The Complete Charlie Christian Volume 9............

Here's Volume 9.............

from: http://home.roadrunner.com/~valdes/revu_cd.htm#MoJ%201

Volume 9 contains many of the recordings that were not included in the original Masters of Jazz 8-volume “Complete Edition” series.

This long-awaited issue, released on October 29, 2001, introduces three tracks that have never been released previously in any format and many other rareties.

Track 1  –  “Star Dust”     2 September 1939     Camel Caravan  aircheck     2:27
          CC:  32-bar chord solo
          This radio broadcast from the Michigan State Fair in Detroit was issued for the first time    on CD in Volume 1.
          It is reissued here in Volume 9 with much better sound.

Track 2  –  “Flying Home”     9 September 1939     Camel Caravan  aircheck     3:21
          CC:  32-bar solo   and the usual riffs
          Previously omitted from the Masters of Jazz series.
          This aircheck was previously available only on a 1995 Phontastic (Sweden) double-CD
          until it was reissued March 2001 on a 4-CD set on the Definitive (Andorra/Spain) label.

Track 3  –  “I Got Rhythm”   Take 1     9 September 1939     Jam session at the Harlem Breakfast Club in Minneapolis     3:37
          CC:  two 32-bar solos
          Issued in Volume 1, incomplete and spliced after take 2, it is now issued separately and complete.
          Previously available unspliced only on a 1993 Suisa (Italy) CD.

Track 4  –  “I Got Rhythm”   Take 2     9 September 1939     Jam session at the Harlem Breakfast Club in Minneapolis     3:38
          CC:  two 32-bar solos
          Issued in Volume 1, incomplete and spliced before take 1, it is now issued separately and complete.
          Previously available unspliced only on a 1993 Suisa (Italy) CD.

Track 5  –  “Tea for Two”     9 September 1939     Jam session at the Harlem Breakfast Club in Minneapolis     5:00
          CC:  8-bar chord intro;  a solo on two 32-bar choruses;  solo on one 32-bar chorus
          Issued in Volume 1 missing the first half of CC’s intro and the first 8 bars of the second tenor sax solo, it is now issued in its entirety.
          The complete take was previously available only on a 1997 Jerry Jerome double-CD on the Arbors label.

Track 6  –  “Rose Room”     28 October 1939     Camel Caravan  aircheck     3:37
          CC:  4-bar intro;   32-bar solo
          Previously omitted from the Masters of Jazz series.
          Previously available only on a 1997 Jazz Band (England) CD.
          A detailed data sheet and transcription of this aircheck can be viewed at “Rose Room” in the Transcriptions section.

Track 7  –  “South of the Border”     18 November 1939     Camel Caravan  aircheck     3:32
          CC:  8-bar chord intro,  boogie riffs (32 bars),  8-bar solo (melody),  boogie riffs (16 bars);  chords on final 8 bars
          Previously omitted from the Masters of Jazz series.
          Previously available only on a 1997 Jazz Band (England) CD.

Track 8  –  “Oh, Lady Be Good”     24 December 1939     Jam sess

ion at From Spirituals to Swing concert,
          Carnegie Hall     10:40
          CC:  a solo on three 32-bar choruses;  8-bar solo on the bridge of the out-chorus
          Issued in Volume 2 missing the third chorus of Charles’ first solo, it is now issued complete.
          The complete take was previously available only on a March 2001 4-CD set on the Definitive (Andorra/Spain) label.

Track 9  –  “Poor Butterfly”     27 April 1940     Aircheck from the Cocoanut Grove at the Hotel Ambassador in L.A.     1:13
          CC:  8-bar solo on the “A” section of the tune
          Released here for the first time ever !
          Unfortunately, the first chorus (clarinet melody) and the first 14� bars of the second (vibes solo) had to be excised due to            poor sound quality.
          A detailed data sheet and transcription of this aircheck can be viewed at “Poor Butterfly” in the Transcriptions section.

Track 10  –  “Just Like Taking Candy from a Baby”     30 April 1940     Columbia  mx  WCO 26809 A     2:49
          CC:  riffs (8 bars)  –  same riffs as used in the sextet intros to “Honeysuckle Rose” and later on the out-choruses of
          “Gone with What Draft”
          Previously omitted from the Masters of Jazz series.

