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
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 Bb6 in the middle of
the Eb13. Melodic mm 7-8, then bluesy b7 at bar 9, alternating strings introduce the second
chorus, two beats of Ebm (bar 2 of second
chorus), blues b7 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
The freely improvised four-bar tag that closes out the tune has CC playing a Bbdim7 ascending from the 3rd fret to the 14th fret in
the first bar and a half.