DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

I’M CONFESSIN’
 
mx  WCO 26356 A
 
DECEMBER  20,  1939     Wednesday Columbia Studios,  NYC
 

 
  32  BARS    (AABA) Key of   Ab Quarter Note =   90 Time:   2:57
 
 
  2  CHORUSES:
 
    16  bars  –  clarinet (Melody)
 
      8  bars  –  piano
      8  bars  –  clarinet (Melody)
 
    16  bars  –  vibes
    8  bars  –  CC
      8  bars  –  clarinet (Melody)
 
 

 
Personnel:
 
  Benny Goodman Sextet
  CHARLIE CHRISTIAN Guitar
  BENNY GOODMAN clarinet
  LIONEL HAMPTON vibes
  JOHNNY GUARNIERI piano
  ARTIE BERNSTEIN bass
  NICK FATOOL drums
 
 

 
Issued Recordings:
 
  [ LP ] Phontastic NOST 7610
    Time-Life STL-J05
 
  [ CD ] Black Bird Black Bird
    CBS 465679 2
    Chestnut CN1003
    Classics 1064
    Columbia/Legacy AC4K 65564
    Columbia/Legacy C4K 65564
    Columbia CK 45144
    Definitive DRCD11176
    Frémeaux FA 218
    Masters of Jazz MJCD 29
    Masters of Jazz MJCD 9004
    Phontastic NCD 8821
    Proper PROPERBOX 98
    Sony/Legacy 93035
 

Composed by: Doc Dougherty - Ellis Reynolds - A.J. Neiburg
 
©   VALDÉS   5/1/08

 


 

Transcription Page:     I’m Confessin’

 



C&A:

I’m Confessin’ (like On the Alamo) is a slow number and was also recorded in only one take on no more than one occasion, half of it being fairly straight melody.  It was inexplicably never released on 78-rpm and only first appeared on Time-Life’s “Giants of Jazz” LP box set series in 1979.

But Charlie Christian’s eight-bar break is something to behold and should receive much more attention than it does.  His solo is a true treasure.  The first two measures are like a bolt from the blue, startling the listener with surprising intervals—once more revealing CC’s absolute genius.  He begins the first figure on an upbeat then repeats the figure starting on the downbeat, further adding to the “sound of surprise.”

As on the previously mentioned On the Alamo, the rest of his brief solo fits together perfectly.  Charles’ advanced harmonic awareness shines through in every phrase.  Also note that virtually every measure has its own expression.   The B-natural (#5) in the first bar of the Eb7 segment adds the perfect flavor to that phrase.

So simple and sensible and lovely.  The development of the solo is so articulately well put together that it’s very easy to remember the progression.

 



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