INTRODUCTION

My aim in this paper is to give details of all publications containing notated solos of Charlie Christian, and to identify every solo included in them.   Several authors have already listed published transcriptions, for example Summerfield (1978), Voigt (1978), Koger (1985), Hitchcock & Sadie (1986), and Kernfeld (1989), but all are incomplete and are not intended to be comprehensive.  Most list only five or so sources.

As a discography lists deleted records, so this bibliography gives details of out-of-print books and periodicals.  This will be of value for those who study Christian’s music.  Christian recorded several versions of certain compositions, and some records contain solos spliced from different performances or takes.   Most published transcriptions do not give full discographical data, so the aim here is to provide that information so each notation can be readily identified.

There are few bibliographies of solo transcriptions;  Koger (1985) lists solos published in Down Beat from 1939 to 1985;  Downs (1986) is an earlier attempt to document Christian solos;  and Downs (1989) deals with Eric Dolphy solos.  A related genre, the solography, which gives discographical information and discusses all solos by a specific artist (but does not list published notations) was pioneered by Jan Evensmo, and Evensmo (1976) documents all known Christian solos.

As Kernfeld (1989) points out, it is accepted that jazz musicians use solo transcriptions to develop their art, yet there is little discussion of the history or process in the literature.  Notated solos began to be published in the 1920s and more frequently in the 1930s in such journals as Melody Maker and Down Beat;  and in the 1940s collected albums of transcriptions appeared;  jazz education flourished in the 1970s and 1980s and with it the number of published transcriptions increased.

Charlie Christian played, it is reported, in a number of local bands during his youth, but was never recorded then.  It is said he was heard by the impresario John Hammond, who in 1939 arranged for him to audition with Benny Goodman, with whom he then played until his hospitalization in 1941, shortly followed by his death from tuberculosis in 1942.

Christian’s brief recording career, from August 1939 to June 1941, comprises mainly tunes with the Goodman small groups, where he usually plays short solos of one chorus or less.  He recorded also with Lionel Hampton and Edmond Hall; further recordings with Jerry Jerome and at Minton’s have more extended solos.  He is generally acknowledged to be the major influence on jazz guitar playing ever since.

METHOD USED TO COMPILE BIBLIOGRAPHY

My personal collection was the starting point for the bibliography, supplemented by inquiries to many publishers, periodicals, libraries, correspondence with jazz educators, and checking of reference books.  In addition, I learned of some sources through responses to my earlier published bibliography, which included a request for information.

Each publication is followed by a summary of the notated solos it contains, in alphabetical order of title.  Some sources contain photographic reproductions of previously published notations, and these are indicated.  In some cases, sources include notations which have been transcribed from previous publications, and these too are identified where possible.  In order to avoid undue repetition in this section, only such comments that apply to all notations in a compilation are noted.  For publications consisting of a single solo notation, or where only some solos in a compilation are not original transcriptions, this fact is noted in the next section, a listing of notations in alphabetical order of solo title.

Some publications do not acknowledge that notations have been copied from previous sources, and in such cases they have been compared with other transcriptions and a judgment formed of the most likely source.

Details of each solo are followed by brief discographical information showing where it was issued.  Wherever possible, the most recent US issue on CD (or CD available in the USA as an import) is cited, except where notations are clearly transcribed from particular LP issues with tracks containing solos spliced from various master takes.  If a track has not been issued on CD, details of a representative LP issue are provided, or if never issued on LP, the 78-rpm catalog number.

Aledorf, Andy   (see Hal Leonard)

Almo Publications  (1978a).  World’s Greatest Jazz Solos:   Flute.  Hollywood:  Almo Publications.

(——)  (1978b).  World’s Greatest Jazz Solos:  Guitar.   Hollywood:  Almo.

(——)  (1978c).  World’s Greatest Jazz Solos:  Saxophone.  Hollywood:  Almo.

(——)  (1978d).  World’s Greatest Jazz Solos:  Trombone.  Hollywood:  Almo.

(——)  (1978e).  World’s Greatest Jazz Solos:  Trumpet.  Hollywood:  Almo.

Note:  All the above publications notate the same solo, transposed for the specified instrument.

Solo Flight  (take -2)     March 4, 1941     Columbia CL 652

Amelar, Chris   (see Guitar World)

Antonich, Mark E.  (1982).  The Jazz Style and Analysis of the Music of Charlie Christian.
                Thesis, Duquesne University.

Note:  All notations in this thesis are transcribed from previously published sources.

Air Mail Special  (spliced)     March 13, 1941     Columbia CL 652
Breakfast Feud  (spliced)     Dec. 19, 1940 / Jan. 15, 1941     Columbia CL 652
Grand Slam     April 10, 1940     Columbia CK 40846
Guy’s Got to Go     May 1941     Vogue 600135
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
Lips Flips     May 1941     Vogue 600135
Profoundly Blue  (take -1)     February 5, 1941     Blue Note 21260 2
Rose Room     October 2, 1939     Columbia CK 40846
Seven Come Eleven     November 22, 1939     Columbia CK 40846
Six Appeal     June 11, 1940     Columbia CK 40846
A Smo-o-o-oth One  (take -X)     March 13, 1941     Columbia Co 36099
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
Swing to Bop     May 12, 1941     Vogue 600135
Till Tom Special     February 7, 1940     Columbia CK 40846
Up on Teddy’s Hill     May 1941     Vogue 600135

Ayeroff, Stan  (ed.)  (1979).  Charlie Christian.  New York:  Consolidated Music Publishers.

As Long as I Live  (take -1)     November 7, 1940     Columbia CG 30779
Dinah     December 16, 1939     Vintage Jazz Classics VJC-1021-2
Good Morning Blues     December 24, 1939      Vanguard 169/71-2
Guy’s Got to Go  (I Got Rhythm)     May 1941     Vogue 600135
Honeysuckle Rose     November 22, 1939    Columbia CG 30779
Honeysuckle Rose     December 24, 1939      Vanguard 169/71-2
Honeysuckle Rose     November 19, 1940      Vintage Jazz Classics VJC-1021-2
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Surrender, Dear     April 10, 1940     Columbia CK 45144
Ida, Sweet as Apple Cider     April 14, 1941      Vintage Jazz Classics VJC-1021-2
Lips Flips  (Stompin’ at the Savoy)     May 1941     Vogue 600135
Paging the Devil     December 24, 1939    Vanguard 169/71-2
The Sheik of Araby  (take A)     April 3, 1940     Columbia CK 45144
The Sheik of Araby     April 12, 1940      Vintage Jazz Classics VJC-1021-2
Star Dust     September 24, 1939     Columbia CG 30779
Star Dust     October 2, 1939     Columbia CK 45144
Swing to Bop  (Topsy)     May 12, 1941     Vogue 600135
Up on Teddy’s Hill  (Honeysuckle Rose)     May 1941     Vogue 600135

(——)  (2005).  Swing to Bop: The Music of Charlie Christian.  Pacific, Mo:  Mel Bay Publications.

All transcriptions:  Complete;  chords identified;  detailed analysis;
chord changes in CC’s solos are identified; left-hand fingering denotation
(no guitar tablature).

Note: Transcriptions of tunes marked * have never been previously published.

Ad-Lib Blues     October 28, 1940     JazzDocument va-7997
Good Morning Blues     December 24, 1939      Vanguard 169/71-2
Guy’s Got to Go  (I Got Rhythm)     May 1941     Vogue 600135
Honeysuckle Rose     November 22, 1939    Columbia CG 30779
Honeysuckle Rose     November 19, 1940      Vintage Jazz Classics VJC-1021-2
Honeysuckle Rose     December 24, 1939      Vanguard 169/71-2
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
I Got Rhythm   (spliced)     September 24, 1939      Columbia CG 30779
I Never Knew     October 28, 1940     Vintage Jazz Classics VJC-1021-2
Ida, Sweet as Apple Cider     April 14, 1941      Vintage Jazz Classics VJC-1021-2
I’m Confessin’     December 20, 1939      Columbia C4K 65564   (track A9)
* Jamming in Four     February 5, 1941     Blue Note 21260 2
Lips Flips  (Stompin’ at the Savoy)     May 1941     Vogue 600135
* Oh, Lady Be Good     December 24, 1939      Vanguard 169/71-2
On the Alamo     January 15, 1941     Columbia CK 45144
Paging the Devil     December 24, 1939    Vanguard 169/71-2
Poor Butterfly     April 3, 1940     Columbia CK 45144
Profoundly Blue  (take -1)     February 5, 1941     Blue Note 21260 2   (track 3)
Profoundly Blue  (take -2)     February 5, 1941     Blue Note 21260 2   (track 4)
* Riffin’ Around     March 13, 1941     Columbia C4K 65564   (track D23a)
Rose Room     October 2, 1939    Columbia CK 40846
Rose Room     October 9, 1939    Vintage Jazz Classics VJC-1021-2
Rose Room     March 13, 1941    Masters of Jazz MJCD 74
Royal Garden Blues  (take -1)     November 7, 1940    Columbia CK 40846
* Royal Garden Blues  (take -3)     November 7, 1940    Columbia C4K 65564   (track B22)
Royal Garden Blues  (take -2)     November 7, 1940    Columbia CG 30779
The Sheik of Araby  (take A)     April 3, 1940    Columbia CK 45144
* The Sheik of Araby  (take B)     April 3, 1940    Columbia C4K 65564   (track A23)
The Sheik of Araby     April 12, 1940    Vintage Jazz Classics VJC-1021-2
Swing to Bop  (Topsy)     May 12, 1941     Vogue 600135
Tea for Two     September 24, 1939    Columbia CG 30779
These Foolish Things  (take A)     June 11, 1940    Columbia CK 45144
* These Foolish Things  (take B)     June 11, 1940    Columbia C4K 65564   (track A26)
* These Foolish Things  (breakdown)     June 11, 1940    Columbia C4K 65564   (track D14)
Untitled Tune     April 3, 1940    Columbia C4K 65564   (track A13)
Untitled Tune  (breakdown)     April 3, 1940    Columbia C4K 65564   (track D8)
Up on Teddy’s Hill  (Honeysuckle Rose)     May 1941     Vogue 600135
* Way Down Yonder in New Orleans     December 24, 1939    Vanguard 169/71-2

Bell, Anne M. (n.d.).  Styles Lessons:  Charlie Christian.  Boston:   Freelance Music.

Note:  This publication consists of loose-leaf, photocopied sheets.

Breakfast Feud  (take -3)     January 15, 1941     Columbia CG 30779
Breakfast Feud  (take -4)     January 15, 1941     Columbia CG 30779
Good Enough to Keep  (take -2)     March 13, 1941     Columbia CG 30779
Grand Slam     April 10, 1940     Columbia CK 40846
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Got Rhythm  (take 2)     September 24, 1939     Columbia CG 30779
On the Alamo     January 15, 1941     Columbia CK 45144
Star Dust     September 24, 1939     Columbia CG 30779
Waitin’ for Benny     March 13, 1941     Columbia CK 40846

Berklee School of Music  (n.d.).  Transcriptions Library Archive.   Boston:  Freelance Music.

Note:  This source consists of photocopied, loose-leaf sheets.

Air Mail Special  (spliced)     March 13, 1941     Columbia CL 652
As Long as I Live  (take -1)     November 7, 1940     Columbia CG 30779
Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Breakfast Feud  (spliced)     Dec. 19, 1940 / Jan. 15, 1941      Columbia CL 652
Flying Home  (take A)     October 2, 1939     Columbia CK 45144
Gone with “What” Wind  (take B)     February 7, 1940      Columbia CG 30779
Grand Slam     April 10, 1940     Columbia CK 40846
Honeysuckle Rose     November 22, 1939    Columbia CG 30779
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Surrender, Dear     April 10, 1940     Columbia CK 45144
Memories of You  (take A)     November 22, 1939     Columbia CK 45144
Memories of You  (take B)     November 22, 1939     Columbia CG 30779
Poor Butterfly     April 3, 1940     Columbia CK 45144
Profoundly Blue  (take -1)     February 5 1941     Blue Note 21260 2
Rose Room     October 2, 1939     Columbia CK 40846
Seven Come Eleven     November 22, 1939    Columbia CK 40846
The Sheik of Araby     April 3, 1940     Columbia CK 45144
A Smo-o-o-oth One  (take -X)     March 13, 1941     Columbia CL 652
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
These Foolish Things     June 11, 1940     Columbia CK 45144
Wholly Cats  (take -1)     November 7, 1940     Columbia CL 652

(——)  (also see Down Beat)

Billmann, Pete   (see Hal Leonard)

Birkett, James G.  (transcr.)  (1987).  Jazz Guitar.  Woodford Green, England.
                International Music Publications.

I Got Rhythm  (spliced)     September 24, 1939     Columbia CG 30779

(——)  (1994).  “Gaining Access to the Inner Mechanisms of Jazz Improvisation.”
                Ph. D. Thesis, The Open University.
                [see also Biographical Bibliography, section 3:  Musical Analysis]

I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Got Rhythm  (take 2)     September 24, 1939     Columbia G 30779

ten Boske, Jim  (1989).  Akkoord:  “Christian liet kicks steeds weer anders klinken.”
                JazzNu, February, 10/123,  pp. 176-177.

Solo Flight  (take -2)     March 4, 1941     Columbia CL 652

Britt, Stan  (1984).  The Jazz Guitarists.  New York:   Sterling.

I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144

Brown, Anthony  (1990).  “Modern Jazz Drumset Artistry.”  Black Perspective in Music, no. 18, pp. 39-58.

Swing to Bop     May 12, 1941     Vogue 600135

Carter, Rich  (1979).  Jazz Guitar Masterpieces.  Flat Five Publishing.

I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779

Chapman, Richard  (2000).  Guitar:  Music • History • Players.  London:  Dorling Kindersley, pp. 102-103..

Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

Cherry Lane Music  (1997).  The Jazz Guitar Sampler.  Port Chester, New York:  Cherry Lane Music.

Air Mail Special  (take -2)     March 13, 1941     Masters of Jazz MJCD 75

Chord Melody Productions  (n.d.).  Annapolis, Maryland.

Note:  Photocopied, loose-leaf, hand-copied sheets.

I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

Colombo, Roberto  (1994).  Dentro le note:  “Charlie Christian era squadrato?”
                Musica Jazz, January, 50/1, pp. 52-54.

Gone with “What” Wind  (take A)     February 7, 1940     Columbia CK 40846
Grand Slam     April 10, 1940     Columbia CK 40846
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

Denny, Michael P.  (1995).  “The Influence of Charlie Christian on Four Modern Jazz Guitarists:
                A Comparison of Style through Their Solos on a Twelve-Bar Blues Progression.”
                Master of Arts Thesis, University of Oregon.
                [see also Biographical Bibliography, section 3:  Musical Analysis]

Wholly Cats     October 28, 1940     Vintage Jazz Classics VJC-1021-2

 

DeVeaux, Scott  (1997).  The Birth of Bebop:  A Social and Musical History.  University of California Press.

Swing to Bop     May 12, 1941     Vogue 600135

Dochtermann, Joe.  (2005).  The Charlie Christian Method for Jazz Guitar.  Hamburg:  author.

 Flying Home  (take A)     October 2, 1939     Columbia CK 45144
Gone with “What” Wind  (take A)     February 7, 1940     Columbia CK 40846
I Can’t Give You Anything But Love  (take -1)    Dec. 19, 1940    Columbia CK 45144
I Found A New Baby  (take -1)     January 15, 1941     Columbia CK 40846
Poor Butterfly     April 3, 1940     Columbia CK 45144
Profoundly Blue  (take -1)     February 5, 1941     Blue Note 21260 2   (track 3)
Seven Come Eleven     November 22, 1939     Columbia CK 40846
Six Appeal     June 11, 1940     Columbia CK 40846
Star Dust     October 2, 1939     Columbia CK 45144
Wholly Cats  (take -2)     November 7, 1940     Columbia CK 40846

Dodge, Roger Pryor  (1995).  Hot Jazz and Jazz Dance.  New York:  Oxford University Press.

Honeysuckle Rose     November 22, 1939    Columbia CG 30779

Down Beat  (1940, April 15), p. 17.  “Charlie Christian’s Guitar Get-Offs on ‘Flying Home’.”
                Hoyt Jones.

Flying Home  (take A)     October 2, 1939     Columbia CK 45144

(——)  (1943, January 15), p. 22.  “By the Late Charlie Christian.”

Rose Room     October 2, 1939     Columbia CK 40846

(——)  (1950, February 10), p. 16.    Jazz off the Record.   Bill Russo & Lloyd Lifton.

I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846

(——)  (1950, August 25), p. 12.  Jazz off the Record.  Bill Russo & Lloyd Lifton.

Rose Room     October 2, 1939     Columbia CK 40846

(——)  (1961, July 20), pp. 25-28.  Up Beat:  “Charlie Christian.”

Note:  All solos, with the exception of “I Found a New Baby,”
          were transcribed for Down Beat by the Berklee School of Music.

