In the summer of 1941 he suffered a relapse and was taken to Bellevue Hospital. During most of his life, Charlie suffered from tuberculosis. Participating musicians as Kenny Clarke, Charlie parker, Thelonius Monk and,Dizzy Gillespie. There his ideas helped the evolution of a new jazz style which came to be known as be-bop and later "modern j azz".Thiswas the collective creation of such other All were recorded with Benny Goodman's small groups except for "solo Flight" which was done with the big band.Īfter hours Charlie played at jam sessions in small Harlem clubs. It was during this time that the recordings tran. I really think he is one of the most terrific musicians that hasįor the next two years charlie played dance dates and theatre engagements with Goodman's band. He introduced Charlie on the sextet number, "Flying Home" saying, The next month, Benny played his second Carnegie Hall concert. charlie came to New York with the Goodman band in sept. With the band, he seemed to bring out a new excitement in Benny,s playing. When he came back, there was charlie, and one performer reports that they played "Rose Room", and played Moved Charlie's amplifier onto the stand. However, at a performance that night while Benny was offstage, friends The sight was too much for Benny who immediate. Ing "a ten gallon hat, pointed yellow shoes, a bright green suit with a purple shirt, and a string bowtie". It is reported that Charlie arrived for the meeting wear. John Hammond heard charlie, and eventually persuaded Benny Goodman to give him a try. Rhythmically, and harmoni-Ĭally, his ideas were suggestive of what later became known as be-bop.
Harmonically he was able toĮxperiment with the more advanced harmonies and create his own improvisations around some of the better standard tunes. Truly, this was an innovation in jazz.Ĭharlie stayed with Trent for about two more years playing his solos with an utterly relaxed even beat mainly in 8th notes. Looking around she realized that the sound was produced by Charlie playing single line solos on his electric guitar,Īnd voicing them like a horn. She related that at firstĭistorted by the amplifying system.
In was around this time that Mary Osborne entered a club in Bismark, North Dakota. Monic effects that were completely new in jazz. His single string guitar with the trumpet and tenor sax for the three part har. Back with Al Trent's band, he toured throughout the south and middle west. I never in my life heard a guy learn the guitar faster than he did."īy 1939 Charlie was the talk of the midwest. Eddie reports,ĭollar guitar he (Charlie) had. Lunceford's band who doubled on the guitar, and "Jim Daddy" walker are credited with interesting Charlie in the guitar. charlie was born in Dallas in 1919, raised in oklahoma, and by 1934 was playing the bass with Alphonso Trent. At first a tin resonator was tried, and in 1937 electric amplifi-Ĭation became practical for the Spanish guitar. Furthennore, in the big swing band era, the subdued tones of the guitar were ineffectual except for rhythm playing. His guitar style was able to hold its own playing with and against trumpets, trombones, clari-Īlthough Eddie Lang had developed a solo guitar technique in the early 30's, his single string lines were really more of an adjunct to his chords than an
Rhythm section into its present role as an exciting solo voice. Charlie brought the instrument out of its traditionally accepted place in the On the New York r.eoi, he revolutionized the concept of jazzguitar playing. In a brief span of approximately three years ".""il::l*?fiiJxxtilriii"tffi ance Infringers are liable under the law.ĬHARLIE CHRISTIAN Charlie Christian's influence on the developmentof jazzis indisputable, and in its own way, incomparable. LErn*ii*i*ctrwron f 7 f 7 W6t ElrenMnd noad SJ2Ĭopyright 1964, 1988 REGENT MUSIC CORPORATION THE GOODilAN GROUP Music Publishers New York, Nsw York T2 GONE WITH "WHAT'' WIND I4 AIR MAIL SPECIAL 18
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