Charlie Christian With The Benny Goodman Sextet, Septet And Orchestra - Solo Flight

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Review by Alberto Salguera

Solo Flight by Charlie Christian With The Benny Goodman Sextet, Septet And Orchestra is a classic album that showcases the immense talent of one of jazz's greatest guitarists. The album features Christian's signature style of playing, which blends bebop and swing in a way that is both innovative and accessible.

The album is a compilation of recordings made between 1939 and 1941, and includes tracks such as "Flying Home," "Seven Come Eleven," and "Air Mail Special." These tracks showcase Christian's incredible improvisational skills, as well as his ability to work seamlessly with the other members of the band.

The album also features some standout performances by the Benny Goodman Sextet, Septet, and Orchestra. The band's tight arrangements and impeccable timing provide the perfect backdrop for Christian's virtuosic playing.

Table of Contents

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Tracks

TrackDurationPreview
Memories Of You3:07
Shivers2:45
As Long As I Live3:17
Can't Give You Anything But Love3:22
Benny's Buggle3:04
I Surrender Dear2:56
The Sheik Of Araby3:11
I've Found A New Baby2:54
Flying Home3:08
Solo Flight (Original Version)2:45
Star Dust3:10
Honeysuckle Rose3:02
On The Alamo3:25
Boy Meets Goy (Grand Slam)2:50
Rose Room2:43
Royal Garden Blues2:58

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Catalog Numbers

  • 62581
  • 62 581

Labels

CBS

Listen online

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  • lyssna på nätet
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Formats

  • Vinyl
  • LP
  • 33 ⅓ RPM
  • Compilation
  • Mono

Companies

RoleCompany
Printed ByGlory, Clichy
Phonographic Copyright (p)CBS Inc.

Credits

RoleCredit
BassArtie Bernstein
ClarinetBenny Goodman
DrumsDave Tough (tracks: A1), Harry Jaeger (tracks: B4 to B7), Jo Jones (tracks: B3, B8), Nick Fatool (tracks: A2 to B2)
GuitarCharlie Christian
Liner Notesh.r.
Photography ByHarry Jueger
PianoCount Basie (tracks: B3 to B5, B7, B8), Fletcher Henderson (tracks: A2 to A4, A8, B2), Kenny Kersey (tracks: B6)
SaxophoneBob Snyder (tracks: B1), Buff Estes (tracks: B2), Georgie Auld (tracks: A1, B3 to B8), Gus Bivona (tracks: A1), Jerry Jerome (tracks: B2), Les Robinson (tracks: A1), Toots Mondello (tracks: A1, B2)
TromboneBob Cutshall (tracks: A1), Lou McGarity (tracks: A1), Red Ballard (tracks: B2), Ted Vesely (tracks: B2), Vernon Brown
TrumpetAlec Fila (tracks: A1), Cootie Williams (tracks: A1), Irving Goodman (tracks: A1), Jimmy Maxwell (tracks: A1, B2), Johnny Martel (tracks: B2), Ziggy Elman (tracks: B2)
VibraphoneLionel Hampton (tracks: A2 to B1)

Notes

  • ( vol II )
  • Flip-back Sleeve
  • probably late 60's or early 70's
  • recording dates
  • A1 February 4, 1941
  • A2 October 2, 1939
  • A3 October 2, 1939
  • A4 October 2, 1939
  • A5 December 20, 1939
  • A6 April 10, 1940
  • A7 April 16, 1940
  • A8 October 2, 1939
  • B1 April 16, 1940
  • B2 November 22, 1939
  • B3 January 15, 1941
  • B4 November 7, 1940
  • B5 November 7, 1940
  • B6 December 19, 1940
  • B7 November 7, 1940
  • B8 January 15, 1941

Barcodes

  • Matrix / Runout (Side A): FLP 1174
  • Matrix / Runout (Side B): FLP 1175
  • Rights Society: BIEM
  • Price Code: ⓤ
  • Rights Society: STEMRA

About Charlie Christian With The Benny Goodman Sextet, Septet And Orchestra

US guitar player - one of the 3 or 4 most highly rated in jazz history (* 29 July 1916 in Bonham, Texas, USA; 02 March 1942 at Seaview Hospital, Staten Island NY, USA). Inducted into Rock And Roll Hall of Fame in 1990 (Early Influence). Career began with occasional gigs as a bass player in various combos around Oklahoma in the early days of the Depression. He spent more than a year with pianist Alphonso Trent's sextet, which played in Casper, Wyoming, and Deadwood, South Dakota. Early inspiration for Christian came from , who came to town with 's Blue Devils to play the season at the Ritz Ballroom in 1931. The Ritz was a white ballroom, and the black players had to be content to do their jamming after hours in Slaughter's Hall on East 2nd Street - or "Deep Second" as it was called. Here Christian and his brothers, Hot Lips Page, Lem Johnson, Eddie Durham, Harry Smith, Hobart Banks, Little Dog, James Simpson and other early players gathered to trade ideas and try to top one another, developing on their chosen instruments. During this period Christian learned from a variety of guitar players with whom he came into contact: Tommy Lee House, Charlie Faris, Claude Burns and Ralph "Chuck" Hamilton. Perhaps his biggest influence at this point was James "Jim Daddy" Walker, one of the stars of Clarence Love's orchestra from Kansas City. Love played Oklahoma City many times from 1933 onwards, and in their first encounters, Walker (4 years Christian's senior) gave him many a lesson in guitar mastery. Other ideas came from , who Christian heard a year or so later featuring with Jimmie Lunceford's band, and playing a guitar with a resonator. By the time Walker and Christian met again in 1936, however, Christian had developed enormously and was well able to handle the older player. Christian left Oklahoma City in 1939 at the age of 23, on the promptings of Mary Lou Williams and John Hammond, and soon joined 's band. Over the next 3 years he would tour across the US with Goodman, and achieve huge popularity. Recordings - both live broadcasts and in the studio (for Columbia and others) also followed. He won the Down Beat Poll for Best Jazz Guitarist in 1939, '40 and '41, and equivalent Metronome polls in 1940 and '41. In June 1941, Christian's health failed and he was quickly admitted to first Bellevue, then Seaview hospital in NY. He was never able to recover from the tuberculosis, and died 9 months later.

Real Name

    • Charles Henry Christian

Name Vars

  • C Christian
  • C. Chrisian
  • C. Christian
  • C. Mundy
  • C.Christian
  • Ch. Christian
  • Ch.Christian
  • Charles B. Christian
  • Charles Christian
  • Charley Christian
  • Charlie Christian All Stars
  • Charly Christian
  • Chas Christian
  • Chas. Christian
  • Christian
  • Christiani
  • Cristian
  • R. Christian
  • Roger Val Christian
  • Крисчен
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Summary by Alberto Salguera

Solo Flight is a must-have album for any jazz fan. It is a testament to the incredible talent of Charlie Christian, and a reminder of the golden age of swing and bebop.