Grand Slam     April 10, 1940     Columbia CK 40846
Honeysuckle Rose     November 22, 1939    Columbia CG 30779
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
On the Alamo     January 15, 1941     Columbia CK 45144
Profoundly Blue  (take -1)     February 5, 1941     Blue Note 21260 2
A Smo-o-o-oth One  (take -2)     March 13, 1941     Columbia CO 36099

(——)  (1968, October 31), pp. 36-37.  “Gone with What Wind.”

Gone with “What” Wind  (take B)     February 7, 1940      Columbia CG 30779

(——)  (1969, July 10).  “Charlie Christian Solo on Rose Room.”

Rose Room     October 2, 1939     Columbia CK 40846

(——)  (1970, June 11), p. 36.  “A Charlie Christian Blues Solo.”

Grand Slam     April 10, 1940     Columbia CK 40846

(——)  (1991, May), pp. 56-57.  “Charlie Christian’s Solo on ‘I Got Rhythm’.”

I Got Rhythm  (spliced)     September 24, 1939     Columbia CG 30779

Down Beat  (1978).  Music ’78:  The Music Reference Handbook  no. 23,  pp. 60-61.
                Music Workshop:  “Charlie Christian’s Classic ‘Rose Room’ Solo.”

Rose Room     October 2, 1939     Columbia CK 40846

Downs , Clive  (2002).  “Metric Displacement in the Improvisation of Charlie Christian.”
                Annual Review of Jazz Studies 11, 2000-2001.  pp. 39-68.  Rutgers Institute of Jazz Studies.

Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Breakfast Feud     December 19, 1940 / January 15, 1941     Columbia CL 652 & CG30779
Dinah     December 16, 1939      Vintage Jazz Classics VJC-1021-2
Flying Home  (take A)     October 2, 1939     Columbia CK 45144
Flying Home  (take B)     October 2, 1939     Masters of Jazz MJCD 24   (track 8)
Flying Home     October 16, 1939      Masters of Jazz MJCD 24   (track 17)
Good Enough to Keep  (take -2)      March 13, 1941     Masters of Jazz MJCD 75    (track 2)
Haven’t Named it Yet     October 12, 1939      Avid AMSC 612
Honeysuckle Rose  (Up on Teddy’s Hill)      May 1941     Vogue 600135
I Found a New Baby  (take -1)      January 15, 1941     Columbia CK 40846
Ida, Sweet as Apple Cider     April 14, 1941      Vintage Jazz Classics VJC-1021-2
Seven Come Eleven     November 22, 1939      Columbia CK 40846
Seven Come Eleven     May 28, 1939      Masters of Jazz MJCD 40
The Sheik of Araby     April 26, 1940      Masters of Jazz MJCD 40   (track 18)
Shivers  (take A)     December 20, 1939      Columbia CK 45144
Stompin’ At The Savoy     May 12, 1941      Vogue 600135
Tea for Two     September 24, 1939      Arbors ARCD 19168
Topsy  (Swing to Bop)     May 12, 1941      Vogue 600135

Note:  The solo transcriptions in this article were adapted from unpublished notations by LeoValdes.
Versions of his transcriptions published on this site are similar, but in most cases revised and more
accurate, chiefly in details such as grace notes, tablature, and articulation.

Duchossoir, René  (1987).  Jazz Guitar True Notes, vol. 1.  Paris:  Behar.

Star Dust     October 2, 1939     Columbia CK 45144

Edmonds, Hank  &  Bob Prince  (transcr.)   (1958).  The Swingingest Charley Christian.
                New York:  Charles Colin.

Guy’s Got to Go     May 1941     Vogue 600135
Lips Flips     May 1941     Vogue 600135
Swing to Bop     May 12, 1941     Vogue 600135
Up on Teddy’s Hill     May 1941     Vogue 600135

Feather, Leonard  (1957).  The Book of Jazz.  New York:   Horizon.

Up on Teddy’s Hill     May 1941     Vogue 600135

Finkelman, Jonathan  (1993).  “Charlie Christian, Bebop, and the Recordings at Minton’s.”
                  Annual Review of Jazz Studies 6.  Rutgers Institute of Jazz Studies.

Charlie’s Choice     May 12, 1941     Vogue 600135
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Got Rhythm  (spliced)     September 24, 1939     Columbia CG 30779
Seven Come Eleven    November 22, 1939   Columbia CK 40846
Stompin’ at the Savoy     May 12, 1941     Vogue 600135
Tea for Two     September 24, 1939     Columbia CG 30779

(——)  (1997).  “Charlie Christian and the Role of Formulas in Jazz Improvisation.” 
                Jazz Research / Jazzforschung,  pp. 159-188.

Note:  All transcriptions based on Fox (1964), Ayeroff (1979), and Spring (1980)
          except “Haven’t Named it Yet” which was transcribed by the author.

As Long As I Live  (take -1)     November 7, 1940     Columbia CG 30779
Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Benny’s Bugle     November 19, 1940     Vintage Jazz Classics VJC-1021-2
Benny’s Bugle     May 28, 1941     Vintage Jazz Classics VJC-1021-2
Breakfast Feud  (spliced)     December 19, 1940 / January 15, 1941     Columbia CL 652
Charlie’s Choice  (Swing to Bop)     May 12, 1941     Vogue 600135
Flying Home     August 19, 1939     Jazz Archives JA-23
Flying Home     March 10, 1941     Vintage Jazz Classics VJC-1021-2
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Gone with “What” Wind     April 6, 1940     Vintage Jazz Classics VJC-1021-2
Good Enough to Keep  (take -2)     March 13, 1941     Masters of Jazz MJCD 75
Grand Slam     April 10, 1940     Columbia CK 40846
Guy’s Got to Go     May 1941     Vogue 600135
Haven’t Named it Yet     October 12, 1939     Avid AMSC 612
Honeysuckle Rose     November 19, 1940     Vintage Jazz Classics VJC-1021-2
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
I Got Rhythm  (spliced)     September 24, 1939     Columbia CG 30779
Ida, Sweet as Apple Cider     April 14, 1941     Vintage Jazz Classics VJC-1021-2
Lester’s Dream     October 28, 1940     Vintage Jazz Classics VJC-1021-2
Lips Flips     May 1941     Vogue 600135
Paging the Devil     December 24, 1939     Vanguard 169/71-2
Rose Room     October 2, 1939     Columbia CK 40846
Seven Come Eleven     November 22, 1939     Columbia CK 40846
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
Star Dust     September 24, 1939     Columbia CG 30779
Stompin’ at the Savoy     May 12, 1941     Vogue 600135
The Sheik of Araby     April 3, 1940     Columbia CK 45144
The Sheik of Araby     April 12, 1940     Vintage Jazz Classics VJC-1021-2
Up on Teddy’s Hill     May 1941     Vogue 600135
Wholly Cats  (take -X)     November 7, 1940     Columbia CG 30779
Wholly Cats  (take -Y)     November 7, 1940     Columbia CG 30779
Wholly Cats     November 19, 1940     Vintage Jazz Classics VJC-1021-2

Fox, Dan  (ed.)  (1964).  The Art of the Jazz Guitar:  Charley Christian.
                New York:  Regent Music.  [reprinted 1988]

Air Mail Special  (spliced)     March 13, 1941     Columbia CL 652
Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Breakfast Feud  (spliced)     Dec. 19, 1940 / Jan. 15, 1941      Columbia CL 652
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Grand Slam     April 10, 1940     Columbia CK 40846
Seven Come Eleven     November 22, 1939      Columbia CK 40846
Shivers  (take A)     December 20, 1939     Columbia CK 45144
Six Appeal     June 11, 1940       Columbia CK 40846
A Smo-o-o-oth One  (take -X)     March 13, 1941     Columbia CL 652
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
Till Tom Special     February 7, 1940     Columbia CK 40846
Wholly Cats  (take -1)     November 7, 1940     Columbia CL 652

Grassell, Jack  (1998).  Jazz Guitar Standards.  Milwaukee:   Hal Leonard.

Stompin’ at the Savoy     May 12, 1941     Vogue 600135

Gress, Jesse   (see Guitar Player;  Hal Leonard)

Guitar Extra  (1990, Summer), p. 15.  “Analyzing Charlie Christian.”

Seven Come Eleven     November 22, 1939      Columbia CK 40846

GuitarOne  (2001, February), pp. 125-130.  “What’s Between the Lines:  Charlie Christian • Solo Flight.”
                Adam Perlmutter.

Solo Flight  (take -1)     March 4, 1941    Columbia CK 40846

(——)  (2002, November), pp. 147-150.  “What’s Between the Lines:  Charlie Christian ‘Seven Come Eleven’.”
                Adam Perlmutter.

Seven Come Eleven     November 22, 1939    Columbia CK 40846

(——)  (2004, July), pp. 146-150.  “What’s Between the Lines:  ‘Flying Home’ Charlie Christian.”
                Tom Kolb.

Flying Home     October 2, 1939    Columbia CK 45144

Guitar Player  (1982, March), pp. 56-57.  “Charlie Christian’s Solo Style:  ‘Honeysuckle Rose’.”
                Jas Obrecht.

Honeysuckle Rose     November 22, 1939    Columbia CG 30779

(——)  (2000, April), pp. 145-148.  “Play it Right!:  ‘Rose Room’ Solo Transcription.”
                Jesse Gress.

Rose Room     October 2, 1939    Columbia CK 40846

Guitar Player  (1995).  How to Play Guitar—Jazz  (special magazine from the publishers of Guitar Player), p.57.
                “Honeysuckle Rose:  Charlie Christian in Full Bloom.”
                Jas Obrecht & Richard Johnston.

Honeysuckle Rose     November 22, 1939    Columbia CG 30779

(——)  (1997, May/June).  How to Play Guitar,  vol. 3, no. 3, pp. 15-20.
                David Hamburger.

Flying Home  (take A)     October 2, 1939     Columbia CK 45144

Guitar World  (1982, January), p. 73.  “Charlie Christian Takes Off.”
                Dave Steen.

Breakfast Feud  (take -4)     January 15, 1941     Columbia CG 30779

(——)  (2001, April), p. 93-96.  “The Ax Museum:  Portraits of Guitar Heroes:  Charlie Christian.”
                Keith Wyatt.

Breakfast Feud  (spliced)     Dec. 19, 1940 / Jan. 15, 1941     Columbia CG 30779

(——)  (2002, October), p. 154-157.  “Flying Home:  Charlie Christian.”
                Chris Amelar.

Flying Home  (take A)     October 2, 1939     Columbia CK 45144

Hal Leonard  (2000).  Guitar Standards.  Milwaukee:  Hal Leonard.
                Jesse Gress.

Seven Come Eleven     November 22, 1939     Columbia CK 40846

(——)  (2001).  Jazz Guitar Bible.  Milwaukee:  Hal Leonard.
                Jesse Gress.

Seven Come Eleven     November 22, 1939     Columbia CK 40846

(——)  (2003a).  Charlie Christian:
                A Step-by-Step Breakdown of the Style and Techniques of the Father of Modern Jazz Guitar.
                Milwaukee:  Hal Leonard.  Featuring Andy Aledorf.
                Video DVD.
                [does not include any printed notation, but does demonstrate and/or identify each note of the solos, in most cases]
                [see also Biographical Bibliography, Section 3: Musical Analysis]

Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Good Enough to Keep  (take -2)     March 13, 1941     Masters of Jazz MJCD 75
Grand Slam  (Boy Meets Goy)     April 10, 1940     Columbia CK 40846
Seven Come Eleven     November 22, 1939     Columbia CK 40846
Shivers  (take A)     December 20, 1939     Columbia CK 45144
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
Till Tom Special     February 7, 1940     Columbia CK 40846

(——)  (2003b).  Charlie Christian:  The Definitive Collection.  Milwaukee:  Hal Leonard.
                Pete Billmann, Jeff Jacobson, Wolf Marshall.

Note:  Transcriptions marked * are reproduced from Marshall (2002).

Flying Home  (take A)     October 2, 1939     Columbia CK 45144
* Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
* Good Enough to Keep  (take -1)     March 13, 1941     Masters of Jazz MJCD 75
* Grand Slam  (Boy Meets Goy)     April 10, 1940     Columbia CK 40846
* Honeysuckle Rose     November 22, 1939     Columbia CG 30779
Rose Room     October 2, 1939     Columbia CK 40846
* Seven Come Eleven     November 22, 1939     Columbia CK 40846
* Shivers  (take A)     December 20, 1939     Columbia CK 45144
* Six Appeal     June 11, 1940     Columbia CK 40846
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
* Star Dust     October 2, 1939     Columbia CK 45144
Stompin’ at the Savoy     May 12, 1941     Vogue 600135
* Till Tom Special     February 7, 1940     Columbia CK 40846
Topsy  (Swing to Bop)     May 12, 1941     Vogue 600135
* Wholly Cats  (take -1)     November 7, 1940     Columbia CL 652

Hamburger, David   (see Guitar Player)

Hansen, Garry  (1998-1999).  Charlie Christian:  Legend of the Jazz Guitar.  “Solo Transcriptions”
                Internet site:  http://www3.nbnet.nb.ca/hansen/Charlie/ccsolos.htm

All transcriptions:  Complete;  chords identified;  not annotated;
include RealAudio sound-clip of solo.  Most with separate guitar tablature.

Airmail Special     March 17, 1941      Vintage Jazz Classics VJC-1021-2
All Star Strut  (take B)     February 7, 1940     Columbia CG 30779
Breakfast Feud  (take -1)     January 15, 1941     Columbia CG 30779
Dinah     December 16, 1939     Vintage Jazz Classics VJC-1021-2
Flying Home  (take A)     October 2, 1939     Columbia CK 45144
Flying Home     December 24, 1939     Vanguard 169/71-2
Good Enough to Keep     June 11, 1940     Columbia CK 45144
Grand Slam     April 10, 1940     Columbia CK 40846
Haven’t Named It Yet     October 12, 1939     Avid AMSC 612
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
I Got Rhythm  (take 2)     September 24, 1939     Suisa JZCD 379
I Never Knew     October 28, 1940      Vintage Jazz Classics VJC-1021-2
On the Alamo     January 15, 1941     Columbia CK 45144
Rose Room     October 2, 1939     Columbia CK 40846
Rose Room     October 9, 1939      Vintage Jazz Classics VJC-1021-2
Royal Garden Blues  (take -1)     November 7, 1940      Columbia CK 40846
Seven Come Eleven     November 22, 1939      Columbia CK 40846
Six Appeal      June 11,1940     Columbia CK 40846
A Smo-o-o-oth One  (take -X)     March 13, 1941     Columbia CL 652
Star Dust     October 4, 1940     Columbia CL 6067
Till Tom Special     February 7, 1940     Columbia CK 40846
Wholly Cats  (take -2)     November 7, 1940     Columbia CK 40846

Hitchcock, H. Wiley  &  Stanley Sadie  (eds.)   (1986).  The New Grove Dictionary of American Music, vol. 1.
                New York:  Macmillan.  (Thomas Owens, “Charlie Christian.”)

Breakfast Feud  (take -1)     Dec. 19, 1940 / Jan. 15, 1941      Columbia CL 652

Ingram, Adrian  (1980).  Modern Jazz Guitar Technique.  Northampton, England:  Hampton.

Grand Slam     April 10, 1940     Columbia CK 40846
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779

Jacobson, Jeff   (see Hal Leonard)

Jazz Educators Journal  (1979, December/January), p. 38.

Seven Come Eleven     November 22, 1939      Columbia CK 40846

Jazz Hot  (1972, May), p. 283.  “Charlie Christian:   From Swing to Bop.”

Swing to Bop     May 12, 1941     Vogue 600135

Johnston, Richard   (see Guitar Player)

Jones, Hoyt   (see Down Beat)

Kernfeld, Barry  (ed.)  (1989).  The New Grove Dictionary of Jazz.   New York:  Macmillan.
                (Thomas Owens, “Charlie Christian.”)

Breakfast Feud  (take -1)     December 19, 1940      Columbia CL 652

Kolb, Tom   (see GuitarOne)

Kuboki, Yasushi  (1995).  Jazz Guitar Improvisation:  Charlie Christian.  Tokyo:  Ryuginsha.

Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Flying Home  (take A)     October 2, 1939     Columbia CK 45144
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Good Enough to Keep  (take -1)     March 13, 1941     Masters of Jazz MJCD 75
Good Morning Blues     December 24, 1939     Vanguard 169/71-2
Grand Slam  (Boy Meets Goy)     April 10, 1940     Columbia CK 40846
Honeysuckle Rose  (Up on Teddy’s Hill)     May 1941     Vogue 600135
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
I Got Rhythm  (Guy’s Got to Go)     May 1941     Vogue 600135
Oh, Lady be Good     December 24, 1939     Vanguard VCD2-47/48
Rose Room     October 2, 1939     Columbia CK 40846
Seven Come Eleven     November 22, 1939     Columbia CK 40846
Shivers  (take A)     December 20, 1939     Columbia CK 45144
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
Star Dust     September 24, 1939     Columbia CG 30779
Stompin’ at the Savoy  (Lips Flips)     May 1941     Vogue 600135
Topsy  (Swing to Bop)     May 12, 1941     Vogue 600135
Wholly Cats  (take -1)     November 7, 1940     Columbia CL 652

Lifton, Lloyd   (see Down Beat)

Mairants, Ivor  (1988).  Famous Jazz Guitar Solos 2.  London:  International Music Publications.

