copy
of these. A bibliography of jazz guitar notations published in Jazz Hot (1972)
lists an item which appears to include Christian material, but this could not be traced;
although it is not clear from the bibliography, the publication may also include
notations of Barney Kessel, and Chuck Wayne, and appears to be titled Manuscript series
of recorded jazz chorusses [sic]. No publisher or date of publication is given. |
2. ANALYSIS OF PUBLISHED SOLO TRANSCRIPTIONS
Each recorded solo of Christian for which a transcription is published
is listed in alphabetical order of title. The date of recording is noted, and the catalog
number of a familiar CD or LP issue. Relevant details of the
transcription are noted, such as its completeness, inclusion of annotations, chord
symbols, and the key in which it is notated if there is inconsistency with the original
version. The format of entries is based on that used in Koger (1985).
AC-DC Current October 14, 1939 Masters of Jazz MJCD 24 (track 16)
Valdes (2018). Complete (intro, theme, solos, riffs);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
AC-DC Current November 27, 1939 Jazz Archives JA-42
Spring (1980). Notates only 2 solos of 4 bars; chords
unidentified; not annotated.
Valdes (2018). Complete (intro, theme, solos, riffs);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
AC-DC Current December 2, 1939 Masters of Jazz MJCD 40 (track 1)
Valdes (2018). Complete (intro, theme, solos, riffs);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
AC-DC Current December 20, 1939 Columbia CK 45144
Schütze (2003). Complete (intro, theme, solos, riffs);
chords identified; annotated (in
German).
Valdes (2018). Complete (intro, theme, solos, riffs);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
AC-DC Current June 30, 1940 Vintage Jazz Classics VJC-1021-2
Spring (1980). Complete (3 solos of 4 bars); chords
unidentified; not annotated.
Valdes (2018). Complete (intro, theme, solos, riffs);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Ad-Lib Blues October 28,
1940 JazzDocument va-7997
Ayeroff (2005). Complete (2 choruses); includes a riff from the last
chorus;
chords identified; detailed analysis; chord changes in CCs solo are
identified;
left-hand fingering denotation (no guitar tablature).
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 2, bars
6-8 [p. 63. example 1]
Porter (1993). Complete (2 choruses); chords identified;
annotated.
Spring (1980). Extended transcription: complete (2 choruses);
chords identified;
includes 4-bar notation of the
guitar solo on the false start of a preceding tune.
Detailed (annotated)
analysis: chorus 1, bars 10-11 [example 55]
Valdes (2001). Complete (2 choruses);
includes the tenor sax-guitar riffs on the last two choruses;
includes 8-bar notation on the
false start of a preceding tune;
chords identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo and riffs
(2019).
Air Mail Special (see Good Enough to Keep)
All Star Strut (take x) February
7, 1940 Masters of Jazz MJCD 40 (track 4)
Schütze (2003). Complete (solo);
chords identified; annotated (in
German).
Valdes (2018). Complete (solo);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
All Star Strut (take A) February
7, 1940 Masters of Jazz MJCD 40 (track 5)
Schütze (2003). Complete (pno intro, theme, solo);
chords identified; annotated (in
German).
Valdes (2018). Complete (solo, chords behind bass);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo, chords behind bass
(2019).
All Star Strut (take B) February
7, 1940 Columbia CG 30779
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
5-10 [example 34, p. 291]
Hansen (1998). Complete (solo);
chords identified;
not annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Transcribed by Clay Moore.
Schütze (2003). Complete (solo);
chords identified; annotated (in
German).
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated) analysis:
bars
5-7 [example 10]
bars
5-6 [example 93]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete; chords identified.
Detailed
(annotated) analysis:
bars 5-7 [example 4]
Valdes (2018). Complete (solo, chords behind bass);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo, chords behind bass
(2019).
As Long as I Live (take -1) November
7, 1940 Columbia CG 30779
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature).
Ayoub (2015). Notates only bars 1-2; chords identified;
annotated (in French).
[example 12]
Berklee School of Music (n.d.). Complete; chords identified;
not annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
7-8 [example 46, p. 296]
Finkelman (1997). Notates only bars 6-8; chords identified;
annotated.
[example 49]
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as studio version, take #2 in text,
transcription is labeled
“take #1.”
Schütze (2003). Extended transcription: complete; chords
identified; annotated (in German).
Detailed
analysis: bars 7-8 [p. 31]
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated) analysis:
bars
1-2 [example 99]
bar
4 [example 107]
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese).
Valdes (2017). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
As Long as I Live (take -2) November
7, 1940 Columbia C4K 65564 (track B24)
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“studio version, take #1 in text,”
transcription is labeled
“take #2.”
Schütze (2003). Complete; chords identified; annotated (in
German).
Valdes (2017). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Bennys Bugle (take v) November 7,
1940 Columbia C4K 65564 (track D21a)
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as “Rehearsal A.”
Valdes (2019). Complete (solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Bennys Bugle (take W) November 7,
1940 Columbia C4K 65564 (track D21b)
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as “Rehearsal B.”
Valdes (2019). Complete (solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Bennys Bugle (take X) November 7,
1940 Columbia C4K 65564 (track D21c)
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as “Rehearsal C.”
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 2, bars
6-11 [p. 53]
Valdes (2019). Complete (solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Bennys Bugle (take y) November 7,
1940 Columbia C4K 65564 (track D21d)
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as “Rehearsal D.”
Valdes (2019). Complete (solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Bennys Bugle (take Z) November 7,
1940 Columbia C4K 65564 (track D22)
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as “Rehearsal E.”
Valdes (2019). Complete (solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Bennys Bugle (take -1) November
7, 1940 Columbia CK 40846
Berklee School of Music (n.d.). Transcribed from Fox (1964);
not annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
1, bars 4-7 [example 12, p. 283]
chorus
2, bars 3-12 [example 13, p. 284]
Downs (2002). Notation as follows; chords identified; annotated.
bars
1-3 [example 1.3]
complete [example
2.8.1]
Finkelman (1997). Notation as follows; chords
identified; annotated.
chorus
1, bars 1-3 [example 6]
chorus
1, bars 1-3 [example 15]
chorus
2, bars 5-6 [example 50]
complete
[page 186]
Fox (1964). Complete (theme, solo);
chords identified; annotated.
Hal Leonard (2003a). DVD (no printed notation).
Complete; chords identified; narrative, not annotated.
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as
“studio version, take #6.”
Kuboki (1995). Complete (theme, solo, riffs);
chords identified; annotated (in
Japanese).
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 1, bars
4-7 [p. 52]
Marshall (2002). Complete (theme, solo);
chords identified; annotated;
with guitar tablature.
Salmon (2011). Notation as follows; chords identified; annotated.
chorus 1, bar 1 [example 4, p. 40]
chorus 1, bars 1-3 [example 33a, p. 70]
chorus 2, bar 9 [example 41a, p. 77]
Schütze (2003). Complete (theme, solo, vamp, riffs);
chords identified; annotated (in
German).
Spring (1980). Extended transcription: complete
(solo); chords
identified.
Detailed (annotated) analysis:
chorus
1, bars 1-3 [example 5]
chorus
1, bars 1-2 [example 35]
chorus
1, bars 6-7 [example 89]
chorus
1, bars 9-10 [example 64]
chorus
2, bars 10-11 [example 19]
complete
[example 3]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete (solo); chords identified.
Detailed (annotated) analysis:
chorus
1, bars 1-2 [example 26]
chorus
1, bars 6-7 [example 50]
chorus
1, bars 9-10 [example 39]
chorus
2, bars 1-3 [example 1]
chorus
2, bars 10-11 [example 10]
Valdes (2019). Complete (solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Bennys Bugle November 19,
1940 Vintage Jazz Classics VJC-1021-2
Finkelman (1997). Notates only bars 1-3 of chorus 2; chords
identified; annotated.
[example
9]
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as
“live recording #1.”
Spring (1980). Extended transcription: complete
(solo); chords
identified.
Detailed (annotated) analysis:
chorus
1, bars 10-11 [example 11]
chorus
2, bars 1-3 [example 41]
chorus
2, bars 10-11 [example 17]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete (solo); chords identified.
Detailed (annotated) analysis:
chorus
2, bars 1-3 [example 15]
chorus
2, bars 10-11 [example 8]
Valdes (2019). Complete (theme, solo, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and riffs.
Bennys Bugle May 28,
1941 Vintage Jazz Classics VJC-1021-2
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
1, bars 3-8 [example 97, p. 327]
Finkelman (1997). Notation as follows; chords identified;
annotated.
chorus
1, bars 3-4 [example 12]
chorus
2, bars 2-4 [example 43]
chorus
2, bars 6-7 [example 18]
Henderson (2016). Complete (theme, solo);
chords identified; annotated; with guitar
tablature;
referred to as
“live recording #2.”
Spring (1980). Extended transcription: complete
(solo); chords
identified.
Detailed (annotated) analysis:
chorus
1, bars 3-4 [example 31]
chorus
1, bars 7-8 [example 44]
chorus
2, bars 6-7 [example 45]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete (solo); chords identified.
Detailed (annotated) analysis:
chorus
1, bars 1-3 [example 18]
chorus
2, bars 6-7 [example 28]
Valdes (2019). Complete (theme, solo, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
The Blues February 19,
1941 < unissued >
Valdes (2002). Complete (2 choruses); chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Blues in B March 13,
1941 Masters of Jazz MJCD 74
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
2, bars 6-7 [example 26, p. 289]
chorus
3, bar 12 to chorus 4, bar
3 [example 27, p. 289]
Valdes (1999). Complete (5 choruses);
chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Breakfast Feud (take -5) December
19, 1940 Columbia C4K 65564 (track C9a)
Valdes (2019). Complete (solos, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solos and tag.
Breakfast Feud (take -x) December
19, 1940 Columbia C4K 65564 (track C9b)
Valdes (2019). Complete (theme, riffs – breakdown);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of theme and riffs.
Breakfast Feud (take -4) December
19, 1940 Columbia C4K 65564 (track C10)
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (take -3) December
19, 1940 Columbia C4K 65564 (track C11)
Schütze (2003). Complete (intro, theme, riffs, refrain, solo, riffs);
chords identified; annotated (in
German).
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (take -y) December
19, 1940 Columbia C4K 65564 (track D17)
Valdes (2019). Complete (theme, improv – breakdown);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of intro, theme, guitar freelance.
Breakfast Feud (take -2) December
19, 1940 Columbia C4K 65564 (track C12)
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (take -1) December
19, 1940 Columbia C4K 65564 (track C1)
Schütze (2003). Complete (intro, theme, riffs, refrain, solo, riffs, coda);
chords identified; annotated (in
German).
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (take -4) January
15, 1941 Columbia C4K 65564 (track C15)
Schütze (2003). Complete (theme, riffs, refrain, solo, riffs);
chords identified; annotated (in
German).
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (take -3) January
15, 1941 Columbia C4K 65564 (track C16)
Schütze (2003). Complete (theme, riffs, refrain, solo, riffs);
chords identified; annotated (in
German).
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (take -2) January
15, 1941 Columbia C4K 65564 (track C3)
Schütze (2003). Complete (theme, riffs, refrain, solo, riffs);
chords identified; annotated (in
German).
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (take -1) January
15, 1941 Columbia C4K 65564 (track C17)
Schütze (2003). Complete (theme, riffs, refrain, solo, riffs);
chords identified; annotated (in
German).
Valdes (2003). Complete, including the 4-bar
ensemble refrain
before the guitar solo &
the 4-bar tag at the end of the tune;
chords identified;
annotated; chord changes in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud February
17, 1941 Masters of Jazz MJCD 74 (track 3)
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud April
14, 1941 Masters of Jazz MJCD 75 (track 5)
Valdes (2019). Complete (solo, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo and tag.
Breakfast Feud (spliced composite)
December 19, 1940 / January 15, 1941 Columbia CL 652 and CG 30779
The following table shows which takes of Breakfast Feud, recorded
on 19 Dec 1940 and 15 Jan 1941 have been notated. Most of the notations were taken
from LPs which included tracks with solos from different takes, spliced together in
various combinations.
Full details of these splicings are given in Evensmo (c.1976,
pp. CC18-20), Callis (1978, p. 40), Valdes (1997, pp. 7-9), and Valdes (2001, q.v.).
Table 1: Notations of Breakfast Feud spliced solos.
|
Date |
Dec 19, 1940 |
Jan 15, 1941 |
Source |
Matrix |
29259-1 |
29512-4 |
29512-3 |
29512-2 |
29512-1 |
Bell (n.d.) (page
1) |
|
(1) |
|
|
|
Bell (n.d.) (page
2) |
|
|
(1) |
|
|
Colombo (2009) |
ex. 48, 92 |
ex. 36-38 |
ex. 39-40 |
ex. 41 |
ex. 14 |
Downs (2002) |
ex. 2.1.1 |
ex. 2.6.1 |
ex. 2.6.2 |
|
|
Finkelman (1997) |
|
ex. 4 |
ex. 27 |
ex. 20 |
|
Fox (1964) |
(1) |
|
(2) |
(3) |
|
Guitar World (1982) |
|
(1) |
|
|
|
Guitar World (2001) |
|
|
fig. 3 |
|
fig. 2 |
Hansen (1998) |
|
|
|
|
(1) |
Hitchcock (1986) |
(1) |
|
|
|
|
Salmon (2011) |
ex. 10 |
ex. 2 |
ex. 36 |
ex. 11, 40 |
|
Schuller (1989) |
(1) |
(2) |
(3) |
(4) |
(5) |
Schwab (1998) |
|
ex. 8 |
|
|
|
Spring (1980) (page
112) |
(1) |
|
|
|
|
Spring (1980) (page
113) |
|
(1) |
(2) |
(3) |
(4) |
Spring (1990) |
|
(1) |
(2) |
(3) |
(4) |
Notes:
1.
Take numbers are those supplied by Valdes (1997).
2.
Numbers in brackets show the order in which solos are notated in the source.
Antonich (1982). Transcribed from Fox (1964); annotated.
Bell (n.d.). Notates only first 12 bars of first spliced solo from take
29512-4;
chords identified;
annotated; referred to in text as Feud. [page 1]
() (n.d.). Notates only 8 bars from start of solo from take
29512-3;
chords unidentified; not
annotated; referred to in text as Feud. [page 2]
Berklee School of Music (n.d.). Transcribed from Fox (1964);
not annotated.
Colombo (2009). Notation as follows; chords identified;
annotated (in Italian).
take
29259-1 chorus 1, bars 5-7 [example 92, p. 320]
take
29259-1 chorus 2, bars 9-12 [example 48, p. 296]
take
29512-4 chorus 1, bars 5-8 [example 36, p. 293]
take 29512-4 chorus 2, bars 4-8 [example 37, p. 293]
take 29512-4 chorus 2, bars
9-12 [example 38, p. 293]
take 29512-3 chorus 1, bars
9-11 [example 39, p. 293]
take 29512-3 chorus 2, bars
4-12 [example 40, p. 293]
take 29512-2 chorus 2, bars
9-12 [example 41, p. 293]
take 29512-1 chorus 2, bars
1-12 [example 14, p. 285]
Downs (2002). Notation as follows; chords identified;
annotated.
take
29259-1 chorus 1, bars 5-7
[example 2.1.1, p. 46]
take
29512-4 chorus 1, bars 8-12
[example 2.6.1, p. 53]
take
29512-3 chorus 1, bar 12 to chorus 2, bar 5 [example
2.6.2, p. 53]
Finkelman (1997). Notation as follows; chords identified;
annotated.
take
29512-4 bars 9-11 [example 4]
take
29512-3 bars 4-7 [example 27]
take
29512-2 bar
4 [example 20]
Fox (1964). Notates take 29259-1 (sections I and J),
then take 29512-3
(section K, and first chorus of section L),
then take 29512-2
(second chorus of section L and section M);
notates ensemble refrains
before each guitar solo; chords identified; annotated.
Guitar World (1982). Notates solo from take 29512-4;
ensemble refrain is not
notated; chords unidentified; annotated; with guitar tablature.
Guitar World (2001). Notation as follows; chords identified;
annotated.
take
29512-1 bars 8-12 [figure 2]
take
29512-3 bars 8-12 [figure 3]
Hansen (1998). Notates solo from take 29512-1;
ensemble refrain is not
notated; chords identified; not annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Hitchcock et al. (1986). Notates only three fragments from take 29259-1;
chords identified;
annotated.
