OCTOBER 2, 1939 Monday |
Columbia Studios, NYC |
|
32 BARS (AABA) |
Key of |
|
E♭ |
Quarter Note = |
|
164 |
Time: |
|
3:15 |
|
4-Bar Intro + 4
CHORUSES: |
|
|
16 bars
CC & ens |
(Theme) |
|
|
8 bars
CC & ens |
(Theme) |
|
|
16 bars vibes |
(over CC chord
accents) |
|
|
8 bars vibes |
(over CC riffs) |
|
|
8 bars vibes |
(over CC chord
accents) |
|
|
16 bars
CC & ens |
(Riffs) |
|
|
8 bars
CC & ens |
(Riffs) |
Composed by: |
Charlie Christian -
Leslie Sheffield - Lionel Hampton |
C&A:
This version of Flying Home was the very first of Charlie
Christians studio recordings with the Goodman sextet. It may not have been the
very best of his solos but it is by far the best known version of this tune having been
released on a Columbia 78-rpm exactly a month after it was recorded. (The alternate
take from this session was released a few years later, as Homeward Bound, but
only on the V-Disc label for distribution exclusively to the soldiers overseas.)
Charles was well acquainted with this compositionhe wrote it and had been playing
it since his days with the Leslie Sheffield orchestra. It begins with a four-bar piano
intro, followed by the 32-bar theme (with a clarinet break) by the ensemble. CC then
comes in with his solo and its an excellent example of how to add variety to a
simple harmony not only by the distinctive phrases but by the unique phrasing and by
playing the E♭Maj in all kinds of fret positions.
On five of his seven early solos on this tune he starts out with riff repeated three or
four timesnot so here. But what I find most unusual on this particular solo is
his playing two-bar phrases on the A-sections. I
cant think of another solo where he does that. His normal modus operandi is to
cross or ignore the bar lines as he does on the bridge.
And an excellent B-section it is: I like
that leap from E♭,
D, D♭
up to C at bar 18 before inserting the three-note
D♭m
between the E♭7 and A♭
measures. In bar 19, he repeats the pattern from mm 17, transposed to
A♭. He anticipates
the F7 by two beats with a six-note
chromatic run which is uniquein fact, the entire run in mm 20-21 is not repeated in
any of his solos. Theres a ♯5 in the
B♭7 (not unusual for CC but it is for that era)
followed two beats later by a Maj7 which he emphasizes as more than a mere passing tone.
The vibes solo follows with Charles prominently heard with his
E♭dim7
chord accents throughout the A-sections and riffs
on the bridge. The out-chorus has CC riffs on the As
and comping on the bridge.
To save on web space for future transcriptions, I have elected not to include the
theme, chord accents, and closing riffs here since they are readily available in recently
published books and magazines. However, those publications tabulate most of those
choruses too high on the fretboardthe theme, for example, should be played between
the third and eighth fret rather than around the twelfth. |
|
[ 78 ] |
Columbia |
35254 |
(b/w Rose Room) |
|
|
Columbia |
36721 |
(b/w I Found a New Baby) |
|
[ LP ] |
CBS |
62.581 |
(side A, track 3) |
|
|
CBS |
62581 |
(side A, track 3) |
|
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CBS |
67268 |
(side B, track 1) |
|
|
CBS |
BPG 62581 |
(side A, track 3) |
|
|
CBS / Sony |
56AP 674~6 |
(side A, track 1) |
|
|
CBS / Sony |
SOPZ4~6 |
(side A, track 1) |
|
|
Columbia |
KG 31547 |
(side B, track 1) |
|
|
Giants of Jazz |
LPJT 13 |
(side B, track 7) |
|
|
Time-Life |
STL-J05 |
(side E, track 1) |
|
[ CD ] |
Acrobat |
ACTRCD 9103 |
(disc 2, track 14) |
|
|
Best of Jazz |
4007 |
(track 16) |
|
|
Best of Jazz |
4070 |
(track 12) |
|
|
Black Bird |
Black Bird |
(track 17) |
|
|
Catfish |
KATCD196 |
* |
(track 5) |
|
|
Chestnut |
CN1003 |
(track 8) |
|
|
Columbia |
504289 9 |
(disc 1, track 8) |
|
|
Columbia/Legacy |
AC4K 65564 |
(disc 1, track 1) |
|
|
Columbia/Legacy |
C4K 65564 |
(disc 1, track 1) |
|
|
Columbia |
CK 45144 |
(track 1) |
|
|
Columbia |
CK 53774 |
(track 4) |
|
|
Columbia/Legacy |
CK 61445 |
(track 13) |
|
|
Columbia |
COL 467151 2 |
(track 2) |
|
|
Columbia/Legacy |
COL 501035 2 |
(track 13) |
|
|
Columbia / Epic |
J2K 65807 |
(disc 1, track 11) |
|
|
Columbia / Epic |
JXK 65750 |
(disc 7, track 11) |
|
|
DeAgostini |
MJ 1032-1 |
(track 1) |
|
|
Definitive |
DRCD11176 |
(disc 1, track 5) |
|
|
Documents / Membran |
223505 |
(disc 2, track 11) |
|
|
Documents / Membran |
231048 |
(disc 9, track 1) |
|
|
Documents / Membran |
233118 |
(disc 1, track 9) |
|
|
Dreyfus Jazz |
FDM 36715-2 |
(track 14) |
|
|
Editions Atlas |
WIS CD 688 |
(track 18) |
|
|
Fabulous / Acrobat |
FABCD352 |
(track 1) |
|
|
Giants of Jazz |
53049 |
(track 19) |
|
|
Going for a Song |
GFS561 |
(track 2) |
|
|
History |
20.1960-HI |
(set 9, disc 1, track 1) |
|
|
History |
20.1969-HI |
(disc 1, track 1) |
|
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Japan Jazz Club |
EGR 2001 |
(track 2) |
|
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Jasmine |
JASCD 515 |
(disc 1, track 8) |
|
|
Jazz Archives / EPM |
15908 2 |
(track 1) |
|
|
Jazz Forever |
67041 |
(track 1) |
|
|
Jazz Greats |
MC 027 |
** |
(track 10) |
|
|
Jazz Portraits |
14545 |
(track 1) |
|
|
Jazz Roots |
56059 |
(track 1) |
|
|
Jazzterdays |
JTD 102410 |
(track 2) |
|
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Masters of Jazz |
MJCD 24 |
(track 7) |
|
|
Masters of Jazz |
MJCD 9004 |
(disc 1, track 7) |
|
|
Music Memoria |
39332 2 |
(track 15) |
|
|
Naxos Jazz Legends |
8.120768 |
(track 10) |
|
|
Past Perfect |
205798-203 |
(track 1) |
|
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Past Perfect |
PPCD 78129 |
(track 12) |
|
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Phontastic |
PHONT 7660 |
(track 3) |
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Phontastic |
PHONT 7667 |
(track 19) |
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Primo / Proper |
PRMCD 6092 |
(disc 1, track 3) |
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Proper |
PROPERBOX 98 |
(disc 1, track 1) |
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Sony/Legacy |
93035 |
(disc 1, track 1) |
|
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Sony BMG/Legacy |
09491 |
(disc 2, track 5) |
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Sony Music Media |
SMM 517115 2 |
(track 10) |
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Topaz Jazz / Pavilion |
TPZ 1017 |
(track 2) |
|
|
Universe / Comet |
UV 129/2 |
(disc 1, track 1) |
|
* |
|
[CD] KATCD196
incorrectly lists this as track 4. |
|
** |
|
[CD] MC 027 incorrectly
dates this as from an aircheck. |
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