DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

UNTITLED TUNE
 
< breakdown >
mx  (none assigned)
 
APRIL  3,  1940      Wednesday HOLLYWOOD
World Broadcasting System
[ for COLUMBIA Records ]   *
 

 
  32- BAR THEME     (AABA) Key of   Ab/Db/D/C Quarter Note =   186 Time:   1:34
  12- BAR BLUES SOLOS
 
 
  16  bars  –  CC  & ens (Theme) [in Ab]
      8  bars  –  clarinet [in Ab]
    8  bars  –  CC  & ens (Theme) [in Ab]
 
    12  bars  –  vibes [in Ab]
 
  12  bars  –  CC [in Db]
 
    12  bars  –  clarinet [in Db]
 
      4  bars  –  rhythm section [in D]     < breakdown >
 
 

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

 
Issued Recordings:
 
  [ CD ] Columbia/Legacy AC4K 65564 (disc 4, track 8)
    Columbia/Legacy C4K 65564 (disc 4, track 8)
    Neatwork RP 2067 (track 16)
    Sony/Legacy 93035 (disc 4, track 8)
 
 

 
  * Recorded by the World Broadcasting System, Inc. (Hollywood)
  for the Columbia Recording Corp. (NYC)
    No Matrix assigned
 

Composed by: unknown
 
© VALDÉS   8/13/02

 


 

breakdown

Page 1:   Theme

Page 2:   CC Solo

 



C&A:

Columbia Records must not have been very impressed by this untitled tune—they decided not to consider it for release.  Since it hasn’t been released yet, I’ve included the theme in the transcription.  The tune changes keys three times after the initial theme and vibes solo.  After the 32-bar theme and the 12-bar vibes solo, Charles gets only 12 bars to make his statement, and he makes the most of it.

Charlie Christian’s solo has more than a couple of tension-and-release sequences.  He starts out with a long-held Ab that immediately initiates tension.  At mm. 4, there’s an unusual Db7 run that starts a highly syncopated phrase with a weak ending on mm 7 placing emphasis on the climax at mm 8-10—a unique Ab7 phrase.  The Db7 (actually  Db13) phrase includes an augmented fifth (A-natural) that CC often uses but was uncommon in that era.  He ends his solo with a phrase that’s very similar to the ending of his solo on Grand Slam.  Short but so very sweet.

The other take of this tune is a complete take.  After the clarinet solo, the ensemble plays 16 bars of the theme (A/A in D) followed by a 4-bar guitar interlude in the key of C, and a 12-bar clarinet solo.  CC’s solo on the complete take is not nearly as good as on this breakdown take.

[ This take has now been released in Sony's 4-CD deluxe box set ]

 



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