DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

PROFOUNDLY BLUE
 
mx  R 3461-2
 
FEBRUARY  5,  1941     Wednesday Reeves Sound,  NYC
(BLUE NOTE  Records)
 

 
  12-BAR  BLUES Key of   Eb Quarter Note =   74 Time:   4:14
 
 
  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:
 
  [ 10 ] Blue Note BLP 5026
    Toshiba-EMI TOJJ-5026
 
  [ LP ] Blue Note B-6505 (side 1, track 4)
    Blue Note K23P-9282 (side 1, track 4)
    Blue Note NR-8101 (side 1, track 4)
    Mosaic MR6-109 (side 1, track 4)
 
  [ CD ] Blue Note 21260 2 (track 4)
    Definitive DRCD11176 (disc 4, track 8)
    Document DOCD-5561
    Frémeaux FA 218
    Giants of Jazz 53199
    Jazz Portraits 14578
    Le Chant du Monde 274 1459.60
    Masters of Jazz MJCD 68 (track 21)
    Mosaic MD4-109 (disc 1, track 4)
    Proper PROPERBOX 98
    Smithsonian / BN RD 112
    Toshiba-EMI TOCJ-66010 (track 4)
 

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 four bars of Charlie Christian’s solo on this alternate take of Profoundly Blue begin with the same ideas as on the master, then the solo takes an entirely different path.  At the fifth bar on the master take, he goes to even lower notes;  here he suddenly leaps way up to the higher frets.  On mm 2 of the third chorus, Charles plays the same double stop and line that he played on mm 6 of the third chorus on the master take but with a different resolution – it’s a common phrase of his that he’s just as liable to play over Ab7 or Bb7 as he is on the Eb in this key.

His solo on this take may be just as good as the master but it’s difficult for me to pass judgment – I played the master for many years before the alternate was finally released.  The excellent solo on this take also has a lot of great blues lines with slurs, bends, and slides but the master remains my sentimental favorite.

 



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