NOVEMBER 7, 1940
Thursday |
Columbia Studios, NYC |
|
12-BAR BLUES |
Key of |
|
B♭ |
Quarter Note = |
|
192 |
Time: |
|
2:54 |
|
4-Bar Intro + 11 CHORUSES: |
|
• |
1 chor CC
&
ensemble |
(theme riffs) |
|
|
1 chor tenor sax |
(over ens riffs) |
|
• |
2 chor CC
&
ensemble |
(riffs) |
|
• |
1 chor clarinet |
(over CC
& ens riffs) |
|
Benny Goodman and his Sextet |
|
Composed by: |
Count Basie - Benny Goodman |
C&A:
On 7 November 1940, six takes (including two incomplete takes) of Benny’s
Bugle were recorded at the end of one of the sextet’s long Columbia studio
sessions. Charlie Christian was allocated two 12-bar blues choruses for his
solo to follow right after the trumpet intro and one-chorus theme.
As the Benny’s Bugle session progressed the length of the takes increased from 10 choruses
on the initial complete take, to 11, then to 12 choruses for the master take.
There’s also a general increase in the tempo as each take is brought forth.
The master (take 6) was released on 78-rpm on March 3, 1941 along with
another of the tunes recorded at the same session. Thirty-some years later,
four of the other takes (2 thru 5) were released on LP in 1973 showcasing
the guitar solos but spliced and incomplete. In 1980, a Swedish label
released an LP that included one track with four takes (1 thru 4) recorded
continuously with all the between-takes aural activity. Finally, in 2002,
Columbia collected and released all the material in their 4-CD, guitar-amp box.
CO 29030-v (take
1) partial
This isn’t actually a false start or breakdown but a short try-out of the
beginning. Still, it’s an interesting interrupted guitar solo.
CO 29030-W (take
2) 10 choruses
The tempo has been increased a bit and even knowing this is just a
run-though, Charles continued to be just as creative as ever. He has now
adjusted his solo to start on the second beat of the first measure for the
remainder of the session. Do note the unexpected dyad
exclamation tossed in on the penultimate bar of his solo.
CO 29030-X (take
3) 11 choruses
The tempo picks up a little more. Charles plays a strikingly exquisite, long
run on mm 6-11 of his second solo chorus ... crested with an octave
exclamation point of satisfaction. Even though there’s an unexpected request
for a time check at the start of the following piano solo the sextet
continues to the end of the tune.
CO 29030-y (take
4) partial
This guitar solo on this breakdown doesn’t quite get off to as good a start
as the other takes but it’s different and of interest until it’s
abruptly brought to a halt.
CO 29030-Z (take
5) 11 choruses
A swingin’ guitar solo with mostly familiar sequences. There’s a long,
tormented blues note at bar 8 of the first chorus. Another one of those
wonderful, long runs by Charles begins at bar 8 of the second chorus to end
the solo.
☊ LISTEN Guitar Solo fifth take
CO 29030-1 (take
6) 12 choruses
This is a good choice for the master take if one appraises it by the guitar
solo – it’s well-paced, well-balanced, well-versed.
Every one of Charles’ Benny’s Bugle solos is quite engaging on this session.
Each solo begins with the same apropos phrasing, then promptly branches off
in interesting journeys of their own uniqueness.
|
|
[ CD ] |
Columbia/Legacy |
AC4K 65564 *** |
(disc 4, track 22) |
|
|
Columbia/Legacy |
C4K 65564 *** |
(disc 4, track 22) |
|
|
Jazz Unlimited |
JUCD 2013 * |
(track 1e) |
|
|
Masters of Jazz |
MJCD 189 ** |
(track 12a) |
|
|
Sony/Legacy |
93035 *** |
(disc 4, track 22) |
|
|
* [CD] JUCD 2013 contains the complete rehearsal session from takes CO 29030-v through CO 29030-1
including talk, practice, and tryouts between takes.
Charles’ voice can be heard several times between takes CO 29030-Z and CO 29030-1.
** [CD] MJCD 189 contains the rehearsal session from 2:45 before take CO 29030-Z through CO 29030-1
including talk, practice, and tryouts between takes.
Charles’ voice can be heard several times between the two takes.
*** [CD] 93035
& (A)C4K 65564 contain
the rehearsal session from 2:43 before take CO 29030-Z to 3:45 after (just
before the start of master take CO 29030-1) including talk, practice,
tryouts between takes. Charles’ voice can be heard several times
between the two takes. |
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|
these releases omit the intro and the first chorus (theme): |
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[ CD ] |
Masters of Jazz |
MJCD 67 |
(track 7) |
|
|
Masters of Jazz |
R2CD 8004 |
(disc 2, track 3) |
|
|
these releases omit the intro and the first chorus (theme) and are spliced preceded by part of take CO 29030-X: |
Illustration of Splice is
here. |
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[ LP ] |
Jazz Archives |
JA-6 |
(side B, track 4b) |
|
[ CD ] |
Archives of Jazz |
380106 2 |
(track 12b) |
|
|
Archives of Jazz |
389106 2 |
(track 12b) |
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