Track 12  –  “Benny’s Bugle”     7 November 1940     Columbia  mx  CO 29030-Z and CO 29030-1     13:27
          CC:  a solo on two 12-bar choruses  and the usual riffs
          Both takes were previously released on Volume 5 but take -Z was incomplete, missing the intro and theme chorus.
          These two takes were the fifth (alternate -Z) and sixth (final / master -1) takes of this tune recorded on this studio date.
          They are presented here just as they were recorded, with all the chatter and practice between takes.
          Charles’ voice can be heard several times between the two takes.
          The complete take -Z was previously available only on a 1993 Jazz Unlimited (Denmark) CD.
          (Jazz Unlimited issued all six takes of the “Benny’s Bugle” recording including the between-take activity on one track.)
          Take -1 is the master that was originally released on 78-rpm and many other subsequent issues.

Track 13  –  “Gone with What Draft”     19 December 1940     Columbia  mx  WCO 29261-x     1:32
          CC:  4-bar intro,  riffs,  2 + 6-bar solo on the 12-bar cadenza
          Previously omitted from the Masters of Jazz series.
          This take breaks down two bars after the cadenza.
          Previously available only on a 1993 Jazz Unlimited (Denmark) CD.

Track 14  –  “Breakfast Feud”     15 January 1941     Columbia  mx  CO 29512-3     3:14
          CC:  theme with ensemble (12+12 bars);  refrain w/ ens (4 bars), solo (8+12 bars);  theme w/ ens (12 bars),
          improvised tag (4 bars)
          Previously released incomplete in Volume 6  –  contained only the refrain and CC solo, then faded out.  Now issued in its entirety.

          The complete take was previously available only on a 1993 Jazz Unlimited (Denmark) CD.

Track 15  –  “Breakfast Feud”     15 January 1941     Columbia  mx  CO 29512-4     3:06
          CC:  theme with ensemble (12+12 bars);  refrain w/ ens (4 bars), solo (8+12 bars);  theme w/ ens (12 bars),
          improvised tag (4 bars)
          Previously released incomplete in Volume 6  –  contained the theme through to the refrain and CC solo, then faded out.
          Now issued in its entirety.
          The complete take was previously available only on a 1993 Jazz Unlimited (Denmark) CD.

Track 16  –  “Stompin’ at the Savoy”     8 May 1941     Jam session at Minton’s Playhouse     10:21
          CC:  riffs behind trumpet solo,  a CC solo on two 32-bar choruses;  5 choruses of collective improvisation,  tag
          Released here for the first time ever !
          A detailed data sheet and transcription of this jam can be viewed at “Stompin’ at the Savoy” in the Transcriptions section.

Track 17  –  “Stompin’ at the Savoy”     June 1941     Aircheck from the Monte Proser Dance Carnival          1:46
          CC:  theme with ensemble,  a CC solo that lasts 22 bars before the recorder malfunctions
          Released here for the first time ever !
          A detailed data sheet and transcription of this aircheck can be viewed at “Stompin’ at the Savoy” in the
          Transcriptions section.

Definitely another absolutely essential issue from the Masters of Jazz “Charlie Christian ~ Complete Edition” series.

CHARLIE CHRISTIAN  •  VOLUME 9  •  1939-1941

STAR DUST  [Aircheck]  SEPTEMBER 2, 1939

FLYING HOME [Aircheck]  SEPTEMBER 9, 1939

I GOT RHYTHM [Jam]  SEPTEMBER 24, 1939 [Take 1]

I GOT RHYTHM [Jam]  SEPTEMBER 24, 1939 [Take 2]

