DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

SOLO FLIGHT
(CHONK, CHARLIE, CHONK)
 
Aircheck
 
MARCH  3,  1941     Monday “WHAT'S NEW? – THE OLD GOLD SHOW”
NBC Radio Network / WJZ,  NYC
 

 
  16-BAR  SECTIONS Key of   C / F Quarter Note =   170 Time:   1:48
 
  16-Bar Form:
  Section  A: Key of  C  –  16 bars   (AABC)
  Section  B: Key of  F  –  16 bars   (AABA)
 
 
[ MC:   “The Goodman band with Charlie Christian on guitar playing ‘Chonk, Charlie, Chonk’.” ]
 
 
  8-Bar Intro  +   4  SECTIONS    [AABA]   +   2-Bar Coda:
 
      6  bars  –  orchestra Intro
    2  bars  –  CC Intro    (unaccomp)
 
  16  bars  –  CC [sec A]
 
  16  bars  –  CC [sec A]
 
  16  bars  –  CC [sec B]
 
    8  bars  –  CC
    4  bars  –  orchestra [sec A]
    4  bars  –  CC (break)
 
    2  bars  –  CC  &  orch Coda
 
 

 
Personnel:
 
  Benny Goodman and his Orchestra
  CHARLIE CHRISTIAN Guitar
  SKIP MARTIN alto sax
  GUS BIVONA alto sax
  GEORGIE AULD tenor sax
  PETE MONDELLO tenor sax
  BOB SNYDER baritone sax
  BENNY GOODMAN clarinet
  COOTIE WILLIAMS trumpet
  ALEC FILA trumpet
  JIMMY MAXWELL trumpet
  IRVING GOODMAN trumpet
  LOU McGARITY trombone
  CUTTY CUTSHALL trombone
  MIKE BRYAN guitar
  MILT RASKIN piano
  ARTIE BERNSTEIN bass
  DAVE TOUGH drums
 
  Arranged by  JIMMY MUNDY
 

 
Issued Recordings:
 
  [LP] Beppo BE-KOG 14800 (side 1, track 2)
    Queen-Disc Q-016
 
  [CD] Definitive DRCD11177 (disc 3, track 17)
    JSP JSP909 (disc 3, track 17)
    Masters of Jazz MJCD 74 (track 6)
    Proper P1492 (track 7)
    Proper PROPERBOX 98 (disc 4, track 7)
 

Composed by: Charlie Christian - Jimmy Mundy - Benny Goodman
 
©   VALDÉS   8/24/17

 

  First Page: Intro  
       
  Second Page: Section I [A]
       
  Third Page: Section II [A]
       
  Fourth Page: Section III [B]
       
  Fifth Page: Section IV [A]

 



C&A:

This is the earliest known recording of Charlie Christian’s Solo Flight guitar concerto.  It was broadcast only one day prior to the famed studio recordings of the tune.  A couple of sections shorter than the other three extant versions, in a way it’s the most enjoyable due to the absence of a strident clarinet marring the event – singularly four delightful demi-choruses (plus intro and tag) of Charles ’ delightful guitar improvisation and some finely arranged orchestration.

A simplified orchestral interpretation is included in this transcription.

 



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