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mx  CO 29512-3
JANUARY  15,  1941     Wednesday Columbia Studios,  NYC

  12-BAR  BLUES Key of   B♭ Quarter Note =   206 Time:   3:07
  13  CHORUSES  +  4-Bar  Tag:
    24  bars  –  trumpet w/ CC & ensemble (Theme)
    24  bars  –  trumpet (over CC & ens riffs)
    24  bars  –  clarinet
    24  bars  –  piano (over ens riffs)
    4  bars  –  ensemble (Refrain)
    8  bars  –  CC
  12  bars  –  CC
      4  bars  –  ensemble (Refrain)
      8  bars  –  tenor sax
    12  bars  –  tenor sax
    12  bars  –  trumpet w/ CC & ensemble (Theme)
    4  bars  –  CC & ensemble (improvised Coda)

[ laughter ]


  Benny Goodman and his Sextet
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  JO JONES drums

Composed by: Charlie Christian - Cootie Williams
© VALDÉS   4/16/2019


Transcription Page:     Breakfast Feud        second take     15 Jan 1941     CO 29512-3



Five complete takes of Breakfast Feud had been recorded at the Columbia studios on 19 December 1940 – none were released.  Less than four weeks later, on 15 January 1941, the tune would be recorded again four more times.  The third take was subsequently released in April 1941.

Count Basie had now replaced pianist Kenny Kersey and Basie’s drummer Jo Jones was now at hand to provide better rhythm support than on the prior session.  The piano intro used in the initial session had been eliminated but the rest of the routine, including the four-bar coda, was the same.

The first four bars of CC’s first chorus is an ascending, lead-in refrain played by the ensemble.

    first take   CO 29512-4   LISTEN   Guitar Solo / Coda

Other than the tentative beginning (mm 5-6) this is a very interesting solo.  Nothing particularly innovative but inventive nonetheless – throughout the solo.

    second take   CO 29512-3         ☊   LISTEN   Guitar Solo / Coda

This run-down has a very nice, very long non-stop run of over 5 mm that’s the feature attraction, from bar 12 of the first chorus through bar 5 of the second chorus.  Howbeit, the solo is multifarious as a whole and an excellent effort in all respects.

    third take   CO 29512-2     (master take)   LISTEN   Guitar Solo / Coda

On this take there are a deceptively intricate first three bars and an equally labyrinthine, memorable F7 line at mm 9-11 on the first chorus of Charles’ solo.

Uncommon repeated Bb sweeps start off the second chorus followed by chromatically descending doubled notes on alternating strings.  A diminished 7 caprice closes the solo.

    fourth take   CO 29512-1     (alternate take)   LISTEN   Guitar Solo / Coda

Charlie Christian’s solo on this take of Breakfast Feud is especially interesting for the lyrical/rhythmic approach, tremendous drive, and innovative fretwork that he maintains at such a high level of creativity from start to finish…on such a simple harmonic base.

The first few opening notes of Charles’ solo are as on CO 29512-3 but within little more than four beats the line deviates into a more routine run.  The transition from the first to the second chorus contains a lot of rhythmic phrasing that seems to motivate the guitarist to full flight for the remainder of the solo.

There is little doubt that Charles was revving up for further adventures had it not been for the studio time restraints.  This is but a wee sampling of what would be heard from Charlie Christian live at Minton’s in a few short months.

This alternate take has been reissued more often than the master – presumably because it has the best version of the eleven solos that he recorded on this particular twelve-bar blues.

Issued Recordings: ( 3:07 )
  [ CD ] Columbia/Legacy AC4K 65564 (disc 3, track 16)
    Columbia/Legacy C4K 65564 (disc 3, track 16)
    Jazz Unlimited JUCD 2013 (track 15)
    Masters of Jazz MJCD 189 (track 14)
    Sony/Legacy 93035 (disc 3, track 16)
  Split & Spliced  (complete): ( 3:07 )
  These spliced tracks contain the first 8 choruses of this take;  the CC solos from CO 29259-1, CO 29512-3, and CO 29512-2;  and the last 3 choruses and the tag of this take.
(refer to the first composite on The Spliced Recordings page)
  [ EP ] Columbia B-504 (side B, track 2a/c/e)
  [ 10 ] Philips P 07.931 R (side B, track 4a/c/e)
  [ LP ] Avan-Guard VSLP 213 (side B, track 7a/c/e)
    CBS 52538 (side B, track 7a/c/e)
    CBS 62.387 (side A, track 5a/c/e)
    CBS / Sony 20AP 1456 (side A, track 5a/c/e)
    CBS / Sony 56AP 674~6 (side E, track 6a/c/e)
    CBS / Sony SOPM 155 (side A, track 5a/c/e)
    CBS / Sony SOPZ4~6 (side E, track 6a/c/e)
    Columbia CL 652 (side A, track 5a/c/e)
    Coronet / CBS KLP 510 (side A, track 5a/c/e)
    Philips BBL 7172 (side A, track 5a/c/e)
  [ CD ] CBS / Sony 25DP 5301 (track 5a/c/e)
  Spliced & Incomplete: ( 0:28 )
  These incomplete spliced tracks contain only the 2 CC solo choruses from this take spliced with other takes.
(refer to the second & fifth composites of The Spliced Recordings page)
  [ LP ] CBS 159.028/29 (side D, track 1b)
    CBS 2BP 220094 (side D, track 1b)
    CBS 67233 (side D, track 1b)
    CBS / Sony 56AP 674~6 (side E, track 4b)
    CBS / Sony SOPZ4~6 (side E, track 4b)
    Columbia CG 30779 (side D, track 1b)
    Columbia G 30779 (side D, track 1b)
    Smithsonian/CBS P6 11891 (side F, track 3c)
  [ CD ] Smithsonian/CBS RD 033 (disc 2, track 24b)
  Incomplete: ( 0:32 )
  These releases contain only the 4-bar refrain, the 8 + 12-bar CC solo, then fade out on the subsequent 4-bar refrain.
  [ CD ] Masters of Jazz MJCD 68 (track 9)
    Masters of Jazz R2CD 8004 (side B, track 5)


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