If you are digging around on the internet for recordings of these tracks and you have a reputable transcription, be sure to check whether the key matches the transcription as the tape speeds are all over the place on the various reissues. Built from a static figure anchoring a chromatically rising figure, it beautifully outlines the tonic chord. The second chorus opens at 0:53 with a compelling line. A boogie-woogie blues in F, Charlie takes two solidly inventive choruses. This is a take that’s had multiple titles depending on the record on which it has appeared. Hearing his incredible facility on this sophisticated form, his genius becomes apparent. It’s a tour de force of proto-Bebop change running. Solo Flight was a Charlie Christian feature, save for a couple of choruses by Goodman just before CC comes back in for the closing theme.
The passage at 2:30 features a beautifully ear-bending chromatic line that manages to be both descending and ascending at the same time.
Recorded at Minton’s, you can hear raucous applause throughout his inventions. It showcases him really taking chances and exploring more static minor sections, as well as cyclical passages. Clocking in at 9 minutes, the take is 17 choruses long (9 of which are Christian!). The complete opposite to Rose Room might be this monumental solo on a song that has been known by multiple titles. (If you were to grab but one snippet, I recommend the triplets line at 1:20.) It is a perfect starting point to learn a complete solo rather than just grabbing snippets of lines. This solo is a reasonable transcription goal for beginning/intermediate jazz guitarists. It’s also just a beautiful and sweet melody and well worth learning to have the tune in your repertoire. You can hear him sequentially using his chord shape/neighbor tone approach in a very methodical and compositional way. The harmony of this song offers a great chance to hear him stretch out melodically. Yet, some 40 choruses later, Christian was in the band. He presumed that Christian wouldn’t know the changes. As the story goes, Goodman called the tune in an effort to "stump" the young guitarist. It’s also notable for having been one of the tunes that landed him the gig in Benny Goodman’s band. This solo is essential learning for any guitarist wanting to internalize some of Christian’s concepts. But they offer a wonderful glimpse into his style. Many examples of his playing are short, tantalizing breaks rather than extended solos. I suggest you get your hands on everything and soak up as much as you can. His work with Goodman’s band, the Minton sessions, some rehearsal takes and a few amateur field recordings are all we have.
Tragically, he was under-recorded and there are precious few examples of his work for us to enjoy. I remember being particularly fascinated with a quote from Mary Osbourne where she likened his sound to that of a closely mic’ed tenor saxophone.Ĭharlie Christian died at 25. I sat listening again and again the recordings, reading the liner notes over and over. The Columbia record captured my imagination. Another one was a record that scrabbled together some amateur recordings of jam sessions at Minton’s Playhouse in NYC. One item I purchased was a collection of his work with Benny Goodman on Columbia called The Genius Of The Electric Guitar. I had a list of players I had been instructed to investigate, and the name Charlie Christian was at the top of that list.
Later on, I became interested in jazz music, and I began working to divine the most authentic way toward grasping this mysterious thing called "jazz." Following my teacher's advice, I went down to the record store to pick up some music. One thing we all seem to agree on however, is that one of the first prodigies of jazz guitar is none other than Charlie Christian.Īs a guitar-playing teenager, I spent my time playing Rock-n-Roll music. There are many opinions to be shared amongst us jazz guitarists. I'd like to share with you some examples of the Charlie Christian solos that resonate with me musically.
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