Transcription Page: Breakfast Feud
second take 19 Dec 1940 CO 29259-4
C&A:
Breakfast Feud was recorded for the first time on 19 December 1940 – none of the five full takes were released. It would be recorded again four more times on
the next Columbia recording session less than four weeks later at which time a master was selected and subsequently released in April 1941.
Notably, the talented pianist Kenny Kersey was recruited for this December session with the sextet – easily an equal to Basie or Guarnieri. He would be
heard from again the following year at Minton’s.
On this one take, the ensemble plays the four-bar refrain before each of Charlie Christian’s solo choruses splitting the solo into two eight-bar sections.
The first guitar solo starts a full measure before the end of the ensemble’s four-bar refrain with a wild start on this first run-through. Solid solos with
one other unique passage on this take: on mm 9-11 Charles plays a familiar sequence which this time he takes all the way to the depths – across all six strings.
The clarinetist began playing the melody immediately following the first take – the group joined in and continued on through to the end of first trumpet solo
when the leader either came in a chorus too early or he used some clarinet screeches to signal an abrupt end to the take.
♦ second take CO 29259-4
☊
LISTEN Guitar Solo / Coda
The ensemble is now playing the four-bar refrain before Charles’ first chorus only; this continues beneficially for the rest of the takes – the guitar solo is
now 20 contiguous measures long instead of two separate eight-bar solos separated by the refrain on the initial take.
Unique start on the guitar solo on the first three bars. Charlie Christian
may have been anticipating the ensemble refrain on the start of his second chorus.
In any case, he doesn’t really start on the second chorus until the middle of the second measure when he goes on a tear with a very nice, long run(s) for the rest of the chorus.
This guitar solo also has an early pick-up (mid-fourth bar) and another marvelous unconventional start (mm 4-6). There’s a rather odd phrase terminus at
bar five of the second chorus. A fine solo.
Charles digs much deeper into the blues here than on the previous takes. Flawless fast blues solo – may be the best version of this set.
There’s a cool tuplet at bar 5 of the second chorus that he would again use in the same place on the next take.
The first bar of Charles’ solo begins with that same wonderful phrase that he had used to start his solo with the orchestra on Honeysuckle Rose at another studio
date over a year earlier. And in the same manner, he builds up a mini crescendo in less than a measure – a lovely effect. Another excellent solo.
The subsequent studio recordings of this tune will have no piano intro, a tidier theme, a different pianist, and a much better drummer.
Issued Recordings:
[ LP ]
Jazz Archives
JA-6
(side B, track 5) “2nd Rehearsal”
[ CD ]
Archives of Jazz
380106 2
(track 13)
Archives of Jazz
389106 2
(track 13)
Best of Jazz
4032 *
(track 17)
CBS
465679 2
(track 13)
Columbia
504289 9
(disc 1, track 9)
Columbia/Legacy
AC4K 65564
(disc 3, track 10)
Columbia/Legacy
C4K 65564
(disc 3, track 10)
Columbia
CK 45144
(track 13)
Japan Jazz Club
EGR 2001
(track 13)
Le Jazz / Charly
CD 11
(track 15)
Masters of Jazz
MJCD 67
(track 13)
Music Memoria
39332 2
(track 19)
Sony/Legacy
93035
(disc 3, track 10)
* [CD] 4032 lists the incorrect date, matrix, personnel.
All text and images in this site protected
by copyright laws.
No text or images (including transcriptions) may be copied, reused, or altered without
written permission from the owner of this site.