DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

PAGING THE DEVIL
 
Concert
 
DECEMBER  24,  1939     Sunday “FROM SPIRITUALS TO SWING”  CONCERT
CARNEGIE HALL,  NYC
 

 
  12-BAR  BLUES Key of   Eb Quarter Note =   92 Time:   3:40
 
 
  7  CHORUSES:
 
    3  chor  –  tenor sax (over tpt)
 
  2  chor  –  CC
 
    2  chor  –  trumpet (over ts)
 
 

 
Personnel:
 
  Kansas City Six
  CHARLIE CHRISTIAN Guitar
  LESTER YOUNG tenor sax
  BUCK CLAYTON trumpet
  FREDDIE GREEN guitar
  WALTER PAGE bass
  JO JONES drums
 
 

 
Issued Recordings:
 
  [ LP ] Fontana FJL 402
    Fontana TFL 5188
    Top Rank 35/065
    Vanguard VRS-8524
    Vanguard VSD-48
    Vogue VJD 550
 
  [ CD ] BD Jazz JZBD022
    Definitive DRCD11122
    Definitive DRCD11177
    Definitive DRCD11182
    Dreyfus Jazz FDM 36715-2
    Frémeaux FA 218
    Fuel 2000 302 061 167 2
    Gold Sound DCD-773
    Jasmine JASMCD 2600 (track 10)
    JSP JSP909
    Le Chant du Monde 274 1459.60
    Makin’ Friends 14171 2
    Masters of Jazz MJCD 29
    Masters of Jazz MJCD 47
    Masters of Jazz MJCD 9004
    Masters of Jazz R2CD 8004
    Music Memoria 87998 2
    Music Memoria 88048 2
    Proper PROPERBOX 98
    Proper / musisoft EMCD 21
    Vanguard 169/71-2
    Vanguard VCD2-47/48
    Warner Music France 3007-2
 

Composed by: Walter Page
 
©   VALDÉS   9/2/00

 


 

Transcription Page:     Paging the Devil

 



C&A:

This is the second of two slow blues that the “Kansas City Six” played at the “From Spirituals to Swing” concert on Christmas eve 1939 at Carnegie Hall.  This one is even slower than the first (Good Morning Blues) but Charles’ solo is no less magnificent.

Prez takes the first three choruses on Paging the Devil with support provided by all five of the other participants, including both guitarists.

Charlie Christian’s solo starts with the same one-bar phrase he would again use more than a year later to begin both takes of his famous acoustic guitar solos on Profoundly Blue (also in Eb) —after that opening all three solos take different directions.  The two dom7 phrases at mm 4-5 are back-to-back related constructions with the second starting off with a different little twist.  Some other noteworthy phrases are the diminished descent at mm 8-9 in the first chorus and the beauty on the fourth bar of the second chorus.

Whereas on Good Morning Blues Charles plays out his solo as two separate 12-bar choruses, here he treats the solo more like it’s just one 24-bar chorus.  The pacing, phrasing, dynamics, and logic of Charles’ solo is perfect throughout.  Sublime blues solo.

And then, of course, Freddie Green is there on rhythm guitar.  Virtually a duet by the two greatest talents ever in their respective skills.

 



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