TEA FOR TWO  [Jam] SEPTEMBER 24, 1939

ROSE ROOM [Aircheck]  OCTOBER 28, 1939

SOUTH OF THE BORDER  [Aircheck]  NOVEMBER 18, 1939

OH, LADY BE GOOD  [Concert]  DECEMBER 24, 1939

POOR BUTTERFLY < incomplete > < previously unissued > [Aircheck]  APRIL 27, 1940

JUST LIKE TAKING CANDY FROM A BABY  APRIL 30, 1940

BENNY’S BUGLE  NOVEMBER 7, 1940

BENNY’S BUGLE  NOVEMBER 7, 1940

GONE WITH WHAT DRAFT  DECEMBER 19, 1940

BREAKFAST FEUD  JANUARY 15, 1941

BREAKFAST FEUD JANUARY 15, 1941

STOMPIN’ AT THE SAVOY  < previously unissued >  [Jam]  MAY 8, 1941

STOMPIN’ AT THE SAVOY < previously unissued >  [Aircheck]  JUNE 1941

http://www.megaupload.com/?d=F67Q2M6F

The Complete Charlie Christian Volume 8

Here's Part 8...........

CHARLIE CHRISTIAN

VOLUME 8

March – June 1941

from: http://home.roadrunner.com/~valdes/revu_cd.htm#MoJ%201

The March 13, 1941 studio session continues on this eighth and final volume which ends with the final recordings in June of 1941.

Remainder of the March 13 studio session:

*   “Good Enough to Keep”     both takes

Later renamed “Air Mail Special.”

Followed by a series of airchecks from What’s New?–The Old Gold Show:

*   “Good Enough to Keep”     March 17

*   “Wholly Cats”     April 7

*   “Breakfast Feud”     April 14

Missing the piano intro, as are all other issues.

*   “Ida, Sweet As Apple Cider”     April 14

Another magnificent solo by CC—a 32-bar masterpiece.
This was the the only time he was ever recorded playing on “Ida....”

*   “Flying Home”     listed as April 14, but actually from February 10.

*   “Song of the Islands”     April 28

CC plays a four-bar intro followed by 16 bars of embellished melody—unusual and lovely.

*   “Flying Home”     May 5

First-time CD issue for this date.

In May of 1941, being far more advanced musically than almost everyone else in jazz, Charlie Christian was the natural leader in any musical setting in which he participated.  Even the egocentric Benny Goodman treated Charles with kid gloves, first ensuring that the guitarist was persuaded to take the path he wanted the rest of the sextet to take.

Probably due to Charlie’s quiet, unassuming nature, this quality has not been emphasized in discussions of his influence.  His leadership, however, has not only been attested to by the musicians that played with him at the time, but is also aurally quite evident between takes on the studio recordings as well as on the jam sessions that were recorded, such as the one in the previous volume and the next sessions.

Thanks to Jerry Newman and his recorder, we are indeed fortunate to have the opportunity to hear the very birth of modern jazz with Charlie Christian leading the pioneers of the bebop movement at the Harlem after-hours clubs Minton’s Playhouse and Clark Monroe’s The Uptown House.

In the excellent notes to this CD, the proposition is introduced that the pianist on the next two tracks is Kenny Kersey and not Thelonious Monk as has previously been commonly thought.  Since I’ve always suspected as much, I have to agree with that rational premise although I’d always hoped it was the earliest Monk on record—they’re excellent piano solos—but it’s not Monk.

There’s a substantial amount of crowd noise on the first two tunes from these sessions (particularly bothersome on “Topsy”) that does not exist on Jerry Newman’s original acetates but first appeared on the 1947 Vox 78-rpm album.  It’s in this volume and a few subsequent CD releases that have used the 78s for their source—or lifted them from Masters of Jazz.

*   “Topsy”      (aka  “Swing to Bop”  or  “Charlie’s Choice”  or  “In the Hall of the Mountain King”)

The recording starts at the sixth bar of the “first” chorus with Charlie Christian already in full flight, followed by five more choruses of the most inventive solo ever!
A trumpet and a piano solo are followed by another three wonderful choruses by CC.

*   “Stompin’ at the Savoy”

Two 3-chorus solos by Charles—were it not for the previous track, this would have qualified as the best single recording of all time.
An added bonus is the clearly audible rhythm guitar, especially on the piano solo.

*   “I Got Rhythm”     (aka  “Guy’s Got to Go”)     [Mislabeled “Lips Flips” on this CD;  that surtitle belongs to the following tune.]