Flying Home     October 6, 1939     Collector’s Classics CC 18
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

(——)  (1996)  The Great Jazz Guitarists.  Ely, England:  Musicmaker Books.

Honeysuckle Rose     November 22, 1939     Columbia CG 30779
I Surrender, Dear     April 10, 1940     Columbia CK 45144
Rose Room     October 2, 1939     Columbia CK 40846
The Sheik of Araby     April 3, 1940     Columbia CK 45144

(——)  (2002)  The Great Jazz Guitarists, Part 1.  London:  Sanctuary.
                [revised version of Mairants (1996), published in two volumes]

Honeysuckle Rose     November 22, 1939     Columbia CG 30779
I Surrender, Dear     April 10, 1940     Columbia CK 45144
The Sheik of Araby     April 3, 1940     Columbia CK 45144

(——)  (also see Melody Maker)

Marshall, Wolf  (2000).  Best of Jazz Guitar.  Milwaukee:  Hal Leonard.

Honeysuckle Rose     November 22, 1939     Columbia CG 30779

(——)  (2002)  The Best of Charlie Christian:
                A Step-by-Step Breakdown of the Styles and Techniques of the Father of Modern Jazz.
                Milwaukee:  Hal Leonard.

Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Good Enough to Keep  (take -1)     March 13, 1941     Masters of Jazz MJCD 75
Good Enough to Keep  (take -2)     March 13, 1941     Masters of Jazz MJCD 75
Grand Slam  (Boy Meets Goy)     April 10, 1940     Columbia CK 40846
Honeysuckle Rose     November 22, 1939     Columbia CG 30779
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
Seven Come Eleven     November 22, 1939     Columbia CK 40846
Shivers  (take A)     December 20, 1939     Columbia CK 45144
Six Appeal     June 11, 1940     Columbia CK 40846
A Smo-o-o-oth One  (take -1)     March 13, 1941     Columbia CK 45144
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
Star Dust     October 2, 1939     Columbia CK 45144
Till Tom Special     February 7, 1940     Columbia CK 40846
Wholly Cats  (take -1)     November 7, 1940     Columbia CL 652

(——)  (also see Hal Leonard)

Martin, Henry  (1986).  Enjoying Jazz.  New York:   Schirmer.

I Found A New Baby  (take -1)     January 15, 1941     Columbia CK 40846

Matzner, Antonín  &  Igor Wasserberger  (1969).  Jazzové Profily.  Prague:  Supraphon.

Up on Teddy’s Hill     May 1941     Vogue 600135

Melody Maker  (1947, August 23), p. 3.  “Theme—and extemporisation.”
                Ivor Mairants.

I Surrender, Dear     April 10, 1940     Columbia CK 45144

Mongan, Norman  (1983).  The History of the Guitar in Jazz.  New York:  Oak Publications.

Swing to Bop     May 12, 1941     Vogue 600135

Obrecht, Jas   (see Guitar Player)

Owens, Thomas   (see Hitchcock & Sadie;  Kernfeld;  Sadie & Tyrrell)

Perlmutter, Adam   (see GuitarOne)

Petersen, Jack  (1979).  Jazz Styles & Analysis:  Guitar.   Chicago:  Down Beat.

Air Mail Special  (take -1)     March 13, 1941     Columbia CL 652
Grand Slam     April 10, 1940     Columbia CK 40846
Rose Room     October 2, 1939     Columbia CK 40846
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

Polillo, Arrigo  (1979).  I Grandi del Jazz:  Gli Stilisti.   Milan:  Fabbri.

On the Alamo     January 15, 1941     Columbia CK 45144

Porter, Lewis  &  Michael Ullman  with Edward Hazell  (1993).  Jazz:  From Its Origins to the Present.
                Englewood Cliffs, New Jersey:  Prentice-Hall.

Ad-Lib Blues     October 28, 1940     JazzDocument va-7997

Regent Music  (1944).  Solo Flight:  Charlie Christian Guitar Solo with Piano Accompaniment.
                New York.  [sheet music]

Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

Richardson, Jerry  (1996).  “B.B. King:  Analysis of the Artist’s Evolving Guitar Technique.”
                American Music Research Center Journal,  vol. VI,  pp. 89-107.

Wholly Cats  (take -1)     November 7, 1940     Columbia CL 652

Rossi, Umberto  (2003).  Chitarrista Jazz:  Autodidatta  [Teach Yourself Jazz Guitar]
                Milan:  Carisch.

Rose Room     October 2, 1939     Columbia CK 40846

Russo, Bill   (see Down Beat)

Sadie, Stanley  &  John Tyrrell  (eds.)   (2001).  The New Grove Dictionary of Music and Musicians, vol. 5,  p. 795.
                London:  Macmillan.  (Thomas Owens, “Charlie Christian.”)

Breakfast Feud  (take -1)     December 19, 1940      Columbia CL 652

Schmitz, Alexander  (1992).  Jazz Gitarristen.   Collection Oreos.  Schaftlach.

Honeysuckle Rose     November 22, 1939    Columbia CG 30779
Solo Flight  (take -2)     March 4, 1941     Columbia CL 652

Schuller, Gunther  (1989).  The Swing Era.  New York:   Oxford University Press.

Breakfast Feud  (spliced)     Dec. 19, 1940 / Jan. 15, 1941      Columbia CG 30779
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
Memories of You     December 24, 1939     Vanguard 169/71-2
Rose Room     October 2, 1939     Columbia CK 40846
Star Dust     October 2, 1939     Columbia CK 45144
Stompin’ at the Savoy     May 12, 1941     Vogue 600135

Schütze, Dennis  (2003).  Der Jazzgitarrist Charlie Christian:
                Studien zu musikalischen Gestaltung anhand von
                Transkription der Columbia Studioaufnahmen von 1939 bis 1941.
                M.A. Thesis:  Julius-Maximilian-Universität Würzburg.

Note:  Transcriptions of tunes marked * have never been previously published.

* AC-DC Current  (take A)     December 20, 1939     Columbia CK 45144
* All Star Strut  (take A)     February 7, 1940     Masters of Jazz MJCD 40  (track 5)
All Star Strut  (take B)     February 7, 1940     Columbia CG 30779
* All Star Strut  (take x)     February 7, 1940     Masters of Jazz MJCD 40  (track 4)
As Long As I Live  (take -1)     November 7, 1940     Columbia CG 30779
* As Long As I Live  (take -2)     November 7, 1940     Columbia C4K 65564  (track B24)
Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
* Breakfast Feud  (take -3)     December 19, 1940     Columbia C4K 65564  (track C11)
Breakfast Feud  (take -1)     December 19, 1940     Columbia C4K 65564  (track C1)
Breakfast Feud  (take -4)     January 15, 1941     Columbia C4K 65564  (track C15)
Breakfast Feud  (take -3)     January 15, 1941     Columbia C4K 65564  (track C16)
Breakfast Feud  (take -2)     January 15, 1941     Columbia C4K 65564  (track C3)
Breakfast Feud  (take -1)     January 15, 1941     Columbia C4K 65564  (track C17)
Flying Home  (take A)     October 2, 1939     Columbia CK 45144
* Flying Home  (take B)     October 2, 1939     Masters of Jazz MJCD 24  (track 8)
* Gone with What Draft  (Gilly)     December 19, 1940     Columbia C4K 65564  (track B13)
Gone with “What” Wind  (take A)     February 7, 1940     Columbia CK 40846
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Good Enough to Keep  (take A)     June 11, 1940     Columbia CK 45144
Good Enough to Keep  (take -1)     March 13, 1941     Masters of Jazz MJCD 75  (track 1)
Good Enough to Keep  (take -2)     March 13, 1941     Masters of Jazz MJCD 75  (track 2)
Grand Slam     April 10, 1940     Columbia CK40846
Honeysuckle Rose     November 22, 1940     Columbia CG 30779
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Found a New Baby  (take -1)     January 15, 1941     Columbia CK 40846
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Surrender, Dear     April 10, 1940     Columbia CK 45144
* I’m Confessin’     December 20, 1939     Columbia C4K 65564  (track A9)
* Li’l Boy Love  (take A)     June 25, 1940     Columbia C4K 65564  (track D3)
* Li’l Boy Love  (take B)     June 25, 1940     Columbia C4K 65564  (track D6)
Memories of You  (take A)     November 22, 1939     Columbia CK 45144
Memories of You  (take B)     November 22, 1939     Columbia CG 30779
On the Alamo     January 15, 1941     Columbia CK 45144
Poor Butterfly     April 3, 1940     Columbia CK 45144
Rose Room     October 2, 1939     Columbia CK 40846
Royal Garden Blues  (take -1)     November 7, 1940     Columbia CK 40846
Seven Come Eleven     November 22, 1939     Columbia CK 40846
The Sheik of Araby     April 3, 1940     Columbia CK 45144
Shivers     December 20, 1939     Columbia CK 45144
Six Appeal     June 11, 1940     Columbia CK 40846
A Smo-o-o-oth One  (take -2)     March 13, 1941     Columbia C4K 65564  (track C7)
Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846
Star Dust     October 2, 1939     Columbia CK 45144
These Foolish Things     June 11, 1940     Columbia CK 45144
Till Tom Special     February 7, 1940     Columbia CK 40846
Untitled Tune     April 3, 1940     Columbia C4K 65564  (track A13)
Untitled Tune  (breakdown)     April 3, 1940     Columbia C4K 65564  (track D8)
* Wholly Cats  (take -W)     November 7, 1940     Columbia CG 30779
Wholly Cats  (take -X)     November 7, 1940     Columbia CG 30779
Wholly Cats  (take -Y)     November 7, 1940     Columbia CG 30779
Wholly Cats  (take -1)     November 7, 1940     Columbia CL 652
Wholly Cats  (take -2)     November 7, 1940     Columbia CK 40846

Schwab, Jürgen  (1998).  Die Gitarre im Jazz:  Zur stilistischen Entwicklung von den Anfängen bis 1960.
                Regensburg:  ConBrio.  Ch. 3  “Charlie Christian und der Wechsel zur E-Gitarre.”
                [see also Biographical Bibliography, section 3:  Musical Analysis]

Breakfast Feud  (take -4)     January 15, 1941     Columbia CG 30779
Flying Home  (take A)     October 2, 1939     Columbia CK 45144
Flying Home     October 6, 1939     Collector’s Classics CC18
Gone with "What" Wind  (take A)     February 7, 1940     Columbia CK 40846
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
A Smo-o-o-oth One  (Waitin’ For Benny)     March 13, 1941     Columbia CK 40846
Tea for Two     September 24, 1939     Columbia CG 30779

Shinko Music  (2008).  Jazz Guitar Book, Vol. 16.
                Japan:  Shinko Music Entertainment Co., Ltd

Note:  All notations are excerpts with the exception of two complete transcriptions,
as marked with an *

Gone with “What” Wind  (take A)  [p.27, ex.3&4]     February 7, 1940     Columbia CK 40846
Good Enough to Keep  (take C)  [p.27, ex.2]     June 11, 1940     Columbia C4K 65584
Honeysuckle Rose  (Up On Teddy’s Hill)  [p.31&33, ex.3&4]     May 1941     Vogue 600135
I Found a New Baby  (take -2)  [p.29, ex.6]     January 15, 1941     Columbia CG 30779
I Got Rhythm  (Guy’s Got to Go)  [p.33, ex.5]     January 15, 1941     Vogue 600135
Rose Room  [p.29, ex.5]     October 2, 1939     Columbia CK 40846
Seven Come Eleven  [p.27, ex.1]     November 22, 1939     Columbia CK 40846
Solo Flight  (take -1)  [p.29, ex.7]     March 4, 1941     Columbia CK 40846
* Stompin’ at the Savoy  [complete]     May 12, 1941     Vogue 600135
Stompin’ at the Savoy  [p.31, ex.2]     May 12, 1941     Vogue 600135
Stompin’ at the Savoy  (Lips Flips)  [p.33, ex.6]     May 1941     Vogue 600135
* Tea for Two  [complete]     September 24, 1939     Columbia CG 30779
Topsy  (Swing to Bop)  [p.31, ex.1]     May 12, 1941     Vogue 600135

Smith, Earl  &  Paul Tharp  (transcr.)  (1958).  Hot Jazz Guitar Solos.
                Pueblo, Colorado:  Smith-Tharp Publishing.

Grand Slam     April 10, 1940     Columbia CK 40846
Rose Room     October 2, 1939     Columbia CK 40846
These Foolish Things     June 11, 1940     Columbia CK 45144

Sokolow, Fred  (1988).  Solos for Jazz Guitar.  New York:  Carl Fischer.  Ronny S. Schiff (ed.)

Air Mail Special     June 11, 1940     Columbia CK 45144
Air Mail Special  (spliced)     March 13, 1941     Columbia CG 30779

(——)  (1999).  The Roots of Jazz Guitar.  Milwaukee:  Hal Leonard.  Ronnie Schiff (ed.)

Honeysuckle Rose     November 22, 1939     Columbia CG 30779
Honeysuckle Rose     November 19, 1940     Vintage Jazz Classics VJC-1021-2

Spaces IV   Jazz Fake Book.

Note:  All notations are transcribed from previously published sources.
           A notation of “I Got Rhythm” is included that is attributed to Charlie Christian,
           but it does not correspond to any known performance of that tune.

Gone with “What” Wind  (take B)     February 7, 1940      Columbia CG 30779
Profoundly Blue  (take -1)     February 5, 1941     Blue Note 21260 2
Rose Room     October 2, 1939     Columbia CK 40846

Spring, Howard A. (1980).  The Improvisational Style of Charlie Christian.
                MFA Thesis, York University.

AC-DC Current     December 2, 1939     Vintage Jazz Classics VJC-1021-2
AC-DC Current     June 30, 1940     Vintage Jazz Classics VJC-1021-2
Ad-Lib Blues     October 28, 1940     Jazz Document va-7997
Air Mail Special     March 17, 1941     Vintage Jazz Classics VJC-1021-2
All Star Strut  (take B)     February 7, 1940     Columbia CG 30779
As Long as I Live  (take -1)     November 7, 1940     Columbia CG 30779
Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Benny’s Bugle     November 19, 1940     Vintage Jazz Classics VJC-1021-2
Benny’s Bugle     May 28, 1941     Vintage Jazz Classics VJC-1021-2
Breakfast Feud  (take -1)     December 19, 1940     Columbia CL 652
Breakfast Feud  (spliced)     January 15, 1941     Columbia CG 30779
Charlie’s Dream     October 28, 1940     Vintage Jazz Classics VJC-1021-2
Dinah     December 16, 1939     Vintage Jazz Classics VJC-1021-2
Flying Home     August 19, 1939     Jazz Archives JA-23
Flying Home    March 10, 1941    Vintage Jazz Classics VJC-1021-2
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Gone with “What” Wind     April 6, 1940     Vintage Jazz Classics VJC-1021-2
Good Enough to Keep     June 11, 1940     Columbia CK 45144
Good Enough to Keep  (spliced)     March 13, 1941     Columbia CG 30779
Good Morning Blues     December 24, 1939     Vanguard 169/71-2
Grand Slam     April 10, 1940     Columbia CK 40846
Guy’s Got to Go     May 1941     Vogue 600135
Honeysuckle Rose     November 22, 1939    Columbia CG 30779
Honeysuckle Rose     November 19, 1940     Vintage Jazz Classics VJC-1021-2
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Got Rhythm  (spliced)     September 24, 1939     Columbia CG 30779
I Never Knew     October 28, 1940     Vintage Jazz Classics VJC-1021-2
Ida, Sweet as Apple Cider     April 14, 1941     Vintage Jazz Classics VJC-1021-2
Lester’s Dream     October 28, 1940     Vintage Jazz Classics VJC-1021-2
Lips Flips     May 1941     Vogue 600135
Memories of You     October 23, 1939     Vintage Jazz Classics VJC-1021-2
Memories of You  (take B)     November 22, 1939     Columbia CG 30779
On the Alamo     January 15, 1941     Columbia CK 45144
Rose Room     October 2, 1939     Columbia CK 40846
Rose Room     October 9, 1939     Vintage Jazz Classics VJC-1021-2
Royal Garden Blues  (take -2)     November 7, 1940     Columbia CG 30779
Seven Come Eleven     November 22, 1939     Columbia CK 40846
The Sheik of Araby     April 12, 1940     Vintage Jazz Classics VJC-1021-2
Six Appeal     June 11, 1940     Columbia CK 40846
Six Appeal     June 22, 1940     Vintage Jazz Classics VJC-1021-2
Stompin’ at the Savoy     May 12, 1941     Vogue 600135
Till Tom Special     December 31, 1939     Vintage Jazz Classics VJC-1021-2
Till Tom Special     February 7, 1940     Columbia CK 40846
Up on Teddy’s Hill     May 1941     Vogue 600135
Wholly Cats     October 28, 1940     Vintage Jazz Classics VJC-1021-2
Wholly Cats  (take -X)     November 7, 1940     Columbia CG 30779
Wholly Cats  (take -Y)     November 7, 1940     Columbia CG 30779
Wholly Cats     November 19, 1940     Vintage Jazz Classics VJC-1021-2
Wholly Cats     April 7, 1941     Jazz Archives JA-23

(——)  (1990).  “The Use of Formulas in the Improvisations of Charlie Christian.”
                Jazz Research / Jazzforschung  no. 22,  pp. 11-51.

