DB Hall of Fame



DB Hall of Fame



mx  BS-042943-2
OCTOBER  12,  1939     Thursday VICTOR Records
  RCA Studios,  NYC

  4/8/12  BARS Key of   E Quarter Note =   138 Time:   2:40
    4  bars  –  CC chords   (Intro)
      4  bars  –  vibes & bass   [Theme]
    4  bars  –  trumpet (over CC chord) [Verse]
    8  bars  –  vocal (over CC obbl) [Pre-Chorus]
  12  bars  –  vocal refrain (over CC obbl)  
  12  bars  –  vocal refrain (over CC obbl)  
  12  bars  –  trombone (over CC chord accents)  
    4  bars  –  vocal (with CC obbl) [Interlude]
  12  bars  –  vocal refrain (over CC obbl)  
      4  bars  –  bass (unaccompanied) [Break]
      8  bars  –  ensemble   [Outro]
      8  bars  –  ensemble   [Outro]

  Lionel Hampton and Orchestra
  EARL BOSTIC alto sax
  HENRY ‘RED’ ALLEN trumpet, vocal
  J.C. HIGGINBOTHAM trombone
  LIONEL HAMPTON vibes, vocal
  CLYDE HART piano

Composed by: Boyd Atkins - Lionel Hampton  (lyrics by Lionel Hampton)
©   VALDÉS   1/27/19


Alternate Take:


Transcription Page One


Transcription Page Two


Transcription Page Three



A month earlier Charlie Christian had recorded four tunes on a Lionel Hampton session.  Then, on 12 October 1939, he was again invited to participate in a Hampton small band recording date.  This time he got only one bona fide solo, on a tune entitled Haven’t Named It Yet.

On this last song of the October session, The Heebie Jeebies Are Rockin’ the Town, Charles is assigned the four-bar intro (unaccompanied chords), and he can be heard playing obbligati behind all the vocals.  On the previous Hampton session, Charles had played chords between the words of the ballad One Sweet Letter From You.  Here he plays single-string background behind the words (which have scant gaps between them).  The vocals are mostly nonsense phrases by Hampton with some exclamations by Red Allen.  This a novelty blues jump.

Charles also plays some chordal background on the trombone solo on this alternate take:  mostly double-stop ♭3 / 5, the lower note being bent up on the held notes.  Also, there’s some very fine CC filigree on the “Interlude” of this take which does not appear on the master take.

BS-042943-1   master take
Hampton revised the song to the extent that this listener finds it hard to recognize, other than the title (also altered) and some of the chord changes, as the 1920s song attributed to saxophonist Boyd Atkins.  An observation of trivial import:  Charles holds some of his notes on this song longer than on any other (on both takes).  The master take was released for the Christmas holidays of 1939.

Issued Recordings:
  [ LP ] Bluebird AXM6-5536 (side H, track 2)
  RCA Black & White 731.049 (side B, track 1)
  RCA Black & White PM 42417 (side B, track 2)
  [ CD ] Avid AMSC 612 (disc 2, track 24)
  CDS RPCD 605 (track 13)
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
  Mosaic MD5-238 (disc 3, track 18)
  Neatwork RP 2036 (track 18)
  Prestige Vintage Jazz CDSGP0173 (track 9)
  RCA Jazz Tribune Nº 74 22614 2 (disc 2, track 9)

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