Charlie Christians solos may have been evolving more than usual during the last
couple of months. The airchecks recorded with the sextet seem to be contain more
unexpected sequences than usual. His phrasing was especially unpredictable at times,
as on Rose Room earlier in the month and this version of Stompin
at the Savoy which was also recorded at the Monte Proser Dance
Carnival. The phrasing in the first motif on the first two bars, in
particular, sounds to be a bit different than beforeit seems kind of up-side-down
from how he would usually play. But, without a few additional recordings from this
period, its difficult to say for sure.
Then theres the Db, Bb, Bbb, Ab sequence the he used less than once per chorus on other
versions of this tune. Here it appears five times (not counting the variation at bar
2) within the first half of the chorus, in mm 4, 10, 12, 15, and 16. That four-note
sequence is in five of the 16 bars. Never heard anything like that from him
before. Theres also the possibility that Charles deteriorating health
was affecting him. He barely makes the sliding octaves at bar 9 and he apparently
flubs the last part of bar 13. Never heard anything like that from him before
either. But his imaginative creativity never flagged here nor at any other time.
As on three of his four previous solos on Stompin at the Savoy, he hits an open-E string while he solos over it. CC hits that open-E string five times on the five known recorded versions of
this tune on which he solostwice on 8 May and none on the Lips Flips
renditionall of which were recorded between February and June of 1941.
A few beats later the recording machine goes haywire and what may have been the last
recording in Charlie Christians abbreviated lifetime abruptly ends.