Kernfeld (1989). Reproduced from Hitchcock et al. (1986);
annotated.
Sadie et al. (2001). Reproduced from Hitchcock et al. (1986);
annotated.
Salmon (2011). Notation as follows; chords identified; annotated.
transcribed from spliced 5-chorus solo on
CD Smithsonian RD 033
take
29259-1 chorus 2, bars
9-10
[example 10, p. 45]
take
29512-4 chorus 1, bars
11
[example 2, p. 40]
take
29512-3 chorus 1, bar
12 to chor 2, bar 5 [example 36, p. 73]
take
29512-2 chorus 1, bar
7
[example 40a, p. 76]
take
29512-2 chorus 2, bar
8
[example 40c, p. 76]
take
29512-2 chorus 2, bars
2-3
[example 11, p. 46]
Schuller (1989). Notates take 29259-1, then takes 29512-4, -3, -2,
-1;
notates ensemble refrains
before each guitar solo; chords unidentified; annotated.
Schwab (1998). Notates solo from take 29512-4;
notates ensemble refrain
before guitar solo; chords identified; annotated (in German).
[example 8]
Spring (1980). Notates take 29259-1;
ensemble refrains are not
notated; chords identified; not annotated. [page 112]
() (1980). Extended transcription: notates takes 29512-4,
-3, -2, -1;
ensemble refrains are not
notated; chords identified. [page 113]
Detailed (annotated) analysis:
take
29512-4 chorus 1, bars
11-12 [example 20]
take
29512-4 chorus 2, bar
6 [example 79]
take
29512-4 chorus 2, bars
2-3 [example 12]
take
29512-4 chorus 2, bars
2-3 [example 48]
take
29512-4 chorus 2, bars
4-5 [example 109]
take
29512-4 chorus 2, bars
11-12 [example 60]
take
29512-3 chorus 1, bars
11-12 [example 59]
take
29512-3 chorus 2, bars
4-5 [example 110]
take
29512-2 chorus 1, bar
8 [example 66]
take
29512-2 chorus 1, bars 11-12 [example 43]
take
29512-2 chorus 2, bars 9-10 [example
14]
take
29512-1 chorus 2, bar
5 [example 91]
() (1990). Adapted from Spring (1980):
Extended transcription:
ensemble refrains are not notated; chords identified;
notates
solos only from:
take
29512-4 complete solo (8+12 bars)
take
29512-3 first 8 bars
take
29512-2 first 8 bars
take
29512-1 last 12 bars
Detailed (annotated) analysis:
take
29512-4 chorus 1, bars 10-11 [example 31]
take
29512-4 chorus 2, bars
2-3 [example 5]
take
29512-4 chorus 2, bar
6 [example 42]
take
29512-3 chorus 1, bars
7-8 [example 22]
take
29512-2 chorus 1, bars
7-8 [example 17]
take
29512-1 chorus 2, bars
5-6 [example 53]
Celestial Express February 5, 1941 Mosaic MD4-109
Valdes (2018). Complete (two sets of riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Charlies Choice (see Topsy)
Charlies Dream (see Dickies Dream)
Death Letter Blues (take -2) October
31, 1939 Document DOCD-5651 (track 4)
Valdes (2020). Complete (intro / obbligati);
chords identified; annotated; chord changes
in CCs role are identified;
with guitar tablature and left-hand fingering denotation.
Death Letter Blues (take -1) October
31, 1939 Document DOCD-5651 (track 3)
Valdes (2020). Complete (intro / obbligati);
chords identified; annotated; chord changes
in CCs role are identified;
with guitar tablature and left-hand fingering denotation.
Deep Sea Blues (take -2) October
31, 1939 Document DOCD-5651 (track 2)
Valdes (2020). Complete (obbligati);
chords identified; annotated; chord changes
in CCs backing are identified;
with guitar tablature and left-hand fingering denotation.
Deep Sea Blues (take -1) October
31, 1939 Document DOCD-5651 (track 1)
Valdes (2020). Complete (obbligati);
chords identified; annotated; chord changes
in CCs backing are identified;
with guitar tablature and left-hand fingering denotation.
Dickies Dream October 28, 1940
Vintage Jazz Classics VJC-1021-2
(Charlies Dream)
Spring (1980). Complete; chords identified; not annotated.
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Dickies Dream October 28, 1940
Vintage Jazz Classics VJC-1021-2
(Lesters Dream)
Finkelman (1997). Notates only bars 10-12; chords identified;
annotated.
[example 38]
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated)
analysis: bars 14-15 [example 108]
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Dinah December 16,
1939 Vintage Jazz Classics VJC-1021-2
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature).
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
5-7 [example 95, p. 326]
Downs (2002). Bars 27-32; chords identified;
annotated. [example 2.9.2]
Hansen (1999). Complete; chords identified; not annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
5-7 [p. 55]
Spring (1980). Extended transcription: complete; chords
identified; key of Bb instead of Ab.
Detailed (annotated) analysis:
bars
4-5 [example 95]
bars
13-14 [example 21]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates up to bar 23; chords identified.
Detailed (annotated) analysis:
bars
4-5 [example 54]
bars
13-14 [example 13]
Valdes (1999). Complete, including CC chords on
vibes solo; chords identified; annotated;
chord changes in CC’s solo are identified; with guitar
tablature and left-hand fingering denotation.
Includes
mp3 sound-clip of the guitar solo and the guitar comping on the vibes solo
(2019).
Edmond Hall Blues February 5,
1941 Mosaic MD4-109
Valdes (2018). Complete (4-bar chord intro
& bass accompaniment);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Flying Home August 19,
1939 Jazz Archives JA-23
Berish (2012). Complete; chords unidentified; annotated. [p. 187]
Finkelman (1997). Notation as follows; chords identified; annotated.
bars
11-13 [example 28]
bars
23-24 [example 52]
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“live recording #1” in text,
transcription labeled as
“live recording #2.”
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated) analysis:
bars
14-15 [example 15]
bars
15-16 [example 24]
bars
23-24 [example 76]
bars
23-24 [example 82]
bars
30-31 [example 18]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete; chords identified.
Detailed (annotated) analysis:
bars
14-15 [example 6]
bars
15-16 [example 14]
bars
23-24 [example 45]
bars
23-24 [example 52]
bars
30-31 [example 9]
Valdes (2017). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Weidlich (2015). Complete; chords unidentified; annotated;
with guitar tablature. [p. 84]
Flying Home September 9, 1939 Masters of Jazz MJCD 189
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“live recording #2” in text (with incorrect date),
transcription labeled as
“live recording #1.”
Valdes (2017). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Weidlich (2015). Notates only bars 25-32; chords unidentified; annotated;
with guitar tablature. [p. 86]
Flying Home (take A) October
2, 1939 Columbia CK 45144
Berish (2012). Complete; chords unidentified; annotated. [p. 188]
Berklee School of Music (n.d.). Complete; chords unidentified;
not annotated.
Charupakorn (2009). Complete; chords identified; annotated; with guitar tablature;
includes
CD with audio re-creation of CC solo, opening theme ensemble, and vibes solo
(all played on guitar), also slow-tempo versions of sections of re-created CC solo
[tracks 2-5 (of 35 of various guitarists) pertain
to this tune (4:08)].
Dochtermann (2005). Complete; chords identified; annotated;
with guitar tablature.
Down Beat (1940). Complete; chords unidentified; not annotated.
Downs (2002). Bars 19-24; chords identified;
annotated. [example 2.1.2]
GuitarOne (2004). Complete; chords identified; annotated.
Guitar Player (1997). Complete; chords identified;
annotated; with guitar tablature.
Guitar World (2002). Complete; chords identified; not
annotated.
Hal Leonard (2003b). Complete; chords identified; not
annotated; with guitar tablature.
Hansen (1998). Complete; chords identified; not annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“studio version.”
Kuboki (1995). Complete; chords identified; annotated (in
Japanese); key of D instead of Eb.
Salmon (2011). Notation as follows; chords identified; annotated.
bars 7-8 [example 33b, p. 70]
bars 17-19 [example 25a, p. 59]
bars 21-24 [example 25b, p. 60]
Schütze (2003). Complete; chords identified; annotated (in
German).
Schwab (1998). Complete; chords identified; annotated (in
German). [example 2]
Valdes (2004). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Weidlich (2015). Complete; chords unidentified; annotated;
with guitar tablature. [p. 88]
Flying Home (take B) October
2, 1939 Masters of Jazz MJCD 24 (track 8)
(Homeward Bound)
Downs (2002). Bars 17-24; chords identified;
annotated. [example 2.7.2]
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“V-Disc.”
Schütze (2003). Complete; chords identified; annotated (in German).
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Weidlich (2015). Complete; chords unidentified; annotated;
with guitar tablature. [p. 92]
Flying Home October 6,
1939 Collectors Classics CC 18
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
17-24 [example 58, p. 300]
Mairants (1988). Chords identified; annotated.
Schwab (1998). Complete; chords identified; annotated (in
German). [example 3]
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Flying Home October 16,
1939 Masters of Jazz MJCD 24 (track 17)
Downs (2002). Bars 20-22; chords identified;
annotated. [example 2.3.1]
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Weidlich (2015). Notates only bars 24-31; chords
unidentified; annotated; with guitar tablature.
[p. 94]
Flying Home December 24,
1939 Vintage Jazz Classics VJC-1021-2
Hansen (1998). Complete; chords identified; not annotated;
includes RealAudio sound-clip
of solo. Transcribed by Guido Deimel.
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Flying Home January 15,
1940 Jazz Heritage Society 5291134
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Flying Home February 10,
1941 Masters of Jazz MJCD 75 (track 7)
Berish (2012). Complete; chords unidentified; annotated. [p. 189]
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Flying Home February 19,
1941 < unissued >
Valdes (2017). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Includes
mp3 sound-clip of the entire take (2023).
Flying Home March 10,
1941 Vintage Jazz Classics VJC-1021-2
Finkelman (1997). Notates only bars 7-8; chords identified;
annotated.
[example 10]
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“live recording #3.”
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated) analysis:
bars
7-8 [example 28]
bars
25-26 [example 39]
(——) (1990). Adapted from Spring (1980):
Extended transcription:
notates first 11 bars only; chords identified.
Detailed (annotated)
analysis: bars 7-8 [example 20]
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Flying Home May 5,
1941 Masters of Jazz MJCD 75 (track 9)
Valdes (2018). Complete;
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Four Day Creep October
31, 1939 Affinity AFS 1015
Valdes (2020). Complete (obbligati);
chords identified; annotated; chord changes
in CCs backing are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft (take -1) December
19, 1940 Columbia C4K 65564 (track B13)
(Gilly)
Schütze (2003). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated (in German).
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft (take -x) December
19, 1940 Columbia C4K 65564 (track D19)
(Gilly)
Valdes (2020). Complete (intro, theme, riffs, cadenza);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft (take -3) December
19, 1940 Columbia C4K 65564 (track B25)
(Gilly)
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft (take -2) December
19, 1940 Columbia C4K 65564 (track B26)
(Gilly)
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft (take -3) January
15, 1941 Columbia C4K 65564 (track C19)
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft (take -2) January
15, 1941 Columbia C4K 65564 (track C20)
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft (take -1) January
15, 1941 Columbia C4K 65564 (track C6)
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft February
16, 1941 Masters of Jazz MJCD 74 (track 2)
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Draft February
24, 1941 Masters of Jazz MJCD 74 (track 4)
Valdes (2020). Complete (intro, theme, riffs, cadenza, scales, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Wind (take A) February
7, 1940 Columbia CK 40846
Colombo (1994). Notation as follows; chords identified;
annotated (in Italian).
chorus
1, bars 4-5 [example 5]
chorus
2, bars 4-7 [example 2]
chorus
2, bars 10-12 [example 3]
(——) (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus 1, bars
5-7 [example 5, p. 280]
chorus
2, bars 3-8 [example 6, p. 280]
Dochtermann (2005). Complete (solo);
chords identified; annotated; with guitar tablature.
Henderson (2016). Complete (solo);
chords identified; annotated; with guitar tablature;
referred to as “studio version, take #2.”
Schütze (2003). Complete (solo);
chords identified; annotated (in German).
Schwab (1998). Complete (solo);
chords identified; annotated (in German). [example 5]
Shinko (2008). Notates only bars 5-6 of the first chorus; chords identified;
annotated (in Japanese);
with guitar tablature. [p.27, example 3]
Also notates only bars 5-6 of
the second chorus; chords identified;
annotated
(in Japanese); with guitar tablature. [p.27, example 4]
Valdes (2018). Complete (solo, 3 riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Wind (take B) February
7, 1940 Columbia CG 30779
Berklee School of Music (n.d.). Complete; chords identified;
not annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
2, bars 6-8 [example 94, p. 325]
chorus
2, bars 9-12 [example 35, p. 292]
Down Beat (1968). Reproduced from Fox (1964).
Finkelman (1997). Notation as follows; chords identified;
annotated.
chorus
2, bars 5-7 [example 40]
Fox (1964). Complete (solo, 3 riffs);
chords identified; annotated.
Hal Leonard (2003a). DVD (no printed notation).
Complete; chords identified;
narrative, not annotated.
() (2003b). Solo and riffs reproduced from Marshall (2002).
Complete (pno intro, solos, 3 riffs, clt out-chorus);
chords
identified; not annotated; with guitar tablature.
Henderson (2016). Complete (pno intro, solo);
chords identified; annotated; with guitar
tablature;
referred to as
“studio version, take #1.”
Kuboki (1995). Complete (solo, 3 riffs);
chords identified; annotated (in
Japanese).
Marshall (2002). Complete (solo, 3 riffs);
chords identified; annotated;
with guitar tablature.
Salmon (2011). Notation as follows; chords identified; annotated.
chorus 1, bars 1-4 [example 12, p. 47]
chorus 1, bars 4-5 [example 17a, p. 51]
chorus 2, bars 5-6 [example 17b, p. 51]
chorus 2, bars 5-7 [example 42b, p. 79]
chorus 2, bars 11-12 [example 32a, p. 67]
Schütze (2003). Complete (1st 2 chor incl pno intro, solo, 3 riffs);
chords identified; annotated (in German).
Sing Out! (1978). Complete; chords identified; annotated.
Spaces IV (n.d.). Similar to transcription in Fox (1964).
Spring (1980). Complete; chords identified; not annotated.
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese).
Valdes (2018). Complete (solo, riffs behind vib, 3 riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Weidlich (2015). Notates only from chorus 1, bar 8 to chorus 2, bar 3;
chords unidentified; annotated;
with guitar tablature. [p. 97]
Gone with What Wind March 19, 1940 Suisa JZCD 379
Valdes (2018). Complete (solo, 3 riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Wind April 6, 1940
Vintage Jazz Classics VJC-1021-2
Finkelman (1997). Notation as follows; chords identified;
annotated.
chorus
2, bars 11-12 [example 23]
Henderson (2016). Complete (solo);
chords identified; annotated; with guitar
tablature;
referred to as
“live recording #1,”
text cites incorrect date, location, personnel.
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated)
analysis: chorus 2, bars 11-12 [example 74]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete; chords identified.
Detailed (annotated)
analysis: chorus 2, bars 11-12 [example 41]
Valdes (2018). Complete (solo, 3 riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Wind November 4,
1940 Masters of Jazz MJCD 44
Henderson (2016). Complete (solo);
chords identified; annotated; with guitar tablature;
referred to as “live recording #2.”
Valdes (2018). Complete (solo, 3 riffs,
riffs behind clt);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Gone with What Wind February 19, 1941 Encore 7001
Valdes (2018). Complete (solo, 3 riffs, riffs behind clt);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Good Enough to Keep (take A) June 11,
1940 Columbia CK 45144
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars 6-8 [example
53, p. 298]
bars
13-15 [example 54, p. 298]
bars
17-25 [example 55, p. 298]
Hansen (1998). Complete (solo);
chords identified; not
annotated; with separate guitar tablature;
includes RealAudio sound-clip
of solo; referred to as Good Enough to Keep.
Henderson (2016). Complete (theme, solo, out-chorus riffs);
chords identified; annotated; with guitar
tablature;
referred to as
“studio recording 1, take #1.”
Schütze (2003). Complete (theme, solo, out-chorus riffs);
chords identified; annotated (in German).
Sokolow (1988). Complete (solo);
chords identified; annotated;
referred to in text as
Air Mail Special (I).
