This first take of Grand Slam remained in Columbia’s vaults unheard until its
release over half a century after the master take. Charlie Christian’s solo on
this take of the boogie is not quite up to that of the superlative master but it
only suffers by comparison.
Charles launches his solo with a similarly constructed start but a full measure
later than on the second version. The phrase at bar 5 over a
was also used in the following take, over a C7 background.
On the second chorus the beginning expression is given the perfect rhythmic
highlighting. This is not the only time the outstanding combination at mm 4-5,
going from F7 to B♭7, appears in his
solos, but it’s always great to hear. Concluding the solo, at bars 8-11 the phrases are familiar but the connecting turns are unique.