DB Hall of Fame



DB Hall of Fame



APRIL  14,  1941     Monday “WHAT’S NEW? – THE OLD GOLD SHOW”
NBC Radio Network / WJZ
Manhattan Center,  NYC

  32  BARS    (ABAB) Key of   E Quarter Note =   202 Time:   2:38
  4-Bar  Intro  +  4  CHORUSES:
      4  bars  –  piano (Intro)
    32  bars  –  clarinet
    32  bars  –  trumpet
  32  bars  –  CC
      8  bars  –  ensemble (riffs)
      8  bars  –  piano
      8  bars  –  ensemble (riffs)
      4  bars  –  drums
    4  bars  –  CC  &  ens (free improv)

  Benny Goodman and his Sextet
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  DAVE TOUGH drums

Composed by: Eddie Munson  (lyrics by Eddie Leonard)
©   VALDÉS   7/29/99


CC Transcription Page:     Ida,  Sweet as Apple Cider

Standard Transcription Page 1:     Ida,  Sweet as Apple Cider
Standard Transcription Page 2:     Ida,  Sweet as Apple Cider


The “CC Transcription Page” contains tablature depicting the way Charlie Christian would actually play his solo.

The “standard” tabs illustrate the common fingerings that are typically used by most traditional transcribers.
Both standard versions are valid conventional interpretations and are provided here for convenient comparison.



What a great solo this is.  There’s a quantum leap from old swing to innovative improv when Charles comes in after Cootie’s preceding trumpet solo.   This tune has great chord changes, especially for its day, with a couple of bridge-like sequences that allows CC to improvise in a way that he is usually limited to on only the bridge of most tunes.

CC immediately surprises the listener with the rhythmically displaced first two notes, then follows with two bars that subtly relate to the melody before taking off with his own lines.  On mm 5-7, he turns the usual phrasing upside down with emphasis on the upbeat—at bar 9 he alternates stress on the downbeat and upbeat.  There’s a bridge-type, three-bar run on mm 10-12, followed by CC again alternating the accent on the downbeat and upbeat at mm 13-14.

A giant swoop to the upper frets at mm 16-17 is followed by another brief allusion to the tune’s melody.  An unexpected, relatively long pause between the Bb7 phrase at bar 21 and the one at bar 22…  Then with only a hint of a pause he tears off on one of those beautiful, long CC runs one normally hears on a bridge (five uninterrupted bars at mm 23-28).  After an off-beat octave, an ingenious lick and some alternating strings scattered about, on the last two bars of his solo Charles leads in the ensemble riffs.

  LISTEN   Guitar Solo:

Issued Recordings:
  [LP] Festival ALB 377 (side D, track 6)
    Jazz Anthology JA 5181 (side B, track 6)
    Jazz Archives JA-23 (side B, track 6)
  [CD] Archives of Jazz 380123 2 (track 14)
    Archives of Jazz 389123 2 (track 14)
    Definitive DRCD11177 (disc 4, track 2)
    Definitive DRCD11386 (track 14)
    Fabulous / Acrobat FABCD352 (track 22)
    Galaxy 389944 2 (track 14)
    Jazz Classics JZCL-5005 (disc 1, track 22)
    Jazz Greats MC 027 (track 8)
    JSP JSP909 (disc 4, track 2)
    Masters of Jazz MJCD 75 (track 6)
    Masters of Jazz R2CD 8004 (disc 2, track 13)
    Music Memoria 87998 2 (disc 2, track 11)
    Norma NOCD5657 (track 19)
    Phoenix 131606 (track 14)
    Primo / Proper PRMCD 6092 (disc 2, track 13)
    Proper P1492 (track 10)
    Proper PROPERBOX 98 (disc 4, track 10)
    Stardust CLP 1150-2 (track 14)
    Vintage Jazz Classics VJC-1021-2 (track 22)


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