Note:  All notations transcribed (some are extracts) from Spring (1980).

Air Mail Special     March 17, 1941     Vintage Jazz Classics VJC-1021-2
All Star Strut  (take B)     February 7, 1940     Columbia CG 30779
Benny’s Bugle  (take -1)     November 7, 1940     Columbia CK 40846
Benny’s Bugle     November 19, 1940     Vintage Jazz Classics VJC-1021-2
Benny’s Bugle     May 28, 1941     Vintage Jazz Classics VJC-1021-2
Breakfast Feud  (spliced)     January 15, 1941     Columbia CG 30779
Dinah     December 16, 1939     Vintage Jazz Classics VJC-1021-2
Flying Home     August 19, 1939     Jazz Archives JA-23
Flying Home     March 10, 1941     Vintage Jazz Classics VJC-1021-2
Gone with “What” Wind     April 6, 1940     Vintage Jazz Classics VJC-1021-2
Good Enough to Keep  (spliced)     March 13, 1941     Columbia CG 30779
Grand Slam     April 10, 1940     Columbia CK 40846
Guy’s Got to Go     May 1941     Vogue 600135
Honeysuckle Rose     November 22, 1939    Columbia CG 30779
Honeysuckle Rose     November 19, 1940     Vintage Jazz Classics VJC-1021-2
Lips Flips     May 1941     Vogue 600135
Memories of You     October 23, 1939     Vintage Jazz Classics VJC-1021-2
Royal Garden Blues  (take -2)     November 7, 1940     Columbia CG 30779
Seven Come Eleven     November 22, 1939     Columbia CK 40846
The Sheik of Araby     April 12, 1940     Vintage Jazz Classics VJC-1021-2
Stompin’ at the Savoy     May 12, 1941     Vogue 600135
Up on Teddy’s Hill     May 1941     Vogue 600135
Wholly Cats     October 28, 1940     Vintage Jazz Classics VJC-1021-2
Wholly Cats  (take -X)     November 7, 1940     Columbia CG 30779
Wholly Cats  (take -Y)     November 7, 1940     Columbia CG 30779
Wholly Cats     November 19, 1940     Vintage Jazz Classics VJC-1021-2
Wholly Cats     April 7, 1941     Jazz Archives JA-23

Steen, Dave   (see Guitar World)

Takayanagi, Masayuki.  (1975).  Charlie Christian Jazz Improvisation.  Tokyo:  Nichion.

As Long as I Live  (take -1)     November 7, 1940     Columbia CG 30779
Gone with “What” Wind  (take B)     February 7, 1940     Columbia CG 30779
Honeysuckle Rose     November 22, 1939     Columbia CG 30779     (note: complete score)
I Can’t Give You Anything But Love  (take -1)     December 19, 1940     Columbia CK 45144
I Found a New Baby  (take -2)     January 15, 1941     Columbia CG 30779
I Surrender, Dear     April 10, 1940     Columbia CK 45144
Memories of You  (take A)     November 22, 1939     Columbia CK 45144
Memories of You  (take B)     November 22, 1939     Columbia CG 30779
Royal Garden Blues  (take -1)     November 7, 1940     Columbia CK 40846
The Sheik of Araby     April 3, 1940     Columbia CK 45144
Star Dust     September 24, 1939     Columbia CG 30779
Star Dust     October 6, 1939     Collector’s Classics CC 18

Tempo  (1947, March), p. 8.  “By the Late Charlie Christian.”

Rose Room     October 2, 1939     Columbia CK 40846

Valdes,  Leo  (1996).  Solo Flight:  The Charlie Christian Newsletter  Number 2.
                El Paso, Texas:  Author.

Stompin’ at the Savoy     June 1941     [unissued]
Tea for Two  (intro)     September 24, 1939     Arbors ARCD 19168

(——)  (1997).  Solo Flight:  The Charlie Christian Newsletter  Number 3.
                El Paso, Texas:  Author.

Poor Butterfly     April 27, 1940     [unissued]
Tea for Two  (complete)     September 24, 1939     Arbors ARCD 19168

(——)  (1998-2008).  Solo Flight:  The Charlie Christian Web Site.   “Transcriptions.”
                Internet site:  http://home.elp.rr.com/valdes/xcrpt.htm

All transcriptions:  Complete;  chords identified;  annotated;
          chord changes in CC’s solos are identified;
          with guitar tablature and left-hand fingering denotation.

Wise Publications  (1987a).  Jazz Transcriptions for the Alto Saxophone.  New York:  Wise Publications.

I Surrender, Dear     April 10, 1940     Columbia CK 45144

(——)  (1987b).  Jazz Transcriptions for the Guitar.  New York:  Wise Publications.

Star Dust     September 24, 1939     Columbia CG 30779

(——)  (1996).  Greatest Jazz Solos for Guitar Tab.  New York:  Wise Publications.

Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

(——)  (2001). Great Jazz and Blues Solos for Guitar.  London:  Wise Publications.  pp. 88-96  [Part 1].
                [incorporates Greatest Jazz Solos for Guitar Tab, published 1996]

Solo Flight  (take -1)     March 4, 1941     Columbia CK 40846

Wyatt, Keith   (see Guitar World)

Boukas (1977) does not contain any Christian notations, although Voigt (1978) indicates that it does.

Gridley (1978) reports that the publisher Giant Steps produced transcriptions of Charlie Christian solos, but it has not been possible to obtain a copy of these.  A bibliography of jazz guitar notations published in Jazz Hot (1972) lists an item which appears to include Christian material, but this could not be traced;   although it is not clear from the bibliography, the publication may also include notations of Barney Kessel, and Chuck Wayne, and appears to be titled Manuscript series of recorded jazz chorusses [sic].  No publisher or date of publication is given.

2.  ANALYSIS OF PUBLISHED SOLO TRANSCRIPTIONS

Each recorded solo of Christian for which a transcription is published is listed in alphabetical order of title. The date of recording is noted, and the catalog number of a familiar CD or LP issue. Relevant details of the transcription are noted, such as its completeness, inclusion of annotations, chord symbols, and the key in which it is notated if there is inconsistency with the original version.  The format of entries is based on that used in Koger (1985).

AC-DC Current     December 2, 1939     Vintage Jazz Classics VJC-1021-2

Spring  (1980).  Notates only 2 solos of 4 bars;  chords unidentified;  not annotated.

AC-DC Current   (take A)     December 20, 1939     Columbia CK 45144

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

AC-DC Current     June 30, 1940     Vintage Jazz Classics VJC-1021-2

Spring  (1980).  Complete (3 solos of 4 bars);  chords unidentified;  not annotated.

Ad-Lib Blues     October 28, 1940     JazzDocument va-7997

Ayeroff  (2005).  Complete (2 choruses);  includes the riffs on the last chorus;
chords identified;  detailed analysis;  chord changes in CC’s solo are identified;
left-hand fingering denotation (no guitar tablature).

Porter  (1993).  Complete (2 choruses);  chords identified;  annotated.

Spring  (1980).  Extended transcription:  complete (2 choruses);  chords identified;
          includes 4-bar notation of the guitar solo on the “false start” of a preceding tune.
          Detailed (annotated) analysis:  chorus 1,  bars 10-11   [example 55]

Valdes  (2001).  Complete (2 choruses);  includes the tenor sax-guitar riffs on the last two choruses;
          includes 8-bar notation on the “false start” of a preceding tune;  chords identified;  annotated;
          chord changes in CC’s solo are identified;  with guitar tablature and left-hand fingering denotation.

Air Mail Special     (see Good Enough to Keep)

All Star Strut   (take A)     February 7, 1940     Masters of Jazz MJCD 40  (track 5)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

All Star Strut   (take B)     February 7, 1940     Columbia CG 30779

Hansen  (1998).  Complete;  chords identified;  not annotated;
          with separate guitar tablature;  includes RealAudio sound-clip of solo.
          Transcribed by Clay Moore.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars 5-7   [example 10]
                    bars 5-6   [example 93]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated)analysis:  bars 5-7   [example 4]

All Star Strut   (take x)     February 7, 1940     Masters of Jazz MJCD 40  (track 4)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

As Long as I Live   (take -1)     November 7, 1940     Columbia CG 30779

Ayeroff  (1979).  Complete;  chords identified;  annotated.

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated.

Finkelman  (1997).  Notates only bars 6-8;  chords identified;  annotated.   [example 49]

Schütze  (2003).  Extended transcription:  complete;  chords identified;  annotated (in German).
          Detailed analysis:  bars 7-8   [p. 31]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars 1-2   [example   99]
                    bar   4      [example 107]

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).

As Long as I Live   (take -2)     November 7, 1940     Columbia C4K 65564  (track B24)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Benny’s Bugle   (take -1)     November 7, 1940     Columbia CK 40846

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated.

Downs  (2002).  Notations as follows;  chords identified;  annotated.
                    bars 1-3    [example 1.3]
                    complete   [example 2.8.1]

Finkelman  (1997).  Notations as follows;  chords identified;   annotated.
                    chorus 1,  bars 1-3   [example   6]
                    chorus 1,  bars 1-3   [example 15]
                    chorus 2,  bars 5-6   [example 50]
                    complete                   [page   186]

Fox  (1964).  Complete;  chords identified;  annotated.

Hal Leonard  (2003a).  DVD.  Complete;  chords identified;  not annotated.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars  1-3      [example   5]
                    chorus 1,  bars  1-2      [example 35]
                    chorus 1,  bars  6-7      [example 89]
                    chorus 1,  bars  9-10    [example 64]
                    chorus 2,  bars 10-11   [example 19]
                    complete                      [example   3]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 1-2       [example 26]
                    chorus 1,  bars 6-7       [example 50]
                    chorus 1,  bars 9-10     [example 39]
                    chorus 2,  bars 1-3       [example   1]
                    chorus 2,  bars 10-11   [example 10]

Benny’s Bugle    November 19, 1940    Vintage Jazz Classics VJC-1021-2

Finkelman  (1997).  Notates only bars 1-3 of chorus 2;  chords identified;  annotated.
                    [example 9]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 10-11   [example 11]
                    chorus 2,  bars  1-3      [example 41]
                    chorus 2,  bars 10-11   [example 17]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 2,  bars 1-3       [example 15]
                    chorus 2,  bars 10-11   [example   8]

Benny’s Bugle     May 28, 1941     Vintage Jazz Classics VJC-1021-2

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    chorus 1,  bars 3-4   [example 12]
                    chorus 2,  bars 2-4   [example 43]
                    chorus 2,  bars 6-7   [example 18]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 3-4   [example 31]
                    chorus 1,  bars 7-8   [example 44]
                    chorus 2,  bars 6-7   [example 45]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 1-3   [example 18]
                    chorus 2,  bars 6-7   [example 28]

The Blues     February 19, 1941     < unissued >

Valdes  (2002).  Complete (2 choruses);  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Blues in B     March 13, 1941     Masters of Jazz MJCD 74

Valdes  (1999).  Complete (5 choruses);  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Breakfast Feud   (take -3)     December 19, 1940     Columbia C4K 65564  (track C11)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Breakfast Feud   (take -1)     December 19, 1940     Columbia C4K 65564  (track C1)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Breakfast Feud   (take -4)     January 15, 1941     Columbia C4K 65564  (track C15)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Breakfast Feud   (take -3)     January 15, 1941     Columbia C4K 65564  (track C16)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Breakfast Feud   (take -2)     January 15, 1941     Columbia C4K 65564  (track C3)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Breakfast Feud   (take -1)     January 15, 1941     Columbia C4K 65564  (track C17)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Valdes  (2003).  Complete, including the 4-bar ensemble refrain
          before the guitar solo & the 4-bar tag at the end of the tune;
          chords identified;  annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Breakfast Feud   (spliced)     December 19, 1940 / January 15, 1941     Columbia CL 652 and CG 30779

Table 1 shows which takes of  “Breakfast Feud,” recorded on 19 Dec 1940 and 15 Jan 1941 have been notated.  Most of the notations were taken from LPs which included tracks with solos from different takes, spliced together in various combinations.  Full details of this splicing are given in Evensmo (c.1976, pp. CC18-20), Callis (1978, p. 40),  Valdes (1997, pp. 7-9), and Valdes (2001, qv).

Table 1:  Notations of  “Breakfast Feud” solos.

Notes:
          1.   Take numbers are those supplied by Valdes (1997).
          2.   Numbers in brackets show the order in which solos are notated in the source.

Antonich  (1982).  Transcribed from Fox (1964);  annotated.

Bell  (n.d.).  Notates only first 12 bars of first spliced solo from take 29512-4;
          chords identified;  annotated;  referred to in text as “Feud.”  [page 1]

(——)  (n.d.).  Notates only 8 bars from start of solo from take 29512-3;
          chords unidentified;  not annotated;  referred to in text as “Feud.”  [page 2]

Berklee School of Music  (n.d.).  Transcribed from Fox (1964);  not annotated.

Downs  (2002).  Notations as follows;  chords identified;  annotated.
                    take 29259-1   chorus 1,  bars 5-7                           [example 2.1.1]
                    take 29512-4   chorus 1,  bars 4-8                           [example 2.6.1]
                    take 29512-3   chorus 1,  bar 12 - chorus 2,  bar 5   [example 2.6.2]

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    take 29512-4   bars 9-11   [example 4]
                    take 29512-3   bars 4-7     [example 27]
                    take 29512-2   bar 4          [example 20]

Fox  (1964).  Notates take 29259-1  (sections I and J),
          then take 29512-3  (section K, and first chorus of section L),
          then take 29512-2  (second chorus of section L and section M); 
          notates ensemble refrains before each guitar solo;  chords identified;  annotated.

Guitar World  (1982).  Notates solo from take 29512-4;
          ensemble refrain is not notated;  chords unidentified;  annotated;  with guitar tablature.

Guitar World  (2001).  Notations as follows;  chords identified;  annotated.
                    take 29512-1   bars 8-12   [figure 2]
                    take 29512-3   bars 8-12   [figure 3]

Hansen  (1998).  Notates solo from take 29512-1;
          ensemble refrain is not notated;  chords identified;  not annotated;
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Hitchcock et al. (1986).  Notates only three fragments from take 29259-1;
          chords identified;  annotated.

Kernfeld  (1989).  Reproduced from Hitchcock et al. (1986);  annotated.

Sadie et al. (2001).  Reproduced from Hitchcock et al. (1986);  annotated.

Schuller  (1989).  Notates take 29259-1, then takes 29512-4, -3, -2, -1; 
          notates ensemble refrains before each guitar solo;  chords unidentified;  annotated.

Schwab  (1998).  Notates solo from take 29512-4;
          notates ensemble refrain before guitar solo;  chords identified;  annotated (in German).
          [example 8]

Spring  (1980).  Notates take 29259-1;
          ensemble refrains are not notated;  chords identified;  not annotated.  [page 112]

(——)  (1980).  Extended transcription:  notates takes 29512-4, -3, -2, -1;
          ensemble refrains are not notated;  chords identified.  [page 113]
          Detailed (annotated) analysis:
                    take 29512-4   chorus 1,  bars 11-12   [example   20]
                    take 29512-4   chorus 2,  bar   6          [example   79]
                    take 29512-4   chorus 2,  bars  2-3      [example   12]
                    take 29512-4   chorus 2,  bars  2-3      [example   48]
                    take 29512-4   chorus 2,  bars  4-5      [example 109]
                    take 29512-4   chorus 2,  bars 11-12   [example   60]
                    take 29512-3   chorus 1,  bars 11-12   [example   59]
                    take 29512-3   chorus 2,  bars  4-5      [example 110]
                    take 29512-2   chorus 1,  bar    8         [example   66]
                    take 29512-2   chorus 1,  bars 11-12   [example   43]
                    take 29512-2   chorus 2,  bars 9-10     [example   14]
                    take 29512-1   chorus 2,  bar    5         [example   91]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  ensemble refrains are not notated;  chords identified;
                    notates solos only from:
                    take 29512-4   complete solo  (8+12 bars)
                    take 29512-3   first 8 bars
                    take 29512-2   first 8 bars
                    take 29512-1   last 12 bars
          Detailed (annotated) analysis:
                    take 29512-4   chorus 1,  bars 10-11   [example 31]
                    take 29512-4   chorus 2,  bars 2-3       [example   5]
                    take 29512-4   chorus 2,  bar   6          [example 42]
                    take 29512-3   chorus 1,  bars 7-8       [example 22]
                    take 29512-2   chorus 1,  bars 7-8       [example 17]
                    take 29512-1   chorus 2,  bars 5-6       [example 53]

Charlie’s Choice     (see Topsy)

Charlie’s Dream     (see Dickie’s Dream)

Dickie’s Dream     October 28, 1940     Vintage Jazz Classics VJC-1021-2
                (Charlie’s Dream)

Spring  (1980).  Complete;  chords identified;  not annotated.

