MARCH 13, 1941
Thursday |
Columbia Studios, NYC |
|
32-BARS (AABA) |
Key of |
|
C |
Quarter Note = |
|
228 |
Time: |
|
3:23 |
|
• |
1 chor – CC & ensemble |
(Theme) |
|
|
|
1 chor – clarinet |
(over ens riffs except on break) |
|
• |
1 chor – tenor sax |
(over CC & ens riffs except on break) |
|
• |
1 chor – CC & ensemble |
(riffs) |
|
|
Benny Goodman and his Sextet |
|
Composed by: |
Charlie Christian |
C&A:
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. |
|
[78] |
Columbia
(as Good Enough to Keep) |
36099
[initial release] |
(b/w A Smo-o-o-oth One) |
|
|
Columbia
(as Air Mail Special) |
36099
[later pressings] |
(b/w A Smo-o-o-oth One) |
|
|
Columbia
(as Air Mail Special) |
36720 |
(b/w Rose Room) |
|
|
Columbia
(as Air Mail Special) |
C-102 |
(side 2) |
|
|
V Disc
(as Good Enough to Keep) |
253A |
(b/w Gene Krupa Trio Liza / Hodge-Podge) |
|
[ LP ] |
Astan |
20085 |
(side A, track 2) |
|
|
Astan |
20121 |
(side B, track 4) |
|
|
Musica Jazz |
2MJP 1058 |
(side B, track 5) |
|
|
Sunbeam |
SB-142 |
(side A, track 6) |
|
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Time-Life |
STL-J05 |
(side E, track 7) |
|
[ CD ] |
BD Jazz |
JZBD022 |
(disc 1, track 21) |
|
|
Best of Jazz |
4032 |
(track 21) |
|
|
Collectors’ Choice |
CCM 3592 2 |
(disc 1, track 18) |
|
|
Columbia/Legacy |
AC4K 65564 |
(disc 3, track 8) |
|
|
Columbia/Legacy |
C4K 65564 |
(disc 3, track 18) |
|
|
Columbia/Legacy |
CK 61445 |
(track 18) |
|
|
Columbia/Legacy |
COL 501035 2 |
(track 18) |
|
|
Definitive |
DRCD11176 |
(disc 3, track 20) |
|
|
Dreyfus Jazz |
FDM 36715-2 |
(track 12) |
|
|
Edel |
0193692ERE * |
(track 26) |
|
|
Frémeaux |
FA 218 |
(disc 2, track 1) |
|
|
Intersound |
4626 |
(track 11) |
|
|
Jazz Archives / EPM |
15908 2 |
(track 18) |
|
|
Le Chant du Monde |
274 1459.60 |
(disc 2, track 17) |
|
|
Masters of Jazz |
MJCD 75 |
(track 1) |
|
|
Masters of Jazz |
R2CD 8004 |
(disc 2, track 12) |
|
|
Primo / Proper |
PRMCD 6092 |
(disc 2, track 8) |
|
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Proper |
PROPERBOX 98 |
(disc 2, track 22) |
|
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Proper / Musisoft |
EMCD 21 |
(track 11) |
|
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Sony/Legacy |
93035 |
(disc 3, track 8) |
|
|
Sunbeam |
SB-1004 |
(track 7) |
|
|
The Sunday Times |
ST 35 |
(track 1) |
|
|
Universe / Comet |
UV 129/2 |
(disc 2, track 9) |
|
|
* [CD] 0193692ERE
incorrectly lists this as the alternate 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) |
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|
CBS / Sony |
20AP 1456 |
(side A, track 6a) |
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CBS / Sony |
56AP 674~6 |
(side F, track 7a) |
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CBS / Sony |
SOPM 155 |
(side A, track 6a) |
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CBS / Sony |
SOPZ4~6 |
(side A, track 6a) |
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|
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) |
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Spliced & Incomplete CC solo: |
|
|
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) |
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CBS |
2BP 220094 |
(side D, track 7a) |
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CBS |
67233 |
(side D, track 7a) |
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CBS / Sony |
56AP 674~6 |
(side F, track 8a) |
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CBS / Sony |
SOPZ4~6 |
(side F, track 8a) |
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Columbia |
CG 30779 |
(side D, track 7a) |
|
|
Columbia |
G 30779 |
(side D, track 7a) |
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|
I Grandi del Jazz |
GdJ-41 |
(side B, track 3a) |
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