Page 1:   CC Solo:  1st Chorus

Page 2:   CC Solo:  2nd Chorus

Page 3:   CC Riffs:  Out Chorus

C&A:

An MC’s pronouncement at Monroe’s Uptown House is grafted onto the recording of Guy’s Got to Go, better known as George Gershwin’s I Got Rhythm.  Seems that Jerry Newman stuck it there on his original recording and, presumably, that’s when the first two beats of the tune were lost – possibly also when we got a five-bar repeat between guitar choruses.  In any case, it’s become part of the tune intro now.

Charlie Christian starts out rather blasé on his solo, then quickly builds up the intensity but leaving plenty of space between phrases.  At times sounding like a bluesman and at other times pushing well beyond the modern idiom of that era, often both facets surface concurrently (mm 14-15) in his solo.  Casually, he delays his bridge entry by half a measure.

Second chorus:  the original recording is flawed in that the first five beats of Charles’ second chorus are repeated (so far no commercial releases have corrected the backward skip).  Charles again delays his bridge entry on his second chorus, by the same expanse, then quickly picks up the fervency with triplets on an early G7, followed by an early C7.  A good two-chorus solo, considering the ambiance.

The “rhythm” section at this venue is not anywhere close to the standards usually presiding at Minton’s, which is what make this jam less valuable than the superlative sessions at the latter club.  But, at least, the beat is steady (as an inert rock).  In his defense, Tinney never claimed to be a jazz pianist – the same cannot be said of the stoic bassist and drummer.