DB Hall of Fame



DB Hall of Fame




NOVEMBER  4,  1939     Saturday “CAMEL CARAVAN”
NBC Radio Network / WEAF
Radio City Studios,  NYC

  32  BARS    (AABA) Key of   A Quarter Note =   190 Time:   2:46

MC:   “And here’s Benny himself to tell you what the sextet’s been up to.”
Goodman and Hampton exchange quips.
Goodman:   “Alright, Lionel, but meanwhile let’s get to work on that new number the sextet put together this week – the ‘Shivers’
Take it, Charles”

  4-Bar Intro  +  4  CHORUSES:
    4  bars  –  CC (Intro)
  16  bars  –  CC & ens (Theme Riffs)
      8  bars  –  clarinet
    8  bars  –  CC & ens (Theme Riffs)
  16  bars  –  vibes (over CC & clt riffs)
      8  bars  –  vibes
    8  bars  –  vibes (over CC & clt riffs)
  16  bars  –  CC  
      8  bars  –  clarinet
    8  bars  –  CC  
  16  bars  –  CC chord riffs (over ens Theme Riffs)
    8  bars  –  CC chord accents
    8  bars  –  CC chord riffs (over ens Theme Riffs)

[ applause ]

a Jerry Newhouse recording 

  Benny Goodman Sextet
  BENNY GOODMAN clarinet

Composed by: Charlie Christian - Lionel Hampton
©   VALDÉS   2/25/18


Transcription Page:        Guitar Intro / Solo



Audio and transcriptions for the complete take can be found in the “Ancillary Transcriptions” section.



This is the first recorded version of the Charlie Christian - Lionel Hampton composition Shivers – two studio takes (slightly less exhilarating) would be laid down the following month.  Charles plays the four-bar introduction with double-stop accents (bending the lower note), riffs on the theme chorus, plays riffs behind the vibes solo chorus, then goes right from his riffs on the previous chorus directly into his solo with three bars of sliding A♭s on alternating strings, an effective gambit that we’ve heard before and will hear again – particularly effective here following his riffs on the preceding chorus.

Measures 9 and 10 contain a melody I don’t believe I’ve heard him quote anywhere else.  Other than the brief Dm sequence in mm 11-12, the 16+8-bar solo is all pretty much in the AMaj tonality with Charles providing examples of ingenious variations on the limited harmony.

On rare occasions, Charles rendered guitaristic recitations such as displayed in mm 26-28 – all of them are fascinating and they always fit in very nicely within the musical context of his solo.  This one, distinctly avant-garde, distinctively wraps up the chorus after the clarinet break.

Follows his solo with beautifully executed double-stop riffs (dressed-up versions of the intro, again bending lower notes to make the two-note chords scream with excitement) over the out-chorus theme.  Charlie Christian shines during the entire piece, from his intro through the course of all four choruses.  This is definitely the most memorable of the Shivers recorded performances.

Issued Recordings:
  [ LP ] Elec KV-106 (side A, track 3)
    Kiva / Elec KV-106 (side A, track 3)
    Spook Jazz SPJ 6602 (side A, track 1)
  [ CD ] Definitive DRCD11177 (disc 1, track 15)
    Jazz Band EBCD 2139-2 (track 6)
    JSP Records JSP909 (disc 1, track 15)
    Masters of Jazz MJCD 29 (track 1)
    Masters of Jazz MJCD 9004 (disc 2, track 1)
    Mr. Music MMCD-7040 (track 11)
    Norma NOCD5657 (track 4)
    Proper P1491 (track 9)
    Proper PROPERBOX 98 (disc 3, track 9)
    Suisa JZCD 379 (track 6)
    Uptown UPCD 27.63 (track 9)


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