Spring (1980). Extended transcription: complete (solo); chords
identified;
referred
to as Good Enough to Keep (June 20/40).
Detailed (annotated) analysis:
bars
7-8 [example 23]
bars
13-15 [example 72]
Valdes (2019). Complete (theme, solo, out-chorus riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Good Enough to Keep (take B) June
11, 1940 Columbia C4K 65564 (track B17)
Henderson (2016). Complete (theme, solo, out-chorus riffs);
chords identified; annotated; with guitar
tablature;
referred to as
“studio recording 1, take #2.”
Valdes (2019). Complete (theme, solo, out-chorus riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Good Enough to Keep (take C) June 11,
1940 Columbia C4K 65564 (track B18)
Henderson (2016). Complete (theme, solo, out-chorus riffs);
chords identified; annotated; with guitar
tablature;
referred to as
“studio recording 1, take #3.”
Shinko (2008). Notates only bars 17-24; chords identified; annotated (in
Japanese);
with guitar tablature. [p.27, example 2]
Valdes (2019). Complete (theme, solo, out-chorus riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Good Enough to Keep (spliced composite)
March 13, 1941 Columbia CL 652
(Air Mail Special)
Note: This LP issue has two guitar solos (each a 32-bar
chorus)
spliced from two
separate takes: CO 29943-2 followed by 29943-1;
details in Callis
(1978, p. 41), Valdes (1997, p. 10), and Valdes (2001, q.v.).
Antonich (1982). Transcribed from Fox (1964); annotated.
Berklee School of Music (n.d.). Transcribed from Fox (1964);
not annotated.
Fox (1964). Complete (i.e., both solos); chords identified;
annotated;
referred to as Air Mail
Special.
Petersen (1979). Notates only the second guitar solo (i.e., the complete
take 29943-1 solo);
chords identified;
annotated; referred to as Air Mail Special.
[the text references Columbia
CG 30779 but the transcription was not taken from that LP]
Salmon (2011). Notation as follows; chords identified; annotated.
take 29943-2 bars 1-8 [example 5a, p. 42]
take 29943-2 bars 15-16 [example 5b, p. 42]
take 29943-2 bars 17-20 [example 9, p. 44]
take 29943-2 bars 21-22 [example 14a, p. 48]
take 29943-1 bars 21-22 [example 14b, p. 48]
Good Enough to Keep (spliced composite) March
13, 1941 Columbia CG 30779
(Air Mail Special)
Note: This LP issue has two guitar solos spliced from the same
takes as Columbia CL 652
(see above), except that the
second solo has the first 8 bars omitted;
details in Callis
(1978, p. 41), Valdes (1997, p. 10), and Valdes (2001, q.v.).
Bell (n.d.). Notates only the first 13 bars of the first solo; chords
unidentified; not annotated;
referred to in text as
Good Enough to Keep.
Sokolow (1988). Complete (i.e., first solo of 32 bars, second of 24
bars); chords identified;
annotated; referred to
in text as Air Mail Special (II).
Spring (1980). Extended transcription: complete (i.e., first solo of
32 bars, second of 24 bars);
chords identified;
referred to as Good Enough to Keep (March 13/41).
Detailed (annotated) analysis:
take
-2, bars 1-3 [example 37]
take
-2, bars 25-26 [example 40]
take
-1, bars 23-24 [example 80]
() (1990). Adapted from Spring (1980):
Extended transcription:
chords
identified; notates only first 11 bars of first chorus,
then
bars 18-25 (i.e., starting at 2nd bar of bridge) of second chorus.
Detailed (annotated) analysis:
take
-2, bars 1-3 [example 24]
take
-1, bars 23-24 [example 43]
Good Enough to Keep (take -2) March
13, 1941 Masters of Jazz MJCD 75 (track 2)
(Air Mail Special)
Note: This CD issue has the complete original take CO 29943-2.
Cherry Hill Music (1997). Complete (solo);
chords
identified; not annotated.
Downs (2002). Bars 16-18; chords identified;
annotated. [example 2.2.1]
Finkelman (1997). Notates only bars 1-3; chords identified;
annotated. [example 17]
Hal Leonard (2003a). DVD (no printed notation).
Complete; chords identified;
narrative, not annotated.
Henderson (2016). Complete (solo);
chords identified; annotated; with guitar
tablature;
referred to as
“studio recording 2, take #2.”
Marshall (2002). Complete (theme, solo);
chords identified; annotated;
with guitar
tablature. [page 57]
Schütze (2003). Complete (theme, solo, out-chorus
riffs);
chords identified; annotated (in
German).
Valdes (2019). Complete (theme, solo, riffs behind ts, out-chorus riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Good Enough to Keep (take -1) March
13, 1941 Masters of Jazz MJCD 75 (track 1)
(Air Mail Special)
Note: This CD issue has the complete original take CO 29943-1.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
11-16 [example 44, p. 295]
Hal Leonard (2003b). Complete (theme, all solos, riffs behind sax solo, out-chorus riffs);
chords identified; not annotated; with guitar tablature.
Solo reproduced from Marshall (2002).
Henderson (2016). Complete (solo);
chords identified; annotated; with guitar tablature;
referred to as
“studio recording 2, take #1.”
Kuboki (1995). Complete (theme, solo, out-chorus riffs);
chords identified;
annotated (in Japanese).
Marshall (2002). Complete (solo);
chords identified; annotated; with guitar
tablature.
[page 34; text refers to
a seminal version of June 1940]
Schütze (2003). Extended transcription: complete
(theme, solo, out-chorus riffs);
chords identified; annotated (in German).
Detailed analysis:
bars 17-20 [p.34]
Valdes (2019). Complete (theme, solo, riffs behind ts, out-chorus riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Good Enough to Keep March 17,
1941 Vintage Jazz Classics VJC-1021-2
Hansen (1998). Complete (solo);
chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo;
referred to as Air Mail
Special.
Henderson (2016). Complete (solo);
chords identified; annotated; with guitar
tablature;
referred to as
“live recording.”
Spring (1980). Extended transcription: complete
(solo); chords
identified;
referred to as Air Mail
Special.
Detailed (annotated) analysis:
bars
12-13 [example 32]
bars
15-16 [example 25]
bars
29-31 [example 49]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates from bar 24 to end; chords identified.
Detailed (annotated)
analysis: bars 29-31 [example 32]
Valdes (2019). Complete (theme, solo, riffs behind ts, ride-out riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solo.
Good Morning Blues December 24,
1939 Vanguard 169/71-2
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
this solo is incorrectly
attributed to Eddie Durham in the text.
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Ayoub (2015). Notates only bars 1-3; chords identified;
annotated (in French).
[example 13]
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus 1, bars 8-9 [example 98, p. 328]
chorus 2, bars 8-9 [example 99, p. 328]
Kuboki (1995). Complete; chords identified; annotated (in
Japanese).
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 2, bars
5-6 [p. 56, example 3]
Sing Out! (1977). Complete; chords identified; annotated.
Spring (1980). Complete; chords identified; not annotated.
Valdes (2000). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Grand Slam (take A) April 10,
1940 Columbia C4K 65564 (track A25)
(Boy Meets Goy) (Boy Meets Girl)
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as “Boy Meets Goy (Grand Slam) – studio version, take #1.”
Valdes (2017). Complete, including 8-bar
theme; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Grand Slam (take B) April 10,
1940 Columbia CK 40846
(Boy Meets Goy) (Boy Meets Girl)
Antonich (1982). Transcribed from Fox (1964); annotated.
Bell (n.d.). Notates the first chorus and two bars of the second
chorus; chords identified;
not annotated; referred
to in text as Goy.
Berklee School of Music (n.d.). Transcribed from Fox (1964);
not annotated.
Colombo (1994). Notates only bars 3 to 7 of the second chorus; chords
identified;
annotated (in Italian).
[example 1]
(——) (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus 1, bars
1-7 [example 7, p. 281]
chorus
1, bar 12 to chorus 2, bar 7 [example 8, p. 281]
Down Beat (1961). Complete; chords identified; annotated;
referred to as Boy Meets Goy.
() (1970). Reproduced from Down Beat (1961).
Finkelman (1997). Notates only bars 4-6 of chorus 2; chords
identified; annotated;
referred to as Boy Meets
Goy. [example 35]
Fox (1964). Complete; chords identified; annotated.
Hal Leonard (2003a). DVD (no printed notation).
Complete; chords identified;
narrative, not annotated.
Hal Leonard (2003b). Reproduced from Marshall (2002).
Complete; chords
identified; not annotated; with guitar tablature.
Hansen (1998). Complete; chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“Boy Meets Goy (Grand Slam) – studio version, take #2.”
Ingram (1980). Notates only bars 11 to 14 of the first chorus; chords
identified; annotated;
untitled in text
[transcription 2].
Kuboki (1995). Complete; chords identified; annotated (in
Japanese).
Marshall (2002). Complete; chords identified; annotated;
with guitar tablature.
Petersen (1979). Complete; chords identified; annotated.
Salmon (2011). Notation as follows; chords identified; annotated.
chorus 1, bar 2 [example 40b, p. 76]
chorus 2, bars 3-7 [example 26, p. 61]
Schütze (2003). Extended transcription: complete; chords
identified; annotated (in German).
Detailed analysis:
bars 1-3 [p.30]
Smith & Tharp (1958). Complete; chords unidentified;
not annotated.
Spring (1980). Extended transcription: complete; chords
identified;
referred
to as Boy Meets Goy (Grand Slam).
Detailed (annotated) analysis:
chorus
1, bars 1-3 [example 7]
chorus
1, bars 5-6 [example 50]
chorus
2, bars 4-5 [example 97]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete; chords identified.
Detailed (annotated) analysis:
chorus
1, bars 5-6 [example 33]
chorus
2, bars 4-5 [example 56]
Valdes (2000). Complete, including 8-bar
theme; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Guys Got to Go (see I Got Rhythm)
Hard Time Blues October
31, 1939 Affinity AFS 1015
Valdes (2020). Complete (obbligati);
chords identified; annotated; chord changes
in CCs backing are identified;
with guitar tablature and left-hand fingering denotation.
Havent Named It Yet October 12,
1939 Avid AMSC 612
Downs (2002). Bars 26-31; chords identified;
annotated.
[example 2.7.1]
Finkelman (1997). Notates only bars 8-10; chords identified;
annotated.
[example 25]
Hansen (1998). Complete; chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Valdes (2001). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
The Heebie Jeebies Are Rockin the Town (take -2) October 12,
1939 Avid AMSC 612 (track B24)
Valdes (2019). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
The Heebie Jeebies Are Rockin the Town (take -1) October 12,
1939 Avid AMSC 612 (track B8)
Valdes (2019). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Homeward Bound (see Flying Home, take B)
Honeysuckle Rose November 22,
1939 Columbia CG 30779
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as
Honeysuckle Rose (I).
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as
Honeysuckle Rose I.
Berklee School of Music (n.d.). Complete; chords unidentified;
not annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
1-2 [example 30, p. 290]
bars
9-12 [example 31, p. 291]
bars
17-24 [example 32, p. 291]
bars
27-29 [example 33, p. 291]
Dodge (1995). Complete; chords unidentified; annotated.
Down Beat (1961). Complete; chords unidentified; annotated.
Guitar Player (1982). Reproduced from Ayeroff (1979).
Guitar Player (1995). Reproduced from Ayeroff (1979),
with new commentary
identifying certain harmonic features of interest.
Hal Leonard (2003b). Reproduced from Marshall (2002).
Complete; chords
identified; not annotated; with guitar tablature.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“studio version.”
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
10-12 [p. 55, example 3]
bars
15-16 [p. 57, example 2]
Mairants (1996). Complete; chords identified; annotated.
() (2002). Reproduced from Mairants (1996).
Marshall (2000). Complete; chords identified; annotated;
with guitar tablature.
() (2002). Adapted from Marshall (2000).
Complete; chords
identified; revised annotation; with guitar tablature.
Salmon (2011). Notation as follows; chords identified; annotated.
bars 3-4 [example 7, p. 43]
bars 22-23 [example 19, p. 52]
bars 23-24 [example 42a, p. 79]
bars 31-32 [example 33c, p. 71]
Schmitz (1992). Only the first sixteen bars are notated; text in
German.
Schütze (2003). Extended transcription: complete; chords
identified; annotated (in German).
Detailed analysis:
bar 19 [p.33]
Sokolow (1999). Complete; chords identified; annotated.
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated)
analysis:
bars
9-10 [example 102]
bars
11-13 [example 113]
bars
20-21 [example 103]
bar
22 [example 86]
bars
25-27 [example 104]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates first 24 bars only; chords identified.
Detailed (annotated) analysis:
bars
8-10 [example 61]
bars
20-21 [example 58]
Takayanagi (1975). Complete; includes complete score of the
arrangement;
chords identified;
annotated (in Japanese).
Valdes (1999). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Honeysuckle Rose December 24,
1939 Vanguard 169/71-2
Ayeroff (1979). Omits lead-in; chords identified;
annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as
Honeysuckle Rose (III).
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as
Honeysuckle Rose III.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
9-13 [example 100, p. 328]
Valdes (2000). Complete, including intro and
out-chorus riffs; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Honeysuckle Rose June 22,
1940 Masters of Jazz MJCD 44
Valdes (2006). Complete, including intro;
chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Honeysuckle Rose November 19,
1940 Vintage Jazz Classics VJC-1021-2
Ayeroff (1979). Omits half-bar lead-in; chords identified;
annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as
Honeysuckle Rose (II).
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as
Honeysuckle Rose II.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
4-8 [example 96, p. 326]
Finkelman (1997). Notation as follows; chords identified;
annotated.
bars
11-13 [example 42]
bars
24-32 [example 58]
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“live recording.”
Sokolow (1999). Omits pick-up bar; chords identified;
annotated.
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated) analysis:
bars
2-3 [example 51]
bars
23-24 [example 100]
bars
29-31 [example 112]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates first 13 bars only; chords identified.
Detailed (annotated)
analysis: bars 1-4 [example 35]
Valdes (2000). Complete, including intro and
out-chorus riffs; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Honeysuckle Rose May
1941 Vogue 600135
(Up on Teddys Hill)
Antonich (1982). Transcribed from Ayeroff (1979), except first 12
bars of the first chorus
(transposed back to Db) are from Edmonds & Prince (1958);
annotated; referred to
as Up on Teddys Hill.
Ayeroff (1979). Omits first 12 bars of the first chorus and bridge solo on
out-chorus;
chords identified; annotated; left-hand fingering denotation
(no guitar tablature);
referred to as Up on Teddys Hill.
() (2005). Complete 4-chorus solo (omits bridge solo on
out-chorus);
includes riffs behind 2-chorus
trumpet solo;
chords identified;
detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Up on
Teddys Hill.
Colombo (2009). Referred to as “Up on Teddy’s Hill.”
Notation as
follows; chords identified; annotated
(in Italian);
chorus 1, bars
9-13 [example 67, p. 306]
chorus 1, bars
16-23 [example 68, p. 306]
chorus
1, bars 24-27 [example 69, p. 306]
chorus
2, bars
14-15 [example 70, p. 306]
chorus
2, bars
17-24 [example 71, p. 307]
chorus
3, bars 17-24 [example 72, p. 308]
chorus
3, bars
25-29 [example 73, p. 308]
chorus
4, bars
17-24 [example 74, p. 308]
chorus
4, bars 25-29 [example 75, p. 308]
Dennison (2015). Adapted from Valdes (1979).
Detailed (annotated) analysis:
chorus 1, bars 17-20 [p. 72]
chorus 1, bars 23-26 [p. 80]
chorus 2, bars 17-19 [p. 72]
chorus 3, bars 17-19 [p. 72]
chorus 4, bars 2- 4 [p. 82]
chorus 4, bars 2- 5 [p. 86]
chorus 4, bars 17-19 [p. 72]
chorus 4, bars 25-26 [p. 72]
Downs (2002). Bars 25-27 of fourth chorus; chords identified;
annotated.
[example 2.5.2]
Edmonds & Prince (1958). Complete 4-chorus solo (omits bridge solo on
out-chorus);
chords identified; not
annotated; key of C instead of Db;
referred to as Up on Teddys Hill.
Feather (1961). Notates only from bar 17 to end of the third chorus;
chords identified;
annotated; referred to as Up on Teddys Hill.
