C&A:

The sextet seems to now be settling down to the business of getting a master take recorded of Shivers.  Charlie Christian, himself, is at his most formal, yet still creative, manner.

Charles starts off, completely relaxed, with a phenomenal first measure that starts with the first three notes affirming the first three introductory notes of the theme.  A full rest measure separates the opening phrase from the next statement, unrelated but executed in the same manner.  The second four bars contains an unusual occurrence – three different pairs of repeated notes (on the same fret/string).  The third pair serves to connect the two A-sections the second of which is carried out in one single, marvelous outbreak of quarter notes.

Bar 11 is complementary of the sequence in bar 9 and almost again in bar 12 – specters of his Seven Come Eleven theme.  Bars 14-15 contain slides which can also be found in various guises in a few of Charles’ other solos during his career.

The bridge is then performed by the clarinetist with workmanlike mastery (although not as good as on the first bridge) before Charles comes back in picking up the liveliness to a much higher level with two repeated, two-bar runs.  He maintains that elation for the remainder of the solo and on to the following chorus with his jubilant riffs while the ensemble repeats the Shivers theme.

Although this performance lacks some of the energy displayed on the earlier Camel Caravan broadcast, Charles’ solo here is an excellent one – perfect for the “official” Columbia release.

As with Seven Come Eleven, another CC composition (and flip-side mate to Shivers), we have added bonus transcriptions (less tablature) of the entire guitar score.  click here