DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

FLYING HOME
(HOMEWARD BOUND)
 
mx   WCO 26132 B
 
OCTOBER  2,  1939     Monday Columbia Studios,  NYC
 

 
  32  BARS    (AABA) Key of   E Quarter Note =   166 Time:   3:12
 
 
  Goodman:  “Hello Men, this is V-Disc with Goodman coming your way.  Here’s a couple of things I hope you like.”
  OR
  Goodman:  “Hiya Fellas, this is Benny Goodman spinning at you on this V-Disc.”
  (different dubbed greetings appear on different V-Disc pressings)
 
 
  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)
 
 

 
Personnel:
 
  Benny Goodman Sextet
  CHARLIE CHRISTIAN Guitar
  BENNY GOODMAN clarinet
  LIONEL HAMPTON vibes
  FLETCHER HENDERSON piano
  ARTIE BERNSTEIN bass
  NICK FATOOL drums
 
 

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


 

Transcription Page:     Flying Home  —  2 October 1939

Homeward Bound     (alternate take)

 



C&A:

A few years after the release of the master take on the customary Columbia label, this alternate take of Flying Home from the same studio date was released as Homeward Bound on the V-Disc label intended for distribution exclusively to the members of the military overseas.  As expected, Charlie Christian’s solo is decidedly different.

Charles begins the solo with a repeated riff used on quite a few other versions but, except for the ubiquitous E♭dim7 idiom inserted in bars 11 and 12, the rest is rather unique.  Remarkable how he can so vary the simple E♭ harmony on two-thirds of a chorus.  Measures 29-31 are especially imaginative and unexpected – fantastic coordination.

Then, of course, there’s the bridge.  The E♭7 (mm 17-18) and F7 (mm 21-22) sequences are virtually identical, the second just transposed a couple of semitones up.  But the rhythm on the second – prefaced by a long slide up the fretboard – is turned upside down and the fingering/highlighting is so completely divergent he makes it seem an altogether different run.  Ingenious.

A lot of brinkmanship by Charles on this for a studio date.  Although the master is always listed first, there’s no definite affirmation as to which take was recorded first.  I have a hunch this was the first take of the day and he may have expected this to be a throw-away so he was very relaxed – and creative.

It is a marvelous solo.



 
Issued Recordings:
 
  [ 78 ] V Disc 731B
 
  [ LP ] Phontastic NOST 7610 (side A, track 2)
    Sunbeam SB-144 (side A, track 4)
 
  [ CD ] BD Jazz JZBD022 (disc 1, track 1)
    Collectors’ Choice CCM 3592 2 (disc 4, track 10)
    Columbia/Legacy AC4K 65564 (disc 1, track 18)
    Columbia/Legacy C4K 65564 (disc 1, track 18)
    Columbia/Legacy CK 86834 (track 4)
    Definitive DRCD11176 (disc 4, track 1)
    Edel 0193692ERE (track 1)
    Makin’ Friends / BMG 14170 2 (disc 1, track 15)
    Masters of Jazz MJCD 24 (track 8)
    Masters of Jazz MJCD 9004 (disc 1, track 8)
    Masters of Jazz R2CD 8004 (disc 1, track 1)
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Phontastic NCD 8821 (disc 1, track 18)
    Sony/Legacy 93035 (disc 1, track 18)
    Tokuma TKCF-77074 (track 6)
    Universe UV 129/2 (disc 1, track 16)
    Warner Music France 3007-2 (track 9)
 

 



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