Dickie’s Dream     October 28, 1940     Vintage Jazz Classics VJC-1021-2
                (Lester’s Dream)

Finkelman  (1997).  Notates only bars 10-12;  chords identified;  annotated.   [example 38]

Spring  (1980).  Extended transcription:  complete;  chords identified.
           Detailed (annotated) analysis:  bars 14-15   [example 108]

Dinah     December 16, 1939     Vintage Jazz Classics VJC-1021-2

Ayeroff  (1979).  Complete;  chords identified;  annotated.

Downs  (2002).  Bars 27-32;  chords identified;  annotated.   [example 2.9.2]

Hansen  (1999).  Complete;  chords identified;  not annotated;
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Spring  (1980).  Extended transcription:  complete;  chords identified;  key of Bb instead of Ab.
          Detailed (annotated) analysis:
                    bars  4-5      [example 95]
                    bars 13-14   [example 21]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates up to bar 23;  chords identified.
          Detailed (annotated) analysis:
                    bars 4-5       [example 54]
                    bars 13-14   [example 13]

Valdes  (1999).  Complete, including CC chords on vibes solo;  chords identified;  annotated;
          chord changes in CC’s solo are identified;  with guitar tablature and left-hand fingering denotation.

Flying Home     August 19, 1939     Jazz Archives JA-23

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    bars 11-13   [example 28]
                    bars 23-24   [example 52]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars 14-15   [example 15]
                    bars 15-16   [example 24]
                    bars 23-24   [example 76]
                    bars 23-24   [example 82]
                    bars 30-31   [example 18]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars 14-15   [example   6]
                    bars 15-16   [example 14]
                    bars 23-24   [example 45]
                    bars 23-24   [example 52]
                    bars 30-31   [example   9]

Flying Home   (take A)     October 2, 1939     Columbia CK 45144

Berklee School of Music  (n.d.).  Complete;  chords unidentified;  not annotated.

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Down Beat  (1940).  Complete;  chords unidentified;  not annotated.

Downs  (2002).  Bars 19-24;  chords identified;  annotated.   [example 2.1.2]

GuitarOne  (2004).  Complete;  chords identified;  annotated.

Guitar Player  (1997).  Complete;  chords identified;  annotated;  with guitar tablature.

Guitar World  (2002).  Complete;  chords identified;  not annotated.

Hal Leonard  (2003b).  Complete;  chords identified;  not annotated;  with guitar tablature.

Hansen  (1998).  Complete;  chords identified;  not annotated;
          with separate guitar tablature; includes RealAudio sound-clip of solo.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese);  key of D instead of Eb.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Schwab  (1998).  Complete;  chords identified;  annotated (in German).  [example 2]

Valdes  (2004).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Flying Home   (take B)     October 2, 1939     Masters of Jazz MJCD 24  (track 8)

Downs  (2002).  Bars 17-24;  chords identified;  annotated.   [example 2.7.2]

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Flying Home     October 6, 1939     Collector’s Classics CC 18

Mairants  (1988).  Chords identified;  annotated.

Schwab  (1998).  Complete;  chords identified;  annotated (in German).  [example 3]

Flying Home     October 16, 1939     Masters of Jazz MJCD 24  (track 17)

Downs  (2002).  Bars 20-22;  chords identified;  annotated.   [example 2.3.1]

Flying Home     December 24, 1939     Vintage Jazz Classics VJC-1021-2

Hansen  (1998).  Complete;  chords identified;  not annotated;
          includes RealAudio sound-clip of solo.  Transcribed by Guido Deimel.

Flying Home     March 10, 1941     Vintage Jazz Classics VJC-1021-2

Finkelman  (1997).  Notates only bars 7-8;  chords identified;  annotated.   [example 10]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars  7-8      [example 28]
                    bars 25-26   [example 39]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates first 11 bars only;  chords identified.
          Detailed (annotated) analysis:  bars 7-8   [example 20]

Gone with What Draft   (Gilly)     December 19, 1940     Columbia C4K 65564  (track B13)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Gone with “What” Wind   (take A)     February 7, 1940     Columbia CK 40846

Colombo  (1994).  Notations as follows;  chords identified;  annotated (in Italian).
                    chorus 1,  bars 4-5       [example 5]
                    chorus 2,  bars 4-7       [example 2]
                    chorus 2,  bars 10-12   [example 3]

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Schwab  (1998).  Complete;  chords identified;  annotated (in German).  [example 5]

Shinko  (2008).  Notates only bars 5-6 of the first chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.27, example 3]
          Also notates only bars 5-6 of the second chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.27, example 4]

Gone with “What” Wind   (take B)     February 7, 1940     Columbia CG 30779

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated.

Down Beat  (1968).  Reproduced from Fox (1964).

Finkelman  (1997).  Notations as follows;  chords identified;   annotated.
                    chorus 2,  bars 5-7   [example 40]

Fox  (1964).  Complete;  chords identified;  annotated.

Hal Leonard  (2003a).  DVD.  Complete;  chords identified;  not annotated.

(——)  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spaces IV  (n.d.).  Similar to transcription in Fox (1964).

Spring  (1980).  Complete;  chords identified;  not annotated.

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).

Gone with “What” Wind     April 6, 1940      Vintage Jazz Classics VJC-1021-2

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    chorus 2,  bars 11-12   [example 23]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:  chorus 2,  bars 11-12   [example 74]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:  chorus 2,  bars 11-12   [example 41]

Good Enough to Keep   (take A)     June 11, 1940     Columbia CK 45144
                (Air Mail Special)

Hansen  (1998).  Complete;  chords identified;  not annotated;  with separate guitar tablature;
          includes RealAudio sound-clip of solo;  referred to as “Good Enough to Keep.”

Schütze  (2003).  Extended transcription:  complete;  chords identified;  annotated (in German).
          Detailed analysis:  bars  17-20   [p.34]

Sokolow  (1988).  Complete;  chords identified;  annotated;
          referred to in text as “Air Mail Special (I).”

Spring  (1980).  Extended transcription:  complete;  chords identified;
                    referred to as “Good Enough to Keep (June 20/40).”
          Detailed (annotated) analysis:
                    bars   7-8     [example 23]
                    bars 13-15   [example 72]

Good Enough to Keep   (take C)     June 11, 1940     Columbia CK 45144
                (Air Mail Special)

Shinko  (2008).  Notates only bars 17-24;  chords identified;  with guitar tablature;
          annotated (in Japanese).   [p.27, example 2]

Good Enough to Keep   (spliced)      March 13, 1941     Columbia CL 652
                (Air Mail Special)

Note:  This LP issue has two guitar solos (each a 32-bar chorus) 
           spliced from two separate takes:  CO 29943-2 followed by 29943-1 
           (details in Callis, 1978, p. 41 and Valdes, 1997, p. 10).

Antonich  (1982).  Transcribed from Fox (1964);  annotated.

Berklee School of Music  (n.d.).  Transcribed from Fox (1964);  not annotated.

Fox  (1964).  Complete (i.e., both solos);  chords identified;  annotated;
          referred to as “Air Mail Special.”

Petersen  (1979).  Notates only the second guitar solo (i.e., the complete take 29943-1 solo);
          chords identified;  annotated;  referred to as “Air Mail Special.” 
          [the text references Columbia CG 30779 but the transcription was not taken from that LP]

Good Enough to Keep   (spliced)     March 13, 1941     Columbia CG 30779
                (Air Mail Special)

Note:  This LP issue has two guitar solos spliced from the same takes as Columbia CL 652
           (see above), except that the second solo has the first 8 bars omitted
           (details in Callis, 1978, p. 41 and Valdes, 1997, p. 10).

Bell  (n.d.).  Notates only the first 13 bars of the first solo;  chords unidentified;  not annotated;
          referred to in text as “Good Enough to Keep.”

Sokolow  (1988).  Complete (i.e., first solo of 32 bars, second of 24 bars);  chords identified; 
          annotated;  referred to in text as “Air Mail Special (II).”

Spring  (1980).  Extended transcription:  complete (i.e., first solo of 32 bars, second of 24 bars); 
          chords identified;   referred to as “Good Enough to Keep (March 13/41).”
          Detailed (annotated) analysis:
                    take -2,  bars  1-3      [example 37]
                    take -2,  bars 25-26   [example 40]
                    take -1,  bars 23-24   [example 80]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:
                    chords identified;  notates only first 11 bars of first chorus,
                    then bars 18-25 (i.e., starting at 2nd bar of bridge) of second chorus.
          Detailed (annotated) analysis:
                    take -2,  bars 1-3       [example 24]
                    take -1,  bars 23-24   [example 43]

Good Enough to Keep   (take -1)     March 13, 1941     Masters of Jazz MJCD 75  (track 1)
                (Air Mail Special)

Note:  This CD issue has the complete original take CO 29943-1.

Hal Leonard  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Kuboki  (1995).  Complete (theme, solo chorus, out-chorus riffs);
          chords identified;   annotated (in Japanese).

Marshall  (2002).  Complete (i.e., one solo chorus);  chords identified;
          annotated;  with guitar tablature.
          [page 34;  text refers to recorded version of June 20, 1940]

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Good Enough to Keep   (take -2)     March 13, 1941     Masters of Jazz MJCD 75  (track 2)
                (Air Mail Special)

Note:  This CD issue has the complete original take CO 29943-2.

Cherry Hill Music  (1997).  Complete (i.e., one solo chorus);  chords identified;  not annotated.

Downs  (2002).  Bars 16-18;  chords identified;  annotated.   [example 2.2.1]

Finkelman  (1997).  Notates only bars 1-3;  chords identified;  annotated.   [example 17]

Hal Leonard  (2003a).  DVD.  Complete;  chords identified;  not annotated.

Marshall  (2002).  Complete (i.e., one solo chorus);  chords identified;
          annotated;  with guitar tablature.   [page 57]

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Good Enough to Keep     March 17, 1941     Vintage Jazz Classics VJC-1021-2
                (Air Mail Special)

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo; 
          referred to as “Air Mail Special.”

Spring  (1980).  Extended transcription:  complete;  chords identified;
          referred to as “Air Mail Special.”
          Detailed (annotated) analysis:
                    bars 12-13   [example 32]
                    bars 15-16   [example 25]
                    bars 29-31   [example 49]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates from bar 24 to end;  chords identified.
          Detailed (annotated) analysis:  bars 29-31   [example 32]

Good Morning Blues     December 24, 1939     Vanguard 169/71-2

Ayeroff  (1979).  Complete;  chords identified;  annotated; 
          this solo is incorrectly attributed to Eddie Durham in the text.

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Spring  (1980).  Complete;  chords identified;  not annotated.

Valdes  (2000).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Grand Slam     April 10, 1940     Columbia CK 40846
                (Boy Meets Goy)  (Boy Meets Girl)

Antonich  (1982).  Transcribed from Fox (1964);  annotated.

Bell  (n.d.).  Notates the first chorus and two bars of the second chorus;  chords identified;
          not annotated;  referred to in text as “Goy.”

Berklee School of Music  (n.d.).  Transcribed from Fox (1964);  not annotated.

Colombo  (1994).  Notates only bars 3 to 7 of the second chorus;  chords identified;
          annotated (in Italian).  [example 1]

Down Beat  (1961).  Complete;  chords identified;  annotated;  referred to as “Boy Meets Goy.”

(——)  (1970).  Reproduced from Down Beat (1961).

Finkelman  (1997).  Notates only bars 4-6 of chorus 2;  chords identified;  annotated;
          referred to as “Boy Meets Goy.”   [example 35]

Fox  (1964).  Complete;  chords identified;  annotated.

Hal Leonard  (2003a).  DVD.  Complete;  chords identified;  not annotated.

Hal Leonard  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Ingram  (1980).  Notates only bars 11 to 14 of the first chorus;  chords identified;  annotated; 
          untitled in text  [transcription 2].

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Petersen  (1979).  Complete;  chords identified;  annotated.

Schütze  (2003).  Extended transcription:  complete;  chords identified;  annotated (in German).
          Detailed analysis:  bars  1-3   [p.30]

Smith & Tharp  (1958).  Complete;  chords unidentified;  not annotated.

Spring  (1980).  Extended transcription:  complete;  chords identified;
                    referred to as “Boy Meets Goy (Grand Slam).”
          Detailed (annotated) analysis:
                    chorus 1,  bars 1-3   [example   7]
                    chorus 1,  bars 5-6   [example 50]
                    chorus 2,  bars 4-5   [example 97]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 5-6   [example 33]
                    chorus 2,  bars 4-5   [example 56]

Valdes  (2000).  Complete, including 8-bar theme;  chords identified; 
          annotated;  chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Guy’s Got to Go     (see I Got Rhythm)

Haven’t Named It Yet     October 12, 1939     Avid AMSC 612

Downs  (2002).  Bars 26-31;  chords identified;  annotated.   [example 2.7.1]

Finkelman  (1997).  Notates only bars 8-10;  chords identified;  annotated.   [example 25]

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Valdes  (2001).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Honeysuckle Rose     November 22, 1939     Columbia CG 30779

Ayeroff  (1979).  Complete;  chords identified;  annotated; 
          referred to in text as “Honeysuckle Rose (I).”

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Honeysuckle Rose I.”

Berklee School of Music  (n.d.).  Complete;  chords unidentified;  not annotated.

Dodge  (1995).  Complete;  chords unidentified;  annotated.

Down Beat  (1961).  Complete;  chords unidentified;  annotated.

Guitar Player  (1982).  Reproduced from Ayeroff (1979).

Guitar Player  (1995).  Reproduced from Ayeroff (1979),
          with new commentary identifying certain harmonic features of interest.

Hal Leonard  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Mairants  (1996).  Complete;  chords identified;  annotated.

(——)  (2002).  Reproduced from Mairants (1996).

Marshall  (2000).  Complete;  chords identified;  annotated;  with guitar tablature.

(——)  (2002).  Adapted from Marshall (2000).
          Complete;  chords identified;  revised annotation;  with guitar tablature.

Schmitz  (1992).  Only the first sixteen bars are notated;  text in German.

Schütze  (2003).  Extended transcription:  complete;  chords identified;  annotated (in German).
          Detailed analysis:  bar  19   [p.33]

Sokolow  (1999).  Complete;  chords identified;  annotated.

Spring  (1980).  Extended transcription:  complete;  chords identified.
           Detailed (annotated) analysis:
                    bars  9-10    [example 102]
                    bars 11-13   [example 113]
                    bars 20-21   [example 103]
                    bar   22        [example   86]
                    bars 25-27   [example 104]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates first 24 bars only;  chords identified.
          Detailed (annotated) analysis:
                    bars 8-10     [example 61]
                    bars 20-21   [example 58]

Takayanagi  (1975).  Complete;  includes complete score of the arrangement; 
          chords identified;  annotated (in Japanese).

Valdes  (1999).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Honeysuckle Rose     December 24, 1939     Vanguard 169/71-2

Ayeroff  (1979).  Omits lead-in;  chords identified;  annotated; 
          referred to in text as “Honeysuckle Rose (III).”

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Honeysuckle Rose III.”

Valdes  (2000).  Complete, including intro and out-chorus riffs;  chords identified; 
          annotated;  chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Honeysuckle Rose     June 22, 1940     Masters of Jazz MJCD 44

Valdes  (2006).  Complete, including intro;  chords identified; 
          annotated;  chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Honeysuckle Rose     November 19, 1940     Vintage Jazz Classics VJC-1021-2

Ayeroff  (1979).  Omits half-bar lead-in;  chords identified;  annotated; 
          referred to in text as “Honeysuckle Rose (II).”

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Honeysuckle Rose II.”

Finkelman  (1997).  Notations as follows;  chords identified;   annotated.
                    bars 11-13   [example 42]
                    bars 24-32   [example 58]

Sokolow  (1999).  Omits pick-up bar;  chords identified;  annotated.

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars  2-3      [example   51]
                    bars 23-24   [example 100]
                    bars 29-31   [example 112]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates first 13 bars only;  chords identified.
          Detailed (annotated) analysis:  bars 1-4   [example 35]

Valdes  (2000).  Complete, including intro and out-chorus riffs;  chords identified; 
          annotated;  chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Honeysuckle Rose     May 1941     Vogue 600135
                (Up on Teddy’s Hill)

Antonich  (1982).  Transcribed from Ayeroff (1979), except first 12 bars of the first chorus 
          (transposed back to Db) are from Edmonds & Prince (1958);
          annotated;  referred to as “Up on Teddy’s Hill.”

