DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

POOR BUTTERFLY
 
mx  WCO 26719 A
 
APRIL  3,  1940  *     Wednesday HOLLYWOOD
World Broadcasting System
[ for COLUMBIA Records ]   *
 

 
  32  BARS    (ABAC) Key of   Ab Quarter Note =   118 Time:   2:46
 
 
  2 ˝  CHORUSES:
 
    32  bars  –  clarinet (Melody) [ABAC]
 
    16  bars  –  vibes [AB]
    16  bars  –  piano [AC]
 
    8  bars  –  CC [A]
      8  bars  –  clarinet (Melody) [C]
 
 

 
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 35466
    Columbia 36722
    Columbia C-102
 
  [EP] Columbia RLS 799  (SEGC.11)
 
  [LP] Avan-Guard VSLP 213
    BLU-DISC T-1011
    CBS 52538
    CBS / Sony 56AP 674-6
 
  [CD] Black Bird Black Bird
    CBS 465679 2
    Classics 1098
    Columbia/Legacy AC4K 65564 (disc 1, track 14)
    Columbia/Legacy C4K 65564 (disc 1, track 14)
    Columbia CK 45144
    Definitive DRCD11176
    Giants of Jazz 53049
    Going for a Song GFS561
    History 20.1960-HI
    History 20.1979-HI
    Masters of Jazz MJCD 40
    Masters of Jazz MJCD 9004 (disc 3)
    Proper PROPERBOX 98
    Sony/Legacy 93035 (disc 1, track 14)
    Universe UV 129/2
 
 

 
  * Matrix assigned on  APRIL 10, 1940
  Recorded by the World Broadcasting System, Inc. (Hollywood)
  for the Columbia Recording Corp. (NYC)
 

Composed by: Raymond Hubbell - John L. Golden
 
©   VALDÉS   3/02/01

 


 

Transcription Page:     Poor Butterfly  —  3 April 1940  (studio take)

 



C&A:

The clarinet plays the melody on the first chorus;  the second chorus (32 bars just before the guitar solo) is split evenly between vibes and piano;  after the eight-bar guitar solo, the clarinet melody closes out the take in eight measures.

Except for the modified melody line on the pickup bar, this studio Poor Butterfly 8-bar solo is fairly standard Charlie Christian. An excellent solo…until you compare it to the stunning one on the live version three weeks later in the month.  There’s a few blue notes tossed in—unexpectedly in the second measure (bent b9).  The F9 figure on the last bar is the same (with identical notes) as the one that ends his On the Alamo 8-bar solo over an EbMaj nine months earlier.  In fact, his solo here, although in a different key and taken at a quicker tempo, reminds me of the way he constructed his solo on Alamo.

 



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