DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

THESE FOOLISH THINGS
 
mx  WCO 26941 A
 
JUNE  11,  1940   *     Tuesday HOLLYWOOD
World Broadcasting System
[ for COLUMBIA Records ]   *
 

 
  32-BARS   (AABA) Key of   Eb Quarter Note =   78 Time:   3:08
 
 
  4-Bar Intro  +  1 ¾  CHORUSES:
 
    4 bars  –  CC & clarinet (Chord Intro behind clt)
 
    16 bars  –  clarinet (over vib & pno obbl)
    8 bars  –  CC (over vib obbl)
      8 bars  –  clarinet (over vib & pno obbl)
 
      8 bars  –  vibes (over clt & pno obbl)
      8 bars  –  clarinet (over pno obbl) [bridge]
      8 bars  –  clarinet (over pno & vib obbl) [ritard last 2 bars]
 
 

 
Personnel:
 
  Benny Goodman Sextet
  CHARLIE CHRISTIAN Guitar
  BENNY GOODMAN clarinet
  LIONEL HAMPTON vibes
  DUDLEY BROOKS piano
  ARTIE BERNSTEIN bass
  NICK FATOOL drums
 
 

 
Issued Recordings:
 
  [ 78 ] Columbia 35553
    Columbia 37512
 
  [ LP ] CBS P5 15536
    CBS / Sony 56AP 674-6
 
  [ CD ] CBS 465679 2
    Chestnut CN1003
    Classics 1131
    Columbia/Legacy AC4K 65564 (disc 1, track 17)
    Columbia/Legacy C4K 65564 (disc 1, track 17)
    Columbia CK 45144
    Definitive DRCD11176
    Frémeaux FA 218
    Masters of Jazz MJCD 44
    Masters of Jazz MJCD 9004
    Masters of Jazz R2CD 8004
    Past Perfect PPCD 78114
    Past Perfect PPCD 78122
    Proper PROPERBOX 98
    Sony/Legacy 93035 (disc 1, track 17)
    Sony Music A 28427
    Universe UV 129/2
    Warner Music France 3007-2
 
 

 
  * Matrix assigned on   JUNE 20, 1940.
  Recorded by the World Broadcasting System, Inc. (Hollywood)
  for the Columbia Recording Corp. (NYC)
 

Composed by: Jack Strachey - Harry Link - Holt Marvell
 
© VALDÉS   11/7/01

 


 

Transcription Page:     These Foolish Things   (master take)

 



C&A:

The three takes of These Foolish Things demonstrate how Charlie Christian developed his four-bar chord introduction.  The second take breaks down before the guitar solo, but comparing the first (alternate) and third (master) takes reveal the evolution of CC’s eight-bar solo.  The first six measures are Charles’ extreme reworking of the melody.  The last two bars (different on both takes) are typical CC phrases.

 



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