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DB Hall of Fame



mx  R 3462
FEBRUARY  5,  1941     Wednesday Reeves Sound,  NYC
(BLUE NOTE  Records)

  12-BAR  BLUES  (Boogie) Key of   C Quarter Note =   202 Time:   3:49
      4  chor  –  celeste (1st 4 bars unaccomp)
      2  chor  –  clarinet
    2  chor  –  CC & ens (Boogie Riffs)
      4  chor  –  celeste
    2  chor  –  CC & ens (Boogie Riffs)
      2  chor  –  clarinet

  Edmond Hall Celeste Quartet
  EDMOND HALL clarinet

Composed by: Edmond Hall - Meade Lux Lewis
©   VALDÉS   9/9/18



First Page:          Guitar Riffs – First set

Second Page:    Guitar Riffs – Second set



Celestial Express was the last tune recorded at the “Celeste Quartet” session booked for Alfred Lion’s Blue Note label at Reeves Sound in Manhattan.  Charlie Christian doesn’t solo on this cut but he is very prominent comping behind the leader’s solos and especially so on riffs – all on acoustic guitar, as he did during the entire session most likely due to Lion’s traditional predilection.  In my opinion, the absent amplifier is no great loss in this small group;  Charles was well miked.  (I doubt that an amp could have helped much in overcoming the celeste intrusions.)

There are two sets of riffs on here where the quartet engages in some very loosely orchestrated near-improvisations for two choruses on each set.  On the first set, Charles plays one boogie riff pattern for twelve bars then switches to a different boogie riff for the next twelve.  The same two patterns are used again on the second set of riffs but this time Charles reverses the sequence.  Nothing fancy or complicated but vibrantly effective.

NB: Reeves Sound had been founded several years earlier by engineer Hazard ‘Buzz’ Reeves at 1600 Broadway in NYC.  The studio produced excellent results on the recording of this Blue Note session.  In the 1950s, the studios (now on 44th St) were especially noted for recording many sessions for the Riverside label in particular: Thelonious, Trane, Wes, John Lee Hooker, et multis al.  Reeves himself was an innovative pioneer in phonograph recording and more so in motion pictures (Cinerama, magnetic tape, film, cameras) – there wasn’t too much he wasn’t into in this broad field.

Blue Note Records, of course, went on to become a nonpareil, legendary jazz label.


Issued Recordings:
  [ 78 ] Blue Note 17-A (B side:  Profoundly Blue)
  [ 10 ] Blue Note BLP 5026 (side B, track 1)
    Toshiba-EMI TOJJ-5026 (side B, track 1)
  [ LP ] Blue Note B-6505 (side A, track 5)
    Blue Note / King K23P-9282 (side A, track 5)
    Blue Note / Toshiba NR-8101 (side A, track 5)
    Mosaic MR6-109 (side A, track 5)
  [ CD ] Avid AMSC 553 (disc 1, track 3)
    Blue Note 21260 2 (track 5)
    Classics 830 (track 6)
    Definitive DRCD11122 (track 13)
    Definitive DRCD11176 (disc 3, track 17)
    Disconforme GV1359 (track 13)
    Fabulous / Acrobat FADCD2059 (disc 2, track 1)
    Jazz Portraits 14578 (track 15)
    Masters of Jazz MJCD 68 (track 22)
    Membran 222764 [see Album Index]
    Membran 222800 [see Album Index]
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Mosaic MD4-109 (disc 1, track 5)
    Primo / Proper PRMCD 6092 (disc 2, track 5)
    Proper P1490 (track 19)
    Proper PROPERBOX 98 (disc 2, track 19)
    Topaz Jazz TPZ 1069 (track 18)
    Toshiba-EMI TOCJ-66010 (track 5)


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