Two choruses by Charles.
As on all other issues, the first six beats of his second chorus are repeated (a flaw in the original recording).

*   “Stompin’ at the Savoy”     (aka  “Lips Flips”  or  “On with Charlie Christian”)

Two-and-a-half CC solo choruses.

A little-known seventh track featuring Charlie Christian was also recorded by Jerry Newman, at Minton’s on May 8.  It has never been released—very closely hoarded by a very few collectors.  It’s a 17-chorus rendition of “Stompin’ at the Savoy” that includes two solo choruses by CC plus five final choruses of collective improvisation with Charles as the focal point.
[This “Stompin’ at the Savoy” was issued for the first time ever in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]

The final tracks on the Masters of Jazz series are three airchecks from the Monte Proser Dance Carnival in Madison Square Garden:

*   “Benny’s Bugle”     May 28

Two lively blues choruses by CC;  his best on this tune.

*   “Rose Room”     June 6

A particularly interesting 24-bar solo by CC (the ensemble takes the last 8 bars of the chorus)—reminiscent of the March 13 pre-rehearsal jam, rather than of other occasions with the sextet.
It’s missing the first bar of CC’s 4-bar intro but is otherwise complete.

*   “Solo Flight”     June
     (“Chonk, Charlie, Chonk”)

With the full orchestra, of course.  Comparable to the studio versions, suffering only from the lesser sound quality.

Not included here is another tune from the MSG broadcasts which may have been the last recording of a Charlie Christian solo.   An incomplete aircheck of “Stompin’ at the Savoy” was recorded some time in June 1941 containing a piano intro, a chorus of the melody on which CC plays some beautiful “SA-VOY” chords, followed by an extraordinary guitar solo that was distressingly cut off after 22 bars.

[This is another version of “Stompin’ at the Savoy” issued for the first time ever in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]

I like to think of this as Charles’ last solo only because of the way in which such an innovative creation was prematurely cut off—much as his life was so shamefully snuffed out while his artistic genius was still in ascension.   Actually, either of the other two June recordings could have been his last.   In any case, judging from the last few months of recordings, there was every indication that Charlie Christian’s creativity was indeed gaining momentum with no sign of CC nearing his peak.

There are a few more items not in this last volume that may have some CC participation with the sextet during the period covered by the last volume:
Four tunes from the America in Swingtime broadcast in the spring of 1941—an untitled blues, “The Sheik of Araby,” “Gone with ‘What’ Wind,” and “Stompin’ at the Savoy.”

And a May 1^st 1941 aircheck of “A Smo-o-o-oth One” broadcast from the Shenandoah Apple Blossom Festival at the Armory Hall in Alexandria, Virginia.

Good enough to keep (air mail special)

Good enough to keep (air mail special) 

Good enough to keep (air mail special)

Wholly cats

Breakfast feud

Ida, sweet as apple cider

Flying home

Song of the islands

Flying home

Topsy (Charlie's choice) (Swing to bop)

Stompin' at the Savoy

Benny's bugle

Rose Room

Solo Flight

http://www.megaupload.com/?d=9Q76H8H1

--Volume 9 soon to come--

The Complete Charlie Christian Vol. 7..............

 

From: http://home.roadrunner.com/~valdes/revu_cd.htm#MoJ%201

Volume 7 starts out with an aircheck from February 10, 1941 and goes on to part of the studio session of March 13, 1941.

Four airchecks:  three from What’s New?–The Old Gold Show and one (February 16) from the Fitch Bandwagon:

*   “Wholly Cats”     February 10

The intro & first 4 bars are missing, but I believe that’s the way it was originally recorded off the air.

[A version of “Flying Home” from this date is listed under April 14 on volume 8.]

*   “Gone With What Draft”     February 16

This is the first time this particular version has ever been issued in any format.   Unfortunately, a very poor copy was used.  The first 2 bars of CC’s intro are missing and the entire track is very scratchy.  At first I thought that it might be a version unknown to me, but I checked it against my copy which has relatively good sound and it is the correct one.

*   “Breakfast Feud”     February 17

Only an 8-bar solo, rather than the regular 8+12-bars.

