DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

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GONE WITH WHAT DRAFT
 
mx  CO 29519-3
 
JANUARY  15,  1941     Wednesday Columbia Studios,  NYC
 

 
  32  BARS    (AABA) Key of   F Quarter Note =   218 Time:   2:40
  w/  12  BAR  CADENZA
 
 
  4-Bar Intro  +  2  CHORUSES  +  12-Bar  CADENZA  +  2  CHORUSES:
 
    4  bars  –  CC (Intro)  
 
  16  bars  –  trumpet (Theme) (over CC & ens riffs)
      8  bars  –  trumpet (Theme)  
    8  bars  –  trumpet (Theme) (over CC & ens riffs)
 
  16  bars  –  clarinet   (over CC & ens riffs)
      8  bars  –  clarinet    
    8  bars  –  clarinet   (over CC & ens riffs)
 
    12-BAR CADENZA
      2  bars  –  ensemble    
    2  bars  –  CC (chords  –  unaccompanied)
      2  bars  –  ensemble    
    2  bars  –  CC (chords  –  unaccompanied)
    4  bars  –  CC (chords  –  over ensemble)
 
  16  bars  –  CC & ensemble (fours:  scales / riffs / scales / riffs)
      8  bars  –  piano
    8  bars  –  CC & ensemble (fours:  scales / riffs)
 
  16  bars  –  CC & ensemble (riffs)
    8  bars  –  CC & ensemble (four-note arpeggios)
    8  bars  –  CC & ensemble (riffs)
 
 

 
Personnel:
 
  Benny Goodman and his Sextet
  CHARLIE CHRISTIAN Guitar
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  COOTIE WILLIAMS trumpet
  COUNT BASIE piano
  ARTIE BERNSTEIN bass
  JO JONES drums
 
 

Composed by: Charlie Christian - Benny Goodman
  The four 32-bar choruses are based on Honeysuckle Rose chord changes.
  The cadenza is a direct adaptation of Eddie Durham’s 12-bar intro to Avalon (recorded for Decca on 30 Sep 1935 with Jimmie Lunceford & his Orch)
 
©   VALDÉS   2/20/20

 

Transcription

Gone With What Draft   –   15 January 1941

mx CO 29519-3

 



C&A:

For this session the current recording-studio pianist for the sextet was back and he brought along his own, first-rate drummer with him.  And, instead of the three horns trading twos on the penultimate bridge of the tune, the pianist is assigned the 8-bar bridge for his solo (Basie had been getting special billing since the November session:  “Benny Goodman and his Sextet featuring Count Basie”).  The rest of the routine remained unchanged from the initial recordings of the tune on the previous Columbia session but the tempo is slightly slower, and more suitable, now.

Aside from the Eddie Durham-derived cadenza, Gone with What Draft is based on Fats Waller’s Honeysuckle Rose changes – one can hear snatches of that melody on occasion during the clarinet solo.

Unlike the rejected takes of Gone with What Draft on the December session, a take from this January session was selected for release two months later.  The issued version was take -1, however, take -3 turned out to be the one most often released commercially.  An abrupt, unissued breakdown was also recorded along with the three complete takes.
.

breakdown                CO 29519-x
            (never released)

complete take            CO 29519-3
            (first released in 1955 on Columbia LP
            “Charlie Christian with The Benny Goodman Sextet and Orchestra” as Gone With What Draft)

complete take            CO 29519-2
            (first released in 1973 on Jazz Archives LP
            “Charlie Christian & Lester Young –Together, 1940” as Gone With What Draft)

complete take            CO 29519-1
            (master take released in March 1941 on Columbia 78-rpm as Gone With What Draft)
 

Claude Carrière
            in “Charlie Christian Volume 6 1940-1941” Masters of Jazz MJCD 68:

There is no major change compared to the three versions cut on the previous 19 December, except that a piano solo has been inserted after the Charlie Christian breaks (all literally the same) in place of a series of brief exchanges between trumpet and saxophone.  An interesting point is that the closing riff of this piece is Charlie’s invention, and that his second phrase is simply a repeat of the first advanced by one beat.  This is a very old trick (that Philippe Baudoin will tell you goes back to ragtime), one Charlie Christian much favored, and its rhythmic effect is appealingly enigmatic.

The following month, the sextet would record Gone with What Draft two more times, on broadcasts from the “Fitch Bandwagon” and “What’s New?–The Old Gold Show” radio programs.

 


 
Issued Recordings:
 
  [ EP ] Columbia B-504 (side C, track 2)
 
  [ LP ] Avan-Guard VSLP 213 (side B, track 5)
    CBS 52538 (side B, track 5)
    CBS 62.387 (side B, track 5)
    CBS / Sony 20AP 1456 (side B, track 5)
    CBS / Sony 56AP 674-6 (side E, track 10)
    CBS / Sony SOPM 155 (side B, track 5)
    CBS / Sony SOPZ4-6 (side E, track 10)
    Columbia CL 652 (side B, track 5)
    Coronet / CBS KLP 510 (side B, track 5)
    Philips BBL 7172 (side B, track 5)
 
  [ CD ] ABM ABMMCD 1209   * (track 20)
    Acrobat ACRCD 160   * (track 20)
    CBS 465679 2   * (track 17)
    CBS / Sony 25DP 5301 (track 11)
    Columbia/Legacy AC4K 65564 (disc 3, track 19)
    Columbia/Legacy C4K 65564 (disc 3, track 19)
    Columbia CK 45144   * (track 17)
    Japan Jazz Club EGR 2001 (track 17)
    Jazz Greats MC 006 (track 16)
    Masters of Jazz MJCD 68 (track 16)
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Sony/Legacy 93035 (disc 3, track 19)
    Sony Music Media SMM 517115 2 (track 15)
    Universe / Comet UV 129/2 (disc 2, track 10)
   
    *  [CD]  ABMMCD 1209,  ACRCD 160,  465679,  CK 45144  list an incorrect take.
 

 



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