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DB Hall of Fame



mx  CO 29512-2
JANUARY  15,  1941     Wednesday Columbia Studios,  NYC

  12-BAR  BLUES Key of   B♭ Quarter Note =   208 Time:   3:05
  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)

  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        third take     15 Jan 1941     CO 29512-2   (master)



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: ( 3:05 )
  [ 78 ] Columbia 36039 (b/w I Found a New Baby)
  [ 45 ] Columbia G 4-2 (G 4-2-11)
  [ EP ] Columbia B-350 (side F, track 1)
  [ LP ] CBS / Sony 56AP 674~6 (side E, track 5)
    CBS / Sony SOPM 162 (side B, track 5)
    CBS / Sony SOPZ4~6 (side E, track 5)
    Columbia 33SX 1035 (side B, track 5)
    Columbia CL 500 (side B, track 5)
    Columbia GL 500 (side B, track 5)
    Musica Jazz 2MJP 1058 (side B, track 3)
    Philips BBL 7178 (side A, track 6)
    Time-Life STL-J22 (side E, track 2)
  [ CD ] Best of Jazz 4018 (track 20)
    Classics 1202 (track 3)
    Columbia/Legacy AC4K 65564 (disc 3, track 3)
    Columbia/Legacy C4K 65564 (disc 3, track 3)
    Columbia/Legacy CK 86834 (track 8)
    Columbia CK 91494 (track 11)
    Edel 0193692ERE (track 21)
    Jazz Archives / EPM 15908 2 (track 13)
    Jazz Unlimited JUCD 2013 (track 16)
    Masters of Jazz MJCD 68 (track 8)
    Membran 222777   * [see Album Index]
    Membran 222800   * [see Album Index]
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Membran 233423 [see Album Index]
    Proper P1490 (track 12)
    Proper PROPERBOX 98 (disc 2, track 12)
    Sony/Legacy 93035 (disc 3, track 3)
    Universe / Comet UV 129/2 (disc 2, track 4)
    *  [CD]  222777 & 222800  list an incorrect date.
  Spliced & Incomplete: ( 0:28 )
  All spliced issues contain only the 2 CC solo choruses from this take spliced with other takes.
(refer to the first, second, fourth, fifth composites on The Spliced Recordings page)
  [ EP ] B-504 2BP 220094 (side B, track 2d)
  [ 10 ] Philips P 07.931 R (side B, track 4d)
  [ LP ] Avan-Guard VSLP 213 (side B, track 7d)
    CBS 159.028/29 (side D, track 1c)
    CBS 2BP 220094 (side D, track 1c)
    CBS 52538 (side B, track 7d)
    CBS 62.387 (side A, track 5d)
    CBS 67233 (side D, track 1c)
    CBS / Sony 20AP 1456 (side A, track 5d)
    CBS / Sony 56AP 674~6 (side E, track 4c)
    CBS / Sony 56AP 674~6 (side E, track 6d)
    CBS / Sony SOPM 155 (side A, track 5d)
    CBS / Sony SOPZ4~6 (side E, track 4c)
    CBS / Sony SOPZ4~6 (side E, track 6d)
    Columbia CG 30779 (side D, track 1c)
    Columbia CL 652 (side A, track 5d)
    Columbia G 30779 (side D, track 1c)
    Coronet / CBS KLP 510 (side A, track 5d)
    Philips BBL 7172 (side A, track 5d)
    Smithsonian/CBS P6 11891 (side F, track 3d)
  [ CD ] CBS / Sony 25DP 5301 (track 5d)
    Smithsonian/CBS RD 033 (disc 2, track 24c)


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