Finkelman (1997). Notates only bars 15-16 of chorus 4;
chords identified;
annotated. [example 16]
Ishizawa (2011). Bars 12-16 of fourth chorus [p.107, example A];
chords identified;
annotated (in Japanese); with guitar tablature.
Kuboki (1995). Complete 4-chorus solo (omits bridge solo on out-chorus);
chords identified;
annotated (in Japanese); key of C instead
of Db.
() (2016). Complete 4-chorus solo (omits bridge solo on out-chorus);
chords identified;
annotated (in Japanese); with guitar tablature.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 3, bars
14-16 [p. 76, example 2]
Matzner & Wasserberger (1969). Similar to transcription in Feather
(1961); annotated.
Shinko (2008). Notates only bars 19-22 of the second chorus; chords
identified;
annotated
(in Japanese); with guitar tablature. [p.31, example 3]
Also notates only bars 25-28
of the fourth chorus; chords identified;
annotated
(in Japanese); with guitar tablature. [p.33, example 4]
Spring (1980). Extended transcription: complete 4-chorus solo (omits
bridge solo on out-chorus);
chords
identified; referred to as Up on Teddys Hill (Honeysuckle).
Detailed (annotated) analysis:
chorus
1, bars 11-12 [example 105]
chorus
1, bars 12-13 [example 98]
chorus
1, bars 16-17 [example 94]
chorus
2, bars 14-15 [example 69]
chorus
3, bars 20-21 [example 106]
chorus
3, bars 26-27 [example 81]
chorus
4, bars 15-16 [example 36]
() (1990). Adapted from Spring (1980):
Extended transcription:
chords identified;
notates
only bars 8 to 17 of the first chorus,
then
bar 19 to end of the third chorus,
and
bars 12 to 17 of the fourth chorus.
Detailed (annotated) analysis:
chorus
1, bars 12-13 [example 57]
chorus
3, bars 20-21 [example 59]
chorus
3, bars 26-27 [example 51]
chorus
4, bars 15-16 [example 27]
Valdes (2000). Complete, including riffs and
CCs solo on out-chorus bridge;
chords identified;
annotated; chord changes in CCs solos are identified;
with guitar tablature and
left-hand fingering denotation.
I Cant Believe That Youre In Love with Me March
13, 1941 Definitive DRCD11176
Valdes (2019). Complete (both sets: intro, solo; solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clips of intro and both guitar solos.
I Cant Give You Anything But Love (take -3)
December 19, 1940 Masters of Jazz MJCD 68
(track 1)
Valdes (2018). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Cant Give You Anything But Love (take -2)
December 19, 1940 Masters of Jazz MJCD 68
(track 2)
Valdes (2018). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Cant Give You Anything But Love (take -1)
December 19, 1940 Columbia CK 45144
Antonich (1982). Transcribed from Ayeroff (1979).
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature).
Berklee School of Music (n.d.). Complete; chords identified;
not annotated.
Birkett (1994). Complete; chords identified; annotated.
Britt (1984). Notates only first 8 bars; chords identified;
annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
4-5 [example 49, p. 296]
bars
9-11 [example 50, p. 296]
bars
12-14 [example 51, p. 297]
bars
15-16 [example 52, p. 297]
Dochtermann (2005). Complete; chords identified; annotated;
with guitar tablature.
Schütze (2003). Complete; chords identified; annotated (in
German).
Schwab (1998). Complete; chords identified; annotated (in
German). [example 9]
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated) analysis:
bar
4 [example 92]
bar
16 [example 88]
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese).
Valdes (2018). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Found a New Baby (take -2) January
15, 1941 Columbia CG 30779
Antonich (1982). Transcribed from Ayeroff (1979); annotated.
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as
Ive Found a New Baby (II).
() (2005). Complete chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Ive
Found a New Baby I.
Bell (n.d.). Notates only first 12 bars of the first chorus; chords
identified; not annotated;
referred to in text as
Baby.
Berklee School of Music (n.d.). Complete; chords identified;
not annotated;
key of Ebm instead of Dm.
Carter (1979). Complete; chords identified; annotated;
untitled in text.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
4-8 [example 42, p. 294]
bars
23-24 [example 43, p. 294]
Finkelman (1993). Notates only the last bar of the solo; chords
identified; annotated;
referred to as alternate take.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“I’ve Found a New Baby – studio version, take #2.”
Ingram (1980). Notates first 4 bars only; chords identified;
annotated;.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
4-7 [p. 77, example 2]
bars
6-7 [p. 54, example 2]
Schütze (2003). Complete; chords identified;
annotated (in German);
speciously referred to as “master
– mx 29514-1 – second take.”
Shinko (2008). Notates only bars 17-24; chords identified; annotated (in Japanese);
with guitar tablature.
[p.29, example 6]
Spring (1980). Complete; chords identified; not annotated.
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese);
key of Ebm instead of Dm.
Valdes (1999). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
I Found a New Baby (take -1)
January 15, 1941 Columbia CK 40846
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as
Ive Found a New Baby (I).
() (2005). Complete chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Ive
Found a New Baby II.
Chord Melody Productions (n.d.). Complete; chords identified;
not annotated;
includes guitar chord
diagrams.
Colombo (1994). Notates only bars 30 to 31; chords identified;
annotated (in Italian).
[example 4]
(——) (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
1-8 [example 15, p. 286]
bars
9-16 [example 16, p. 286]
bars
17-24 [example 17, p. 286]
bars
28-32 [example 90, p. 318]
Dochtermann (2005). Complete; chords identified; annotated;
with guitar tablature.
Down Beat (1950). Complete; chords identified; annotated.
() (1961). Reproduced from Down Beat (1950).
Downs (2002). Notation as follows; chords identified;
annotated.
bars
25-27 [example 1.2]
complete
[example 2.8.2]
Finkelman (1993). Notates only three bars from the bridge (from Ayeroff);
chords identified;
annotated.
() (1997). Notates only bars 28-31; chords
identified; annotated. [example 45c]
Hansen (1998). Complete; chords identified; not annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as “I’ve Found a New Baby – studio version, take #1.”
Kuboki (1995). Complete; chords identified; annotated (in
Japanese).
Marshall (2002). Complete; chords identified; annotated;
with guitar tablature.
Martin (1986). Complete; chords identified; annotated.
Schuller (1989). Notates only bars 4 to 6, and bar 8; chords
unidentified; annotated.
Schütze (2003). Complete; chords identified; annotated (in
German);
speciously referred to as “mx 29514-2 – first take.”
Silbergleit (2015). Complete; chords identified; annotated; with guitar
tablature;
includes link to online audio recreation of solo with speed
and pitch control;
referred to as
“I’ve Found a New Baby.”
Valdes (1999). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
I Got Rhythm (first take) September
24, 1939 Suisa JZCD 379 ( track 1)
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
solo 1, bars
16-24 [example 104, p. 329]
Kuboki (2016). Complete; chords identified;
annotated (in Japanese);
with guitar tablature; referred to as I Got Rhythm #1.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
solo 1, bars
18-22 [p. 76, example 3]
solo 1, bars
23-25 [p. 54, example 1]
solo 2, bars
13-14 [p. 65, example 3]
Valdes (2018). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Got Rhythm (second take) September
24, 1939 Suisa JZCD 379 (track 2)
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
solo 1, bars
16-25 [example 103, p. 329]
Hansen (1998). Complete; chords identified; not annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Kuboki (2016). Complete; chords identified;
annotated (in Japanese);
with guitar tablature; referred to as I Got Rhythm #2.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
solo 2, bars
17-24 [p. 63, example 3]
Valdes (2018). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Got Rhythm (spliced composite) September
24, 1939 Columbia CG 30779
Note: This LP issue is spliced from separate recordings;
take 2 is spliced
before take 1 (each take has 2 CC solos);
details are given in
Callis (1978, p. 2), Valdes (1997), and Valdes (2001, q.v.).
Ayeroff (2005). Complete (take 2 followed by take 1);
chords identified;
detailed analysis;
chord changes in CCs
solos are identified;
left-hand fingering denotation
(no guitar tablature).
Bell (n.d.). Notates first 8 bars of first spliced chorus only;
chords identified; not annotated;
key of B instead of Bb;
referred to in text as Rhythm.
Birkett (1987). Complete (take 2 followed by take 1); chords
identified; annotated.
() (1994). Notates first chorus of first solo only;
chords identified; annotated.
Down Beat (1991). Notates first spliced chorus, then middle eight of second
spliced chorus;
chords identified;
annotated.
Finkelman (1993). Notates bars 17-25 of the third spliced chorus;
chords identified; annotated.
() (1997). Notation as follows; chords identified;
annotated.
first
spliced
chorus bars 13-14 [example
26]
second
spliced chorus bars 22-24 [example 55]
third
spliced
chorus bar 22 [example
51]
Spring (1980). Extended transcription: complete (take 2 followed by
take 1); chords identified;
key of B instead of Bb.
Detailed (annotated) analysis:
take
1, solo 1, bars 16-17 [example 53]
take
1, solo 1, bar
22 [example 75]
take
2, solo 1, bars 16-17 [example 54]
take
2, solo 1, bars 16-17 [example 84]
take
2, solo 1, bars 19-20 [example 83]
I Got Rhythm May 1941 Vogue 600135 (track 4)
(Down on Teddys Hill)
Colombo (2009). Referred to as “Down on Teddy’s Hill.”
Notation as
follows; chords identified; annotated
(in Italian);
chorus 1, bars
17-25 [example 109, p. 332]
chorus
2, bars 17-24 [example 88, p. 313]
Valdes (2018). Complete (2½-chorus solo; riffs on out-chorus);
chords identified;
annotated; chord changes in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Got Rhythm May 1941 Vogue 600135 (track 5)
(Guys Got to Go)
Antonich (1982). Transcribed from Ayeroff (1979); annotated;
referred to as
Guys Got to Go.
Ayeroff (1979). Complete (solo); chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to as
Guys Got to Go.
() (2005). Complete (solo; riffs on out-chorus);
chords identified;
detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as
Guys Got to Go.
Colombo (2009). Referred to as “Guy’s Got to Go.”
Notation as
follows; chords identified; annotated
(in Italian);
chorus 1, bars
14-15 [example 107, p. 331]
chorus 1, bars
17-25 [example 87, p. 313]
chorus
2, bars 17-25 [example 108, p. 331]
Edmond & Prince (1958). Complete (solo); chords identified; not
annotated;
referred to as
Guys Got to Go.
Finkelman (1997). Notation as follows; chords identified;
annotated.
chorus
1, bars 22-25 [example 29]
chorus
1, bars 28-29 [example 22]
Kuboki (1995). Complete (solo); chords identified; annotated (in Japanese).
Salmon (2011). Notation as follows; chords identified; annotated.
chorus 1, bars 18-19 [example 8, p. 43]
chorus 1, bars 20-21 [example 38, p. 74]
chorus 1, bar 23 [example 22b, p. 54]
chorus 2, bars 17-18 [example 20, p. 53]
Shinko (2008). Notates only bars 13-20 of the second chorus; chords
identified;
annotated (in Japanese);
with guitar tablature. [p.33, example 5]
Spring (1980). Extended transcription: complete (solo); chords
identified;
referred to as
Guys Got to Go (Rhythm Changes).
Detailed (annotated) analysis:
chorus
2, bars 7-8 [example 26]
chorus
1, bars 28-29 [example 65]
() (1990). Adapted from Spring (1980):
Extended transcription:
chords identified;
notates only from bar 32 (last
bar) of first chorus until 1st bar of middle eight.
Detailed (annotated)
analysis: chorus 2, bars 7-8 [example 11]
Valdes (2018). Complete (2-chorus solo; riffs on out-chorus);
chords identified;
annotated; chord changes in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Hadn’t Anyone Till You March 13, 1941 Masters of Jazz
MJCD 74
Valdes (2017). Complete (32-bar solo;
8 bars on 2nd chorus, 8 bars on 3rd chorus);
chords identified;
annotated; chord changes in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Never Knew October 28,
1940 Vintage Jazz Classics VJC-1021-2
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Hansen (1998). Complete; chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated)
analysis: bars 31-32 [example 61]
Valdes (2017). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
I Surrender, Dear (take A) April
10, 1940 Columbia C4K 65564 (disc 1, track 24)
Valdes (2006). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
I Surrender, Dear (take B) April
10, 1940 Columbia CK 45144
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature).
Berklee School of Music (n.d.). Complete; chords identified;
annotated.
Mairants (1996). Complete; chords identified; annotated.
() (2002). Reproduced from Mairants (1996).
Melody Maker (1947). Complete; chords identified; annotated.
Schütze (2003). Complete; chords identified; annotated (in
German).
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese).
Valdes (2006). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Weidlich (2015). Notates only the final 4 bars;
chords unidentified; annotated;
with guitar tablature. [p. 98]
Wise (1987a). Complete; chords identified; not annotated.
I Surrender, Dear (take x) April
10, 1940 Columbia C4K 65564 (disc 4, track 10)
Valdes (2019). Complete (impromptu 8 bars);
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clip of the brief take.
Ida, Sweet as Apple Cider April 14, 1941 Vintage
Jazz Classics VJC-1021-2
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature).
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Downs (2002). Bars 24-25; chords identified;
annotated. [example 2.4.1(a)]
Finkelman (1997). Notation as follows; chords identified;
annotated.
bars
27-28 [example 54b]
complete [pages
187-188]
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated)
analysis: bars 5-7 [example 111]
Valdes (1999). Complete, including tag; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Im Confessin December 20,
1939 Columbia C4K 65564 (track A9)
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
3-5 [p. 58, example 1]
bars
7-9 [p. 56, example 2]
Schütze (2003). Complete; chords identified; annotated (in
German).
Valdes (2008). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Jammin’ in Four February 5, 1941 Blue Note 21260 2
Ayeroff (2005). Complete (solo);
chords identified; detailed analysis;
chord changes in CCs solo are identified;
left-hand fingering denotation (no guitar tablature);
referred to as Jamming in Four in table of contents.
Valdes (2018). Complete (solo; chords
& bass accompaniment);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Just Like Taking Candy from a Baby (take X) April 30, 1940 Mosaic MD7-240 (track B16)
Valdes (2020). Complete (riffs); chords
identified; annotated;
with guitar tablature and
left-hand fingering denotation.
Just Like Taking Candy from a Baby (take A) April 30, 1940 Masters of Jazz MJCD 189
Valdes (2020). Complete (riffs); chords
identified; annotated;
with guitar tablature and
left-hand fingering denotation.
Lesters Dream (see Dickies Dream)
Lil Boy Love (take A) June
25, 1940 Columbia C4K 65564 (track D3)
Schütze (2003). Complete (orch, vocal, solo); chords identified; annotated (in
German).
Valdes (2019). Complete (solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clips of solo and complete master take.
Lil Boy Love (take B) June
25, 1940 Columbia C4K 65564 (track D6)
Schütze (2003). Complete (orch, vocal, solo); chords identified; annotated (in
German).
Valdes (2019). Complete (solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clip of solo.
Lips Flips (see Stompin at the Savoy)
Memories of You October 7,
1939 Masters of Jazz MJCD 24
Valdes (2018). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Memories of You October 23, 1939
Vintage Jazz Classics VJC-1021-2
Colombo (2009). Complete; chords identified; annotated
(in Italian). [example 89, p. 314]
Spring (1980). Extended transcription: complete; chords
identified; key of E instead of Eb.
Detailed (annotated)
analysis: bar 22 [example 78]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete; chords identified.
Detailed (annotated)
analysis: bar 6 [example 47]
Valdes (2018). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Memories of You (take A) November
22, 1939 Columbia CK 45144
Berklee School of Music (n.d.). Complete; chords identified;
not annotated; first item on page.
Schütze (2003). Complete; chords identified; annotated (in
German).
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese). [page 16]
Valdes (2018). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Memories of You (take B) November
22, 1939 Columbia CG 30779
Berklee School of Music (n.d.). Complete; chords identified;
not annotated; second item on page.
Colombo (2009). Complete; chords identified; annotated
(in Italian). [example 29, p. 289]
Schütze (2003). Complete; chords identified; annotated (in
German).
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated)
analysis: bar 22 [example 87]
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese). [page 19]
Valdes (2018). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Memories of You December 24,
1939 Vanguard 169/71-2
Schuller (1989). Notates only final 4 bars; chords identified;
annotated.
