DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

ROSE ROOM
 
Aircheck
 
OCTOBER  9,  1939     Monday WALDORF-ASTORIA HOTEL,  NYC
“Empire Room”
Mutual Radio Network / WOR
 

 
  32  BARS    (ABAB) Key of   Ab Quarter Note =   134 Time:   3:00
 
 
  4-Bar Intro  +  3  CHORUSES:
 
    4  bars  –  CC  &  clt (Intro)
 
    32  bars  –  clarinet (Melody) (over vib obbl)
 
  32  bars  –  CC
 
    16  bars  –  vibes (over clt obbl)
      8  bars  –  piano
      8  bars  –  clarinet (over vib)
 
 

 
Personnel:
 
  Benny Goodman Sextet
  CHARLIE CHRISTIAN Guitar
  BENNY GOODMAN clarinet
  LIONEL HAMPTON vibes
  FLETCHER HENDERSON piano
  ARTIE BERNSTEIN bass
  NICK FATOOL drums
 
 

 
Issued Recordings:
 
  [ LP ] Festival ALB 377
    Jazz Anthology JA 5181
    Jazz Archives JA-23
 
  [ CD ] Archives of Jazz 380123 2
    Archives of Jazz 389123 2
    Definitive DRCD11177 (disc 1, track 10)
    Galaxy 3899442
    Jazz Classics JZCL-5005
    JSP JSP909 (disc 1, track 10)
    Masters of Jazz MJCD 24 (track 14)
    Masters of Jazz MJCD 9004 (disc 1, track 14)
    Music Memoria 87998 2
    Norma NOCD5657
    Proper PROPERBOX 98
    Stardust CLP 1150-2
    Vintage Jazz Classics VJC-1021-2
 

Composed by: Art Hickman - Harry Williams
 
©   VALDÉS   12/20/99

 


 

Transcription Page:     Rose Room  —  9 October 1939

 



C&A:

Only seven days after the sextet first recorded Rose Room, Charlie Christian was again featured on this tune on a broadcast from the Waldorf-Astoria.  Taken at a slower tempo, this version follows the same routine as the first except for the final eight bars.

CC’s excellent solo on this version is at least the equal of the one on the studio date and completely different.  And more heavily syncopated – normally he gives the downbeat about 2/3 the value of the beat or a bit less;  here he gives the downbeat around 70% of the value and on a few occasions as much as 75%—and interspersed by lots of triplets for a change of pace.  Also, he plays this version quite a bit bluesier.  Surprisingly, he doesn’t play (the same note) on alternating strings anywhere here.

There’s so much to comment on that it’s hard to even begin.  Every phrase deserves comment.  Every note is perfectly placed on this solo, every sequence leads logically to the next – just beautiful.  Measures 5-7 are particularly noteworthy.   Bars 9-10 contain a motif that Charles used on the Minneapolis “Star Dust” (first chorus, bar 11) two weeks earlier.  After a really nice lead-in at mm 13-15, there’s a sequence at mm 16-19 with a long slide that I’m partial to.   Then there’s the triplets on mm 20-21…augmented fifths on mm 21 & 30…blue notes at bar 25…the upbeat notes at bar 28.  It’s virtually a perfect solo.

 



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