Ayeroff  (1979).  Omits first 12 bars of the first chorus and bridge solo on out-chorus;
          chords identified;  annotated;  referred to as “Up on Teddy’s Hill.”

(——)  (2005).  Complete 4-chorus solo (omits bridge solo on out-chorus);
          includes riffs behind 2-chorus trumpet solo;
          chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Up on Teddy’s Hill.”

Downs  (2002).  Bars 25-27 of fourth chorus;  chords identified;  annotated.   [example 2.5.2]

Edmonds & Prince  (1958).  Complete 4-chorus solo (omits bridge solo on out-chorus);
          chords identified;  not annotated;  key of C instead of Db;   referred to as “Up on Teddy’s Hill.”

Feather  (1961).  Notates only from bar 17 to end of the third chorus;
          chords identified;  annotated;  referred to as “Up on Teddy’s Hill.”

Finkelman  (1997).  Notates only bars 15-16 of chorus 4;
          chords identified;  annotated.   [example 16]

Kuboki  (1995).  Complete 4-chorus solo (omits bridge solo on out-chorus);
          chords identified;  annotated (in Japanese);  key of C instead of Db.

Matzner & Wasserberger  (1969).  Similar to transcription in Feather (1961);  annotated.

Shinko  (2008).  Notates only bars 19-22 of the second chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.31, example 3]
          Also notates only bars 25-28 of the fourth chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.33, example 4]

Spring  (1980).  Extended transcription:  complete 4-chorus solo (omits bridge solo on out-chorus);
                    chords identified;  referred to as “Up on Teddy’s Hill (Honeysuckle).”
          Detailed (annotated) analysis:
                    chorus 1,  bars 11-12   [example 105]
                    chorus 1,  bars 12-13   [example   98]
                    chorus 1,  bars 16-17   [example   94]
                    chorus 2,  bars 14-15   [example   69]
                    chorus 3,  bars 20-21   [example 106]
                    chorus 3,  bars 26-27   [example   81]
                    chorus 4,  bars 15-16   [example   36]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  chords identified;
                    notates only bars 8 to 17 of the first chorus,
                    then bar 19 to end of the third chorus,
                    and bars 12 to 17 of the fourth chorus. 
          Detailed (annotated) analysis:
                    chorus 1,  bars 12-13   [example 57]
                    chorus 3,  bars 20-21   [example 59]
                    chorus 3,  bars 26-27   [example 51]
                    chorus 4,  bars 15-16   [example 27]

Valdes  (2000).  Complete, including riffs and CC’s solo on out-chorus bridge;
          chords identified;  annotated;  chord changes in CC’s solos are identified;
          with guitar tablature and left-hand fingering denotation.

I Can’t Give You Anything But Love   (take -1)     December 19, 1940     Columbia CK 45144

Antonich  (1982).  Transcribed from Ayeroff (1979).

Ayeroff  (1979).  Complete;  chords identified;  annotated.

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated.

Birkett  (1994).  Complete;  chords identified;  annotated.

Britt  (1984).  Notates only first 8 bars;  chords identified;  annotated.

Dochtermann  (2005).  Complete; annotated.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Schwab  (1998).  Complete;  chords identified;  annotated (in German).  [example 9]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bar  4    [example 92]
                    bar 16   [example 88]

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).

I Found a New Baby   (take -1)     January 15, 1941     Columbia CK 40846

Ayeroff  (1979).  Complete;  chords identified;  annotated; 
          referred to in text as “I’ve Found a New Baby (I).”

(——)  (2005).  Complete  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “I’ve Found a New Baby II.”

Chord Melody Productions  (n.d.).  Complete;  chords identified;  not annotated; 
          includes guitar chord diagrams.

Colombo  (1994).  Notates only bars 30 to 31;  chords identified;  annotated (in Italian).  [example 4]

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Down Beat  (1950).  Complete;  chords identified;  annotated.

(——)  (1961).  Reproduced from Down Beat (1950).

Downs  (2002).  Notations as follows;  chords identified;  annotated.
                    bars 25-27   [example 1.2]
                    complete      [example 2.8.2]

Finkelman  (1993).  Notates only three bars from the bridge (from Ayeroff); 
          chords identified;  annotated.

(——)  (1997).  Notates only bars 28-31;  chords identified;  annotated.   [example 45c]

Hansen (1998).  Complete;  chords identified;  not annotated;
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Martin (1986).  Complete;  chords identified;  annotated.

Schuller (1989).  Notates only bars 4 to 6, and bar 8;  chords unidentified;  annotated.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Valdes  (1999).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

I Found a New Baby   (take -2)     January 15, 1941     Columbia CG 30779

Antonich  (1982).  Transcribed from Ayeroff (1979);  annotated.

Ayeroff  (1979).  Complete;  chords identified;  annotated; 
          referred to in text as “I’ve Found a New Baby (II).”

(——)  (2005).  Complete  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “I’ve Found a New Baby I.”

Bell  (n.d.).  Notates only first 12 bars of the first chorus;  chords identified;  not annotated; 
          referred to in text as “Baby.”

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated; 
          key of Ebm instead of Dm.

Carter  (1979).  Complete;  chords identified;  annotated;  untitled in text.

Finkelman  (1993).  Notates only the last bar of the solo;  chords identified;  annotated;
          referred to as alternate take.

Ingram  (1980).  Notates first 4 bars only;  chords identified;  annotated;.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Shinko  (2008).  Notates only bars 17-24;  chords identified;  with guitar tablature;
          annotated (in Japanese).    [p.29, example 6]

Spring  (1980).  Complete;  chords identified;  not annotated.

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese);
          key of Ebm instead of Dm.

Valdes  (1999).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

I Got Rhythm   (take 2)     September 24, 1939     Suisa JZCD 379

Hansen  (1998).  Complete;  chords identified;  not annotated;
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

I Got Rhythm   (spliced)     September 24, 1939     Columbia CG 30779

Note:  This LP issue is spliced from separate recordings; 
          take 2 is spliced before take 1 (each take has 2 CC solos); 
          details are given in Callis (1978, p. 2) and Valdes (1997, p. 5).

Ayeroff  (2005).  Complete (take 2 followed by take 1);
          chords identified;  detailed analysis;
          chord changes in CC’s solos are identified;
          left-hand fingering denotation (no guitar tablature).

Bell  (n.d.).  Notates first 8 bars of first spliced chorus only;  chords identified;  not annotated; 
          key of B instead of Bb;   referred to in text as “Rhythm.”

Birkett  (1987).  Complete (take 2 followed by take 1);  chords identified;  annotated.

(——)  (1994).  Notates first chorus of first solo only;   chords identified;  annotated.

Down Beat  (1991).  Notates first spliced chorus, then middle eight of second spliced chorus;
          chords identified;  annotated.

Finkelman  (1993).  Notates bars 17-25 of the third spliced chorus;  chords identified;  annotated.

(——)  (1997).  Notations as follows;  chords identified;  annotated.
                    first spliced chorus        bars 13-14   [example 26]
                    second spliced chorus   bars 22-24   [example 55]
                    third spliced chorus       bar  22         [example 51]

Spring  (1980).  Extended transcription:  complete (take 2 followed by take 1);  chords identified; 
          key of B instead of Bb.
          Detailed (annotated) analysis:
                    take 1,  solo 1,  bars 16-17   [example 53]
                    take 1,  solo 1,  bar   22        [example 75]
                    take 2,  solo 1,  bars 16-17   [example 54]
                    take 2,  solo 1,  bars 16-17   [example 84]
                    take 2,  solo 1,  bars 19-20   [example 83]

I Got Rhythm     May 1941     Vogue 600135
                (Guy’s Got to Go)

Antonich  (1982).  Transcribed from Ayeroff (1979);  annotated;
          referred to as “Guy’s Got to Go.”

Ayeroff  (1979).  Complete;  chords identified;  annotated;
          referred to as “Guy’s Got to Go.”

(——)  (2005).  Complete;  includes riffs on out-chorus
          chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Guy’s Got to Go.”

Edmond & Prince  (1958).  Complete;  chords identified;  not annotated;
          referred to as “Guy’s Got to Go.”

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    chorus 1,  bars 22-25   [example 29]
                    chorus 1,  bars 28-29   [example 22]

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Shinko  (2008).  Notates only bars 13-20 of the second chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.33, example 5]

Spring  (1980).  Extended transcription:  complete;  chords identified;
          referred to as “Guy’s Got to Go (Rhythm Changes).”
          Detailed (annotated) analysis:
                    chorus 2,  bars  7-8      [example 26]
                    chorus 1,  bars 28-29   [example 65]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  chords identified;
          notates only from bar 32 (last bar) of first chorus until 1st bar of middle eight.
          Detailed (annotated) analysis:  chorus 2,  bars 7-8   [example 11]

I Never Knew     October 28, 1940     Vintage Jazz Classics VJC-1021-2

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:  bars 31-32   [example 61]

I Surrender, Dear   (take A)     April 10, 1940     Columbia C4K 65564  (disc 1, track 24)

Valdes  (2006).  Complete;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

I Surrender, Dear   (take B)     April 10, 1940     Columbia CK 45144

Ayeroff  (1979).  Complete;  chords identified;  annotated.

Berklee School of Music  (n.d.).  Complete;  chords identified;  annotated.

Mairants  (1996).  Complete;  chords identified;  annotated.

(——)  (2002).  Reproduced from Mairants (1996).

Melody Maker  (1947).  Complete;  chords identified;  annotated.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).

Valdes  (2006).  Complete;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Wise  (1987a).  Complete;  chords identified;  not annotated.

Ida,  Sweet as Apple Cider     April 14, 1941     Vintage Jazz Classics VJC-1021-2

Ayeroff  (1979).  Complete;  chords identified;  annotated.

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Downs  (2002).  Bars 24-25;  chords identified;  annotated.   [example 2.4.1(a)]

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    bars 27-28   [example  54b]
                    complete      [pages 187-188]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:  bars 5-7   [example 111]

Valdes  (1999).  Complete, including tag;  chords identified; 
          annotated;  chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

I’m Confessin’     December 20, 1939     Columbia C4K 65564  (track A9)

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Valdes  (2008).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Jamming in Four     February 5, 1941     Blue Note 21260 2

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Lester’s Dream     (see Dickie’s Dream)

Li’l Boy Love   (take A)     June 25, 1940     Columbia C4K 65564  (track D3)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Li’l Boy Love   (take B)     June 25, 1940     Columbia C4K 65564  (track D6)

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Lips Flips     (see Stompin’ at the Savoy)

Memories of You     October 23, 1939     Vintage Jazz Classics VJC-1021-2

Spring  (1980).  Extended transcription:  complete;  chords identified;  key of E instead of Eb.
          Detailed (annotated) analysis:  bar 22   [example 78]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:  bar 6   [example 47]

Memories of You   (take A)     November 22, 1939     Columbia CK 45144

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated;  first item on page.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).  [page 16]

Memories of You   (take B)     November 22, 1939     Columbia CG 30779

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated;  second item on page.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Extended transcription:  complete;  chords identified.
           Detailed (annotated) analysis:  bar 22   [example 87]

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).  [page 19]

Memories of You     December 24, 1939     Vanguard 169/71-2

Schuller  (1989).  Notates only final 4 bars;  chords identified;  annotated.

Oh, Lady Be Good     December 24, 1939     Vanguard 169/71-2

Ayeroff  (2005).  Complete  (three choruses & bridge on out chorus);
          chords identified;  detailed analysis;
          chord changes in CC’s solos are identified;
          left-hand fingering denotation (no guitar tablature).

Oh, Lady Be Good     December 24, 1939     Vanguard VCD2-47/48

Note:  This CD issue is spliced, omitting the third chorus of CC’s first solo. 
(The complete recording contains a three-chorus CC solo 
plus an eight-bar solo on the bridge of the out chorus.)

Kuboki  (1995).  Complete (i.e., two choruses & bridge);  chords identified;  annotated (in Japanese).

On the Alamo     January 15, 1941     Columbia CK 45144

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Bell  (n.d.).  Complete;  chords unidentified;  annotated;  referred to in text as “Alamo.”

Down Beat  (1961).  Complete;  chords identified;  annotated.

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Polillo  (1978).  Complete;  chords unidentified;  annotated (in Italian).

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Complete;  chords identified;  not annotated.

Valdes  (2001).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

On with Charlie Christian     (see Stompin’ at the Savoy)

Paging the Devil     December 24, 1939     Vanguard 169/71-2

Ayeroff  (1979).  Complete;  chords identified;  annotated; 
          solo incorrectly attributed to Eddie Durham in text.

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Finkelman  (1997).  Notates only bars 4-6;  chords identified;  annotated.   [example 39]

Valdes  (2000).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Poor Butterfly     April 3, 1940     Columbia CK 45144

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated.

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Valdes  (2001).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Poor Butterfly     April 27, 1940     Masters of Jazz MJCD 189

Valdes  (1997).  Complete;  chords identified;  annotated;
          identifies solo chord-changes;
          includes guitar tablature and left-hand fingering denotation.

Valdes  (2001).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Profoundly Blue   (take -1)     February 5, 1941     Blue Note 21260 2  (track 3)

Antonich  (1982).  Transcribed from Down Beat (1961);  annotated.

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Profoundly Blue I.”

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated; 
          key of F instead of Eb;  referred to in text as “Profoundly Blue # 1.”

Dochtermann  (2005).  First two choruses only;  chords identified;  annotated.

Down Beat  (1961).  Complete;  chords unidentified;  includes bass accompaniment;  annotated.

Spaces IV  (n. d.).  Similar to transcription in Berklee (n. d.)

Valdes  (2000).  Complete, including 4-bar chord intro & bass accompaniment;
          chords identified;  annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Profoundly Blue   (take -2)     February 5, 1941     Blue Note 21260 2  (track 4)

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Profoundly Blue II.”

Valdes  (2000).  Complete, including 4-bar chord intro & bass accompaniment;
          chords identified;  annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Riffin’ Around     March 13, 1941     Columbia C4K 65564  (track D23a)

Ayeroff  (2005).  Complete,
          (the last 6 transcribed bars are actually the beginnig of “A Smo-o-o-oth One”);
          chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Rose Room     October 2, 1939     Columbia CK 40846

Antonich  (1982).  Transcribed from Spaces IV (n.d.);  annotated.

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Rose Room I.”

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated.

Down Beat  (1943).  Complete;  chords identified;  not annotated.

(——)  (1950).  Reproduced from Down Beat (1943).

(——)  (1969).  Reproduced from Down Beat (1950).

(——)  (1978).  Reproduced from Petersen (1979).

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    bars 2-4       [example 33a]
                    bars 18-19   [example 33b]
                    bars 20-23   [example 45a]

Guitar Player  (2000).  Complete;  chords identified;  annotated.

Hal Leonard  (2003b).  Complete;  chords identified;  not annotated;  with guitar tablature.

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese);  key of G instead of Ab.

Mairants  (1996).  Complete;  chords identified;  annotated.

Petersen  (1979).  Complete;  chords identified;  annotated.

Rossi  (2003).  Complete;  chords identified;  annotated.

Schuller  (1989).  Notates bars 1 to 29 only;  chords identified;  annotated.

Schütze  (2003).  Extended transcription:  complete;  chords identified; annotated (in German).
          Detailed analysis:  bar 13   [p. 32]

Shinko  (2008).  Notates only bars 11-18;  chords identified;  with guitar tablature;
          annotated (in Japanese).   [p.29, example 5]

Smith & Tharp  (1958).  Complete;  chords identified;  not annotated.

Spaces IV  (n.d.).  Similar to transcription in Berklee (n.d.).

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:  bars 17-19   [example 62]

Tempo  (1947).  Reproduced from Down Beat (1943).

Valdes  (1999).  Complete, including 4-bar intro;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Rose Room     October 9, 1939     Vintage Jazz Classics VJC-1021-2

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Rose Room II.”

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Spring  (1980).  Complete;  chords identified;  not annotated;  key of Bb instead of Ab.

Valdes  (1999).  Complete, including 4-bar intro;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Rose Room     October 28, 1939     Jazz Band EBCD 2138-2

Valdes  (2000).  Complete, including 4-bar intro;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Rose Room     March 13, 1941     Masters of Jazz MJCD 74

Ayeroff  (2005).  Complete (8-bar intro, 4 choruses);
          chords identified;  detailed analysis;
          chord changes in CC’s solos are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Rose Room III.”

Valdes  (1999).  Complete (8-bar intro, 4 choruses);  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Rose Room     June 6, 1941     Suisa JZCD 379

Valdes  (2000).  Complete, including 4-bar intro;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Royal Garden Blues   (take -1)     November 7, 1940     Columbia CK 40846

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Royal Garden Blues I.”