Valdes (2018). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Oh, Lady Be Good December 24,
1939 Vanguard 169/71-2
Ayeroff (2005). Complete (three choruses & bridge
on out chorus);
chords identified;
detailed analysis;
chord changes in CCs
solos are identified;
left-hand fingering denotation
(no guitar tablature).
Valdes (2018). Complete (three choruses & bridge
on out chorus);
chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Oh, Lady Be Good (spliced composite) December 24,
1939 Vanguard VCD2-47/48
Note: This CD issue is spliced, omitting the third chorus of
CCs first solo;
details are provided in
The Spliced Recordings section, q.v..
(The complete recording contains a three-chorus CC solo
plus an eight-bar solo on the bridge of the out chorus.)
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
1, bars 12-16 [example 101, p. 329]
chorus
1, bars
21-24 [example 102, p. 329]
Kuboki (1995). Complete (i.e., two choruses & bridge);
chords identified; annotated (in Japanese).
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 1, bars
23-25 [p. 56, example 4]
chorus 2, bars
6-7 [p. 57, example 1]
chorus 2, bars
16-19 [p. 60]
chorus 2, bars
21-24 [p. 73, example 3]
first
two choruses [p. 78-79]
On the Alamo January 15,
1941 Columbia CK 45144
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Bell (n.d.). Complete; chords unidentified; annotated;
referred to in text as Alamo.
Down Beat (1961). Complete; chords identified; annotated.
Hansen (1998). Complete; chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Polillo (1978). Complete; chords unidentified; annotated (in
Italian).
Schütze (2003). Complete; chords identified; annotated (in
German).
Spring (1980). Complete; chords identified; not annotated.
Valdes (2001). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
On with Charlie Christian (see Stompin at the
Savoy)
One Hour Mama (take -W) October
31, 1939 Rosetta RRCD 1300
Valdes (2020). Complete (intro);
chords identified; annotated; changes
in CCs segment are identified;
with guitar tablature and left-hand fingering denotation.
One Hour Mama (take -X) October
31, 1939 Document DOCD-5651 (track 5)
Valdes (2020). Complete (intro / coda);
chords identified; annotated; changes
in CCs segments are identified;
with guitar tablature and left-hand fingering denotation.
One Hour Mama (take -y) October
31, 1939 Document DOCD-5651 (track 6)
Valdes (2020). Complete (intro);
chords identified; annotated; changes
in CCs segment are identified;
with guitar tablature and left-hand fingering denotation.
One Hour Mama (take -Z) October
31, 1939 Document DOCD-5651 (track 7)
Valdes (2020). Complete (intro / coda);
chords identified; annotated; changes
in CCs segments are identified;
with guitar tablature and left-hand fingering denotation.
One O’Clock Jump January 16,
1941 Masters of Jazz MJCD 68
Valdes (2019). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clip of solo.
One Sweet Letter from You September 11,
1939 Avid AMSC 612
Valdes (2018). Complete (chordal accompaniment to vocal);
chords
identified; annotated; chord changes in CCs chords are identified;
with guitar tablature and
left-hand fingering denotation.
Opus ½ September 23,
1939 Queen-Disc Q-016
Valdes (2018). Complete (chord intro; chordal accompaniment to bass);
annotated; CCs
chords are identified;
with guitar tablature and
left-hand fingering denotation.
Paging the Devil December 24,
1939 Vanguard 169/71-2
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
solo incorrectly attributed to
Eddie Durham in text.
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Finkelman (1997). Notates only bars 4-6; chords identified;
annotated.
[example 39]
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 1, bars
8-9 [p. 61, example 1]
chorus 2, bars
4 [p. 62, example 1]
Sing Out! (1977). Complete; chords identified; annotated.
Valdes (2000). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Pick-a-Rib December 30,
1939 Masters of Jazz MJCD 40
Valdes (2018). Complete,
including theme, solo, riffs; annotated;
chords identified; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Pink Slip Blues October
31, 1939 Affinity AFS 1015
Valdes (2020). Complete (chord intro, obbligati);
chords identified; annotated; chord changes
in CCs backing are identified;
with guitar tablature and left-hand fingering denotation.
Poor Butterfly April 3,
1940 Columbia CK 45144
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Berklee School of Music (n.d.). Complete; chords identified;
not annotated.
Dochtermann (2005). Complete; chords identified; annotated;
with guitar tablature.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
1-3 [p. 55, example 2]
Schütze (2003). Complete; chords identified; annotated (in
German).
Valdes (2001). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Weidlich (2015). Notates only from pickup to bar 3;
chords unidentified; annotated;
with guitar tablature. [p. 98]
Poor Butterfly April 27,
1940 Masters of Jazz MJCD 189
Valdes (1997). Complete; chords identified; annotated;
identifies solo chord-changes;
includes guitar tablature and
left-hand fingering denotation.
Valdes (2001). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Profoundly Blue (take -1) February
5, 1941 Blue Note 21260 2 (track 3)
Antonich (1982). Transcribed from Down Beat (1961); annotated.
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as
Profoundly Blue I.
Berklee School of Music (n.d.). Complete; chords identified;
not annotated;
key of F instead of Eb;
referred to in text as Profoundly Blue # 1.
Dochtermann (2005). First two (of three) choruses only;
chords identified;
annotated; with guitar tablature.
Down Beat (1961). Complete; chords unidentified; includes bass
accompaniment; annotated.
Kuboki (2016). Complete; chords identified;
annotated (in Japanese); with guitar tablature.
Spaces IV (n. d.). Similar to transcription in Berklee (n. d.)
Valdes (2000). Complete, including 4-bar chord
intro & bass accompaniment;
chords identified;
annotated; chord changes in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of intro and guitar solo
(2019).
Profoundly Blue (take -2) February
5, 1941 Blue Note 21260 2 (track 4)
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as
Profoundly Blue II.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
17-19 [p. 65, example 2]
Valdes (2000). Complete, including 4-bar chord
intro & bass accompaniment;
chords identified;
annotated; chord changes in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of intro and guitar solo
(2019).
Riffin Around March 13,
1941 Columbia C4K 65564 (track D23a)
Ayeroff (2005). Complete,
(the last 6 transcribed bars
are actually the beginning of A Smo-o-o-oth One);
chords identified;
detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
132-135 [example 28, p. 289]
Valdes (2018). Complete (176 bars);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Rose Room October 2,
1939 Columbia CK 40846
Antonich (1982). Transcribed from Spaces IV (n.d.); annotated.
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Rose Room
I.
Berklee School of Music (n.d.). Complete; chords identified;
not annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
5-7 [example 2, p. 277]
bars
8-11 [example 3, p. 277]
bars
12-13 [example 1, p. 272]
Down Beat (1943). Complete; chords identified; not annotated.
() (1950). Reproduced from Down Beat (1943).
() (1969). Reproduced from Down Beat (1943).
Down Beat (1978). Complete; chords identified; annotated.
As in Petersen (1979).
Finkelman (1997). Notation as follows; chords identified; annotated.
bars
2-4 [example 33a]
bars
18-19 [example 33b]
bars
20-23 [example 45a]
Guitar Player (2000). Complete; chords identified; annotated.
Hal Leonard (2003b). Complete; chords identified; not
annotated; with guitar tablature.
Hansen (1998). Complete; chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“studio version,” text cites incorrect date.
(——) (2019). Complete; chords identified;
not annotated; with guitar tablature.
Ishizawa (2011). Bars 27-32 [p.107, example C];
chords identified;
annotated (in Japanese); with guitar tablature.
(——) (2011). Bars 1-4 [p. 107, example D];
chords identified;
annotated (in Japanese); with guitar tablature.
Kuboki (1995). Complete; chords identified; annotated (in
Japanese); key of G instead of Ab.
(——) (2016). Complete; chords identified;
annotated (in Japanese); with guitar tablature.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
1-2 [p. 64, example 2]
bars
4-7 [p. 43]
bars
8-11 [pp. 44 & 72]
bars
12-13 [p. 42]
bars
24-27 [p. 46, example 1]
Mairants (1996). Complete; chords identified; annotated.
Petersen (1979). Complete; chords identified; annotated.
Rossi (2003). Complete; chords identified; annotated.
Schuller (1989). Notates bars 1 to 29 only; chords identified;
annotated.
Schütze (2003). Extended transcription: complete; chords
identified; annotated (in German).
Detailed
analysis: bar 13 [p. 32]
Shinko (2008). Notates only bars 11-18; chords
identified; annotated (in Japanese);
with guitar tablature. [p.29, example 5]
Smith & Tharp (1958). Complete; chords identified; not
annotated.
Spaces IV (n.d.). Similar to transcription in Berklee (n.d.).
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated)
analysis: bars 17-19 [example 62]
Tempo (1947). Reproduced from Down Beat (1943).
Valdes (1999). Complete, including 4-bar
intro; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Weidlich (2015). Notates only bars 21-24;
chords unidentified; annotated;
with guitar tablature. [p. 93]
Rose Room October 9,
1939 Vintage Jazz Classics VJC-1021-2
Ayeroff (2005). Complete; chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Rose Room
II.
Hansen (1998). Complete; chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“live recording #2,” text cites incorrect date, location.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
8-11 [p. 46, example 2]
bars
20-23 [p. 56, example 1]
bars
24-27 [p. 46, example 3]
Spring (1980). Complete; chords identified; not
annotated; key of Bb instead of Ab.
Valdes (1999). Complete, including 4-bar
intro; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Rose Room October 28,
1939 Jazz Band EBCD 2138-2
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“live recording #1.”
Valdes (2000). Complete, including 4-bar
intro; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Rose Room February 19,
1941 < unissued >
Note: Only the final thirteen measures of this tune were
recorded from this radio broadcast
capturing no more than the last five
bars of Charlie Christians solo.
Valdes (2016). Complete (i.e., 5-bar partial solo); chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo and out (2023).
Rose Room March 13,
1941 Masters of Jazz MJCD 74
Ayeroff (2005). Complete (8-bar intro, 4 choruses);
chords identified;
detailed analysis;
chord changes in CCs
solos are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Rose Room
III.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
solo 1,
chorus 1, bars 8-11 [p. 47, example 1]
solo 1,
chorus 1, bars 24-27 [p. 47, example 2]
solo 2,
chorus 1, bars 8-11 [p. 48, example 1]
solo 2,
chorus 1, bars 24-27 [p. 48, example 2]
solo 2,
chorus 2, bars 24-27 [p. 49]
Valdes (1999). Complete (8-bar intro, 4
choruses); chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Rose Room June 6,
1941 Suisa JZCD 379
Valdes (2000). Complete, including 4-bar
intro; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Royal Garden Blues (take -1) November
7, 1940 Columbia CK 40846
Ayeroff (2005). Complete (solos); chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Royal
Garden Blues I.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
solo
2, bars
1-8 [example 11, p. 282]
Hansen (1998). Complete (solos); chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Schütze (2003). Complete (verse, refrains, solos, interlude, theme, riffs, riffs);
chords identified; annotated (in German).
Takayanagi (1975). Complete (verse, refrains, solos, interlude, theme);
chords identified; annotated (in Japanese).
Valdes (2019). Complete (refrains, solos, theme, riffs, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clips of guitar and piano solos.
Royal Garden Blues (take -2) November
7, 1940 Columbia C4K 65564 (track B22)
Ayeroff (2005). Complete (solos); chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Royal
Garden Blues II.
Valdes (2019). Complete (refrains, solos, theme, riffs, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solos.
Royal Garden Blues (take -3) November
7, 1940 Columbia CG 30779
Ayeroff (2005). Complete (solos); chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Royal
Garden Blues III.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
solo
1, bars 3-8 [example 47, p. 296]
Spring (1980). Extended transcription: complete (solos); chords
identified.
Detailed (annotated) analysis:
chorus
1, bars 10-11 [example 56]
chorus
2, bars 6-7 [example 77]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete (solos); chords identified.
Detailed (annotated)
analysis: chorus 2, bars 6-7 [example 46]
Valdes (2019). Complete (refrains, solos, theme, riffs, riffs);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of guitar solos.
Seven Come Eleven November 22,
1939 Columbia CK 40846
Antonich (1982). Transcribed from Fox (1964); annotated.
Berklee School of Music (n.d.). Transcribed from Fox (1964);
not annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
17-24 [example 4, p. 278]
Dochtermann (2005). Complete (solo); chords identified; annotated;
with guitar tablature.
Downs (2002). Bars 4-6; chords identified;
annotated. [example 2.10.1]
Finkelman (1993). Notates only bars 16-25 of the solo (from Fox);
chords identified; annotated.
() (1997). Notation as follows; chords identified;
annotated.
bars
2-3 [example 21]
bars
6-7 [example 19]
Fox (1964). Complete (intro, theme, solo); chords identified; annotated.
Garner (2018). Complete (solo); chords identified;
annotated; with guitar tablature.
Guitar Extra (1990). Complete (solo); chords identified; annotated.
GuitarOne (2002). Complete (solo); chords identified; annotated.
Hal Leonard (2000). Complete (theme, solo, riffs); chords identified;
annotated; with guitar tablature.
() (2001). Reproduced from Hal Leonard (2000).
(——) (2003a). DVD (no printed notation).
Complete; chords identified;
narrative, not annotated.
() (2003b). Reproduced from Marshall (2002).
Complete
(theme, solo, riffs); chords
identified; not annotated; with guitar tablature.
Hansen (1998). Complete (solo); chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Transcribed by Mark Smart.
Jazz Educators Journal (1979). Reproduced from Fox (1964).
Kuboki (1995). Complete (theme, solo, ride-out); chords identified; annotated (in
Japanese).
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
17-22 [p. 74, example 2]
bars
17-24 [p. 50]
Marshall (2002). Complete (theme, solo); chords identified; annotated;
with guitar tablature.
Salmon (2011). Notation as follows; chords identified; annotated.
bars 1-3 [example 13, p. 47]
bar 22 [example 16, p. 50]
bars 23-24 [example 39a, p. 75]
bars 29-32 [example 39b, p. 75]
Schütze (2003). Complete (intro, theme, solo); chords identified; annotated (in
German).
Shinko (2008). Notates only bars 17-24; chords identified; annotated (in Japanese);
with guitar tablature. [p.27, example 1]
Spring (1980). Extended transcription: complete
(solo); chords
identified.
Detailed (annotated) analysis:
bars
2-3 [example 67]
bars
6-7 [example 47]
bars
19-20 [example 101]
bars
21-22 [example 96]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates first 24 bars only; chords identified.
Detailed (annotated) analysis:
bars
6-7 [example 30]
bars
19-20 [example 60]
bars
21-22 [example 44]
Valdes (2018). Complete (intro, theme, solo, riffs, ride-out);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Weidlich (2015). Notates only bars 26-32;
chords unidentified; annotated;
with guitar tablature. [p. 96]
Seven Come Eleven November 25,
1939 Masters of Jazz MJCD 29 (track 8)
(Roast Turkey Stomp)
Valdes (2018). Complete (solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Seven Come Eleven May 28,
1940 Masters of Jazz MJCD 40
Downs (2002). Bars 21-23; chords identified;
annotated. [example 2.10.2]
Valdes (2018). Complete (intro,
theme, solo, riffs, ride-out);
chords identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and left-hand fingering denotation.
Includes
mp3 sound-clip of complete take
(2020).
The Sheik of Araby (take A) April
3, 1940 Columbia CK 45144
Ayeroff (1979). Notates complete solo chorus, omits 4-bar exchanges;
chords identified;
annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as The Sheik of Araby (I).
() (2005). Notates complete solo chorus, omits 4-bar exchanges;
chords identified;
detailed analysis; chord changes in CCs solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as The Sheik of Araby I.
Berklee School of Music (n.d.). Notates complete solo, omits 4-bar
exchanges;
chords identified; not
annotated.
Finkelman (1997). Notates only bars 22-24;
chords identified;
annotated. [example 53]
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“studio version, take #2.”
Mairants (1996). Notates complete solo chorus, omits 4-bar exchanges;
chords identified;
annotated.
() (2002). Reproduced from Mairants (1996).
Schütze (2003). Notates complete solo chorus, omits 4-bar exchanges;
chords identified;
annotated (in German).
Takayanagi (1975). Complete, includes intro verse &
4-bar exchanges;
chords identified;
annotated (in Japanese).
Valdes (2006). Complete, includes intro verse &
4-bar exchanges;
chords identified;
annotated; chord changes in CCs solos are identified;
with guitar tablature and
left-hand fingering denotation.
