DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

ROSE ROOM
 
Aircheck
 
JUNE  6,  1941     Friday “MONTE PROSER DANCE CARNIVAL”
MADISON SQUARE GARDEN,  NYC
Mutual Radio Network
 

 
  32  BARS     (ABAB) Key of   Ab Quarter Note =   114 Time:   2:25
 
 
  4-Bar Intro  +  2  CHORUSES:
 
    4  bars  –  CC  &  clarinet (Intro)
 
    32  bars  –  clarinet (Melody) (over ts & tpt obbl)
 
  24  bars  –  CC
      8  bars  –  ensemble (free improv)
 
 

 
Personnel:
 
  Benny Goodman and his Sextet
  CHARLIE CHRISTIAN Guitar
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet
  COOTIE WILLIAMS trumpet
  TEDDY WILSON piano
  WALTER IOOSS bass
  NICK FATOOL drums
 
 

 
Issued Recordings:
 
  Incomplete:
    all releases are missing the first bar of the intro
 
  [ LP ] Musica Jazz 2MJP 1058
 
  [ CD ] Definitive DRCD11177 (disc 4)
    JSP JSP909 (disc 4)
    Masters of Jazz MJCD 75
    Suisa JZCD 379
 

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

 


 

Transcription Page:     Rose Room  —  6 June 1941

 



C&A:

Recorded at the “Monte Proser Dance Carnival,” this turned out to be the final Rose Room Charlie Christian would ever record.  One of the two slower versions and only two choruses long, CC is again the featured soloist and, as usual, solos on the second chorus but this time it’s only for 24 bars (the ensemble comes in for the last eight bars of the chorus).

As on the 28 October 1939 aircheck of Rose Room, Charles takes one aback with his solo opening on this version.  Bars 6-8 are well worth comparing to two other CC solos on this tune—it’s a revised sequence of what he played almost two years earlier (2 & 28 October 1939) on the same measures.  The Gb7 (relative dominant of the Dbm) that begins on the last beat of bar 8 starts out with same line as the Ab7 that begins at bar 4.

Measure 12:  CC runs through an exquisite F7 progression closely related to the one he played on the 2 October 1939 studio date but whereas he played triplets on the much earlier date, here he double-times it with 16ths.  Bars 15-16 (Eb7) also have a phrase related to the October 2nd date.

Bars 20-22 contain the beautiful Ab7 sequence that had first appeared earlier on the partial aircheck of Rose Room on 19 February and then again on the first chorus of his second solo at the 13 March 1941 Rose Room studio jam.  The double-time closing of the solo (mm 23-24) can be found in various guises on several other tunes—sometimes inverted, sometimes reversed—almost always over a major chord, at least once over a dominant chord.

Despite the similarities in some of the sequences, this beautiful solo is very different from the three sextet versions recorded in 1939, especially in the phrasing.

Rose Room may well have been Charles’ favorite tune to solo on.   This rendition was one of his very last recorded solos.  Interestingly, it was also one of three tunes on which he soloed in his first public performance in his early teens when he sat-in with Don Redman’s band at Honey Murphy’s in OKC.

 



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