*   “Gone With What Draft”     February 24

Yet another version of the tune that Benny Goodman years later renamed “Gilly.”

Two tracks from What’s New?–The Old Gold Show broadcast on March 3, 1941:

*   “Six Appeal”   (“My Daddy Rocks Me”)

Missing the 4-bar CC chord intro, as are all other issues.

*   “Solo Flight”   (“Chonk, Charlie, Chonk”)

The first CD issue of the first recording of Charlie Christian’s wonderful composition for orchestra, arranged by Jimmy Mundy.  This one’s an abbreviated version.

The studio recordings on March 4 of:

*   “Solo Flight”     both takes —and both of them are extraordinary

Take -1 was the one that Columbia issued on 78-rpm.  It hit # 1 on the Billboard Harlem Hit Parade on March 11, 1944.  Presumably due to its commercial appeal, a few jazz critics have not regarded it very highly; but when “Solo Flight” was first released it blew away every guitarist within earshot, including the very top jazz guitarists—even to this day.
To briefly quote just a couple of jazz guitar greats:
Jimmy Raney — “When I first heard Solo Flight, I almost fainted.”
Wes Montgomery — “Solo Flight was the first Charlie Christian record I heard.  Boy, that was too much!  I still hear it!  He was it for me...”

Another What’s New?–The Old Gold Show aircheck, on March 10:

*   “Flying Home”

Next is the first CD issue of the extraordinarily fantastic Waitin’ for Benny pre-rehearsal jam session that was most fortuitously recorded while Charlie Christian, drummer Dave Tough, pianist Johnny Guarnieri, tenor saxophonist Georgie Auld, and trumpeter Cootie Williams were waiting for Benny Goodman and bassist Artie Bernstein to show up for a studio session on March 13, 1941.  I treasure these recordings as much as I do the ones from Minton’s a couple of months later.

It wasn’t really a jam session as such.  Columbia’s recording techs just happened to catch Charlie Christian experimenting and jamming somewhat on his own with only Dave Tough (the best regular drummer that Goodman ever had) backing him much of the way.

Guarnieri makes many outstanding contributions on all of the tunes, while the two horns sporadically drop in and out during the 21 minutes that were preserved from this occasion.  At times Auld seems a bit lost, now and then clashing with Charles’ astonishing rhythmic concept .

This is one of the few instances in recorded history where we can get a glimpse of true creative genius at play.  Christian is traveling here in his own musical world, totally immersed in his music and seemingly enraptured by his creation.

It doesn’t get any better than this!

It starts out with Charlie...

*   “Riffin’ Around”

with 176 bars of free improvisation in the key of A before he segues into his version of “Love is Just Around the Corner”:

*   “A Smo-o-o-oth One”

It’s been written that this is the actual creation of this tune.   Possibly...but it’s more probable that it was already scheduled for this date.   The rest of the musicians seemed to recognize it immediately and jumped right in as soon as CC started playing it.

He plays one chorus of the theme with chords on the bridge, a few riffs, then drops out, just popping back in for a few absolutely swinging bars a couple of times after that.

His interest peaks again when Guarnieri intros a more interesting...

*   “I Can’t Believe That You’re In Love With Me”

The recording is interrupted � of the way through the first chorus then curiously resumes 20 bars into another chorus of the same tune at an appreciably slower tempo.  Charles is improvising on the melody, using eighth notes, for the first 25 bars before the cut-off.  When the recording resumes, he is toying with the harmony and rhythm—playing mostly sixteenth notes and lots of triplets.

Auld has both some very good moments and, understandably, some difficult instances on this one.  Cootie plays along with CC for more than three choruses, then drops out from the jam altogether after this tune.  CC’s inventiveness really starts to shine here and it increases as the proceedings continue with a surprising 9-bar intro of...

*   “Rose Room”

CC’s two solos (1 + 3 choruses) here are unlike those on any of his other versions of “Rose Room”—with a heavy blues imprint, very melodic, and particularly with a distinctly different rhythmic lilt which was touched off in his intro.

When things start winding down, Auld’s tenor suggests...

