DB Hall of Fame



DB Hall of Fame



mx  BS-042942-1
OCTOBER  12,  1939     Thursday VICTOR Records,  NYC

  32  BARS    (AABC) Key of   Db Quarter Note =   226 Time:   2:55
  4-Bar  Intro  +  5  CHORUSES:
      4  bars  –  vibes (Intro)
    32  bars  –  ensemble (Theme)
  16  bars  –  CC
      8  bars  –  trumpet
    8  bars  –  CC
    16  bars  –  trombone
      8  bars  –  alto sax
      8  bars  –  trombone
    16  bars  –  vibes (over tpt theme riffs)
      8  bars  –  bass, tpt, bass, vib (2 bars each)
      8  bars  –  vibes
    32  bars  –  vibes (over tpt theme riffs)

  Lionel Hampton and Orchestra
  EARL BOSTIC alto sax
  J.C. HIGGINBOTHAM trombone
  CLYDE HART piano

Issued Recordings:
  [ 78 ] Victor 26476
  [ LP ] Bluebird AXM6-5536
  RCA Black & White 731.048
  RCA Victor LPM-2318
  [ CD ] Acrobat ACRCD 189
  Acrobat ADDCD3131
  Avid AMSC 612
  Best of Jazz 4032
  Black & Blue 59.238 2
  Bluebird 2433-2-RB
  Bluebird 26369 2
  Bluebird ND 82433
  Catfish KATCD196
  Classics 562
  Definitive DRCD11122
  Definitive DRCD11176
  Disconforme GV1359
  Encyclopedia EN 516
  Edel 0193692ERE
  Fabulous / Acrobat FABCD352
  Frémeaux FA 211
  Frémeaux FA 218
  Fuel 2000 302 061 167 2
  Jazz Archives / EPM 15852 2
  Jazz Greats MC 027
  Jazz Legends 1015
  Le Chant du Monde 274 1459.60
  Le Jazz / Charly CD 1
  Masters of Jazz MJCD 24
  Masters of Jazz MJCD 9004
  Membran 232094
  Membran 232568
  Mosaic MD5-238
  Music Memoria 30417
  Music Memoria 88081 2
  Primo / Proper PRMCD 6092
  Proper P1145
  Proper PROPERBOX 12
  Proper PROPERBOX 98
  RCA Jazz Tribune 22614 2
  Topaz Jazz / Pavilion TPZ 1017

Composed by: Charlie Christian - Lionel Hampton
©   VALDÉS   7/29/01



Transcription Page:     Haven’t Named It Yet



This tune comes from the second of two sessions Charlie Christian recorded with Lionel Hampton’s “all-star” groups.  The octet, including three members from the Goodman sextet (Christian, Hampton, Bernstein), is a slightly smaller group than the one on the first session.  Haven’t Named It Yet was composed by Hampton and Charles during the session—not too difficult to figure out how it got it’s title.  This is the only tune from both sessions on which CC really gets to solo.

Even though Charles’ solo doesn’t cover a full chorus (trumpeter Henry ‘Red’ Allen takes the bridge), it is an exceptional one.  The first half of the chorus is very inspired with every note—especially at bars 6 & 14—placed for maximum driving effect.  Although strongly hinted at three times before this date, at mm 8-10 we find the first appearance of a favorite four-string sequence that CC used in several of his other solos, particularly in the first half of his recording career, and in a couple of his compositions (see chart below).

Charles more than makes up for not taking the entire chorus:  his re-entry after the trumpet break is breathtaking (I can just imagine what Allen’s reaction might have been).   CC then plays two fascinating ascending dim7 runs connected by a short descending maj6 phrase, followed immediately by a familiar descending dom7 before closing out a measure early with another maj6 phrase.  A very special eight-bar climax.


Fourteen different variations on the lick at mm 8-10  [4 strings except where noted]:
9 Sep 1939 Flying Home aircheck solo at mm 29-30 [2 strings]
24 Sep 1939 I Got Rhythm jam (1st take) 2nd solo at mm 25-26 [2 strings]
9 Oct 1939 Rose Room aircheck solo at bar 18 [2 strings]
12 Oct 1939 Haven’t Named It Yet w/ Hampton solo at mm 8-10
31 Oct 1939 One Hour Mama w/ Ida Cox on coda, takes -1 & -X
22 Nov 1939 Seven Come Eleven master take solo at mm 26-27
20 Dec 1939 Shivers master take solo at bar 14
7 Feb 1940 + Gone With “What” Wind all takes ensemble riffs (mm 2, 6, 10)
4 Jun 1940 + Six Appeal all takes ride-out riffs (mm 11-12)
11 Jun 1940 Good Enough to Keep take A solo at mm 30-31 [2 strings]
7 Nov 1940 Wholly Cats alt. take -Y solo, 2nd chorus at bar 7
19 Dec 1940 Breakfast Feud alt. take -5 solo, 2nd chorus at mm 9-10 [6 strings]
May 1941 I Got Rhythm (Rhythm-a-ning) solo, 2nd chorus (bar 15) [3 strings]
May 1941 I Got Rhythm (Rhythm-a-ning) solo, 3rd chorus (mm 5-7)

Note:  this particular chart is not here to imply that this phrase is any more nor any less significant than some of his others.   It’s simply that it was very easy to spot while glancing through his solos.


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