DB Hall of Fame



DB Hall of Fame



DECEMBER  16,  1939     Saturday “CAMEL CARAVAN”
NBC Radio Network / WEAF
Radio City Studios,  NYC

  32  BARS    (AABA) Key of   Ab Quarter Note =   218 Time:   3:01
[ Goodman:   “Lionel Hampton arranged this one and we feature our new pianist, Johnny Guarnieri.” ]
  4-Bar  Intro  +  5  CHORUSES:
      4  bars  –  vibes (Intro)
      1  chor  –  clarinet (Melody)
    1  chor  –  vibes (accomp by CC amplified,
  modern-rhythm chords)
    1  chor  –  CC
    16  bars  –  clarinet
      8  bars  –  piano
      8  bars  –  clarinet (over vib riffs)
    16  bars  –  clarinet (over vib riffs)
      8  bars  –  vibes & clarinet (unaccomp 1-bar trades)
      8  bars  –  clarinet (over vib riffs)

  Benny Goodman Sextet
  BENNY GOODMAN clarinet

Issued Recordings:
  [ LP ] Festival ALB 377
    Jazz Anthology JA 5181
    Jazz Archives JA-23
  [ CD ] Archives of Jazz 380123 2
    Archives of Jazz 389123 2
    Definitive DRCD11177
    Definitive DRCD11386
    Fuel 2000 302 061 755 2
    Galaxy 3899442
    Jazz Classics JZCL-5005
    JSP JSP909
    Masters of Jazz MJCD 29
    Masters of Jazz MJCD 9004
    Mr. Music MMCD-7040
    Music Memoria 87998 2
    Norma NOCD5657
    Primo / Proper PRMCD 6092
    Proper P1491
    Proper PROPERBOX 98
    Stardust CLP 1150-2
    Uptown UPCD 27.63
    Vintage Jazz Classics VJC-1021-2

Composed by: Harry Akst - Sam M. Lewis - Joe Young
© VALDÉS   6/15/99



First Page:          Chord Accompaniment behind Vibes solo

Second Page:    Guitar Solo



Dinah is from a December 16 “Camel Caravan” broadcast and the only version of this tune to be recorded by Charlie Christian.  There’s some notable stride piano here and, especially on the opening chorus, CC’s unique “1-1-1-1” rhythm-guitar style is prominently recorded.

Not only is Charles’ solo “a pure delight!”—as stated in the Masters of Jazz CD liner notes—but his amplified chord accompaniment on the vibes solo is so extraordinary that it becomes the main attraction of the chorus with the vibes playing the supporting role.

On the following chorus CC sustains the essence of the melody during parts of his exhilarating solo—particularly on the first three bars and on mm 8-10 where he plays a variation of the first three.  There’s also a good example of how he played similar phrases (bars 2-3 and 30-31) on different places on the neck—one reason his licks don’t sound repetitive or stale.  On mm 4-6 he plays one of his favorite phrases then unexpectedly inserts (at bar 6) an uncommon D-natural instead of the usual b7 (Db) of the chord.   Measure 16:  Charles often anticipates the bridge by a beat or two, here he does so by a full three beats.  At bar 27 he pre-bends up half-a-step (to Gb) before releasing to the normal F on the sixth fret rather than sliding down as he did at bar 14 or the regular bend at bar 31.

An unusual aspect of this solo is that there’s as much interesting stuff going on in the three “A” sections as there is on the bridge—usually he takes it up a notch or two on the bridge.  Also, it’s a particularly lyrical solo for such a fast tempo—and with relatively few rests.

The fidelity of the recording is not the best for transcribing, but it’s very listenable.  We’re fortunate indeed that at least this aircheck version of “Dinah” was captured, thanks to Jerry Newhouse.


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