*   “I Hadn’t Anyone Till You”

and they’re off on an extraordinarily beautiful, short rendition of that tune.
In the middle of the third chorus, Guarnieri calls out:

“Let’s play the blues”

“Charlie, Charlie, let’s play the blues in B”

*   “Blues in B”

is one of the most wonderfully fascinating blues I’ve ever heard!  Indescribable.

After five incredible choruses of blues by Charlie Christian with brilliant piano by Guarnieri, the other members of the sextet must have arrived—the engineers cut off the exquisite revelry to begin recording the commercial version of...

*   “A Smo-o-o-oth One”     all 3 takes

with which this penultimate volume ends.

As far as I know, the entire pre-rehearsal jam has only been issued once before—in 1981 on Blu-Disc LP T-l006 entitled The Un-Heard Benny Goodman, Vol. 3.  Part of the session has been issued often though.  “Blues in B” was regularly issued on LP and also on CD.   Usually, a companion track called “Waitin’ for Benny” was issued with it.  This contained “A Smo-o-o-oth One” preceded by the not-as-noisy part of the free improvisation that I’ve called “Riffin’ Around” (as it was named on the Blu-Disc LP).  The CD under review doesn’t list the free improvisation separately.

These are the only known renditions of “I Can’t Believe...” and “I Hadn’t Anyone...” recorded by Charlie Christian.

Track list:

Wholly cats

Gone with what draft

Breakfast feud

Gone with what draft

Six appeal

Chonk, Charlie, chonk (solo flight)

Solo flight

Solo flight

Flying home

A Smo-o-o-oth one (waiting for Benny)

A Smo-o-o-oth one

A Smo-o-o-oth one

A Smo-o-o-oth one

http://www.megaupload.com/?d=5QYM1UTF

The Complete Charlie Christian Vol. 6.....1940-41

The Complete Charlie Christian Vol. 6...........years 1940-41

From: http://home.roadrunner.com/~valdes/revu_cd.htm#MoJ%201

Volume 6 proceeds with the December 19, 1940 session and goes on through to February 5, 1941.

Remainder of the studio session from December 19:

*   “I Can’t Give You Anything But Love”     all 3 takes    (-1, -3, -2)

Each take has an excellent CC 16-bar solo.

*   “Gone With What Draft”     3 takes   (-3 thru -1)

Missing is a breakdown that includes the cadenza on which CC solos, but it’s no substantial loss;  his solo on this tune is “written”—sounds great, but it’s the same on all takes.
[The breakdown was released in its entirety in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]

The tune is based on “Honeysuckle Rose” chord changes with a 12-bar cadenza added in the middle.  The cadenza is actually a direct adaptation of Eddie Durham’s 12-bar intro with Jimmy Lunceford & His Orchestra on “Avalon” with was recorded for Decca on September 30, 1935.   “GWWD” was retitled “Gilly” around 1950.

Then the January 15, 1941 studio session with the sextet and another go at:

*   “Breakfast Feud”     all 4 takes,  but...

The 3^rd take is truncated at both ends—it contains only the 4-bar refrain, the 8+12-bar CC solo, then fades out on the subsequent refrain.
The 4^th take is also incomplete; it fades out on the refrain after CC’s solo.
[The complete 3^rd and 4^th takes have been issued only on Jazz Unlimited JUCD 2013, The Rehearsal Sessions (in 1993).]
[Both takes were reissued in their entirety in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]
“Breakfast Feud” has to be the most spliced up tune in recorded history!  From two to five of CC’s solos have been gleaned from this and the December 19 session and spliced together in about a dozen different combinations and, more often than not, issued that way on LP and CD.  At least here they’re only shortened and not spliced which could have caused even more confusion.  The 2^nd take from this session was the one that came out on the original Columbia 78-rpm record (none of the takes from the December 19 were originally released on 78).

The January 15^th session continues:

*   “On the Alamo”     the only known take

Another 8-bar gem by CC on his solo—very relaxed and melodic.

*   “I Found a New Baby”     both takes

First time on CD for take -2.
Exceptional CC solos on each, some of his best work with the sextet, especially take -1.

