DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

PROFOUNDLY BLUE
 
mx  R 3461-1
 
FEBRUARY  5,  1941     Wednesday Reeves Sound,  NYC
(BLUE NOTE  Records)
 

 
  12-BAR  BLUES Key of   Eb Quarter Note =   76 Time:   4:04
 
 
  4-Bar  Intro  +  6  CHORUSES:
 
    4  bars  –  CC  &  bass (Intro)
 
    3  chor  –  CC
 
      1  chor  –  clarinet
 
      1  chor  –  celeste
 
      1  chor  –  clarinet
 
 

 
Personnel:
 
  Edmond Hall Celeste Quartet
  CHARLIE CHRISTIAN Guitar
  EDMOND HALL clarinet
  MEADE LUX LEWIS celeste
  ISRAEL CROSBY bass
 
 

 
Issued Recordings:
 
  [ 78 ] Blue Note 17-B
 
  [ 45 ] Blue Note 1634-A
 
  [ 10 ] Blue Note BLP 5001
    Toshiba-EMI TOJJ-5001
 
  [ LP ] Blue Note B-6505 (side 1, track 3)
    Blue Note K23P-9282 (side 1, track 3)
    Blue Note NR-8101 (side 1, track 3)
    Giants of Jazz LPJT 13
    Mosaic MR6-109 (side 1, track 3)
    Time-Life STL-J12
 
  [ CD ] ASV AJA 5410
    Blue Note 21260 2 (track 3)
    Blue Note 92465 2
    Blue Note 92547 2
    Blue Note 95698 2
    Blue Note 96427 2
    Classics 830
    Definitive DRCD11122
    Definitive DRCD11176 (disc 3, track 16)
    Fuel 2000 302 061 167 2
    Giants of Jazz 53049
    Going for a Song GFS561
    Hallmark 30283 2
    Hallmark 39117 2
    History 20.1960-HI
    History 20.1969-HI
    Jazz Portraits 14535
    Jazz Roots 56027
    Masters of Jazz MJCD 68 (track 20)
    Masters of Jazz R2CD 8004
    Mosaic MD4-109 (disc 1, track 3)
    P-Vine PCD-5796
    Proper P1134
    Proper PROPERBOX 9
    Proper PROPERBOX 98
    Proper / musisoft EMCD 21
    Proper / Retro R2CD 40-80
    Saga Jazz 066 466-2
    Topaz Jazz TPZ 1017
    Topaz Jazz TPZ 1069
    Toshiba-EMI TOCJ-66010 (track 3)
 

Composed by: Edmond Hall - Meade Lux Lewis
 
©   VALDÉS   10/23/00

 


 

First Page:          Intro & First chorus

Second Page:    Second chorus

Third Page:        Third chorus

 



C&A:

The first half of Profoundly Blue is a slow three-chorus duet between guitar and bass with regrettably loud, intrusive celeste accompaniment.  Much too often the celeste masks the intricate details that Charlie Christian is placing into his solos on the two takes.  But it’s well worth putting up with the celeste just to listen to CC’s wonderful blues choruses.

Charles gets more blue here than when he’s playing a blues with the sextet.  He starts his solo with the same phrase that he used on Paging the Devil on the Christmas eve concert more than a year earlier where he was also very bluesy.  There’s so much good stuff here that it’s hard to comment on everything – but do compare the line at mm 6 & 7 in the second chorus with mm 8 & 9 of the third.  This solo couldn’t be more perfect.

 



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