Charlie Christian

Charles Henry Charlie Christian (July 29, 1916 In a 1978 interview with Charlie Christian biographer
March 2, 1942) was an American swing and jazz guitarist. Craig McKinney, Clarence Christian said that in the
1920s and '30s Edward Christian led a band in Oklahoma
Christian was an important early performer on the electric
guitar, and a key gure in the development of bebop and City as a pianist and had a shaky relationship with trumpeter James Simpson. Around 1931, he took guitarist
cool jazz. He gained national exposure as a member of
the Benny Goodman Sextet and Orchestra from August Bigfoot Ralph Hamilton and began secretly schooling
the younger Charles on jazz. They taught him to solo on
1939 to June 1941. His single-string technique, combined with amplication, helped bring the guitar out of three songs, "Rose Room", "Tea for Two", and "Sweet
the rhythm section and into the forefront as a solo instru- Georgia Brown". When the time was right they took him
ment. John Hammond[1] and George T. Simon[2] called out to one of the many after-hours jam sessions along
Christian the best improvisational talent of the swing era. "Deep Deuce", Northeast Second Street in Oklahoma
In the liner notes to the 1972 Columbia album Solo Flight: City.
Let Charles play one, they told Edward. Ah, nobody
wants to hear them old blues, Edward replied. After
some encouragement, he allowed Charles to play. What
do you want to play?" he asked. All three songs were big
in the early 1930s and Edward was surprised that Charles
knew them. After two encores, Charles had played all
three and Deep Deuce was in an uproar. He coolly dismissed himself from the jam session, and his mother had
heard about it before he got home.[7]

The Genius of Charlie Christian, Gene Lees writes that,

Many critics and musicians consider that Christian was
one of the founding fathers of bebop, or if not that, at
least a precursor to it.[3]

Christians inuence reached beyond jazz and swing. In

1990, he was inducted into the Rock and Roll Hall of
Fame. Christian was raised in Oklahoma City and was
one of many musicians who jammed along the citys
"Deep Deuce" section on N.E. Second Street. In 2006
Oklahoma City renamed a street in its Bricktown enter- Charles fathered a daughter, Billie Jean Christian, born
tainment district Charlie Christian Avenue.
December 23, 1932, by Margretta Lorraine Downey of
Oklahoma City, Oklahoma. They never married. Billie
Jean (Christian) Johnson died 19 July 2004.[8]

Charles soon was performing locally and on the road

throughout the Midwest, as far away as North Dakota
and Minnesota. By 1936 he was playing electric guitar
and had become a regional attraction. He jammed with
many of the big name performers traveling through Oklahoma City including Teddy Wilson and Art Tatum. It
was Mary Lou Williams, pianist for "Andy Kirk and His
Clouds of Joy", who told record producer John Hammond
about Charlie Christian.[9]

Early Life

Christian was born in Bonham, Texas, but his family

moved to Oklahoma City, Oklahoma when he was a
small child. His parents were musicians and he had two
brothers, Edward, born in 1906, and Clarence, born in
1911. All three sons were taught music by their father,
Clarence Henry Christian. Clarence Henry was struck
blind by fever, and in order to support the family he and
the boys would work as buskers, on what the Christians
called busts. He would have them lead him into the better neighborhoods where they would perform for cash or 2 National Fame
goods. When Charles was old enough to go along, he rst
entertained by dancing.[4] Later he learned guitar, inher- In 1939, Christian auditioned for John Hammond,
iting his fathers instruments upon his death when Charles who recommended him to bandleader Benny Goodman.
was 12.[5]
Goodman was the fourth white bandleader to feature
He attended Douglass School in Oklahoma City, and black musicians in his live band: the rst was Jimmy
was further encouraged in music by instructor Zelia N. Durante, for whom Achille Baquet, a light-skinned black
Breaux. Charles wanted to play tenor saxophone in the clarinetist who could pass as white, played and recorded
school band, but she insisted he try trumpet instead.[5] in Durantes Original New Orleans Jazz Band (1918
Because he believed playing the trumpet would disgure 1920); the second was violinist Arthur Hand, who led
his lip, he quit to pursue his interest in baseball, at which the California Ramblers, which from 1922-1925 included
he excelled.[6]
light-skinned black trumpeter Bill Moore, who was billed
1

3 STYLE AND INFLUENCES

that year Goodman led a sextet with Charlie Christian,
Count Basie, longtime Duke Ellington trumpeter Cootie
Williams, former Artie Shaw tenor saxophonist Georgie
Auld and later drummer Dave Tough. This all-star band
dominated the jazz polls in 1941, including another election to the Metronome All Stars for Christian. Johnny
Guarnieri, who replaced Fletcher Henderson in the rst
sextet, lled the piano chair in Basies absence.
In 1966, 24 years after his death, Christian was inducted
into the Down Beat Jazz Hall of Fame. In 1989, Christian
became one of the rst inductees into the Oklahoma Jazz
Hall of Fame.