*   “Gone With What Draft”     3 takes   (-3 thru -1)      [An additional breakdown is said to exist]

The second year that Charles’ records with the Metronome All Star Band (winners of the annual Metronome magazine Jazz Poll)—on January 16 for Victor:

*   “One O’Clock Jump”   (aka “All Star Jump”)

A 12-bar CC blues solo

Then comes the renowned “Profoundly Blue” all-blues session with the Edmond Hall Celeste Quartet recorded for Blue Note on February 5, 1941...on which CC plays unamplified guitar:

*   “Jammin’ In Four”

Five consecutive solo choruses of fast blues by CC featuring the fewest rests he ever took on record!

*   “Edmond Hall Blues”

No solos, but CC is prominent playing rhythm.

*   “Profoundly Blue”     both takes

CC’s four-bar intros followed by his three-chorus solos on each take of this very slow blues are the highlights of the session.  They are virtually duets with the much underrated bassist Israel Crosby, who is outstanding on the entire outing.
The solos on both takes are a real joy to play on the guitar along with CC’s solo on “Paging the Devil” (from the 1939 Christmas Eve From Spirituals to Swing Carnegie Hall concert) which is another exceptional Eb blues.

*   “Celestial Express”

Again no solos;  this time however, Charles can be heard playing 24 bars of impeccable boogie riffs on each of two solos by clarinetist Hall.

The interplay of Christian and Crosby, both in rhythm and duet, is what makes this session so memorable.  Hall is also at his best.  Although Meade Lux Lewis has some good solos, his celeste is often distracting—it should have been toned down some.

There may exist a recording from the time period covered by volume 6 that is not included here:  a December 25, 1940 sextet aircheck of “Wholly Cats.”

Track list:

01 - I Can't Give You Anything But Love
02 - I Can't Give You Anything But Love
03 - I Can't Give You Anything But Love
04 - Gone With What Draft
05 - Gone With What Draft
06 - Gone With What Draft
07 - Breakfast Feud
08 - Breakfast Feud
09 - Breakfast Feud
10 - Breakfast Feud
11 - On The Alamo
12 - I Found A New Baby
13 - I Found A New Baby
14 - Gone With What Draft
15 - Gone With What Draft
16 - Gone With What Draft
17 - One O'Clock Jump
18 - Jamming In Four
19 - Edmond Hall Blues
20 - Profoundly Blue
21 - Profoundly Blue
22 - Celestial Express

http://www.megaupload.com/?d=SAK6IRB0

The Complete Charlie Christian Volume 5..........

Volume 5 of 9.............

01 - Royal Garden Blues
02 - Royal Garden Blues
03 - Royal Garden Blues
04 - As Long As I Live
05 - As Long As I Live
06 - Benny's Bugle
07 - Benny's Bugle
08 - Benny's Bugle
09 - Benny's Bugle
10 - Wholly Cats
11 - Honeysuckle Rose
12 - Breakfast Feud
13 - Breakfast Feud
14 - Breakfast Feud
15 - Breakfast Feud
16 - Breakfast Feud

http://www.megaupload.com/?d=CLRWF4LZ

track info from:  http://home.roadrunner.com/~valdes/revu_cd.htm#MoJ%202

Volume 5 resumes with the Goodman Sextet studio session of November 7, 1940 and continues through to the first part of another on December 19, 1940.

Remainder of the session from November 7, 1940:

*   “Royal Garden Blues”     all takes   (-3 thru -1)
*   “As Long As I Live”     both takes

First time on CD for master take -1.
CC takes his 8-bar solo on the bridge—each is a unique gem.

*   “Benny’s Bugle”     all 6 takes,  but…

Take 5 is missing the trumpet intro and the theme riffs (12 bars)—kind of a relief after hearing it consecutively so many times.
[Released in its entirety in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]

The three sextet tunes recorded from The Make Believe Ballroom radio show of November 19:

*   “Benny’s Bugle”
*   “Wholly Cats”
*   “Honeysuckle Rose”

CC’s solo on this recording of “Honeysuckle Rose” has a particularly inventive bridge.

The CD concludes with the first tune recorded by the sextet on the December 19^th studio session:

*   “Breakfast Feud”     all 5 takes,  but...

