DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

I SURRENDER, DEAR
 
mx  WCO 26743 B
 
APRIL  10,  1940  *     Wednesday HOLLYWOOD
World Broadcasting System
[ for COLUMBIA Records ]   *
 

 
  32  BARS    (AABA) Key of   C Quarter Note =   88 Time:   3:02
 
 
  2  CHORUSES:
 
    16 bars  –  clarinet (Melody)
      8 bars  –  vibes
      8 bars  –  clarinet (Melody)
 
  16 bars  –  CC
      8 bars  –  piano
      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:
 
  [ 78 ] Columbia 35482
 
  [ EP ] Columbia RLS 799  (SEGC.10)
 
  [ LP ] CBS 62.581
    CBS / Sony 56AP 674-6
 
  [ CD ] BD Jazz JZBD022
    CBS 465679 2
    Chestnut CN1003
    Classics 1131
    Columbia CK 45144
    Columbia/Legacy AC4K 65564 (disc 1, track 15)
    Columbia/Legacy C4K 65564 (disc 1, track 15)
    Definitive DRCD11176
    Frémeaux 53039
    Jazz Archives / EPM 15908 2
    Jazzterdays JTD 102410
    Le Chant du Monde 274 1459.60
    Masters of Jazz MJCD 40
    Masters of Jazz MJCD 9004
    Masters of Jazz R2CD 8004
    Past Perfect 205798-203
    Past Perfect PPCD 78122
    Proper PROPERBOX 98
    Sony/Legacy 93035 (disc 1, track 15)
    Topaz Jazz TPZ 1017
    Universe UV 129/2
    Warner Music France 3007-2
 
 

 
  * Matrix assigned on  APRIL 16, 1940
  Recorded by the World Broadcasting System, Inc. (Hollywood)
  for the Columbia Recording Corp. (NYC)
 

Composed by: Harry Barris - Gordon Clifford
 
© VALDÉS   9/7/06

 


 

Transcription Page:     I Surrender, Dear  —  10 April 1940  (master take)

 



C&A:

Charlie Christian was in fine fettle on this recording date (Grand Slam was also recorded at this session).  To quote Jan Evensmo’s thirty-year-old comments on this master take of I Surrender, Dear:  “In ‘…Dear’ one can listen to one of Christian’s master soli, a perfect construction of great beauty.  Not a single note is superfluous or wrongly placed, and the necessary balance and relaxation are always present.”  Although I don’t agree with Evensmo’s lukewarm remarks concerning Grand Slam, I thoroughly concur with his thoughts regarding this half-chorus solo.

There’s a beautifully executed transition from E7 to Am7 at mm 3-4.  The D7 figure at bar 6 is notable for its quick wit.  As far as I can recall, the A7 phrase at bar 8 is unique to this solo.  Same with the sequence in the next measure on which Charles plays an unexpected E (9th) instead of an F (b3, the third of Dm).  We’re all familiar with the run at bar 10 from his solos on Star Dust (bar 22).  Charles closes out his solo with some blues lines on the last four bars.

 



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