Benny Goodman on clarinet

3 Style and Inuences

as The Hot Hawaiian. The third was Ben Bernie, whose

band from 1925-1928 also featured Bill Moore. Goodman became the fourth by bringing Teddy Wilson in on
piano in 1935, and Lionel Hampton on vibraphone in
1936. Goodman hired Christian to play with the newly
formed Goodman Sextet in 1939. It has been often stated
that Goodman was initially uninterested in hiring Christian because the electric guitar was a relatively new instrument. Goodman had been exposed to the instrument
with Floyd Smith and Leonard Ware among others, none
of whom had the ability of Christian. There is a report of Goodman unsuccessfully trying to buy out Floyd
Smith's contract from Andy Kirk. However, Goodman
was so impressed by Christians playing that he hired him
instead.[10]
There are several versions of the rst meeting of Christian and Goodman on August 16, 1939. The encounter
that afternoon at the recording studio had not gone well.
Christian recalled in a 1940 Metronome magazine article,
I guess neither one of us liked what I played, but Hammond decided to try againwithout consulting Goodman. (Christian says Goodman invited him to the show
that evening.)[11] He installed Christian on the bandstand
for that nights set at the Victor Hugo restaurant in Los
Angeles. Displeased at the surprise, Goodman called
Rose Room, a tune he assumed Christian would be unfamiliar with. Unknown to Goodman, Charles had been
reared on the tune, and he came in with his rst chorus
of about twenty, all of them dierent, all unlike anything
Goodman had heard before. That version of Rose Room
lasted forty minutes. By its end, Christian was in the
band. In the course of a few days, Christian went from
making $2.50 a night to $150 a week.[12]
Christian was placed in Goodmans new sextet, which included Lionel Hampton, Fletcher Henderson, Artie Bernstein and Nick Fatool. By February 1940 Christian dominated the jazz and swing guitar polls and was elected to
the Metronome All Stars. In the spring of 1940 Goodman let most of his entourage go in a reorganization
move. He retained Charlie Christian, and in the fall of

The Gibson ES-150 was the rst electric guitar played by Charlie
Christian.

Christians solos are frequently referred to as horn-like,

and in that sense he was more inuenced by horn players

3
such as Lester Young and Herschel Evans[13] than by early
acoustic guitarists like Eddie Lang and jazz/bluesman
Lonnie Johnson, although they both had contributed to
the expansion of the guitars role from rhythm section
instrument to a solo instrument. Christian admitted he
wanted his guitar to sound like a tenor saxophone.[14]
French gypsy jazz guitarist Django Reinhardt had little inuence on Christian, but he was obviously familiar
with some of his recordings.[15] Guitarist Mary Osborne
recalled hearing him play Djangos solo on "St. Louis
Blues" note for note, but then following it with his own
ideas.[15] By 1939 there had already been electric guitar soloistsLeonard Ware, George Barnes, trombonist/composer (Topsy) Eddie Durham had recorded with
Count Basie's Kansas City Six, Floyd Smith recorded
Floyds Guitar Blues with Andy Kirk in March 1939,
using an amplied lap steel guitar, and Texas Swing pioneer Eldon Shamblin was using amplied electric guitar
with Bob Wills.

ing multiple solos, Christian shows much the same improvisational skills later captured on the Mintons and
Monroes recordings in 1941, suggesting that he had already matured as a musician.[19] The Minneapolis recordings include "Stardust", "Tea for Two", and "I've Got
Rhythm", the latter a favorite piece of bop composers and
jammers.

Guitarists who followed Christian and who were inuenced by him include Oscar Moore (Nat King Cole trio),
Les Paul, Tiny Grimes, Barney Kessel, George Benson,
Herb Ellis, Jimmy Raney, Tal Farlow, Kenny Burrell,
Grant Green, Wes Montgomery, and Jim Hall. Tiny
Grimes, who made several records with Art Tatum, can
often be heard quoting Christian note-for-note.