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).

Royal Garden Blues   (take -2)     November 7, 1940     Columbia CG 30779

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Royal Garden Blues III.”

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 10-11   [example 56]
                    chorus 2,  bars  6-7      [example 77]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:  chorus 2,  bars 6-7   [example 46]

Royal Garden Blues   (take -3)     November 7, 1940     Columbia C4K 65564  (track B22)

Ayeroff  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Royal Garden Blues II.”

Seven Come Eleven     November 22, 1939     Columbia CK 40846

Antonich  (1982).  Transcribed from Fox (1964);  annotated.

Berklee School of Music  (n.d.).  Transcribed from Fox (1964);  not annotated.

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Downs  (2002).  Bars 4-6;  chords identified;  annotated.   [example 2.10.1]

Finkelman  (1993).  Notates only bars 16-25 of the solo (from Fox);  chords identified;  annotated.

(——)  (1997).  Notations as follows;  chords identified;  annotated.
                    bars 2-3   [example 21]
                    bars 6-7   [example 19]

Fox  (1964).  Complete;  chords identified;  annotated.

Guitar Extra  (1990).  Complete;  chords identified;  annotated.

GuitarOne  (2002).  Complete;  chords identified;  annotated.

Hal Leonard  (2000).  Complete;  chords identified;  annotated;  with guitar tablature.

(——)  (2001).  Reproduced from Hal Leonard (2000).

(——)  (2003a).  DVD.  Complete;  chords identified;  not annotated.

(——)  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.
          Transcribed by Mark Smart.

Jazz Educators Journal  (1979).  Reproduced from Fox (1964).

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Shinko  (2008).  Notates only bars 17-24;  chords identified;  with guitar tablature;
          annotated (in Japanese).   [p.27, example 1]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars  2-3      [example   67]
                    bars  6-7      [example   47]
                    bars 19-20   [example 101]
                    bars 21-22   [example   96]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates first 24 bars only;  chords identified.
          Detailed (annotated) analysis:
                    bars 6-7       [example 30]
                    bars 19-20   [example 60]
                    bars 21-22   [example 44]

Seven Come Eleven     May 28, 1939     Masters of Jazz MJCD 40

Downs  (2002).  Bars 21-23;  chords identified;  annotated.   [example 2.10.2]

The Sheik of Araby   (take A)     April 3, 1940     Columbia CK 45144

Ayeroff  (1979).  Notates complete solo chorus, omits 4-bar exchanges;
          chords identified;  annotated;  referred to in text as “The Sheik of Araby (I).”

(——)  (2005).  Notates complete solo chorus, omits 4-bar exchanges;
          chords identified;  detailed analysis;  chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);  referred to as “The Sheik of Araby I.”

Berklee School of Music  (n.d.).  Notates complete solo, omits 4-bar exchanges; 
          chords identified;  not annotated.

Finkelman  (1997).  Notates only bars 22-24;
          chords identified;  annotated.   [example 53]

Mairants  (1996).  Notates complete solo chorus, omits 4-bar exchanges;
          chords identified;  annotated.

(——)  (2002).  Reproduced from Mairants (1996).

Schütze  (2003).  Notates complete solo chorus, omits 4-bar exchanges;
          chords identified;  annotated (in German).

Takayanagi  (1975).  Complete, includes intro verse & 4-bar exchanges;
          chords identified;  annotated (in Japanese).

Valdes  (2006).  Complete, includes intro verse & 4-bar exchanges;
          chords identified;  annotated;  chord changes in CC’s solos are identified;
          with guitar tablature and left-hand fingering denotation.

The Sheik of Araby   (take B)     April 3, 1940     Columbia C4K 65564  (track A23)

Ayeroff  (2005).  Notates complete solo chorus, omits 4-bar exchanges;
          chords identified;  detailed analysis;  chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);  referred to as “The Sheik of Araby II.”

Valdes  (2006).  Complete, includes intro verse & 4-bar exchanges;
          chords identified;  annotated;  chord changes in CC’s solos are identified;
          with guitar tablature and left-hand fingering denotation.

The Sheik of Araby    April 12, 1940    Vintage Jazz Classics VJC-1021-2

Ayeroff  (1979).  Complete;  chords identified;  annotated; 
          referred to in text as “The Sheik of Araby (II).”

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “The Sheik of Araby III.”

Finkelman  (1997).  Notates only bars 5-6;
          chords identified;  annotated.   [example 13]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    bars 5-6   [example 27]
                    bars 5-6   [example 33]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates first 7 bars only;  chords identified.
          Detailed (annotated) analysis:
                    bars 5-6   [example 12]
                    bars 5-6   [example 23]

Valdes  (2006).  Complete;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

The Sheik of Araby    April 26, 1940    Masters of Jazz MJCD 40  (track 18)

Downs  (2002).  Bars 11-14;  chords identified;  annotated.   [example 2.3.2]

Valdes  (2006).  Complete;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Shivers   (take A)     December 20, 1939     Columbia CK 45144

Downs  (2002).  Bars 9-14;  chords identified;  annotated.   [example 2.6.3]

Fox  (1964).  Complete;  chords identified;  annotated.

Hal Leonard  (2003a).  DVD.  Complete;  chords identified;  not annotated.

(——)  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Six Appeal     June 11, 1940     Columbia CK 40846

Antonich  (1982).  Transcribed from Fox (1964);  annotated.

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Fox (1964).  Complete;  chords identified;  annotated.

Hal Leonard  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Hansen  (1998).  Complete;  chords identified;  not annotated;
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Complete;  chords identified;  not annotated.

Six Appeal     June 22, 1940     Vintage Jazz Classics VJC-1021-2

Spring  (1980).  Complete;  chords identified;  not annotated.

A Smo-o-o-oth One   (Waitin’ for Benny)     March 13, 1941     Columbia CK 40846

Schwab  (1998).  Notates only the chord accents on bridge;
          chords identified;  annotated (in German).   [example 11]

A Smo-o-o-oth One   (take -1)     March 13, 1941     Columbia CK 45144

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

A Smo-o-o-oth One   (take -2)     March 13, 1941     Columbia C4K 65564  (track C7)

Down Beat  (1961).  Complete;  chords identified;  annotated.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

A Smo-o-o-oth One   (take -X)     March 13, 1941     Columbia CL 652

Antonich  (1982).  Transcribed from Fox (1964);  annotated.

Berklee School of Music  (n.d.).  Transcribed from Fox (1964);  not annotated; 
          key of Gb instead of F.

Fox  (1964).  Complete;  chords identified;  annotated;  key of Gb instead of F.

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Solo Flight   (take -1)     March 4, 1941     Columbia CK 40846

Antonich  (1982).  Transcribed from Fox (1964);  (omits non-guitar passage, section E ).

Berklee School of Music  (n.d.).  Follows same pattern as Fox (1964); 
          chords unidentified;  not annotated.

Chapman  (2000).  Notates only the first 16 bars of the guitar solo;  chords identified;  annotated.

Chord Melody Productions  (n.d.).  Complete; chords unidentified;  not annotated; 
          key of Db instead of C.

Colombo  (1994).  Notations as follows;  chords identified;  annotated (in Italian).
                    bars 5-8  of section  I    [A]     [example 7]
                    bars 3-4  of section III   [A]     [example 6]
                    bars 6-8  of section  V   [A]     [example 8]

Finkelman  (1997).  Notates only bars 3-5 of section III [A];
          chords identified;  annotated.   [example 54a]

Fox  (1964);  Complete – from the clarinet solo (E), 
          an earlier section of the solo (almost all of section D) is repeated,
          and before the final section of the solo is a passage not heard on the record;  
          chords identified;  annotated.

GuitarOne  (2001).  Complete;  chords identified;  annotated.

Hal Leonard  (2003a).  DVD.  Only first 16-bar section of solo;  chords identified;  not annotated.

(——)  (2003b).  Complete;  chords identified;  not annotated;  with guitar tablature.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Mairants  (1988).  Notates only the first two 32-bar sections;  chords identified;  annotated.

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Petersen  (1979).  Complete;  chords identified;  annotated;  key of Db instead of C.

Regent Music  (1944).  Complete;  chords unidentified;  not annotated;  similar to Fox (1964).

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Shinko  (2008).  Notates only bars 9-16 of the fourth chorus;  chords identified;  with guitar tablature;
          annotated (in Japanese).   [p.29, example 7]

Valdes  (1999).  Complete;  chords identified;  annotated;
          chord changes in CC’s solos are identified;
          with guitar tablature and left-hand fingering denotation.

Wise  (1996).  Complete;  chords identified;  annotated;  with guitar tablature.

(——)  (2001).  Reproduced from Wise (1996).

Solo Flight   (take -2)     March 4, 1941     Columbia CL 652

Almo  (1978a).  Complete;  chords identified;  annotated.

(——)  (1978b).  Complete;  chords identified;  annotated.

(——)  (1978c).  Complete;  chords identified;  annotated;  key of A (transposed for saxophone).

(——)  (1978d).  Complete;  chords identified;  annotated;  key of  Ab (transposed for trombone).

(——)  (1978e).  Complete;  chords identified;  annotated;  key of  D (transposed for trumpet).

ten Boske  (1989).  Notations as follows;  chords identified;  annotated (in Dutch).
                    3 bars of CC’s intro break          [example 3]
                     bars 1-4    of section   II   [A]     [example 8]
                    bars 9-12  of section  IV   [B]     [example 6]

Schmitz  (1992).  Only the first 34 bars are notated;  text in German.

Valdes  (1999).  Complete;  chords identified;  annotated;
          chord changes in CC’s solos are identified;
          with guitar tablature and left-hand fingering denotation.

Star Dust     September 24, 1939     Columbia CG 30779

Ayeroff  (1979).  Notates first chorus only;  chords identified;  annotated;
          referred to in text as “Stardust (I).”

Bell  (n.d.).  Notates first 12 bars only;  chords identified;  annotated;
          referred to in text as “Dust.”

Finkelman  (1997).  Notates only bar 16 of chorus 1;  chords identified;  annotated.
          [example 36]

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese);
          key of C instead of Db.

Takayanagi  (1975).  Notates first 32 bars only;  chords unidentified;  annotated (in Japanese).

Valdes  (1999).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Wise  (1987b).  Reproduced from Ayeroff (1979).

Star Dust     October 2, 1939     Columbia CK 45144

Ayeroff  (1979).  Complete;  chords identified;  annotated;  referred to in text as “Stardust (II).”

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Duchossoir  (1987).  Complete;  chords identified;  annotated (in French).

Hal Leonard  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Schuller  (1989).  Notates only bars 1 to 25;  chords identified;  annotated.

Star Dust     October 6, 1939     Collector’s Classics CC 18

Takayanagi  (1975).  Complete;  chords identified;  annotated (in Japanese).

Star Dust     October 4, 1940     Columbia CL 6067

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Stompin’ at the Savoy     February 19, 1941     < unissued >

Valdes  (2003).  Complete (1 chorus including chords, 8-bar solo, riffs);  chords identified; 
          annotated;  chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Stompin’ at the Savoy     May 8, 1941     Masters of Jazz MJCD 189

Valdes  (2002).  Complete (9 choruses);  chords identified;  annotated;
          chord changes in CC’s solo are identified; 
          with guitar tablature and left-hand fingering denotation.

Stompin’ at the Savoy     May 12, 1941     Vogue 600135

Downs  (2002).  Bars 17-20;  chords identified;  annotated.   [example 2.4.2(a)]

Finkelman  (1993).  Notates only the bridge of the first solo chorus;  chords identified;  annotated.

(——)  (1997).  Notates only bars 8-12 of chorus 3 of the second solo;  chords identified;
          annotated.   [example 44]

Grassell  (1998).  Notates all three choruses of the first solo;  chords identified;  not annotated.

Hal Leonard  (2003b).  Complete;  chords identified;  not annotated;  with guitar tablature.

Schuller  (1989).  Notates only bars 9 to 25 of first chorus of first solo;  chords identified;
          annotated.   [untitled, page 577]

Shinko  (2008).  Complete;  chords identified;  with guitar tablature;
          annotated (in Japanese).

(——)  (2008).  Notates only bars 17-24 of the out-chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.31, example 2]

Spring  (1980).  Extended transcription:  complete (both three-chorus solos);  chords identified.
          Detailed (annotated) analysis:
                    solo 1,  chorus 1,  bars  3-4      [example 73]
                    solo 1,  chorus 1,  bars  7-8      [example   6]
                    solo 1,  chorus 2,  bars 25-26   [example 38]
                    solo 1,  chorus 2,  bars 30-31   [example 70]
                    solo 1,  chorus 3,  bars  2-3      [example 13]
                    solo 2,  chorus 2,  bars  5-7      [example 30]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:
                    chords identified;  notates first 5 bars only, then first 7 bars of fifth chorus. 
          Detailed (annotated) analysis:
                    solo 1,  chorus 1,  bars 3-4   [example 40]
                    solo 2,  chorus 2,  bars 5-7   [example 19]

Valdes  (2002).  Complete (both three-chorus solos  +  theme & out chorus);
          chords identified;   annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Stompin’ at the Savoy     May 1941     Vogue 600135
                (Lips Flips)   (On with Charlie Christian)

Antonich  (1982).  Transcribed from Ayeroff (1979);  annotated;
          referred to as “Lips Flips.”

Ayeroff  (1979).  Complete;  chords identified;  annotated;
          referred to as “Lips Flips.”

(——)  (2005).  Complete;  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Lips Flips.”

Edmonds & Prince  (1958).  Complete;  chords identified;  not annotated; 
          final 15 bars of notation are not guitar solo;  key of C instead of Db;
          referred to as “Lips Flips.”

Finkelman  (1997).  Notates only bars 6-7 of chorus 2;  chords identified;  annotated.   [example 5]

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese);  key of C instead of Db.

Shinko  (2008).  Notates only bars 16-20 of the second chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.33, example 6]

Spring  (1980).  Extended transcription:  complete;  chords identified;
          referred to as  “On with C.C. – Lips Flips – Savoy.”
          Detailed (annotated) analysis:
                    chorus 1,  bars 14-15   [example   9]
                    chorus 2,  bars  6-7      [example 16]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:
                    chords identified;  notates only first chorus and first 16 bars of second chorus.
          Detailed (annotated) analysis:
                    chorus 1,  bars 14-15   [example 3]
                    chorus 2,  bars  6-7      [example 7]

Valdes  (2002).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Stompin’ at the Savoy     June 1941     Masters of Jazz MJCD 189

Valdes  (1996).  Complete;  chords identified;  annotated.

Valdes  (2001).  Complete;  chords identified;  annotated;
          chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Swing to Bop     (see Topsy)

Tea for Two     September 24, 1939     Columbia CG 30779

Ayeroff  (2005).  Notates last 4 bars of guitar intro,
          then complete guitar solo choruses;
          chords identified;  detailed analysis;
          chord changes in CC’s solos are identified;
          left-hand fingering denotation (no guitar tablature).

Downs  (2002).  Bars 17-20;  chords identified;  annotated.   [example 2.5.1]

Finkelman  (1993).  Notates less than four bars from the second solo;  chords identified;  annotated.

Schwab  (1998).  Notates last 4 bars of guitar intro [example 10],
          then complete solo choruses [appendix];
          chords identified;  annotated (in German).

Shinko  (2008).  Complete;  chords identified;  with guitar tablature;
          annotated (in Japanese).

Valdes  (1996).  Notates only the 8-bar guitar chord introduction
          (including the first four bars which had never been issued);  annotated.

Valdes  (1997).  Complete, including the 8-bar intro;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          includes guitar tablature and left-hand fingering denotation.

Valdes  (2001).  Complete, including the 8-bar intro;  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

These Foolish Things   (take A)     June 11, 1940     Columbia CK 45144

Ayeroff  (2005).  Complete (4-bar chord intro, 8-bar bridge solo);
          chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “These Foolish Things I.”

Berklee School of Music  (n.d.).  Complete (includes 4-bar guitar introduction);  chords identified;
          not annotated.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Smith & Tharp  (1958).  Complete solo (omits introduction);  chords identified;  not annotated.

Valdes  (2001).  Complete  (4-bar chord intro,  8-bar bridge solo);  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

These Foolish Things   (take B)     June 11, 1940     Columbia C4K 65564  (track A26)

Ayeroff  (2005).  Complete (4-bar chord intro, 8-bar bridge solo);
          chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “These Foolish Things II.”

These Foolish Things   (breakdown)     June 11, 1940     Columbia C4K 65564  (track D14)

Note:  This take breaks down 8 bars after the intro.

Ayeroff  (2005).  Complete (4-bar chord intro);
          chords identified;  detailed analysis;
          left-hand fingering denotation (no guitar tablature);
          referred to as “These Foolish Things III.”

Till Tom Special     December 31, 1939      Vintage Jazz Classics VJC-1021-2

Spring  (1980).  Complete;  chords identified;  not annotated.