The Sheik of Araby (take B) April
3, 1940 Columbia C4K 65564 (track A23)
Ayeroff (2005). Notates complete solo chorus, omits 4-bar exchanges;
chords identified;
detailed analysis; chord changes in CCs solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as The Sheik of Araby II.
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“studio version, take #1.”
Valdes (2006). Complete, includes intro verse &
4-bar exchanges;
chords identified;
annotated; chord changes in CCs solos are identified;
with guitar tablature and
left-hand fingering denotation.
Weidlich (2015). Notates only the final 4 bars;
chords unidentified; annotated;
with guitar tablature. [p. 98]
The Sheik of Araby April 12,
1940 Vintage Jazz Classics VJC-1021-2
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as
The Sheik of Araby (II).
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as The Sheik
of Araby III.
Finkelman (1997). Notates only bars 5-6;
chords identified;
annotated. [example 13]
Henderson (2016). Complete; chords identified; annotated; with guitar
tablature;
referred to as
“live recording.”
Spring (1980). Extended transcription: complete; chords
identified.
Detailed (annotated) analysis:
bars
5-6 [example 27]
bars
5-6 [example 33]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates first 7 bars only; chords identified.
Detailed (annotated) analysis:
bars
5-6 [example 12]
bars
5-6 [example 23]
Valdes (2006). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
The Sheik of Araby April 26,
1940 Masters of Jazz MJCD 40 (track 18)
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
1-5 [example 91, p. 319]
Downs (2002). Bars 11-14; chords identified;
annotated. [example 2.3.2]
Valdes (2006). Complete; chords
identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Shivers November 4,
1939 Masters of Jazz MJCD 29 (track 1)
Valdes (2018). Complete (intro,
theme, riffs, solo, out-chorus
A riffs & B
chords);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation.
Includes
mp3 sound-clip of complete take
(2020).
Weidlich (2015). Notation as follows; chords unidentified; annotated;
with guitar tablature.
introduction
2 bars [p. 95]
out-chorus riffs
3 bars [p. 95]
solo
bars 1-8 [p. 96]
Shivers (take x) December 20,
1939 Masters of Jazz MJCD 29 (track 11)
Valdes (2018). Complete (intro,
theme, riffs, solo, out-chorus
A riffs & B
chords);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Shivers (take A) December 20,
1939 Columbia CK 45144
Downs (2002). Bars 9-14; chords identified;
annotated. [example 2.6.3]
Fox (1964). Complete (intro, theme, solo);
chords identified; annotated.
Hal Leonard (2003a). DVD (no printed notation).
Complete (theme, solo, out-chorus
A riffs);
chords
identified; narrative, not annotated.
() (2003b). Reproduced from Marshall (2002).
Complete (intro, theme, solo, out-chorus
A riffs & B
chords);
chords
identified; not annotated; with guitar tablature.
Kuboki (1995). Complete (intro, theme, solo);
chords identified; annotated (in
Japanese).
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
bars
1-3 [p. 54, example 3]
bars
9-12 [p. 64, example 1]
Marshall (2002). Complete (intro, theme, solo, out-chorus
A riffs & B
chords);
chords identified; annotated;
with guitar tablature.
Salmon (2011). Notation as follows; chords identified; annotated.
bar 7 [example 3, p. 40]
bars 13-14 [example 35, p. 72]
Schütze (2003). Complete (solo);
chords identified; annotated (in
German).
Valdes (2018). Complete (intro, theme, riffs, solo, out-chorus
A riffs & B
chords);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal June 4, 1940 Masters of Jazz MJCD 40
Valdes (2018). Complete (intro, solo, riffs, cadenzas, roulade, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal (take y) June 11, 1940 Columbia C4K 65564 (track D12)
Valdes (2018). Complete (intro, solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal (take B) June 11, 1940 Columbia C4K 65564 (track B14)
Valdes (2018). Complete (intro, solo, riffs, cadenzas, roulade, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal (take z) June 11, 1940 Columbia C4K 65564 (track D13)
Valdes (2018). Complete (intro);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal (take C) June 11, 1940 Columbia C4K 65564 (track B15)
Valdes (2018). Complete (intro, solo, riffs, cadenzas, roulade, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal (take x) June 11, 1940 Columbia C4K 65564 (track B16)
Valdes (2018). Complete (intro, solo, riffs, cadenzas, roulade);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal (take A) June 11, 1940 Columbia CK 40846
Antonich (1982). Transcribed from Fox (1964); annotated.
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bars
7-8 [example 9, p. 282]
Dochtermann (2005). Complete (solo);
chords identified; annotated;
with guitar tablature.
Fox (1964). Complete (intro, solo);
chords identified; annotated.
Hal Leonard (2003b). Solo reproduced from Marshall (2002).
Compleat (intro, theme, all solos, riffs, cadenzas, roulade, interlude, coda);
chords
identified; not annotated; with guitar tablature.
Hansen (1998). Complete (solo);
chords identified; not annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Marshall (2002). Complete (solo);
chords identified; annotated;
with guitar tablature.
Salmon (2011). Notation as follows; chords identified; annotated.
bars 7-8 [example 34, p. 71]
Schütze (2003). Complete (intro, theme, solo, riffs, cadenzas, interlude, roulade, coda);
chords identified; annotated (in
German).
Spring (1980). Complete (solo);
chords identified; not annotated.
Valdes (2018). Complete (intro, solo, riffs, cadenzas, roulade, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal June 22, 1940 Vintage Jazz Classics VJC-1021-2
Spring (1980). Complete (solo); chords identified; not annotated.
Valdes (2018). Complete (intro, solo, riffs, cadenza);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Six Appeal March 3, 1941 Masters of Jazz MJCD 74
Valdes (2018). Complete (intro, solo, riffs, cadenzas, roulade, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
A Smo-o-o-oth One (Waitin for Benny) March
13, 1941 Columbia CK 40846
Schwab (1998). Notates only the chord accents on bridge;
chords identified;
annotated (in German). [example 11]
Valdes (2018). Complete (theme, chords, riffs);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
A Smo-o-o-oth One (take -X) March
13, 1941 Columbia CL 652
Antonich (1982). Transcribed from Fox (1964); annotated.
Berklee School of Music (n.d.). Transcribed from Fox (1964);
not annotated; key of Gb instead of F.
Fox (1964). Complete (theme, solo, out-ro);
chords identified; annotated; key
of Gb instead of F.
Hansen (1998). Complete (solo); chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Valdes (2019). Complete (intro,
theme, riffs, solo, out-ro);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clip of the take.
A Smo-o-o-oth One (take -1)
March 13, 1941 Columbia CK 45144
Marshall (2002). Complete (intro, theme, solo, out-ro);
chords identified; annotated;
with guitar tablature.
Valdes (2019). Complete (intro,
theme, riffs, solo, out-ro);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clip of the take.
A Smo-o-o-oth One (take -2)
March 13, 1941 Columbia C4K 65564 (track C7)
Down Beat (1961). Complete (solo); chords identified; annotated.
Schütze (2003). Complete (intro, theme, riffs, solo, out-ro);
chords identified; annotated (in
German).
Valdes (2019). Complete (intro,
theme, riffs, solo, out-ro);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clip of the take.
Soft Winds
October 21, 1939 Masters of Jazz MJCD 24
Valdes (2019). Complete (theme, riffs, theme, coda);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Soft Winds (take A)
November 22, 1939 Columbia C4K 65564 (track A20)
Valdes (2019). Complete (intro, theme, riffs, theme, coda);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Soft Winds (take B)
November 22, 1939 Columbia C4K 65564 (track A5)
Valdes (2019). Complete (intro, theme, riffs, theme, coda);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Soft Winds
April 13, 1940 Masters of Jazz MJCD 40
Valdes (2019). Complete (intro, theme, riffs, theme, coda);
annotated; chords identified; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Solo Flight (Chonk, Charlie, Chonk)
March 3, 1941 Masters of Jazz MJCD 74 (track 6)
Valdes (2017). Complete; chords
identified; annotated;
chord changes in CCs
solos are identified;
with guitar tablature and
left-hand fingering denotation;
includes compendious rendering of orchestral score.
Includes
mp3 sound-clip of the entire live track
(2019).
Solo Flight (take -1) March 4,
1941 Columbia CK 40846
Antonich (1982). Transcribed from Fox (1964); (omits
non-guitar passage, section E ).
Berish (2012). Reproduced from Marshall (2002);
notates only section IV [B];
chords unidentified; annotated. [p. 201]
Berklee School of Music (n.d.). Follows same pattern as Fox (1964);
chords unidentified; not
annotated.
Chapman (2000). Notates only the first 16 bars of the guitar solo;
chords identified; annotated.
Chord Melody Productions (n.d.). Complete; chords unidentified; not
annotated;
key of Db instead of C.
Colombo (1994). Notation as follows; chords identified;
annotated (in Italian).
section I [A], bars
5-8 [example 7]
section III [A], bars
3-4 [example 6]
section V [A], bars
6-8 [example 8]
(——) (2009). Notation as follows; chords identified;
annotated (in Italian).
section I [A], bars
3-4 [example 19, p. 287]
section I [A], bars
6-8 [example 20, p. 287]
section II [A], bars
4-5 [example 21, p. 287]
section II [A], bars
7-8 [example 22, p. 288]
section III [A], bars
3-4 [example 23, p. 288]
section IV [B], bars
9-12 [example 24, p. 288]
section V [A], bars
6-8 [example 93, p. 325]
section V [A], bars
15-17 [example 25, p. 288]
Finkelman (1997). Notates only bars 3-5 of section III [A];
chords identified;
annotated. [example 54a]
Fox (1964); Complete from the clarinet solo (E),
an earlier section of the solo
(almost all of section D) is repeated,
and before the final section
of the solo is a passage not heard on the record;
chords identified;
annotated.
GuitarOne (2001). Complete; chords identified; annotated.
Hal Leonard (2003a). DVD (no printed notation).
Only first 16-bar section of
solo; chords identified; narrative, not annotated.
() (2003b). Complete; chords identified; not
annotated; with guitar tablature.
Ishizawa (2011). Bars 1-10 of section I [A] [p.107, example B]
chords identified; annotated (in Japanese); with guitar
tablature.
(——) (2013). Complete; chords identified;
annotated (in Japanese); with guitar tablature.
Kuboki (1995). Complete; chords identified; annotated (in
Japanese).
(——) (2016). Complete; chords identified;
annotated (in Japanese); with guitar tablature.
Mairants (1988). Notates only the first two 32-bar sections; chords
identified; annotated.
Marshall (2002). Complete; chords identified; annotated;
with guitar tablature.
Petersen (1979). Complete; chords identified; annotated;
key of Db instead of C.
Regent Music (1944). Complete; chords unidentified; not
annotated; similar to Fox (1964).
Salmon (2011). Notation as follows; chords identified; annotated.
section I [A], bars 3-4 [example 28a, p. 63]
section I [A], bar 6 [example 14c, p. 48]
section I [A], bars 13-14 [example 27a, p. 61]
section I [A], bars 6-8 [example 28b, p. 63]
section II [A], bar 6 [example 14d, p. 48]
section II [A], bars 7-8 [example 18b, p. 52]
section II [A], bars 13-15 [example 6, p. 42]
section III [A], bar 2 [example 14f, p. 48]
section III [A], bars 3-4 [example 30b, p. 66]
section III [A], bars 7-8 [example 41b, p. 78]
section IV [B], bar 7 [example 37a, p. 73]
section IV [B], bars 10-11 [example 37b, p. 74]
section IV [B], bars 11-12 [example 29, p. 64]
section V [A], bar 6 [example 14e, p. 48]
section V [A], bars 7-8 [example 18a, p. 52]
section V [A], bars 7-8 [example 30a, p. 65]
section V [A], bars 13-16 [example 31, p. 66]
section VII [A], bar 5 [example 37c, p. 74]
Schütze (2003). Complete; chords identified; annotated (in
German).
Shinko (2008). Notates only bars 9-16 of the fourth
chorus; chords identified;
annotated
(in Japanese); with guitar
tablature. [p.29, example 7]
Valdes (1999). Complete; chords
identified; annotated;
chord changes in CCs
solos are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Wise (1996). Complete; chords identified; annotated; with
guitar tablature.
() (2001). Reproduced from Wise (1996).
Solo Flight (take -2) March 4,
1941 Columbia CL 652
Almo (1978a). Complete; chords identified; annotated.
() (1978b). Complete; chords identified; annotated.
() (1978c). Complete; chords identified;
annotated; key of A (transposed for
saxophone).
() (1978d). Complete; chords identified;
annotated; key of Ab (transposed for
trombone).
() (1978e). Complete; chords identified;
annotated; key of D (transposed for
trumpet).
ten Boske (1989). Notation as follows; chords identified;
annotated (in Dutch).
3
bars of CCs intro break
[example 3]
bars 1-4 of
section II [A] [example 8]
bars
9-12 of section IV [B]
[example 6]
Colombo (2009). Notation as follows; chords identified;
annotated (in Italian).
last
2 bars of CC’s intro break [example 18,
p. 287]
Schmitz (1992). Only the first 34 bars are notated; text in German.
Valdes (1999). Complete; chords
identified; annotated;
chord changes in CCs
solos are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2019).
Solo Flight (Chonk, Charlie, Chonk)
June 1941 Masters of Jazz MJCD 75 (track 18)
Valdes (2017). Complete; chords
identified; annotated;
chord changes in CCs
solos are identified;
with guitar tablature and
left-hand fingering denotation;
includes compendious rendering of orchestral score.
Includes
mp3 sound-clip of guitar solo
(2019).
Song of the Islands April 28, 1941 Masters of Jazz MJCD 75
Valdes (2019). Complete (intro, solo);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and left-hand fingering denotation;
includes
mp3 sound-clip of intro and solo.
South of the Border November 18, 1939 Masters of Jazz MJCD 189
Valdes (2019). Complete (intro, riffs, solo, riffs, coda);
chords identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation;
includes
mp3 sound-clip of entire selection.
Star Dust September 2,
1939 Masters of Jazz MJCD 189
Valdes (2020). Complete (solo chorus);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Star Dust September 24,
1939 Columbia CG 30779
Ayeroff (1979). Notates first chorus only;
chords identified; annotated; referred to in text
as “Stardust (I)”
left-hand fingering denotation (no guitar tablature).
Bell (n.d.). Notates first 12 bars only;
chords identified; annotated; referred to in text as
Dust.
Finkelman (1997). Notates only bar 16 of chorus 1;
chords identified; annotated. [example 36]
Kuboki (1995). Complete (both solo choruses);
chords identified; annotated (in Japanese); key of C instead of Db.
Takayanagi (1975). Notates first 32 bars only;
chords
unidentified; annotated (in Japanese).
Valdes (1999). Complete (both solo choruses);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2020).
Wise (1987b). Reproduced from Ayeroff (1979).
Star Dust October 2,
1939 Columbia CK 45144
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to in text as Stardust (II).
Dochtermann (2005). Complete; chords identified; annotated;
with guitar tablature.
Duchossoir (1987). Complete; chords identified; annotated (in
French).
Hal Leonard (2003b). Reproduced from Marshall (2002).
Complete; chords
identified; not annotated; with guitar tablature.
Ishizawa (2011). Bars 5-8 [p.107, example E];
chords identified;
annotated (in Japanese); with guitar tablature.
Kuboki (2016). Complete; chords identified;
annotated (in Japanese); with guitar tablature.
Marshall (2002). Complete; chords identified; annotated;
with guitar tablature.
Schütze (2003). Complete; chords identified; annotated (in
German).
Schuller (1989). Notates only bars 1 to 25; chords identified;
annotated.
Valdes (2020). Complete (solo chorus);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Weidlich (2015). Notates only bars 30-31;
chords unidentified; annotated;
with guitar tablature. [p. 94]
Star Dust October 6,
1939 Collectors Classics CC 18
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
bar 22 [example 59, p. 300]
Takayanagi (1975). Complete; chords identified; annotated (in
Japanese).
Valdes (2020). Complete (solo chorus);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Star Dust January 15,
1940 Jazz Heritage Society 5291134
Valdes (2020). Complete (solo chorus);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Star Dust October 4,
1940 Columbia CL 6067
Hansen (1998). Complete (8-bar solo);
chords
identified; not annotated; with separate guitar
tablature;
includes RealAudio sound-clip of solo.
