DB Hall of Fame



DB Hall of Fame



mx  CO 29513-1
JANUARY  15,  1941     Wednesday Columbia Studios,  NYC

  32  BARS    (ABAC) Key of   Eb Quarter Note =   82 Time:   3:27
  4-Bar  Intro  +  2 ˝  CHORUSES:
      4  bars  –  piano (Intro)
    32  bars  –  clarinet (Melody) [ABAC]
    16  bars  –  trumpet [AB]
    16  bars  –  tenor sax [AC]
    8  bars  –  CC [A]
      8  bars  –  clarinet (Melody) [C]

  Benny Goodman and his Sextet
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  JO JONES drums

Issued Recordings:
  [ 78 ] Columbia 35938
    Columbia 37513
    V Disc 55B
  [ EP ] Columbia B-350
  [ LP ] CBS 2BP 220094
    CBS 62.581
    CBS 67233
    CBS / Sony 56AP 674-6
    CBS / Sony SOPM 162
    CBS / Sony SOPZ4-6
    Columbia 33SX 1035
    Columbia CG 30779
    Columbia CL 500
    Columbia G 30779
    Columbia GL 500
    I Grandi del Jazz GdJ-48
    Philips BBL 7178
  [ CD ] ASV AJA 5144
    Avid AVC 542
    CBS 465679 2
    Classics 1202
    Columbia/Legacy AC4K 65564 (disc 3, track 4)
    Columbia/Legacy C4K 65564 (disc 3, track 4)
    Columbia CK 45144
    Definitive DRCD11176
    Giants of Jazz 53039
    History 20.1960-HI
    History 20.1975-HI
    Jazz Archives / EPM 15908 2
    Jazzterdays JTD 102410
    Masters of Jazz MJCD 68
    Past Perfect PPCD 78129
    Proper PROPERBOX 98
    Sony/Legacy 93035 (disc 3, track 4)
    Topaz Jazz / Pavilion TPZ 1017
    Universe UV 129/2

Composed by: Isham Jones - Gus Kahn
©   VALDÉS   10/28/01



Transcription Page:     On the Alamo



On the Alamo doesn’t receive nearly as much attention as it should.  Possibly because it was one of the slowest tunes played by the sextet, recorded only once on one take, and almost half of it is fairly straight melody.  It was also recorded during the same studio session as the multiple takes of up-tempo tunes Breakfast Feud, I Found a New Baby, and Gone with What Draft (Alamo’s 78-rpm flipside companion).  On the Alamo is beautifully played by all.

Charlie Christian’s eight-bar solo is a gem.  Everything fits together perfectly.  The four notes he plays on the pickup bar and on the second measure are identical and go with both the Eb and F7 harmony, and are used for like purposes but with dissimilar emphasis.  Then there are two phrases that ascend in triplets and descend with quarter notes;  two cascading triplets and a leap up to a single note before the phrase is resolved with a couple of notes in the next beat.  The solo itself is then resolved with two similar, and unexpected, two-note phrases that also relate to the first measure.

So leisurely simple and sensible and sublime.


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