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mx  CO 29512-1
JANUARY  15,  1941     Wednesday Columbia Studios,  NYC

  12-BAR  BLUES Key of   B♭ Quarter Note =   210 Time:   3:02
  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        fourth take     15 Jan 1941     CO 29512-1



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: ( 3:02 )
  [ LP ] Blu-Disc T-1006 (side B, track 2)
    CBS 177.057 (side B, track 3)
    CBS 460612 1 (side B, track 3)
    CBS LSP 980 721-1 (side B, track 3)
    Columbia CJ 40846 (side B, track 3)
    Phontastic NOST 7612 (side B, track 3)
  [ CD ] Acrobat ACTRCD 9103   * (disc 3, track 12)
    Armando Curcio Editore DEJ-54 (track 11)
    Better Music / Del Prado JIT016 (track 8)
    Catfish KATCD196 (track 9)
    CBS 460612 2 (track 11)
    Columbia 501646 2 (track 11)
    Columbia/Legacy AC4K 65564 (disc 3, track 17)
    Columbia/Legacy C4K 65564 (disc 3, track 17)
    Columbia CK 40846 (track 11)
    Columbia CK 91494 (track 11)
    DeAgostini MJ 1032-1 (track 12)
    Definitive DRCD11176 (disc 4, track 2)
    Definitive DRCD11228 (track 11)
    Ediciones Del Prado GJ016 (track 8)
    Ediciones Del Prado JB016 (track 8)
    Editions Atlas WIS CD 688 (track 14)
    Fabulous / Acrobat FABCD352   * (track 14)
    Giants of Jazz 53049 (track 11)
    Going for a Song GFS561 (track 21)
    History 20.1960-HI (set 9, disc 1, track 19)
    History 20.1969-HI (disc 1, track 19)
    Jazz Forever 67041 (track 7)
    Jazz Greats MC 027   ** (track 11)
    Jazz Portraits 14545 (track 7)
    Jazz Roots 56059 (track 7)
    Jazz Unlimited JUCD 2013 (track 17)
    Jazzterdays JTD 102410 (track 17)
    Masters of Jazz MJCD 68 (track 7)
    Past Perfect 205798-203 (track 19)
    Phontastic NCD 8822 (disc 1, track 3)
    SME / Sony SRCS 9612 (track 11)
    Sony/Legacy 93035 (disc 3, track 17)
    Topaz Jazz TPZ 1017 (track 18)
    *     [CD]  FABCD352,  ACTRCD 9103,  incorrectly lists this as the master take.
**   [CD]  MC 027  incorrectly dates this take.
  Spliced & Incomplete: ( 1:12 )
  contain only the last 5 choruses and the tag from this take spliced with other takes.
(refer to the second composite on The Spliced Recordings page)
  [ LP ] CBS 159.028/29 (side D, track 1d)
    CBS 2BP 220094 (side D, track 1d)
    CBS 67233 (side D, track 1d)
    CBS / Sony 56AP 674~6 (side E, track 4d)
    CBS / Sony SOPZ4~6 (side E, track 4d)
    Columbia CG 30779 (side D, track 1d)
    Columbia G 30779 (side D, track 1d)
  Spliced & Incomplete: ( 0:27 )
  contain only the 2 CC solo choruses from this take spliced with other takes.
(refer to the fourth & fifth composites on The Spliced Recordings page)
  [ LP ] Smithsonian/CBS P6 11891 (side F, track 3e)
  [ CD ] Smithsonian/CBS RD 033 (disc 2, track 24d)




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