An even more striking example is a series of recordings

made at Mintons Playhouse, an after-hours club located
in the Hotel Cecil at 210 West 118th Street in Harlem
by Columbia student Jerry Newman on a portable disk
recorder in 1941. Newman captured Christian, accompanied by Joe Guy on trumpet, Kenny Kersey on piano
and Kenny Clarke on drums,[20] stretching out far beyond
what the connes of the 78 RPM record would allow. His
work on Swing to Bop, a later Esoteric Records company
re-title of Eddie Durhams Topsy, is an example of what
Christian was capable of creating o the cu.

More of the unrestrained Christian is apparent in recordings of the partial Goodman Sextet made in March 1941.
With Goodman and bassist Artie Bernstein absent, Christian and the rest of the Sextet recorded for nearly 20 minutes as the engineers tested equipment. Two recordings
were released from that session years later: Blues in B and
Waiting for Benny, which showed hints of bop jam sessions. The free ow of these sessions contrasts with the
more formal swing music recorded after Goodman had
arrived at the studio. Other Goodman Sextet records that
foretell bop are Seven Come Eleven (1939) and Air
Mail Special (1940 and 1941).

Christian paved the way for the modern electric guitar sound that was followed by other pioneers, including T-Bone Walker, Eddie Cochran, Cli Gallup, Scotty
Moore, Franny Beecher, B.B. King, Chuck Berry, Carlos
Santana and Jimi Hendrix. For this reason Christian was His use of tension and release, a technique employed by
inducted in 1990 into the Rock and Roll Hall of Fame.[16] Lester Young, Count Basie[21] and later bop musicians, is
Christians exposure was so great in the brief period he also present on Stompin' at the Savoy, included among
played with Goodman that he inuenced not only gui- the Newman recordings. The collection also includes
tarists, but other musicians as well. The inuence he recordings made at Clark Monroes Uptown House, anhad on Dizzy Gillespie, Charlie Parker, Thelonious other late-night jazz haunt in the Harlem of 1941 that inMonk and Don Byas can be heard on their early "bop" clude Oran Hot Lips Page. Other recordings include
recordings Blue'n Boogie and "Salt Peanuts". Other tenor sax man Don Byas. The Mintons recordings were
musicians, such as trumpeter Miles Davis, cite Chris- long rumored to feature Dizzy Gillespie and Thelonious
tian as an early inuence. Indeed, Christians new Monk, but that has since been proven untrue, although
sound inuenced jazz as a whole. He reigned supreme in both were regulars at the jam sessions, with Monk a regthe jazz guitar polls up to two years after his death.[17] ular in the Mintons house band.[20]
Earth/Black Sabbaths rst manager Jim Simpson de- Kenny Clarke claimed that Epistrophy and Rhythm-ascribes the bands rst song, A Song for Jim as an ab- Ning were Charlie Christian compositions that Christian
solute Charlie Christian takeo.[18]
played with Clarke and Thelonious Monk at Mintons jam
sessions. The Rhythm-a-ning line is heard on Down on
Teddys Hill, and behind the introduction on Guys Got To
from the Newman recordings, but it is also a line from
4 Bebop and Mintons Playhouse Go
Mary Lou Williams' Walkin' and Swingin'.
Charlie Christian was an important contributor to the
music that became known as bop or "Bebop". Private recordings made in September 1939 in Minneapolis,
Minnesota by Goodman acionado Jerry Newhouse capture the newly hired Christian while on the road with
Goodman and feature Goodman tenor sax man Jerry
Jerome and then local bass man Oscar Pettiford. Tak-

Clarke said Christian rst showed him the chords to

Epistrophy on a ukulele.[22] These recordings have been
packaged under a number of dierent titles, including
After Hours and The Immortal Charlie Christian. While
the recording quality of many of these sessions is poor,
they show Christian stretching out much longer than he
could on the Benny Goodman sides. On the Mintons and

6 DISCOGRAPHY
1994. The location of the historical marker and headstone was disputed and in March 2013, Fannin County,
Texas, recognized that the marker was in the wrong spot
and that Christian is buried under the concrete slab.[28]

