DB Hall of Fame



DB Hall of Fame



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

  32  BARS    (AABA) Key of   Eb 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

Issued Recordings:
  [ 78 ] Columbia 35254
    Columbia 36721
    Columbia C-102
  [ LP ] CBS 62.581
    CBS 67268
    CBS / Sony 56AP 674-6 (side 1, track 1)
    CBS / Sony SOPZ4-6 (side 1, track 1)
    Giants of Jazz LPJT 13
    Time-Life STL-J05
  [ CD ] ASV AJA 5144
    Best of Jazz 4007
    Best of Jazz 4070
    Black Bird Black Bird
    Catfish KATCD196 * (track 5)
    CBS 465679 2
    CBS 467151 2
    Chestnut CN1003
    Classics 1064
    Columbia/Legacy AC4K 65564 (disc 1, track 1)
    Columbia/Legacy C4K 65564 (disc 1, track 1)
    Columbia CK 45144
    Columbia CK 53774
    Columbia/Legacy CK 61445
    Columbia COL 467151 2
    Columbia / Epic J2K 65807 (disc 1, track 11)
    Columbia / Epic JXK 65750 (disc 7, track 11)
    Definitive DRCD11176 (disc 1, track 5)
    Dreyfus Jazz FDM 36715-2
    Giants of Jazz 53049
    Going for a Song GFS561
    History 20.1960-HI
    History 20.1969-HI
    Jazz Archives / EPM 15908 2
    Jazz Forever 67041
    Jazz Greats MC 027 **
    Jazz Portraits 14545
    Jazz Roots 56059
    Jazzterdays JTD 102410
    Masters of Jazz MJCD 24 (track 7)
    Masters of Jazz MJCD 9004 (disc 1, track 7)
    Music Memoria 39332 2
    Past Perfect 205798-203
    Past Perfect PPCD 78129
    Proper PROPERBOX 98
    Sony/Legacy 93035 (disc 1, track 1)
    Sony Music Media SMM 517115 2
    Topaz Jazz TPZ 1017
    Universe 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.

Composed by: Charlie Christian - Leslie Sheffield - Lionel Hampton - Benny Goodman - Eddie DeLange
©   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 EbMaj 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 Eb, D, Db up to C at bar 18 before inserting the three-note Dbm between the Eb7 and Ab measures.  In bar 19, he repeats the pattern from mm 17, transposed to Ab.  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 Bb7 (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 Ebdim7 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.


Home ] Up ]



This Web site is designed and managed by



• optimized for 1024x768 window-size viewing •

Last updated on 09/25/16

Copyright © LeoValdes 1998

All text and images in this site protected by copyright laws.
No text or images (including transcriptions) may be copied, reused, or altered without written permission from the owner of this site.