DB Hall of Fame



DB Hall of Fame



Jam Session
MAY  12,  1941     Monday “MINTON’S PLAYHOUSE”
Hotel Cecil,  210 West 118th Street
Harlem,  NYC

  32  BARS   (AABA) Key of Db Quarter Note = 226 Time: 8:26
  14  CHORUSES  +  4-Bar Tag:
  16  bars  –  CC & trumpet (Theme)
      8  bars  –  trumpet
    8  bars  –  CC & trumpet (Theme)
      1  chor  –  trumpet
      2  chor  –  piano
    3  chor  –  CC
      3  chor  –  trumpet
    3  chor  –  CC
    1  chor  –  trumpet (w/ CC chord accents)
    4  bars  –  trumpet & CC (tag)

  JOE GUY trumpet

Issued Recordings:
  [ 78 ] Vox VSP 302
  [ 10 ] Esoteric ESJ-1
    Vogue LD 035
    Vogue LDE 002
  [ LP ] Bellaphon BJS 4042
    Columbia / Everest SL-5001-EV
    Counterpoint CPT-548
    Counterpoint CPTS-5548
    Esoteric ES-548
    Everest 1233
    Everest 5233
    Everest FS-219
    Everest FS-259
    Festival ALB 377
    Jazz Anthology JA 5122
    Jazz Historical Rec HR-101-EV
    Nippon Columbia YS-7071-EV
    Presto PRE 640
    Saga 6919
    Saga SOC 1036
    Society SOC 996
    Upfront UPF-181
    Vedette VRM 36025
    Vedette VRMS 325
    Vogue VG 405 / 500114
  [ CD ] BD Jazz JZBD022
    Blue Moon Discs 008
    Definitive DRCD11122
    Definitive DRCD11177
    Definitive DRCD11197
    Definitive DRCD11288
    Dreyfus Jazz FDM 36715-2
    Fantasy / Esoteric OJCCD-1932-2
    Fr�meaux FA 218
    Jazz Anthology 55001 2
    Jazz Classics JZCL-5005
    JSP JSP909
    Le Chant du Monde 274 1459.60
    Masters of Jazz MJCD 75
    Masters of Jazz R2CD 8004
    Music Memoria 87998 2
    Musidisc MUS-55001 2
    Natasha Imports NI-4020
    Nippon Columbia 30CY-1436
    Prime Leisure PLATCD 509
    Proper PROPERBOX 98
    Proper / musisoft EMCD 21
    Topaz Jazz / Pavilion TPZ 1028
    Venus TKCZ-36013
    Venus TKCZ-79502
    Vogue VG 651 / 600135
    Warner Music France 3007-2

  Jam Session Recorded by  JERRY NEWMAN

Composed by: Edgar Sampson - Chick Webb
©   VALDÉS   4/7/02



Page 1:   Theme

Page 2:   First CC Solo:  1st Chorus

Page 3:   First CC Solo:  2nd Chorus

Page 4:   First CC Solo:  3rd Chorus

Page 5:   Second CC Solo:  1st Chorus

Page 6:   Second CC Solo:  2nd Chorus

Page 7:   Second CC Solo:  3rd Chorus

Page 8:   Out Chorus



This “Stompin’ at the Savoy” was the other tune that Jerry Newman recorded at the same jam session as Charlie Christian’s ne plus ultra, “Topsy.”  Had it not been for the existence of “Topsy” (aka “Swing to Bop”), this may well have turned out to be CC’s most highly regarded recording.

Charles is a master at embellishing the theme—rhythmically and otherwise…harmony, melody, dynamics.  Joe Guy takes the first solo chorus followed by Kenny Kersey for two choruses, then Charles.

First CC Solo

1st Chorus
CC leads-in his first solo very nicely [love the passage at mm 9-12] and is in full stride by the time he hits the first bridge.
On the bridge E7, he sounds like he’s going to go into the same phrases he used on the bridge Eb7 on his last chorus on “Topsy” but then unexpectedly takes a different direction.
At mm 14-15 and again at 29-30, goes to lower frets instead of staying in the same hand position as would most other guitarists.
Plays his famous flat-3rd / 6th double-stops at mm 27;  then again at mm 32 with a grand flourish not heard on any of his other recordings.

2nd Chorus
The spacing of the figures on mm 9-14 is reminiscent of the spacing on mm 26-32 on CC’s first “Topsy” chorus.
Good use of silence before hitting the bridge on the first beat;  also good pacing (holding the B-natural) at the start of the bridge B7.
Note the sharp-5th (F) at the bridge A7.
Bars 30-31 finds the drop to the lower frets once more.

3rd Chorus
Flat-3rd / 6th double-stops again at mm 5 and a series of Bbs on alternating strings from mm 8 thru 11.
Then there’s that clever open low-E string on the bridge E7 that startles the listener upon first hearing.  Since the more recent releases of other live versions, we now know it was a favorite device of Charles on “Stompin’…”—he lets it ring out for a measure or more while he solos over it.
Alternating strings again on mm 26-28—this time it’s sweeping Dbs.

Then it’s Joe Guy again, for three choruses, between Charles’ two solos.

Second CC Solo

1st Chorus
Ostensibly, CC opens his second solo by playing eight bars of laid-back riffs—but  they’re not nearly as simple as they may seem on first hearing.  You’ll need more than a few practice runs before you can get them just right.
The two flat-5ths (Fb) at mm 11 signal the end of the laid-back-ness.  On the next measure he starts a bridge-like run that serves as a warm-up before laying into the bridge itself.
Another “sound of surprise” at mm 23:  an arpeggio played a half-step higher than what the harmony calls for before briefly resolving with the 9th of the A7; then he goes on down another half-step to the Ab7.

2nd Chorus
The first four bars consist of the drawn-out 9-6-3-6 most commonly found on the guitar intro to “AC-DC Current.”  This one has a flat-nine in the third measure.
A lilting, melodic bridge.
Sweeping Dbs again at mm 27-30, an octave higher than on the 3rd chorus of the first solo.

3rd Chorus
On mm 9-11, the rhythmic emphasis of the repeated figures alternately switches from the downbeat to the upbeat five times, with alternately inserted sharp-5ths and 6ths, before CC tops out the phrase.
The solo changes on the bridge follow the contours of the actual melody / harmony of “Stompin’….”

Joe Guy takes the final chorus with chordal urging from Charles most of the way.


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