JANUARY 15, 1941 Wednesday |
Columbia Studios, NYC |
|
12-BAR BLUES |
Key of |
|
B♭ |
Quarter Note = |
|
210 |
Time: |
|
3:02 |
|
|
24 bars
trumpet w/ CC & ens |
(Theme) |
|
|
24 bars
trumpet |
(over CC &
ensemble riffs) |
|
|
24 bars
piano |
(over ensemble riffs) |
|
• |
4 bars
ensemble |
(Refrain) |
|
|
4 bars
ensemble |
(Refrain) |
|
|
12 bars
trumpet w/ CC & ens |
(Theme) |
|
♪ |
4 bars
CC & ensemble |
(improvised Coda) |
|
Benny Goodman and his Sextet |
|
Composed by: |
Charlie Christian - Cootie Williams |
C&A:
Charlie Christians 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. This alternate take has been reissued
more often than the masterpresumably because it has the best solo of the eleven
versions that he recorded on this particular twelve-bar blues.
The first four bars of CCs first chorus is an ascending, lead-in refrain played
by the ensemble. The refrain sounds like it was either composed by Charles or
borrowed from one of his licks. After the refrain, its fascinating to hear how
he will open a solo that begins on the fifth bar rather than on the first.
CC enters this solo on the third beat of the fourth measure with one of his usual lines
but throwing in two beats of B♭6 in the middle of
the E♭13. Melodic mm 7-8, then bluesy ♭7 at bar 9, alternating strings introduce the second
chorus, two beats of E♭m (bar 2 of second
chorus), blues ♭7 again (at bar 4).
Theres a long, slow slide at bar 7 followed by alternating strings leading to a
short but very nicely placed diminished run (bar 9) capped by alternating octaves/pedal
tone.
The freely improvised four-bar tag that closes out the tune has CC playing a B♭dim7 ascending from the 3rd fret to the 14th fret in
the first bar and a half. |
|
[ LP ] |
Blu-Disc |
T-1006 |
(side B, track 2) |
|
|
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 ] |
Catfish |
KATCD196 |
(track 9) |
|
|
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) |
|
|
Definitive |
DRCD11176 |
(disc 4, track 2) |
|
|
Definitive |
DRCD11228 |
(track 11) |
|
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Fabulous / Acrobat |
FABCD352 |
(track 14) |
|
|
Giants of Jazz |
53049 |
(track 11) |
|
|
Going for a Song |
GFS561 |
(track 21) |
|
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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) |
|
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Masters of Jazz |
MJCD 68 |
(track 7) |
|
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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) |
|
contain only the last 5 choruses
and the tag from this take spliced with other takes.
(refer to The Spliced Recordings page) |
|
[ LP ] |
CBS |
2BP 220094 |
(side D, track 1d) |
|
|
CBS |
67233 |
(side D, track 1d) |
|
|
CBS / Sony |
56AP 674-6 |
(side E, track 4d) |
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CBS / Sony |
SOPZ4-6 |
(side E, track 4d) |
|
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Columbia |
CG 30779 |
(side D, track 1d) |
|
|
Columbia |
G 30779 |
(side D, track 1d) |
|
contain only the 2 CC solo
choruses from this take spliced with other takes.
(refer to 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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