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mx  CO 29027-1
NOVEMBER  7,  1940     Thursday Columbia Studios,  NYC

  12-BAR  BLUES Key of   G Quarter Note =   210 Time:   3:04
  4-Bar  Intro  +  13  CHORUSES:
    4 bars  –  piano (Intro)
    2 chor  –  muted trumpet (over CC & ens theme riffs)
    2 chor  –  tenor sax
    2 chor  –  piano (accomp by guitar, bass, drums)
    2 chor  –  CC (over ens riffs)
    2 chor  –  clarinet
    2 chor  –  muted trumpet (over CC & ens riffs)
    1 chor  –  CC & ensemble (theme riffs)

  Benny Goodman and his Sextet
  GEORGIE AULD tenor sax
  BENNY GOODMAN clarinet

Composed by: Charlie Christian - Count Basie
©   VALDÉS   10/6/18


Take Five:     Wholly Cats    CO 29027-1




  Complete Take



The recording of this tune marks the first of the mini-marathon recording dates at the Columbia studios during the rest of 1940 through the first month of the following year.  Much of the material from these sessions was first released on CD in 1993 on the Jazz Unlimited (Denmark) label with the title “The Rehearsal Sessions • 1940-41 • Featuring Charlie Christian” some of which had been on LPs from several labels two decades earlier.

Charlie Christian had been recorded once before on Wholly Cats, just ten days earlier, but with a very different cast and in a different key.  These six studio takes seem like a completely different tune.  Charles is allotted only two blues choruses (in the key of G) on which to solo whereas on the previous date, a rehearsal, he got three choruses (in C).

CO 29027-W   (take 1)
Charles begins his solo with a duplicate of his AC-DC Current guitar intro.  The solo on this initial take is mostly variations on phrases heard before, but there’s no lack of enthusiasm … although the racket from the horns in their backing riffs just clouds over the featured voice.

CO 29027-X   (take 2)
The sextet has settled down now on the second take.  The riffing during Charles’ solo seems more organized and CC himself takes a smoother solo with longer lines and more purpose.  Still coasting on the first chorus before he goes on a tear on the second.

CO 29027-Y   (take 3)
The clarinet is now practically the only horn riffing behind the guitar solo so that has cleared up most of the clutter.  Charles seems to be fully energized now.  He plays a favorite dom-7 run on mm 5-6 that he engenders to sound refreshingly new.  Charles is now treating the dominant D7 bars (mm 9-10) as a subdominant C7 section in the first chorus of his two-chorus solo – and here he delays playing the last G measures (mm 11-12) for almost a full bar giving them just four quick notes.  His second chorus (m 7) contains a super-fast version of some familiar downward arpeggios.

CO 29027-z   (breakdown–no solo)
After the intro and trumpet solo, this fourth take breaks down at the start of the tenor sax solo.

CO 29027-1   (take 5)
All the horns are back again on the riffs behind Charles’ solo.  His first chorus is somewhat subdued.  He starts a phrase at bar 5 the runs back into a repeat – coasting a bit here.  But on the second chorus CC lets go with some rather spectacular slides.  And tops the solo off with dramatic G°7 effects.  The sequence in bar 10 of the second chorus is a D7 version of the C7 in bar 5 but he starts it out in a very unorthodox manner.

CO 29027-2   (take 6)
The original 22 November 1940 release of this tune, on Columbia 35810, was of the fifth take (CO 29027-1) but some later pressings included this last take which contains, overall, Charlie Christian’s better solo.


Issued Recordings:
  [ 78 ] Columbia 35810  * (b/w Royal Garden Blues)
    V Disc 880A (p/w 1948 sextet Benny’s Bop)
  [ EP ] Columbia B-504 (side B, track 1)
    Philips BBE 12272 (side B, track 1)
  [ 10 ] Philips B 07 907 R (side A, track 2)
    Philips P 07.931 R (side A, track 1)
  [ LP ] Avan-Guard VSLP 213 (side B, track 2)
    CBS 52538 (side B, track 2)
    CBS 62.387 (side A, track 2)
    CBS / Sony 20AP 1456 (side A, track 2)
    CBS / Sony 56AP 674~6 (side D, track 1)
    CBS / Sony SOPM 155 (side A, track 2)
    CBS / Sony SOPZ4~6 (side D, track 1)
    Columbia CL 652 (side A, track 2)
    Coronet / CBS KLP 510 (side A, track 2)
    Giants of Jazz LPJT 13 (side B, track 6)
    Philips BBL 7172 (side A, track 2)
  [ CD ] ABM ABMMCD 1209 (track 16)
    Acrobat ACRCD 160 (track 16 )
    ASV / Living Era AJA 5144 (track 19 )
    BD Jazz JZBD022 (disc 1, track 15)
    Best of Jazz 4032 (track 14)
    CBS / Sony 25DP 5301 (track 2)
    Chestnut CN1003 (track 3)
    Classics 1131 (track 19)
    Columbia/Legacy AC4K 65564 (disc 2, track 8)
    Columbia/Legacy C4K 65564 (disc 2, track 8)
    Columbia/Legacy CK 86834 (track 2)
    Definitive DRCD11176 (disc 3, track 1)
    Jazz Archives / EPM 15908 2 (track 10)
    Le Chant du Monde 274 1459.60 (disc 2, track 5)
    Masters of Jazz MJCD 44 (track 18)
    Masters of Jazz MJCD 9004 (disc 4, track 18)
    Membran 232094 [see Album Index]
    Membran 232568 [see Album Index]
    Nimbus NI 2016 (track 9)
    Phontastic PHONT 7660 (track 6)
    Primo / Proper PRMCD 6092 (disc 1, track 17)
    Proper P1490 (track 5)
    Proper PROPERBOX 98 (disc 2, track 5)
    Signature SIGNCD2278 (track 14)
    Sony/Legacy 93035 (disc 2, track 8)
    Sony BMG/Legacy 09491 (disc 2, track 9)
    Universe UV 129/2 (disc 1, track 18)
  *  Most copies of  [ 78 ]  Columbia 35810  contain take CO 29027-1.
   Some copies of  [ 78 ]  Columbia 35810  contain take CO 29027-2.


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