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.