DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

ROSE ROOM
 
Aircheck
 
OCTOBER  28,  1939     Saturday “CAMEL CARAVAN”
NBC Radio Network / WEAF
Radio City Studios,  NYC
 

 
  32  BARS    (ABAB) Key of   Ab Quarter Note =   142 Time:   2:52
 
 
  MC:   “...we're ready to hear about the famous Goodman sextet.”
  Goodman and Hampton exchange quips.
  Goodman:   “Tonight the sextet’s going to play a number that, in my opinion, is one of
  the finest melodies the late Art Hickman ever wrote — ‘Rose Room.’
  Take it, Charles.”
 
 
  4-Bar Intro  +  3  CHORUSES:
 
    2  bars  –  CC (Intro)
    2  bars  –  CC  &  clt (Intro)
 
    32  bars  –  clarinet (Melody)
 
  32  bars  –  CC
 
    16  bars  –  vibes (over clt obbl)
      8  bars  –  vibes
      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:
 
  [ CD ] Definitive DRCD11386
    Jazz Band EBCD 2138-2
    Masters of Jazz MJCD 189
    Mr. Music MMCD-7040
 
 

Composed by: Art Hickman - Harry Williams
 
©   VALDÉS   4/3/00

 


 

Transcription Page:     Rose Room  —  28 October 1939

 



C&A:

This was the sextet’s third recording of Rose Room in October of 1939 – from a “Camel Caravan” broadcast – and the rarest of their recordings on that tune (not released until 1997).  Charlie Christian plays the four-bar intro and again gets the entire second chorus for his featured solo.

Charles really surprises with his solo opening on this version – totally unique and harmonically advanced.  Measures 6-8 were some of the most difficult to transcribe – not the notes, but the tablature (frets and fingering);  it’s interesting to compare the phrase to the same measures on his 2 October 1939 and 6 June 1941 solos.

The repeated phrases at bars 8-10 are different but very reminiscent of the phrases that opened the October 2nd Rose Room solo.  One of CC’s favorite licks is played over Bb7 at bars 13-14 then repeated (over Eb7) in modified form on the following two measures.

The Ab13 phrase beginning at bars 20 through 22 has a really nice melodic and harmonic quality to it;  followed by a most unusual Db motif (slides from a sixth to a major-seventh to the tonic before he plays a simple major triad), which closes out the sequence. Measures 25-26 are much the same as on his solo of October 9th – well worth repeating.

Charlie Christian never fails to amaze on Rose Room.

 



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