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mx  CO 29943-2
MARCH  13,  1941     Thursday Columbia Studios,  NYC

  32-BARS   (AABA) Key of   C Quarter Note =   224 Time:   3:27
  1  chor  –  CC & ensemble (Theme)  
  1  chor  –  CC    
    1  chor  –  clarinet (over ens riffs except on break)
    1  chor  –  trumpet    
  1  chor  –  tenor sax (over CC & ens riffs except on break)
  1  chor  –  CC & ensemble (riffs)  

  Benny Goodman and his Sextet
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  DAVE TOUGH drums

Composed by: Charlie Christian
© VALDÉS   1/5/19


Good Enough to Keep  (Air Mail Special)  —  13 March 1941  —  CO 29943-2

        First Page:              Theme

        Second Page:       Guitar Solo

        Third Page:             Riffs

        Fourth Page:          Out-Chorus



Nine months after the sextet recorded three rejected takes of Good Enough to Keep in Hollywood, the tune was recorded in the studio again.  On this Manhattan session one more chorus was appended to the routine to accommodate the additional soloist in the septet;  riffs are now present behind the clarinet and tenor sax solos.  This time one of the two takes was released by Columbia.  It was first titled Good Enough to Keep on the initial release then re-titled Air Mail Special in later pressings.

CO 29943-2                                                                      LISTEN   Guitar Solo – first take
The first four bars of Charlie Christian’s solo on this take would again be used at the start of his solo on the recording of the tune on a radio show four days later.  Charles used the repeated figure starting at bar 9 to begin his solo on the other take of this session.

The guitarist spruces up the sax solo with his riffs before swinging into the shout-chorus.

CO 29943-1                                                                     LISTEN   Guitar Solo – second take
Charlie Christian continues to be inspired during this date on all the riffs and solos.  He begins his own solo on this one with a strong phrase borrowed from the previous take.  Measures 5 thru 12 contain fairly common phrasing but then Charles becomes quite creative for the remainder of his solo so that it decidedly becomes the highlight of the two takes.

※  Both takes from this session were spliced together and released by Columbia on one track of the first Charlie Christian 12"-LP (CL 652) in the mid-50s.  A couple of decades later, a reissue producer for Columbia by the name of Chris Albertson came along and again spliced the two takes together but this time one of Charles’ solos was truncated by eight bars so that the two solos would run together better – it was released on a Charlie Christian double-LP (CG 30779).  Further clarification of the splicings can be found here.

Issued Recordings:
  [ LP ] CBS 177.057 (side B, track 8)
    CBS 460612 1 (side B, track 8)
    CBS LSP 980 721-1 (side B, track 8)
    Columbia CJ 40846 (side B, track 8)
    Phontastic NOST 7615 (side B, track 5)
  [ CD ] Acrobat ACTRCD 9103   * (disc 3, track 6)
    Black Bird Black Bird (track 1)
    Catfish KATCD196 (track 6)
    CBS 460612 2 (track 16)
    Columbia 501646 2 (track 16)
    Columbia/Legacy AC4K 65564 (disc 3, track 23)
    Columbia/Legacy C4K 65564 (disc 3, track 23)
    Columbia CK 40846 (track 16)
    Columbia CK 91494 (track 16)
    DeAgostini MJ 1032-1 (track 18)
    Definitive DRCD11288 (track 16)
    Fabulous / Acrobat FABCD352   ** (track 21)
    FD Music / EPM 15184 2 (disc 1, track 24)
    Jazz Archives / EPM 15817 2 (track 18)
    Jazz Greats MC 027 (track 12)
    Jazzterdays JTD 102410 (track 18)
    Le Jazz / Charly CD 11 (track 19)
    Masters of Jazz MJCD 75 (track 2)
    Phontastic NCD 8822 (disc 2, track 2)
    SME / Sony SRCS 9612 (track 16)
    Sony/Legacy 93035 (disc 3, track 23)
    Sony Music Media SMM 517115 2 (track 11)
    *     [CD]  ACTRCD 9103  incorrectly lists this as from an earlier session
    **   [CD]  FABCD352  incorrectly lists this as the master take
  Spliced  (complete take):
    These issues contain the complete CO 29943-2 take
followed by, spliced from CO 29943-1, CC's solo + 32 bars consisting of
the first 24 bars of the following clarinet solo & (spliced ) the final 8 bars of the out chorus.

(refer to The Spliced Recordings page)
  [ EP ] Columbia B-504 (side D, track 1a)
  Philips 429 729 BE (side B, track 2a)
  Philips BBE 12272 (side B, track 2a)
  [ 10 ] Philips B 07 907 R (side A, track 1a)
  Philips P 07.931 R (side A, track 5a)
  [ LP ] Avan-Guard VSLP 213 (side B, track 6a)
  CBS 52538 (side B, track 6a)
  CBS 62.387 (side A, track 6a)
  CBS / Sony 20AP 1456 (side A, track 6a)
  CBS / Sony 56AP 674~6 (side F, track 7a)
  CBS / Sony SOPM 155 (side A, track 6a)
  CBS / Sony SOPZ4~6 (side A, track 6a)
  Columbia CL 652 (side A, track 6a)
  Coronet / CBS KLP 510 (side A, track 6a)
  Philips BBL 7172 (side A, track 6a)
  [ CD ] CBS / Sony 25DP 5301 (track 6a)
  Spliced & Incomplete:
    These issues contain CO 29943-2 from the beginning of the take to the end of CC's solo
followed by, spliced from CO 29943-1, CC's solo (omitting the first 8 bars) + the remaining 4 choruses.

(refer to The Spliced Recordings page)
  [ LP ] CBS 159.028/29 (side D, track 7a)
    CBS 2BP 220094 (side D, track 7a)
    CBS 67233 (side D, track 7a)
    CBS / Sony 56AP 674~6 (side F, track 8a)
    CBS / Sony SOPZ4~6 (side F, track 8a)
  Columbia CG 30779 (side D, track 7a)
  Columbia G 30779 (side D, track 7a)
  I Grandi del Jazz GdJ-41 (side B, track 3a)


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