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   Eb 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

Issued Recordings:
  [LP] Festival ALB 377
    Jazz Anthology JA 5181
    Jazz Archives JA-23
  [CD] Archives of Jazz 380123 2
    Archives of Jazz 389123 2
    Definitive DRCD11177
    Galaxy 3899442
    Jazz Classics JZCL-5005
    Jazz Greats MC 027
    JSP JSP909
    Masters of Jazz MJCD 75
    Masters of Jazz R2CD 8004
    Music Memoria 87998 2
    Norma NOCD5657
    Proper PROPERBOX 98
    Stardust CLP 1150-2
    Vintage Jazz Classics VJC-1021-2

Composed by: Eddie Munson - 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 xcript 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.


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