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mx   WCO 26132 A
OCTOBER  2,  1939     Monday Columbia Studios,  NYC

  32  BARS    (AABA) Key of   E Quarter Note =   164 Time:   3:15
  4-Bar Intro  +  4  CHORUSES:
      4  bars  –  piano (Intro)
    16  bars  –  CC & ens (Theme)
      8  bars  –  clarinet
      8  bars  –  CC & ens (Theme)
  32  bars  –  CC
    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  –  clarinet
      8  bars  –  CC & ens (Riffs)

  Benny Goodman Sextet
  BENNY GOODMAN clarinet

Composed by: Charlie Christian - Leslie Sheffield - Lionel Hampton
©   VALDÉS   10/2/04


Transcription Page:     Flying Home  —  2 October 1939



This version of Flying Home was the very first of Charlie Christian’s 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 composition—he 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 it’s 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 times—not so here.  But what I find most unusual on this particular solo is his playing two-bar phrases on the A-sections. I can’t 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 unique—in fact, the entire run in mm 20-21 is not repeated in any of his solos.  There’s 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 fretboard—the theme, for example, should be played between the third and eighth fret rather than around the twelfth.

Issued Recordings:
  [ 78 ] Columbia 35254 (b/w Rose Room)
    Columbia 36721 (b/w I Found a New Baby)
    Columbia C-102 (side 3)
  [ LP ] CBS 62.581 (side A, track 3)
    CBS 62581 (side A, track 3)
    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 ] ASV AJA 5144 (track 14)
    Best of Jazz 4007 (track 16)
    Best of Jazz 4070 (track 12)
    Black Bird Black Bird (track 17)
    Catfish KATCD196 * (track 5)
    CBS 465679 2 (track 1)
    CBS 467151 2 (track 2)
    Chestnut CN1003 (track 8)
    Classics 1064 (track 5)
    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)
    Japan Jazz Club EGR 2001 (track 2)
    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)
    Masters of Jazz MJCD 24 (track 7)
    Masters of Jazz MJCD 9004 (disc 1, track 7)
    Membran 222777 [see Album Index]
    Membran 222800 [see Album Index]
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Membran 233423 [see Album Index]
    Music Memoria 39332 2 (track 15)
    Naxos Jazz Legends 8.120768 (track 10)
    Past Perfect 205798-203 (track 1)
    Past Perfect PPCD 78129 (track 12)
    Phontastic PHONT 7660 (track 3)
    Phontastic PHONT 7667 (track 19)
    Primo / Proper PRMCD 6092 (disc 1, track 3)
    Proper P1489 (track 1)
    Proper PROPERBOX 98 (disc 1, track 1)
    Sony/Legacy 93035 (disc 1, track 1)
    Sony BMG/Legacy 09491 (disc 2, track 5)
    Sony Music Media SMM 517115 2 (track 10)
    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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