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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 & ens (Theme)
    24  bars  –  trumpet (over CC & ensemble riffs)
    24  bars  –  clarinet
    24  bars  –  piano (over ensemble 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 & ens (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   2/10/2003


Transcription Page:     Breakfast Feud



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

The first four bars of CC’s 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, it’s 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).  There’s 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.

Issued Recordings:
  [ 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)
    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)
    Definitive DRCD11176 (disc 4, track 2)
    Definitive DRCD11228 (track 11)
    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)
  Spliced & Incomplete:
  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)
    CBS / Sony SOPZ4-6 (side E, track 4d)
    Columbia CG 30779 (side D, track 1d)
    Columbia G 30779 (side D, track 1d)
  Spliced & Incomplete:
  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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