Valdes (2018). Complete (8-bar solo);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of guitar solo
(2020).
Stompin at the Savoy February 19,
1941 < unissued >
Valdes (2003). Complete (1 chorus including
chords, 8-bar solo, riffs);
chords
identified; annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Stompin at the Savoy May 8,
1941 Masters of Jazz MJCD 189
Valdes (2002). Complete (9
choruses);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Stompin at the Savoy May 12,
1941 Vogue 600135
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
solo
1, chorus
1, bars 17-24 [example 76, p. 310]
solo
1, chorus
2, bars 3-7 [example 77, p.
310]
solo
1, chorus
2, bars 17-25 [example 78, p. 310]
solo
1, chorus
3, bars
17-24 [example 79, p. 310]
solo
2, chorus
1, bars 12-15 [example 80, p. 310]
solo
2, chorus
1, bars
17-24 [example 81, p. 310]
solo
2, chorus
2, bars 17-24 [example 82, p. 311]
solo
2, chorus
3, bars
17-24 [example 83, p. 311]
Dennison (2015). Adapted from Valdes (1979).
Detailed (annotated) analysis:
solo
1, chorus 1, bars 2- 4 [p. 83]
solo
1, chorus 1, bars 9-10 [p. 82
& 83]
solo
1, chorus 1, bars 12-14 [p. 83]
solo
1, chorus 1, bars 13-15 [p. 72]
solo
1, chorus 1, bars 29-30 [p. 72]
solo
1, chorus 2, bars 3- 4 [p. 84]
solo
1, chorus 2, bars 17-18 [p. 72]
solo
1, chorus 2, bars 29-31 [p. 72]
solo
1, chorus 3, bar 5 [p. 84]
solo
1, chorus 3, bars 6- 7 [p. 86]
solo
1, chorus 3, bars 21-23 [p. 80]
solo
2, chorus 1, bars 7- 8 [p. 86]
solo
2, chorus 1, bars 17-18 [p. 72]
solo
2, chorus 2, bars 6- 7 [p. 83]
solo
2, chorus 3, bars 14-15 [p. 83]
solo
2, chorus 3, bars 17-20 [p. 72]
solo
2, chorus 3, bars 21-22 [p. 72]
Downs (2002). Bars 17-20; chords identified;
annotated. [example 2.4.2(a)]
Finkelman (1993). Notates only the bridge of the first solo chorus;
chords identified; annotated.
() (1997). Notates only bars 8-12 of chorus 3 of the second
solo; chords identified;
annotated.
[example 44]
Grassell (1998). Notates all three choruses of the first solo; chords
identified; not annotated.
Hal Leonard (2003b). Complete; chords identified; not
annotated; with guitar tablature.
Okazaki (2017). Notates all three choruses of the first solo; chords
unidentified; annotated.
Schuller (1989). Notates only bars 9 to 25 of first chorus of first
solo; chords identified;
annotated.
[untitled, page 577]
Shinko (2008). Complete; chords identified;
annotated
(in Japanese); with guitar tablature.
() (2008). Notates only bars 17-24 of the out-chorus;
chords identified;
annotated (in Japanese);
with guitar tablature. [p.31, example 2]
Spring (1980). Extended transcription: complete (both three-chorus
solos); chords identified.
Detailed (annotated) analysis:
solo
1, chorus 1, bars 3-4 [example 73]
solo
1, chorus 1, bars
7-8 [example 6]
solo
1, chorus 2, bars 25-26 [example 38]
solo
1, chorus 2, bars 30-31 [example 70]
solo
1, chorus 3, bars 2-3 [example 13]
solo
2, chorus 2, bars 5-7 [example 30]
() (1990). Adapted from Spring (1980):
Extended transcription:
chords
identified; notates first 5 bars only, then first 7 bars of fifth chorus.
Detailed (annotated) analysis:
solo
1, chorus 1, bars 3-4 [example 40]
solo
2, chorus 2, bars 5-7 [example 19]
Valdes (2002). Complete (both three-chorus
solos + theme & out chorus);
chords identified;
annotated; chord changes in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Stompin at the Savoy May
1941 Vogue 600135
(Lips Flips) (On with Charlie Christian)
Antonich (1982). Transcribed from Ayeroff (1979); annotated;
referred to as Lips
Flips.
Ayeroff (1979). Complete; chords identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to as Lips
Flips.
() (2005). Complete; chords identified; detailed
analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Lips
Flips.
Colombo (2009). Referred to as “Lips Flips.”
Notation as
follows; chords identified; annotated;
chorus 1, bars 17-25 [example
84, p. 313]
chorus 1, bars
27-29 [example 85, p. 313]
chorus
2, bars 17-24 [example 86, p. 313]
chorus
2, bars 28-31 [example 106, p. 331]
Edmonds & Prince (1958). Complete; chords identified; not
annotated;
final 15 bars of notation are
not guitar solo; key of C instead of Db;
referred to as Lips
Flips.
Finkelman (1997). Notates only bars 6-7 of chorus 2; chords
identified; annotated. [example 5]
Kuboki (1995). Complete; chords identified; annotated (in
Japanese); key of C instead of Db.
Salmon (2011). Notation as follows; chords identified; annotated.
chorus 1, bars 19-20 [example 21a, p. 53]
chorus 2, bars 13-14 [example 41c, p. 78]
chorus 2, bar 16 [example 21b, p. 53]
Shinko (2008). Notates only bars 16-20 of the second chorus; chords
identified;
annotated (in Japanese);
with guitar tablature. [p.33, example 6]
Spring (1980). Extended transcription: complete; chords
identified;
referred to as On
with C.C. Lips Flips Savoy.
Detailed (annotated) analysis:
chorus
1, bars 14-15 [example 9]
chorus
2, bars 6-7 [example 16]
() (1990). Adapted from Spring (1980):
Extended transcription:
chords
identified; notates only first chorus and first 16 bars of second chorus.
Detailed (annotated) analysis:
chorus
1, bars 14-15 [example 3]
chorus
2, bars 6-7 [example 7]
Valdes (2002). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Stompin at the Savoy June
1941 Masters of Jazz MJCD 189
Valdes (1996). Complete; chords identified; annotated.
Valdes (2001). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Swing to Bop (see Topsy)
Take Him Off My Mind October
31, 1939 Affinity AFS 1015
Valdes (2020). Complete (obbligati);
chords identified; annotated; chord changes
in CCs backing are identified;
with guitar tablature and left-hand fingering denotation.
Tea for Two September 24,
1939 Columbia CG 30779
Ayeroff (2005). Notates last 4 bars of guitar intro,
then complete guitar solo
choruses;
chords identified;
detailed analysis;
chord changes in CCs
solos are identified;
left-hand fingering denotation
(no guitar tablature).
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
solo
1, chorus
1, bars 5-11 [example 105, p. 330]
solo
2, chorus
1, bars 17-22 [example 110, p. 338]
Downs (2002). Bars 17-20; chords identified;
annotated. [example 2.5.1]
Finkelman (1993). Notates less than four bars from the second solo;
chords identified; annotated.
Kuboki (2016). Complete, including the 8-bar intro; chords identified;
annotated (in Japanese);
with guitar tablature.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
solo
1, chorus 1, bars 5-7 [p. 63, example 2]
solo
1, chorus 2, bars 1-7 [p. 65, example 1]
solo
1, chorus 2, bars 17-18 [p. 61, example 3]
solo
2, bars 17-20 [p. 62, example 2]
solo
2, bars 23-25 [p. 61, example 2]
Schwab (1998). Notates last 4 bars of guitar intro [example 10],
then complete solo choruses
[appendix];
chords identified;
annotated (in German).
Shinko (2008). Complete; chords identified;
annotated (in Japanese);
with guitar
tablature.
Valdes (1996). Notates only the 8-bar guitar chord introduction
(including the first four bars
which had never been issued); annotated.
Valdes (1997). Complete, including the 8-bar intro; chords
identified;
annotated; chord changes
in CCs solo are identified;
includes guitar tablature and
left-hand fingering denotation.
Valdes (2001). Complete, including the 8-bar
intro; chords identified;
annotated; chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
These Foolish Things (take A) June
11, 1940 Columbia CK 45144
Ayeroff (2005). Complete (4-bar chord intro, 8-bar bridge solo);
chords identified;
detailed analysis;
chord changes in CCs
intro and solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as These
Foolish Things I.
Berklee School of Music (n.d.). Complete (4-bar chord
intro, 8-bar bridge solo);
chords identified; not annotated.
Schütze (2003). Complete (4-bar chord intro, 8-bar
bridge solo);
chords identified; annotated (in
German).
Smith & Tharp (1958). Complete solo (omits guitar introduction);
chords
identified; not annotated.
Valdes (2001). Complete (4-bar chord
intro, 8-bar bridge solo);
chords identified; annotated;
chord changes
in CCs intro and solo are identified;
with guitar tablature and
left-hand fingering denotation.
These Foolish Things (take B) June
11, 1940 Columbia C4K 65564 (track A26)
Ayeroff (2005). Complete (4-bar chord intro, 8-bar bridge solo);
chords identified;
detailed analysis;
chord changes in CCs
intro and solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as These
Foolish Things II.
Valdes (2005). Complete (4-bar chord
intro, 8-bar bridge solo);
chords identified; annotated;
chord changes
in CCs intro and solo are identified;
with guitar tablature and
left-hand fingering denotation.
These Foolish Things (breakdown) June
11, 1940 Columbia C4K 65564 (track D14)
Note: This take breaks down 8 bars after the intro.
Ayeroff (2005). Complete (4-bar chord intro);
chords identified;
detailed analysis;
left-hand fingering denotation
(no guitar tablature);
referred to as These
Foolish Things III.
Valdes (2005). Complete (4-bar chord
intro);
chords identified; annotated;
chord changes
in CCs intro are identified;
with guitar tablature and
left-hand fingering denotation.
Till Tom Special December 31, 1939
Vintage Jazz Classics VJC-1021-2
Spring (1980). Complete (solo); chords identified; not annotated.
Valdes (2018). Complete (theme, riffs, solo, riffs, tag);
chords identified; annotated;
chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Till Tom Special February 7,
1940 Columbia CK 40846
Antonich (1982). Transcribed from Fox (1964); annotated.
Fox (1964). Complete (theme, riffs, solo, riffs, tag);
chords identified; annotated.
Hal Leonard (2003a). DVD (no printed notation).
Only first 16 bars of
solo; chords identified; narrative, not annotated.
() (2003b). Reproduced from Marshall (2002).
Complete (theme, riffs, solo, riffs, tag);
chords
identified; not annotated; with guitar tablature.
Hansen (1999). Notates only the first 16 bars of the solo
(omits the last 8 bars after
the piano break);
chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Transcribed by Marco
Sabattini.
Marshall (2002). Complete (theme, riffs, solo, riffs);
chords identified; annotated;
with guitar tablature.
Schütze (2003). Complete (theme, riffs, solo, riffs, tag);
chords identified; annotated (in
German).
Spring (1980). Complete (solo); chords identified; not annotated.
Valdes (2018). Complete (theme, riffs, solo, riffs, tag);
chords identified; annotated;
chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Weidlich (2015). Notates only the last 8 bars after the piano break;
chords unidentified; annotated;
with guitar tablature. [p. 97]
Topsy May 12,
1941 Vogue 600135
(Swing to Bop) (Charlies Choice)
Antonich (1982). Transcribed from Ayeroff (1979), except
first chorus until
bridge (transposed back to B♭m) are from Edmonds
& Prince (1958);
annotated; referred to
as Swing to Bop.
Ayeroff (1979). Omits first chorus until bridge; chords
identified; annotated;
left-hand fingering denotation
(no guitar tablature);
referred to as Swing to
Bop.
() (2005). Complete except for first 2½ bars;
chords identified;
detailed analysis;
chord changes in CCs
solos are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Swing to
Bop.
Ayoub (2015). Notates from first solo as follows; chords identified; annotated (in French).
chorus 1, bars 25-32 [example 20]
chorus 2, bars 20-21 [example 11]
chorus 2, bars 25-32 [example 4]
chorus 4, bar 29 - chorus 5, bar 4 [example 5]
chorus 5, bars 13-24 [example 14]
Brown (1990). Notates only second chorus of first solo; chords
identified; annotated;
referred to as Swing to
Bop (Charlies Choice).
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
solo
1, chorus
2, bars 17-24 [example 60, p. 301]
solo
1, chorus
3, bars
17-25 [example 61, p. 302]
solo
1, chorus
4, bars 17-24 [example 62, p. 302]
solo
1, chorus
5, bars
17-24 [example 63, p. 303]
solo
1, chorus
6, bars 17-24 [example 64, p. 304]
solo
2, chorus
2, bars 17-24 [example 65, p. 305]
solo
2, chorus
3, bars 17-24 [example 66, p. 305]
Dennison (2015). Adapted from Valdes (1979).
Complete first solo; chords
not identified; annotated.
Detailed (annotated) analysis:
solo
1, chorus 1, bars 26-28 [p. 81
& 83]
solo
1, chorus 1, bars 26-32 [p. 86]
solo
1, chorus 2, bars 1- 8 [p. 81]
solo
1, chorus 2, bars 18-20 [p. 80]
solo
1, chorus 3, bars 16, 31-32 [p. 87]
solo
1, chorus 4, bars 1- 8 [p. 86]
solo
1, chorus 6, bars 18-20 [p. 81]
DeVeaux (1997). Notates only pick-up bar and first 16 bars of sixth chorus
(first solo);
chords identified;
annotated.
Downs (2002). Bars 9-12 of sixth chorus (first solo); chords
identified; annotated.
[example 2.2.2]
Edmonds & Prince (1958). Complete; chords identified; not annotated;
key of Am instead of B♭m;
referred to as Swing to Bop.
Finkelman (1993). Notates various short fragments from the first solo as
follows;
chords identified;
annotated; referred to as Charlies Choice.
chorus
2, bars
23-24 [example
8]
chorus
2, bars 29-32; chorus 3, bar 1 [example
10]
chorus
4, bars
23-24 [example
9]
chorus
5, bars
20-21 [example
4]
() (1997). Notates from the first solo as follows; chords
identified; annotated;
referred to as
Charlies Choice (Swing to Bop).
chorus
3, bars 11-12 [example 37]
chorus
4, bars 17-18 [example 31]
chorus
5, bars 1-5 [example 41]
chorus
6, bars 8-13 [example 45b]
Hal Leonard (2003b). Complete; chords identified; not
annotated; with guitar tablature.
Ishizawa (2011). Notates only first 3 choruses of first solo [pp.108-110];
chords identified;
annotated (in Japanese); with guitar tablature.
Jazz Hot (1972). Notates second and third complete choruses only;
chords identified;
not annotated; referred
to as Swing to Bop.
Kuboki (1995). Complete; chords identified; annotated (in
Japanese); key of Am instead of B♭m.
(——) (2016). Complete except for first 2½ bars; chords identified;
annotated (in Japanese);
with guitar tablature.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
solo
1, chorus 2, bars 3-4 [p. 58, example 3]
solo
1, chorus 2, bars 13-34 [p. 58, example 4]
solo
1, chorus 3, bars 22-23 [p. 58, example 2]
solo
2, chorus 1, bars 19-23 [p. 75, example 2]
Mongan (1983). Notates only first three choruses of first solo;
chords identified; annotated;
notates each note as though
twice its correct length (e.g. eighth-note as quarter-note);
referred to as Swing to
Bop.
Shinko (2008). Notates only bars 17-24 of the first solo, third
chorus; chords identified;
annotated
(in Japanese); with guitar tablature. [p.31, example 1]
Valdes (1999). Complete; chords
identified; annotated;
chord changes in CCs
solos are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clips of both solos
(2019).
Tune Up & Blues (false start) October
28, 1940 Columbia C4K 65564 (track D15)
Spring (1980). Includes 4-bar notation of the guitar solo on the
false start
preceding Ad-Lib
Blues transcription; key of E instead
of Bb.
Valdes (2001). Complete (8 bars);
chords identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation;
notated following Ad-Lib
Blues transcription.
Includes
mp3 sound-clip of the eight bars
(2019).
Untitled Tune April 3,
1940 Columbia C4K 65564 (track A13)
Ayeroff (2005). Complete (12-bar solo & 4-bar
interlude);
chords identified;
detailed analysis;
chord changes in CCs
solos are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Untitled
Tune I.
Schütze (2003). Complete (omits 4-bar interlude);
chords identified; annotated (in
German).
