DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

SEVEN COME ELEVEN
(ROAST TURKEY STOMP)
 
Aircheck
 
NOVEMBER  25,  1939     Saturday “CAMEL CARAVAN”
NBC Radio Network / WEAF
Radio City Studios,  NYC
 

 
  32  BARS    (AABA) Key of   A Quarter Note =   244 Time:   2:35
 
 

MC:   “Pass the gravy, Pops, and dig right in.”

 
 
  12-Bar Intro  +  4½  CHORUSES:
 
      4  bars  –  drums (Intro)
      8  bars  –  piano, bass, drums (Intro)
 
  16  bars  –  CC & ens (Theme Riffs)
      8  bars  –  clarinet
    8  bars  –  CC & ens (Theme Riffs)
 
  32  bars  –  CC (over intro riffs)
 
  16  bars  –  vibes (over CC riffs)
      8  bars  –  vibes
    8  bars  –  vibes (over CC riffs)
 
    32  bars  –  clarinet
 
  16  bars  –  CC & ens (Theme Riffs)
 
 

[ applause ]

 
 

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

Composed by: Charlie Christian
 
©   VALDÉS   2/25/18


 

Transcription Page:        Guitar Solo

 



C&A:

This version of Seven Come Eleven is faster than the others but it feels like it’s much faster, a bit rushed.  The worst part, though, is that the piano continues the bass line from the theme behind Charlie Christian’s solo on the A sections and it got recorded excessively loud.  Charles solo on the first two A sections seems to be based on the three-note figure straddling mm 5-6.  There are a few more instances of this in various guises following.

We can be grateful that the best part of the song, the bridge, is clear of the riffing.  But then, the bridge solo is, in essence, alike the one he had played three days earlier in the studio take.  In the middle of the bridge Charles plays himself into the nut where he has a clumsy moment – not at all like his usual elegant transition when he finds himself in that sort of cul-de-sac.  An instant later he plays a beautiful Bb9 phrase before exiting the bridge.

The remaining A section lacks any notable moments although the phrasing of the repeated A♭s in mm 29-30 are, to our recollection, a singular occurrence, but CC is just marking time to conclude his solo (with a ♭7 minim).  It’s an exciting solo but it doesn’t quite match the other two versions, mostly due to extrinsic chaff.



 
Issued Recordings:
 
  [ LP ] Elec KV-106 (side A, track 4)
    Musica Jazz 2MJP 1058 (side A, track 5)
    Spook Jazz SPJ 6602 (side A, track 3)
    Windmill WMD 196 (side B, track 2)
 
  [ CD ] Definitive DRCD11177 (disc 1, track 16)
    JSP Records JSP909 (disc 1, track 17)
    Le Chant du Monde 274 1459.60 (disc 1, track 10)
    Masters of Jazz MJCD 29 (track 8)
    Masters of Jazz MJCD 9004 (disc 2, track 8)
    Mr. Music MMCD-7040 (track 13)
    Proper P1491 (track 10)
    Proper PROPERBOX 98 (disc 3, track 10)
    Suisa JZCD 379 (track 7)
    Uptown UPCD 27.63 (track 10)
 

 



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