DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

HONEYSUCKLE ROSE
 
Aircheck
 
NOVEMBER  19,  1940     Tuesday “THE MAKE BELIEVE BALLROOM”
Martin Block Show,  WNEW Radio,  NYC
 

 
  32 BARS    (AABA) Key of   D Quarter Note =   212 Time:   4:51
 
 
[ Goodman:   “George, sit down”  {cough} ]
 
 
  12-Bar  Intro  +  7 ˝  CHORUSES:
 
    4 bars  –  CC (Intro riffs)
    4 bars  –  CC,  clt (Intro riffs)
    4 bars  –  CC,  clt,  ts (Intro riffs)
 
      1 chor  –  clarinet (Melody) (over ts & tpt obbl)
 
    1 chor  –  CC
 
      1 chor  –  trumpet (over ts riffs except on bridge)
 
      1 chor  –  piano
 
      2 chor  –  clarinet (over ts & tpt riffs except on bridge)
 
    16 bars  –  clarinet
      8 bars  –  clarinet obbl
      8 bars  –  clarinet (over ts & tpt riffs)
 
    8 bars  –  clarinet (over CC arpeggios) [bridge]
    8 bars  –  CC,  clt,  ts (riffs) [as on Intro]
 
 
[ MC:  “And so, ladies and gentlemen, we conclude the first appearance
          at any radio studio of Benny Goodman and his new septet.” ]
 

 
Personnel:
 
  Benny Goodman and his Sextet
  CHARLIE CHRISTIAN Guitar
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  COOTIE WILLIAMS trumpet
  COUNT BASIE piano
  ARTIE BERNSTEIN bass
  HARRY JAEGER drums
 
 

Composed by: Fats Waller  (lyrics by Andy Razaf)
 
©   VALDÉS   5/8/00


 

First Page:         Intro

Second Page:   Guitar Solo

Third Page:       Out Chorus

 



C&A:

Charlie Christian’s solo on the studio-recorded Honeysuckle Rose from a year before began with a very fluid phrase.  His solo on this broadcast begins much differently with staccato notes and phrases.  He seems to be up for this radio studio performance, apparently delighted with the presence of Cootie and Basie in the new sextet.

The line at mm 9-11 is much the same as the one he played at mm 22-24 at the Christmas Eve concert the year before – this time he turns it rhythmically upside down.

Unlike the unusual bridge on the studio version, here Charles addresses the bridge in his customary manner.  At bar 18 and mm 22-23, CC treats us to some beautifully timed slides.  The phrase at bar 21 is the same as the one on the previous measure but dressed up in a different way.  The piano accompaniment is notably refreshing here on the bridge.

As at the studio, there’s the pedal root with alternating octaves and Maj7s after the bridge-from measures 24 through 27.  The solo ends with a nice blues line on the final bar.  Lovely work of art.



 
Issued Recordings:
 
  [ LP ] Festival ALB 377 (side D, track 2)
    Jazz Anthology JA 5181 (side B, track 2)
    Jazz Archives JA-23 (side B, track 2)
 
  [ CD ] Archives of Jazz 380123 2 (track 10)
    Archives of Jazz 389123 2 (track 10)
    Definitive DRCD11177 (disc 3, track 10)
    Definitive DRCD11386 (track 11)
    Galaxy 3899442 (track 10)
    Jazz Classics JZCL-5005 (disc 1, track 19)
    JSP JSP909 (disc 3, track 10)
    Masters of Jazz MJCD 67 (track 11)
    Music Memoria 87998 2 (disc 2, track 8)
    Norma NOCD5657 (track 16)
    Proper P1492 (track 2)
    Proper PROPERBOX 98 (disc 4, track 2)
    Stardust CLP 1150-2 (track 10)
    Vintage Jazz Classics VJC-1021-2 (track 19)
 

 



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