The 3^rd take is incomplete—it starts with CC’s complete solo but then the conclusion of the 4^th take is spliced after his solo. The only part of this take that has ever been released is the 20 bars of Charles’ solo; not even the 4-bar refrain that precedes his solo has seen the light of day.
However, the next track contains the 4^th take in its entirety, issued for the first-time-ever complete and unspliced... finally!

The only item missing from the time period covered by this volume is an unissued We the People CBS aircheck of the sextet playing “Flying Home” said to have been recorded on December 10, 1940.

ENJOY :)

The complete Charlie Christian Volume 4....1940

Volume 4 of The Complete Charlie Christian.............1940

Tracks:

01 - Six Appeal
02 - These Foolish Things.wav" WAVE
03 - Good Enough To Keep (Air Mail Special)
04 - Honeysuckle Rose
05 - Six Appeal
06 - AC-DC Current
07 - Stardust
08 - Wrap Up Your Troubles In Dreams
09 - Ad Lib Blues
10 - I Never Knew
11 - Charlie's Dream
12 - Wholly Cats
13 - Lester's Dream
14 - Gone With 'What' Wind
15 - Wholly Cats
16 - Wholly Cats
17 - Wholly Cats
18 - Wholly Cats
19 - Wholly Cats

http://www.4shared.com/file/rdmyAEWE/charlie_christian_vol_4.html

Track notes from: http://home.roadrunner.com/~valdes/revu_cd.htm#MoJ%201

Volume 4 covers the period of June 11, 1940 through part of a session on November 7, 1940.

Track 1 thru 3 – June 11, 1940, WBS recording session: “Six Appeal” (16-bar solo), “These Foolish Things” (great 4-bar chord intro; 8-bar bridge solo) and “Good Enough to Keep” (32-bar solo).

Tracks 4 & 5 – First-time issue for this incomplete [CC’s 32-bar solo is not affected] broadcast of “Honeysuckle Rose” from the Catalina Casino on June 22^nd.  And, from the same gig on Santa Catalina Island, another version of “Six Appeal.”

Track 6 – From the Catalina Casino on June 30, another version of the less-than-essential “AC-DC Current.”

Tracks 7 & 8 – After a three-month vacation, Charles is back in New York City and is hired by Columbia to back up singer Eddie Howard on a quintet/octet led by Teddy Wilson on October 4, 1940:

On “Star Dust” (quintet), CC takes an 8-bar solo...and he leads off the octet with a beautiful 4-bar chord intro on “Wrap Your Troubles in Dreams.”  Two other titles were recorded with CC on rhythm guitar.

Tracks 9 thru 13 – A made-in-heaven line-up for this Oct. 28, 1940 rehearsal session at the Columbia studios:  Charlie Christian and Lester Young, the two greatest soloists in jazz, with the peerless Basie rhythm section.  What a pity this group did not record regularly—we can only dream of what could have been—however we’re fortunate to have these five cuts along with the three titles from the Spirituals to Swing concert recorded 10 months earlier.   With the addition of Count Basie it was potentially even better than the Kansas City Six at Carnegie Hall.

On “Ad-Lib Blues,” Goodman was wise to lay out in the company of these blues masters.   CC takes a 2-chorus solo.

“I Never Knew” has CC soloing on one chorus with Basie taking the bridge.

On both versions of “Dickie’s Dream” Charles was obviously prepared to take a full chorus when he was cut off after 16 bars by the clarinet, probably due to time constraints.  Judging from the length of these takes, it appears that they were being considered for issue.

CC gets three choruses for his solo on the blues “Wholly Cats.”

Track 14 – Broadcast of the Democratic Presidential Campaign Rally on November 4^th at Madison Square Garden:  “Gone with ‘What’ Wind.”

Tracks 15 thru 19 – The Goodman combo, now a septet, is back recording for Columbia on November 7^th after the long summer layoff.  Five takes of “Wholly Cats,” a blues with a 24-bar CC solo on each take.  The long recording session continues on the fifth volume of this CD series.

Volume 4 contains all recordings from the period of June 11 through the first part of the session on November 7, 1940 with the exception of “Li’l Boy Love” which has a CC bridge solo recorded on 25 June 1940.

[Released in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]