Valdes (2017). Complete (themes,
12-bar solo, 4-bar interlude);
chords identified; annotated;
chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Untitled Tune (breakdown) April
3, 1940 Columbia C4K 65564 (track D8)
Note: This take breaks down before the 4-bar guitar interlude.
Ayeroff (2005). Complete (12-bar solo);
chords identified;
detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature);
referred to as Untitled
Tune II.
Schütze (2003). Complete (12-bar solo);
chords identified; annotated (in
German).
Valdes (2002). Complete (theme &
12-bar solo);
chords identified; annotated;
chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Up on Teddys Hill (see Honeysuckle Rose)
Waitin for Benny March 13,
1941 Columbia CK 40846
Note: This contrived title consists of the last 73 bars of
Riffin’ Around (q.v.)
and the ensuing A Smo-o-o-oth One (q.v.).
Bell (n.d.). Notates only 12 bars from bar 14 of audible
start of solo;
chords
unidentified; not annotated; referred
to in text as Waitn.
Way Down Yonder in New Orleans December 24,
1939 Vanguard 169/71-2
Ayeroff (2005). Complete chords identified; detailed analysis;
chord changes in CCs
solo are identified;
left-hand fingering denotation
(no guitar tablature).
Valdes (2018). Complete;
chords identified; annotated;
chord changes
in CCs solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats October 28,
1940 Vintage Jazz Classics VJC-1021-2
Denny (1995). Complete (theme, solo);
chords identified; annotated.
[pages 175-177]
Spring (1980). Extended transcription: complete
(solo); chords
identified.
Detailed (annotated) analysis:
chorus
2, bars 5-6 [example 42]
chorus
3, bar
9 [example 85]
chorus
3, bars 11-12 [example 68]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates
only from bar 2 of second chorus through to end of third chorus;
chords
identified.
Detailed (annotated) analysis:
chorus
2, bars 5-6 [example 16]
chorus
3, bars 9-10 [example 55]
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats (take -W) November
7, 1940 Columbia CG 30779
Schütze (2003). Complete (solo); chords identified; annotated (in
German).
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats (take -X) November
7, 1940 Columbia CG 30779
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
2, bars 5-7 [example 56, p. 299]
chorus
2, bars 8-12 [example 57, p. 299]
Finkelman (1997). Notation as follows; chords identified;
annotated.
chorus
1, bars 7-8 [example 7]
chorus
2, bars 5-6 [example 14]
Schütze (2003). Complete (solo); chords identified; annotated (in
German).
Spring (1980). Extended transcription: complete
(solo); chords
identified. [page 164]
Detailed (annotated) analysis:
chorus
1, bars 7-8 [example 8]
chorus
1, bars 9-10 [example 57]
chorus
1, bars 10-12 [example 63]
chorus
2, bars 5-6 [example 34]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete; chords identified.
Detailed (annotated) analysis:
chorus
1, bars 7-8 [example 2]
chorus
1, bars 9-10 [example 36]
chorus
1, bars 10-12 [example 38]
chorus
2, bars 5-6 [example 25]
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats (take -Y) November
7, 1940 Columbia CG 30779
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
2, bars 7-12 [example 45, p. 296]
Finkelman (1997). Notates only bars 6-8 of chorus 2; chords identified; annotated.
[example 24]
Schütze (2003). Complete (solo); chords identified; annotated (in
German).
Spring (1980). Extended transcription: complete
(solo); chords
identified. [page 163]
Detailed (annotated) analysis:
chorus
1, bars 6-7 [example 90]
chorus
1, bars 7-8 [example 22]
chorus
2, bars 4-5 [example 71]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates first chorus only; chords identified.
Detailed (annotated)
analysis: bars 6-7 [example 49]
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats (take -z) November
7, 1940 Jazz Unlimited JUCD 2013 (track 4)
Valdes (2018). Complete (theme); chords
identified; annotated; without guitar tab.
Wholly Cats (take -1) November
7, 1940 Columbia CL 652
Berklee School of Music (n.d.). Complete (solo);
chords identified;
not annotated.
Fox (1964). Complete (theme, solo, riffs, outro);
chords identified; annotated.
Hal Leonard (2003b). Solo and theme reproduced from Marshall (2002).
Complete
(intro, theme, solos, riffs, outro);
chords
identified; not annotated; with guitar tablature.
Kuboki (1995). Complete (theme, solo, outro);
chords identified; annotated (in
Japanese).
Marshall (2002). Complete (theme, solo);
chords identified; annotated;
with guitar tablature.
Richardson (1996). Notates only bars 5-6; chords not
identified; annotated.
Salmon (2011). Notation as follows; chords identified; annotated.
chorus 2, bars 3-4 [example 24, p. 59]
chorus 2, bars 9-10 [example 44, p. 80]
chorus 2, bar 11 [example 32b, p. 67]
Schütze (2003). Extended transcription: complete
(intro, theme, solo, riffs, outro);
chords
identified; annotated (in German).
Detailed
analysis: chorus 2 bars 10-12 [p. 33]
Valdes (2018). Complete (intro, theme, solo, riffs, outro);
chords
identified; annotated; chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Includes
mp3 sound-clip of the entire take
(2021).
Wholly Cats (take -2) November
7, 1940 Columbia CK 40846
Colombo (2009). Notation as follows; chords identified; annotated
(in Italian).
chorus
2, bars 9-12 [example 10, p. 282]
Dochtermann (2005). Complete (solo); chords identified; annotated;
with guitar tablature.
Hansen (1998). Complete (solo); chords identified; not
annotated;
with separate guitar
tablature; includes RealAudio sound-clip of solo.
Lazzini (2013). Notation as follows; chords identified; annotated (in Italian).
chorus 2, bars
8-12 [p. 51]
Schütze (2003). Complete (solo); chords identified; annotated (in
German).
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats November 19,
1940 Vintage Jazz Classics VJC-1021-2
Finkelman (1997). Notates only bars 2-3 of chorus 2; chords identified; annotated.
[example 11]
Spring (1980). Extended transcription: complete
(solo); chords identified.
Detailed (annotated) analysis:
chorus
1, bars 6-7 [example 46]
chorus
2, bars 2-3 [example 29]
() (1990). Adapted from Spring (1980):
Extended transcription:
complete; chords identified.
Detailed (annotated) analysis:
chorus
1, bars 6-7 [example 29]
chorus
2, bars 2-3 [example 21]
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats February 10,
1941 Masters of Jazz MJCD 74
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wholly Cats April 7,
1941 Jazz Archives JA-23
Spring (1980). Extended transcription: complete
(solo); chords
identified.
Detailed (annotated) analysis:
chorus
1, bars 1-2 [example 58]
chorus
1, bars 9-10 [example 52]
() (1990). Adapted from Spring (1980):
Extended transcription:
notates first chorus only; chords identified.
Detailed (annotated) analysis:
bars
1-2 [example 37]
bars
5-6 [example 48]
bars
9-10 [example 34]
Valdes (2018). Complete
(solo); chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
Wrap Your Troubles in Dreams October 4,
1940 Columbia CL 6067
Valdes (2018). Complete; chords
identified; annotated;
chord changes in CCs
solo are identified;
with guitar tablature and
left-hand fingering denotation.
|
COMMENTS ON NOTATIONS OF CHARLIE
CHRISTIANS PERFORMANCES
An important research question concerns the proportion of
Christians solo performances which have been notated and published. To assess
this, the author counted all solo passages that have been issued on commercial recordings,
defining solo passages to include solo choruses, introductions, obbligatos,
and accompaniments. Evensmos (1976) solography was used as a database, updated
to include certain more recent issues. This survey (in 1992) indicated a total of
142 solo passages, as defined above. Of these, published transcriptions are
available for 78 passages, just 55 percent.
[This bibliography has been updated substantially since the survey was taken in 1992]
Not included in this article is a cross-referenced index of all known
solos, annotated to show sources of published notations and indicating solos that remain
untranscribed. Such an index is useful and has been prepared by the author. |
DISCUSSION
In his analysis of Charlie Parkers technique, Owens (1974, p.
271) suggests that the literature of jazz contains little technical discussion of the
style of individual performers. For example, it is difficult, Owens notes, to find
any documentation of the favorite melodic phrases used by a jazz soloist. Similarly,
Spring (1980) observed that there had been no detailed study of the style of Charlie
Christian. Certainly there are a number of brief discussions of his improvisational
style, including the sleeve notes by Al Avakian and Bob Prince on Columbia CL 652,
annotations to the transcriptions in Fox (1964), an interesting analysis (mainly of the
rhythmic features) of the Seven Come Eleven solo by Collier (1981) (but
without any notations), and Schullers (1989) more recent analysis. Spring
(1980) provides the first extended study of Christian, including the largest single
collection of published solo transcriptions.
The body of transcriptions identified here is a resource, which may
save much of the laborious task of transcribing for future research, and should serve as
the basis for further studies of his technique. As of 1992, some 233 solo notations,
and 49 published sources were identified here [the bibliography has been updated since
then]. One of the major problems in this task has been in locating material, most of
which is published in books or collections of transcriptions and thus cannot be found by
computerized literature searches or in most catalogues. This is clearly a
significant issue for information scientists and librarians.
Although this study focuses on published notations,
we should note that Leo Valdes of El Paso, Texas, has transcribed all
of Charlie Christians solos, obbligatos, riffs, and introductions in standard
notation as well as tablature format. Also, Patrick Zemb of Lorient, France, has
notated the bulk of Christians recorded legacy. |
ADDITIONAL REFERENCES
Boukas, R. (1977). Jazz Riffs for Guitar. New York:
Amsco.
Callis, J. (1978). Charlie Christian 1939-1941: A Discography.
London: Tony Middleton.
Collier, J. L. (1978). The Making of Jazz. Boston: Houghton
Mifflin.
Downs, C. G. (1986, Jan.). Charlie Christian: A Guide to Published
Solo Transcriptions. Names & Numbers, 3, pp. 15-17.
Downs, C. G. (1989). An Annotated Bibliography of Eric Dolphy Solo
Transcriptions. Jazz Research / Jazzforschung, 21, pp. 49-54.
Evensmo, J. (c. 1976). The Guitars of Charlie Christian, Robert Normann, Oscar
Aleman. Oslo: Author.
Gridley, M. C. (1978). Jazz Styles. Englewood Cliffs:
Prentice-Hall.
Jazz Hot (1972, May). Joe Viera: Bibliographie, p.
81.
Koger, T. S. (1985). Fifty Years of Down Beat Solo Jazz Transcriptions:
A Register. Black Music Research Journal, pp. 43-79.
Owens, T. (1974). Charlie Parker: Techniques of Improvisation. Ph.D.
Dissertation, University of California.
Summerfield, M. J. (1978). Jazz Guitar: Its Evolution and Its Players.
Gateshead, England: Ashley Mark.
Valdes, Leo (1995). Solo Flight: The Charlie Christian Newsletter
Number 1. El Paso, Texas: Author.
Valdes, Leo (1996). Solo Flight: The Charlie Christian Newsletter
Number 2. El Paso, Texas: Author.
Valdes, Leo (1997). Solo Flight: The Charlie Christian Newsletter
Number 3. El Paso, Texas: Author.
Voigt, J. (1978). Jazz Music in Print. (2nd ed.).
Boston: Hornpipe Music.
Internet site:
Hansen, Garry (1997). Charlie Christian: Legend of
The Jazz Guitar inactive but viewable at
( http://web.archive.org/web/20090403003740/http://www3.nbnet.nb.ca/hansen/Charlie/ ).
Valdes, Leo (1998/2020). Solo Flight: The Charlie Christian Legacy ( http://soloflight.cc ). |
COMPACT DISCS
Charlie Christian Volume 1 1939. Masters
of Jazz MJCD 24.
Charlie Christian Volume 2 1939. Masters
of Jazz MJCD 29.
Charlie Christian Volume 3 1939-1940.
Masters of Jazz MJCD 40.
Charlie Christian Volume 4 1940. Masters
of Jazz MJCD 44.
Charlie Christian Volume 5 1940. Masters
of Jazz MJCD 67.
Charlie Christian Volume 6 1940-1941.
Masters of Jazz MJCD 68.
Charlie Christian Volume 7 1941. Masters
of Jazz MJCD 74.
Charlie Christian Volume 8 1941. Masters
of Jazz MJCD 75.
Charlie Christian Volume 9 1939-1941.
Masters of Jazz MJCD 189.
Charlie Christian Complete Studio Recordings.
Definitive DRCD11176.
Charlie Christian Complete Live Recordings.
Definitive DRCD11177.
Charlie Christian: The Genius of the Electric Guitar.
Columbia C4K 65564.
Charlie Christian: The Genius of the Electric Guitar.
Columbia CK 40846.
The Benny Goodman Sextet featuring Charlie Christian 1939-1941.
Columbia CK 45144.
Solo Flight Charlie Christian with the Benny Goodman Sextet.
Vintage Jazz Classics VJC-1021-2.
The Rehearsal Sessions • 1940-41 • Featuring Charlie Christian.
Jazz Unlimited JUCD 2013.
Charlie Christian Air-Checks and Private Recordings.
Suisa JZCD 379.
Charlie Christian / Dizzy Gillespie 1941 Historical Performances.
Vogue 600135.
Edmond Hall Profoundly Blue. Blue Note
21260 2.
The Complete Edmond Hall / Johnson / De Paris / Dickenson Blue Note Sessions. Mosaic
MD4-109.
Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958). Mosaic
MD7-240.
From Spirituals to Swing. Vanguard 169/71-2.
From Spirituals to Swing. Vanguard VCD2-47/48.
Jerry Jerome Something Old, Something New. Arbors ARCD 19168.
The Lionel Hampton All Star Sessions, Vol. 2: Hot Mallets.
Avid AMSC 612.
Ida Cox — I Can’t Quit My Man.
Affinity / Charly AFS 1015.
Ida Cox — Complete Recorded Works, Vol. 5: 1939-1940.
Document DOCD-5651.
Mean Mothers: Independent Women’s Blues, Vol. 1.
Rosetta RRCD 1300.
Camel Caravan Shows 14 October 1939 & 28 October 1939.
Jazz Band EBCD 2138-2.
Benny Goodman Yale Archives, Vols. 11 & 12: NBC Broadcast Recordings.
Jazz Heritage Society 5291134.
Benny Goodman — A Tour de Force: The Small Groups—Live! 1937-1972. Encore 7001.
The Smithsonian Collection of Classic Jazz. Smithsonian / CBS RD 033.
LP RECORDS
Charlie Christian with the Benny Goodman Sextet and Orchestra.
Columbia CL 652.
Charlie Christian Live with Benny Goodman and the Sextet
1939-1941. Jazz Archives JA-23.
Lester Young & Charlie Christian
1939-1940. Jazz Archives JA-42.
Carnegie Hall Jazz Concerts October 1939.
Collectors Classics CC 18.
Eddy Howard. Columbia CL 6067.
BG, his Stars and his Guests. Queen-Disc Q-016.
The Rehearsal Sessions Benny Goodman 1940.
JazzDocument va-7997.
Solo Flight The Genius of Charlie Christian.
Columbia CG 30779. |
ACKNOWLEDGEMENTS
I am grateful to the following people who have been most
helpful in supplying information and giving access to certain publications: Judith
Barnes, Christopher Beeston, Thierry Bruneau, Gary Carner, Lubomír Doruzka, Mark Gridley,
Nancy Huntress, Wolfram Knauer, Elisabeth Kolleritsch, John Kuzmich Jr., Ivor Mairants,
Thomas Owens, Jack Petersen, Dennis Schütze, Howard Spring, Maurice Summerfield, Mike
Sutcliffe, Fred Turco, Leo Valdes, Martin Williams, and Patrick Zemb. In particular,
I am indebted to Gail L. Freunsch and the Music Specialist staff of The Library of
Congress for their patient assistance and to the staff of Reading Public Libraries for
their continued help.
Also I am grateful to my reviewers and to Leo Valdes for their helpful
comments and suggestions on earlier drafts of the paper.
For her tolerance and support, I am indebted to Maureen Stallard.
FURTHER INFORMATION
I should be most grateful for information on
any other published solos not listed in this paper.
Please contact me with any details which you have available:
Clive Downs
blp84163@gmail.com |
Updated by Clive Downs and LeoValdes
Edited and formatted by LeoValdes
Last Updated on
02/08/23
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