DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

AS LONG AS I LIVE
 
mx  CO 29029-2
 
NOVEMBER  7,  1940     Thursday Columbia Studios,  NYC
 

 
  32  BARS    (AABA) Key of   F Quarter Note =   116 Time:   3:21
 
 
  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  –  trumpet & clarinet
 
 

 
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:
 
  [ LP ] CBS 460612 1
    Columbia CJ 40846
 
  [ CD ] Catfish KATCD196
    CBS 460612 2
    Columbia 501646 2
    Columbia/Legacy AC4K 65564 (disc 2, track 24)
    Columbia/Legacy C4K 65564 (disc 2, track 24)
    Columbia CK 40846
    Columbia CK 91494
    Definitive DRCD11288
    Giants of Jazz 53049
    Going for a Song GFS561
    History 20.1960-HI
    History 20.1969-HI
    Jazz Forever 67041
    Jazz Portraits 14545
    Jazz Roots 56059
    Jazzterdays JTD 102410
    Le Jazz / Charly CD 11
    Masters of Jazz MJCD 67 (track 5)
    Membran 222777
    Membran 222800
    Membran 233423
    Past Perfect 205798-203
    SME / Sony SRS 9612
    Sony/Legacy 93035 (disc 2, track 24)
    Topaz Jazz / Pavilion TPZ 1017
 

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

 


 

Transcription Page:     As Long as I Live    (alternate 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.  The phrase on the Dm of the alternate take (-2) is exquisitely unique – I don’t believe it occurs on any other of Charles’ recorded solos.  Two charming, distinct little gems.  Best of a long recording session.

The first two bars of his solo on the alternate take are priceless.

 



 

 


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