DB Hall of Fame



DB Hall of Fame



OCTOBER  28,  1940     Monday Columbia Recording Studios,  NYC

  12-BAR  BLUES Key of C Quarter Note = 208 Time: 3:14
    4 bars  –  piano  intro [ false start ]
  6-Bar  Intro  +  13  CHORUSES:
    2 bars  –  drums (Intro)
    4 bars  –  piano (Intro)
    2 chor  –  ensemble (Theme Riffs)
    3 chor  –  CC
    2 chor  –  clarinet
    2 chor  –  muted trumpet
    2 chor  –  tenor sax
    2 chor  –  ensemble (Theme Riffs)

  LESTER YOUNG tenor sax
  BENNY GOODMAN clarinet
  BUCK CLAYTON trumpet
  JO JONES drums

Composed by: Charlie Christian - Count Basie
© VALDÉS   3/13/18  


Transcription Page:          Guitar Solo        



This is one of the tunes recorded with Lester Young, Buck Clayton, and Count Basie with his entire rhythm section (including Freddie Green, Walter Page, and Jo Jones) to explore the possibility of joining with Goodman and Charles in a new ‘sextet.’  Unfortunately, it didn’t pan out but we lucked out with the session being recorded and preserved.  [Better yet would have been if Charles had gone with Basie to re-form the “Kansas City Seven” – but then we wouldn’t have a legacy of some many extant recordings, so scratch that thought.]

Wholly Cats is a 12-bar blues making its first of many appearances – this is the only one in the key of C, the subsequent versions being in G.  At the very tail end of the theme, a call assigning the first solo is heard:  “Come On, Charlie.”  Green was taking care of the rhythm guitar chores so Charles doesn’t get entirely caught off guard – maybe just a split second late.

Charles gets three full choruses whereas the other soloists (clarinet, trumpet, tenor sax) get only two and he makes excellent use of the time allotted.  Note also, he only gets two choruses for his solos on the other ten versions of the tune.

The solo is up to his superb blues standards.  For one thing, he’s funkier on this blues than he normally is on most other up-tempo blues with the sextet.  Bear in mind that on many slower blues he tends to go into his down-home mode staying on the same string for a longer time on a sequence of notes – he does so here a couple of times.

We must comment specifically on the opening bars of the second chorus:  that downward jaunt is reminiscent of the start of “Waitin’ for Benny” on the first CC Columbia LP, in this instance shorter and a bit more complex.  The opening bars of the last chorus, on the other hand, are the only relatively mundane moments of the solo – a strategic, refreshing interlude – all else is profoundly creative.

Issued Recordings:
  [ LP ] Cicala / Durium BLJ 8021 (side B, track 4)
    Jazz Archives JA-6 (side A, track 4)
    Jazz Archives JA-42 (side B, track 6)
    Jazz Document va-7997 (side A, track 4)
  [ CD ] Archives of Jazz 380106 2 (track 4)
    Archives of Jazz 389106 2 (track 4)
    Blue Moon BMCD 1006 (track 11)
    Charly CD DIG 2 (disc 3, track 17)
    Columbia/Legacy AC4K 65564 (disc 2, track 4)
    Columbia/Legacy C4K 65564 (disc 2, track 4)
    Definitive DRCD11176 (disc 4, track 7)
    Fuel 2000 302 061 755 2 (track 12)
    Jazz Classics JZCL-5005 (disc 1, track 15)
    Masters of Jazz MJCD 44 (track 12)
    Masters of Jazz MJCD 9004 (disc 4, track 12)
    Masters of Jazz R2CD 8004 (disc 1, track 19)
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Mosaic MD4-239 (disc 4, track 5)
    Music Memoria 87998 2 (disc 2, track 4)
    Norma NOCD5657 (track 12)
    Proper P1490 (track 1)
    Proper PROPERBOX 98 (disc 2, track 1)
    Proper / musisoft EMCD 21 (track 4)
    Sony/Legacy 93035 (disc 2, track 4)
    Sony Music Media SMM 517115 2 (track 7)
    Vintage Jazz Classics VJC-1021-2 (track 15)
    Warner Music France 3007-2 (track 19)


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