DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

AS LONG AS I LIVE
 
mx  CO 29029-1
 
NOVEMBER  7,  1940     Thursday Columbia Studios,  NYC
 

 
  32  BARS    (AABA) Key of   F Quarter Note =   118 Time:   3:15
 
 
  3  CHORUSES:
 
    16  bars  –  piano
      8  bars  –  clarinet
      8  bars  –  piano
 
    16  bars  –  trumpet
    8  bars  –  CC
      8  bars  –  trumpet
 
    16  bars  –  tenor sax
      8  bars  –  clarinet
      8  bars  –  piano
 
 

 
Personnel:
 
  Benny Goodman and his Sextet
  CHARLIE CHRISTIAN Guitar
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  COOTIE WILLIAMS trumpet
  COUNT BASIE piano
  ARTIE BERNSTEIN bass
  HARRY JAEGER drums
 
 

 
Issued Recordings:
 
  [ 78 ] Columbia 35901
    Columbia 36723
    Columbia C-102
    V Disc 714B
 
  [ EP ] Columbia B-350
 
  [ LP ] CBS 2BP 220094
    CBS 62.581
    CBS 67233
    CBS / Sony 56AP 674-6
    CBS / Sony SOPM 162
    CBS / Sony SOPZ4-6
    Columbia 33SX 1035
    Columbia CG 30779
    Columbia CL 500
    Columbia G 30779
    Columbia GL 500
    Philips BBL 7178
    Sunbeam SB-144
    Time-Life STL-J05
 
  [ CD ] ABM ABMMCD 1209
    Acrobat ACRCD 160
    Classics 1131
    Collectors’ Choice CCM 3592 2
    Columbia/Legacy AC4K 65564 (disc 2, track 11)
    Columbia/Legacy C4K 65564 (disc 2, track 11)
    Definitive DRCD11176
    Edel 093692ERE
    Fabulous / Acrobat FABCD352
    Masters of Jazz MJCD 67 (track 4)
    Membran 232094
    Membran 232568
    Primo / Proper PRMCD 6092
    Proper P1490
    Proper PROPERBOX 98
    Sony/Legacy 93035 (disc 2, track 11)
    Universe UV 129/2
 

Composed by: Harold Arlen - Ted Koehler
 
©   VALDÉS   6/19/17

 


 

Transcription Page:     As Long as I Live    (master take)

 



C&A:

Short and Sweet and Lovely. Two 8-bar bridges, encased within trumpet solos, are the only surviving recordings of Charlie Christian solos on As Long as I Live:  studio master and alternate takes with the sextet on November 7, 1940.  The two solos, as expected, are quite different in conception other than a slight similarity in the brief F measure and also in the ending C7 on which he executes the master take (-1) in triplets and the first take in actual eights.  Two charming, distinct little gems.  Best of a long recording session.

 



 

 


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