Till Tom Special     February 7, 1940     Columbia CK 40846

Antonich  (1982).  Transcribed from Fox (1964);  annotated.

Fox  (1964).  Complete;  chords identified;  annotated.

Hal Leonard  (2003a).  DVD.  Only first 16 bars of solo;  chords identified;  not annotated.

(——)  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Hansen  (1999).  Notates only the first 16 bars of the solo
          (omits the last 8 bars after the piano break);
          chords identified;  not annotated;
          with separate guitar tablature;  includes RealAudio sound-clip of solo.
          Transcribed by Marco Sabattini.

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Complete;  chords identified;  not annotated.

Topsy     May 12, 1941     Vogue 600135
                (Swing to Bop)   (Charlie’s Choice)

Antonich  (1982).  Transcribed from Ayeroff (1979),
          except first chorus until bridge (transposed back to Bbm) are from Edmonds & Prince (1958);
          annotated;  referred to as “Swing to Bop.”

Ayeroff  (1979).  Omits first chorus until bridge;  chords identified;  annotated;
          referred to as “Swing to Bop.”

(——)  (2005).  Complete except for first 2½ bars;
          chords identified;  detailed analysis;
          chord changes in CC’s solos are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Swing to Bop.”

Brown  (1990).  Notates only second chorus of first solo;  chords identified;  annotated;
          referred to as “Swing to Bop (Charlie’s Choice).”

DeVaux  (1997).  Notates only pick-up bar and first 16 bars of sixth chorus (first solo);
          chords identified;  annotated.

Downs  (2002).  Bars 9-12 of sixth chorus (first solo);  chords identified;  annotated.
          [example 2.2.2]

Edmonds & Prince  (1958).  Complete;  chords identified;  not annotated;  key of Am instead of Bbm;
          referred to as “Swing to Bop.”

Finkelman  (1993).  Notates various short fragments from the first solo as follows;
          chords identified;  annotated;  referred to as “Charlie’s Choice.”
                    chorus 2,  bars 23-24                              [example   8]
                    chorus 2,  bars 29-32;  chorus 3,  bar 1   [example 10]
                    chorus 4,  bars 23-24                              [example   9]
                    chorus 5,  bars 20-21                              [example   4]

(——)  (1997).  Notates from the first solo as follows;  chords identified;  annotated; 
          referred to as “Charlie’s Choice (Swing to Bop).”
                    chorus 3,  bars 11-12   [example 37]
                    chorus 4,  bars 17-18   [example 31]
                    chorus 5,  bars  1-5      [example 41]
                    chorus 6,  bars  8-13    [example 45b]

Hal Leonard  (2003b).  Complete;  chords identified;  not annotated;  with guitar tablature.

Jazz Hot  (1972).  Notates second and third complete choruses only;  chords identified;
          not annotated;  referred to as “Swing to Bop.”

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese);  key of Am instead of Bbm.

Mongan  (1983).  Notates only first three choruses of first solo;  chords identified;  annotated;
          notates each note as though twice its correct length (e.g. eighth-note as quarter-note);
          referred to as “Swing to Bop.”

Shinko  (2008).  Notates only bars 17-24 of the first solo, third chorus;  chords identified;
          with guitar tablature;  annotated (in Japanese).   [p.31, example 1]

Valdes  (1999).  Complete;  chords identified;  annotated;
          chord changes in CC’s solos are identified;
          with guitar tablature and left-hand fingering denotation.

Tune Up & Blues   (false start)     October 28, 1940     Columbia C4K 65564  (track D15)

Spring  (1980).  Includes 4-bar notation of the guitar solo on the “false start”
          preceding “Ad-Lib Blues” transcription;  key of E instead of Bb.

Valdes  (2001).  Complete (8 bars);  chords identified;  annotated;
          chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation;
          notated following “Ad-Lib Blues” transcription.

Untitled Tune     April 3, 1940     Columbia C4K 65564  (track A13)

Ayeroff  (2005).  Complete (12-bar solo & 4-bar interlude);
          chords identified;  detailed analysis;
          chord changes in CC’s solos are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Untitled Tune I.”

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Untitled Tune   (breakdown)     April 3, 1940     Columbia C4K 65564  (track D8)

Note:  This take breaks down before the 4-bar guitar interlude.

Ayeroff  (2005).  Complete (12-bar solo);
          chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature);
          referred to as “Untitled Tune II.”

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Valdes  (2002).  Complete (theme & 12-bar solo);  chords identified;
          annotated;  chord changes in CC’s solo are identified;
          with guitar tablature and left-hand fingering denotation.

Up on Teddy’s Hill     (see Honeysuckle Rose)

Waitin’ for Benny     March 13, 1941     Columbia CK 40846

Bell  (n.d.).  Notates only 12 bars from bar 14 of audible start of solo;  chords unidentified;
          not annotated;  referred to in text as “Wait’n.”

Way Down Yonder in New Orleans     December 24, 1939     Vanguard 169/71-2

Ayeroff  (2005).  Complete  chords identified;  detailed analysis;
          chord changes in CC’s solo are identified;
          left-hand fingering denotation (no guitar tablature).

Wholly Cats     October 28, 1940     Vintage Jazz Classics VJC-1021-2

Denny  (1995).  Complete;  chords identified;  annotated.   [pages 175-177]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 2,  bars  5-6      [example 42]
                    chorus 3,  bar    9         [example 85]
                    chorus 3,  bars 11-12   [example 68]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:
                    notates only from bar 2 of second chorus through to end of third chorus;
                    chords identified. 
          Detailed (annotated) analysis:
                    chorus 2,  bars 5-6     [example 16]
                    chorus 3,  bars 9-10   [example 55]

Wholly Cats   (take -W)     November 7, 1940     Columbia CG 30779

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Wholly Cats   (take -X)     November 7, 1940     Columbia CG 30779

Finkelman  (1997).  Notations as follows;  chords identified;  annotated.
                    chorus 1,  bars 7-8   [example 7]
                    chorus 2,  bars 5-6   [example 14]

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Extended transcription:  complete;  chords identified.   [page 164]
          Detailed (annotated) analysis:
                    chorus 1,  bars  7-8      [example   8]
                    chorus 1,  bars  9-10    [example 57]
                    chorus 1,  bars 10-12   [example 63]
                    chorus 2,  bars  5-6      [example 34]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 7-8        [example   2]
                    chorus 1,  bars 9-10      [example 36]
                    chorus 1,  bars 10-12    [example 38]
                    chorus 2,  bars 5-6        [example 25]

Wholly Cats   (take -Y)     November 7, 1940     Columbia CG 30779

Finkelman  (1997).  Notates only bars 6-8 of chorus 2;  chords identified;  annotated.   [example 24]

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Spring  (1980).  Extended transcription:  complete;  chords identified.   [page 163]
          Detailed (annotated) analysis:
                    chorus 1,  bars 6-7   [example 90]
                    chorus 1,  bars 7-8   [example 22]
                    chorus 2,  bars 4-5   [example 71]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates first chorus only;  chords identified.
          Detailed (annotated) analysis:  bars 6-7   [example 49]

Wholly Cats   (take -1)     November 7, 1940     Columbia CL 652

Berklee School of Music  (n.d.).  Complete;  chords identified;  not annotated.

Fox  (1964).  Complete;  chords identified;  annotated.

Hal Leonard  (2003b).  Reproduced from Marshall (2002).
          Complete;  chords identified;  not annotated;  with guitar tablature.

Kuboki  (1995).  Complete;  chords identified;  annotated (in Japanese).

Marshall  (2002).  Complete;  chords identified;  annotated;  with guitar tablature.

Richardson  (1996).  Notates only bars 5-6;  chords not identified;  annotated.

Schütze  (2003).  Extended transcription:  complete;  chords identified; annotated (in German).
          Detailed analysis:  chorus 2  bars 10-12   [p. 33]

Wholly Cats   (take -2)     November 7, 1940     Columbia CK 40846

Dochtermann  (2005).  Complete;  chords identified;  annotated.

Hansen  (1998).  Complete;  chords identified;  not annotated; 
          with separate guitar tablature;  includes RealAudio sound-clip of solo.

Schütze  (2003).  Complete;  chords identified;  annotated (in German).

Wholly Cats     November 19, 1940     Vintage Jazz Classics VJC-1021-2

Finkelman  (1997).  Notates only bars 2-3 of chorus 2;  chords identified;  annotated.   [example 11]

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 6-7   [example 46]
                    chorus 2,  bars 2-3   [example 29]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars 6-7   [example 29]
                    chorus 2,  bars 2-3   [example 21]

Wholly Cats     April 7, 1941     Jazz Archives JA-23

Spring  (1980).  Extended transcription:  complete;  chords identified.
          Detailed (annotated) analysis:
                    chorus 1,  bars  1-2    [example 58]
                    chorus 1,  bars 9-10   [example 52]

(——)  (1990).  Adapted from Spring (1980):
          Extended transcription:  notates first chorus only;  chords identified.
          Detailed (annotated) analysis:
                    bars 1-2     [example 37]
                    bars 5-6     [example 48]
                    bars 9-10   [example 34]

COMMENTS ON NOTATIONS OF CHARLIE CHRISTIAN’S PERFORMANCES

An important research question concerns the proportion of Christian’s solo performances which have been notated and published.  To assess this, the author counted all solo passages that have been issued on commercial recordings, defining “solo passages” to include solo choruses, introductions, obbligatos, and accompaniments.  Evensmo’s (1976) solography was used as a database, updated to include certain more recent issues.  This survey (in 1992) indicated a total of 142 solo passages, as defined above.  Of these, published transcriptions are available for 78 passages, just 55 percent.
[This bibliography has been updated substantially since the survey was taken in 1992]

Not included in this article is a cross-referenced index of all known solos, annotated to show sources of published notations and indicating solos that remain untranscribed.  Such an index is useful and has been prepared by the author.

DISCUSSION

In his analysis of Charlie Parker’s technique, Owens (1974, p. 271) suggests that the literature of jazz contains little technical discussion of the style of individual performers.  For example, it is difficult, Owens notes, to find any documentation of the favorite melodic phrases used by a jazz soloist.  Similarly, Spring (1980) observed that there had been no detailed study of the style of Charlie Christian.  Certainly there are a number of brief discussions of his improvisational style, including the sleeve notes by Al Avakian and Bob Prince on Columbia CL 652, annotations to the transcriptions in Fox (1964), an interesting analysis (mainly of the rhythmic features) of the “Seven Come Eleven” solo by Collier (1981) (but without any notations), and Schuller’s (1989) more recent analysis.  Spring (1980) provides the first extended study of Christian, including the largest single collection of published solo transcriptions.

The body of transcriptions identified here is a resource, which may save much of the laborious task of transcribing for future research, and should serve as the basis for further studies of his technique.  As of 1992, some 233 solo notations, and 49 published sources were identified here [the bibliography has been updated since then].  One of the major problems in this task has been in locating material, most of which is published in books or collections of transcriptions and thus cannot be found by computerized literature searches or in most catalogues.  This is clearly a significant issue for information scientists and librarians.

Although this study focuses on published notations, we should note that Leo Valdes of El Paso, Texas, has transcribed all of Charlie Christian’s solos, obbligatos, riffs, and introductions in standard notation as well as tablature format.  Also, Patrick Zemb of Lorient, France, has notated the bulk of Christian’s recorded legacy.

Boukas, R. (1977).  Jazz Riffs for Guitar.  New York:  Amsco.

Callis, J.  (1978).  Charlie Christian 1939-1941:  A Discography.   London:  Tony Middleton.

Collier, J. L. (1978).  The Making of Jazz.  Boston:  Houghton Mifflin.

Downs, C. G. (1986, Jan.).  “Charlie Christian:  A Guide to Published Solo Transcriptions.”  Names & Numbers, 3, pp. 15-17.

Downs, C. G. (1989).  “An Annotated Bibliography of Eric Dolphy Solo Transcriptions.”  Jazz Research / Jazzforschung, 21, pp. 49-54.

Evensmo, J. (c. 1976).  The Guitars of Charlie Christian, Robert Normann, Oscar Aleman.  Oslo:  Author.

Gridley, M. C. (1978).  Jazz Styles.  Englewood Cliffs:  Prentice-Hall.

Jazz Hot  (1972, May).  “Joe Viera:  Bibliographie,” p. 81.

Koger, T. S. (1985).  “Fifty Years of Down Beat Solo Jazz Transcriptions:  A Register.” Black Music Research Journal, pp. 43-79.

Owens, T. (1974).  Charlie Parker:  Techniques of Improvisation.  Ph.D. Dissertation, University of California.

Summerfield, M. J. (1978).  Jazz Guitar:  Its Evolution and Its Players.   Gateshead, England:  Ashley Mark.

Valdes, Leo  (1995).  Solo Flight:  The Charlie Christian Newsletter   Number 1.  El Paso, Texas:  Author.

Valdes, Leo  (1996).  Solo Flight:  The Charlie Christian Newsletter   Number 2.  El Paso, Texas:  Author.

Valdes, Leo  (1997).  Solo Flight:  The Charlie Christian Newsletter   Number 3.  El Paso, Texas:  Author.

Voigt, J. (1978).  Jazz Music in Print.  (2nd ed.).  Boston:  Hornpipe Music.

Internet site:

Hansen, Garry  (1997).  Charlie Christian:  Legend of The Jazz Guitar  ( http://www3.nbnet.nb.ca/hansen/Charlie/main.htm ).

Valdes, Leo  (1998).  Solo Flight:  The Charlie Christian Web Site  ( http://home.elp.rr.com/valdes/ ).

COMPACT DISCS

Charlie Christian • Volume 1 • 1939.     Masters of Jazz  MJCD 24.

Charlie Christian • Volume 2 • 1939.     Masters of Jazz  MJCD 29.

Charlie Christian • Volume 3 • 1939-1940.     Masters of Jazz  MJCD 40.

Charlie Christian • Volume 4 • 1940.     Masters of Jazz  MJCD 44.

Charlie Christian • Volume 5 • 1940.     Masters of Jazz  MJCD 67.

Charlie Christian • Volume 6 • 1940-1941.     Masters of Jazz  MJCD 68.

Charlie Christian • Volume 7 • 1941.     Masters of Jazz  MJCD 74.

Charlie Christian • Volume 8 • 1941.     Masters of Jazz  MJCD 75.

Charlie Christian • Volume 9 • 1939-1941.     Masters of Jazz  MJCD 189.

Charlie Christian:  The Genius of the Electric Guitar.     Columbia  C4K 65564.

Charlie Christian:  The Genius of the Electric Guitar.     Columbia  CK 40846.

The Benny Goodman Sextet featuring Charlie Christian • 1939-1941.     Columbia  CK 45144.

Solo Flight — Charlie Christian with the Benny Goodman Sextet.     Vintage Jazz Classics  VJC-1021-2.

Charlie Christian — Air-Checks and Private Recordings.     Suisa  JZCD 379.

Charlie Christian / Dizzy Gillespie — 1941 Historical Performances.     Vogue  600135.

Edmond Hall — Profoundly Blue.     Blue Note  21260 2.

From Spirituals to Swing.     Vanguard  169/71-2.

From Spirituals to Swing.     Vanguard  VCD2-47/48.

Jerry Jerome — Something Old, Something New.     Arbors   ARCD 19168.

The Lionel Hampton All Star Sessions, Vol. 2:  Hot Mallets.     Avid  AMSC 612.

Camel Caravan Shows • 14 October 1939 & 28 October 1939.     Jazz Band  EBCD 2138-2.

LP RECORDS

Charlie Christian with the Benny Goodman Sextet and Orchestra.     Columbia  CL 652.

Charlie Christian • Live • with Benny Goodman and the Sextet • 1939-1941.     Jazz Archives  JA-23.

Carnegie Hall Jazz Concerts • October 1939.     Collector’s Classics  CC 18.

Eddy Howard.     Columbia  CL 6067.

The Rehearsal Sessions — Benny Goodman • 1940.     JazzDocument   va-7997.

Solo Flight — The Genius of Charlie Christian.     Columbia  CG 30779.

ACKNOWLEDGEMENTS

I am grateful to the following people who have been most helpful in supplying information and giving access to certain publications:  Judith Barnes, Christopher Beeston, Thierry Bruneau, Gary Carner, Lubomír Doruzka, Mark Gridley, Nancy Huntress, Wolfram Knauer, Elisabeth Kolleritsch, John Kuzmich Jr., Ivor Mairants, Thomas Owens, Jack Petersen, Dennis Schütze, Howard Spring, Maurice Summerfield, Mike Sutcliffe, Fred Turco, Leo Valdes, Martin Williams, and Patrick Zemb.  In particular, I am indebted to Gail L. Freunsch and the Music Specialist staff of The Library of Congress for their patient assistance and to the staff of Reading Public Libraries for their continued help.

Also I am grateful to my reviewers and to Leo Valdes for their helpful comments and suggestions on earlier drafts of the paper.
For her tolerance and support, I am indebted to Maureen Stallard.

Clive.Downs@reading.gov.uk