DB Hall of Fame

SOLO  FLIGHT

THE  CHARLIE  CHRISTIAN  LEGACY

DB Hall of Fame


 

 

WAY DOWN YONDER
IN NEW ORLEANS
 
Concert
 
DECEMBER  24,  1939     Sunday “FROM SPIRITUALS TO SWING”  CONCERT
CARNEGIE HALL,  NYC
 

 
  28  BARS   (A [8 bars] / B [12 bars] / C [8 bars]) Key of   A♭ Quarter Note =   248 Time:   2:20
 
 
  4-Bar  Intro  +  5  CHORUSES:
 
      4 bars   –  tenor sax (Intro)
 
     1 chor  –   tenor sax (Melody)
 
     1 chor  –   trumpet  
 
     1 chor  –   tenor sax
 
   1 chor  –   CC
 
     1 chor  –   ride-out (tenor sax with trumpet obbl)
 
 

 
Personnel:
 
  Kansas City Six
  CHARLIE CHRISTIAN Guitar
  LESTER YOUNG tenor sax
  BUCK CLAYTON trumpet
  FREDDIE GREEN guitar
  WALTER PAGE bass
  JO JONES drums
 
 

Composed by: Henry Creamer - John Turner Layton
 
© VALDÉS   12/10/00


 

Transcription Page:     Way Down Yonder in New Orleans

 



C&A:

A 28-bar (fairly rare) tune was the finale for the “Kansas City Six” (this aggregation was the first of Charlie Christian’s three appearances on stage this grand evening at Carnegie Hall).

Presumably Way Down Yonder in New Orleans was to be Lester Young’s feature and Charlie Christian may not have been scheduled to solo, so he was sitting this one out while Freddie Green took care of the rhythm guitar post.  Unexpectedly Charles is called on to follow the tenor sax solo.  His amplifier was probably switched to standby so it wasn’t until the sixth measure that he was adjusting the volume before coming in on the 7th and 8th bars with a most unusual entry that catches the listener off-guard.  Starting with a D♭m6 going into the A♭ is not something anyone would expect especially as it was phrased.

It’s actually a very worthy venture but there are lot of looong-held notes and pauses on this solo.  That’s okay, it’s a pleasure to clearly hear the master rhythm guitarist chonking away so reliably in the background.

Compare mm 7-8 with mm 21-22.  Interesting.  Same notes, same sequence, totally different effect.  And compare both with mm 17-18:  same sequence, just a different harmony (B♭9 = Fm6).

Charles closes his solo with the blues sequence that he had showcased twice in the last section of his second solo on the first take of I Got Rhythm exactly three months earlier:  ♭3/9, ♭7/6, ♭3/9, ♭7/6.  Indeed, he used it, sparingly, in various forms starting with the very first recording.

Wonder who it was that suddenly passed Charles the baton right after Young’s chorus.  If I had to bet on it, I would have to guess it was Prez himself.



 
Issued Recordings:
 
  [ LP ] Amiga / Amiga Jazz 8 50 060 (side 2, track 2)
    CBS 51 West Q 16007 (side 2, track 7)
    Fontana FJL 401 (side 2, track 2)
    Fontana TFL 5187 (side 2, track 2)
    Jazztone J-1248 (side 2, track 2)
    Musica Jazz 2MJP 1058 (side 2, track 2)
    Top Rank 35/064 (side 2, track 2)
    Vanguard VRS-8523 (side 2, track 2)
    Vanguard VSD-47 (side 2, track 2)
    Vogue VJD 550 (side 2, track 2)
 
  [ CD ] Definitive DRCD11122 (track 2)
    Definitive DRCD11177 (disc 2, track 8)
    Definitive DRCD11182 (disc 2, track 19)
    Disconforme GV1359 (track 2)
    Fuel 2000 302 061 167 2 (track 5)
    Jasmine JASMCD 2600 (track 8)
    JSP JSP909 (disc 2, track 8)
    Masters of Jazz MJCD 29 (track 20)
    Masters of Jazz MJCD 47 (track 3)
    Masters of Jazz MJCD 9004 (disc 2, track 20)
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Music Memoria 87998 2 (disc 1, track 9)
    Music Memoria 88048 2 (disc 2, track 7)
    Vanguard 169/71-2 (disc 3, track 15)
    Vanguard VCD2-47/48 (disc 1, track 10)
    Vanguard VMD-79553 (track 14)

 



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