6 Discography

Charlie Christian Avenue in Oklahoma City, Oklahoma

Monroes recordings, Christian can be heard taking multiple choruses on a single tune, playing long stretches of
melodic ideas with ease.[23]
Christian was just as adept with understatement as well.
His work on the Goodman sextet sides Soft Winds, Till
Tom Special, and A Smo-o-o-oth One, show his use of
very few, well placed melodic notes. His work on the
Sextets recordings of ballads Stardust, Memories of You, Proposed grave site for Charlie Christian at Gates Hill Cemetery,
Bonham, Texas
Poor Buttery, I Surrender Dear and On the Alamo as well
as his work on Profoundly Blue with the Edmond Hall Celeste Quartet (1941) show hints of what was later called
cool jazz.[21][24] Although credited for very few, Chris6.1 As leader
tian composed many of the original tunes recorded by the
Benny Goodman Sextet.[25]
Although Christian never recorded professionally as a
leader, compilations have been released of his sessions as
a sideman where he is a featured soloist, of practice and
warm-up recordings for these sessions, and some lower5 Health and Death
quality recordings of Christians own groups performing
in nightclubs, by amateur technicians.[29]
[26]
In the late 1930s Christian had contracted tuberculosis
and in early 1940 was hospitalized for a short period
in which the Goodman group was on hiatus due to
Goodmans back trouble. Goodman was hospitalized
in the summer of 1940 after the bands brief stay at
Santa Catalina Island, California, where the group stayed
when on the west coast.[22] Christian returned home to
Oklahoma City in late July 1940 before returning to New
York City in September 1940. In early 1941, Christian
resumed his hectic lifestyle, heading to Harlem for latenight jam sessions after nishing gigs with the Goodman
Sextet and Orchestra in New York City. In June 1941 he
was admitted to Seaview, a sanitarium on Staten Island in
New York City. He was reported to be making progress,
and Down Beat magazine reported in February 1942 that
he and Cootie Williams were starting a band.[27]
After a visit that same month to the hospital by tap dancer
and drummer Marion Joseph Taps Miller, Christian declined in health and died March 2, 1942. He was 25 years
old. He was buried in an unmarked grave in Bonham,
Texas, and a Texas State Historical Commission Marker
and headstone were placed in Gates Hill Cemetery in

Electric (Uptown Records, 2011, UPCD27-63),

with the Benny Goodman Sextet and the Charlie
Christian Quartet
Charlie Christian with the Benny Goodman Sextet
and Orchestra (Columbia lp CL652-195?)
Solo Flight: The Genius of Charlie Christian
(Columbia, 1972)
Solo Flight (live performances as member of the
Benny Goodman Sextet, Vintage Jazz Classics,
2003)
Genius of the Electric Guitar (Columbia, 19391941
recordings)
Guitar Wizard (LeJazz, 1993 Charly Holdings Inc.)
Live At Mintons Playhouse 1941

6.2

As sideman

With Dizzy Gillespie

The Complete RCA Victor Recordings (Bluebird,
19371949 [1995])
Appearances on recordings by Ida Cox, Benny Goodman,
Lionel Hampton, Fred Astaire, Eddy Howard, Edmond
Hall, Metronome All Stars 1940-1941, Kansas City Six
with Buck Clayton and Lester Young, Helen Forrest.

[14] Amy Lee, Charlie Christian Wanted to Play Hot Tenor!",

1940, Metronome
[15] Leonard Feather, Inside Jazz
[16] Rock and Roll Hall of Fame inductee. Rockhall.com.
Retrieved 2012-03-02.
[17] Wayne Goins and Craig McKinney, A Biography of Charlie Christian: Jazz Guitars King of Swing, pp. 327-28
[18] Black Sabbath FAQ, Martin Popo; Backbeat Books,
2011.
[19] Columbia G 30779

Filmography
2005 Solo Flight: The Genius of Charlie Christian
2007 Charlie Christian- The Life & Music of the Legendary Jazz Guitarist (Grossman Guitar Workshop)

Notes

[1] Hammond, John; Townsend, Irving. John Hammond on

Record: An Autobiography. New York: Ridge Press,
1977. ISBN 0-671-40003-7
[2] George T. Simon The Big Bands November 1971 ISBN
0-02-872430-5
[3] Solo Flight: The Genius of Charlie Christian, Columbia
G 30779
[4] Wayne Goins and Craig McKinney, A Biography of
Charlie Christian: Jazz Guitars King of Swing pp. 7
[5] Amy Lee, Charlie Christian Tried to Play Hot Tenor!"
Metronome, 1940

[20] Leo Valdes. Home.roadrunner.com. Retrieved 201203-02.

[21] Centlivre, Kevin Revisiting Charlie Christian"".
Blogs.myspace.com. 2009-04-16. Retrieved 2012-0302.
[22] Peter Broadbent, Charlie Christian, Solo Flight - The
story of the Seminal Electric Guitarist
[23] Spring, Howard (1980) The Improvisational Style of
Charlie Christian
[24] World Book Encyclopedia, Article Jazz
[25] Chris Albertson, liner notes Columbia G 30779
[26] Wayne Goins and Craig McKinney, A Biography of
Charlie Christian: Jazz Guitars King of Swing pp. 344
[27] Wayne Goins and Craig McKinney, A Biography of Charlie Christian: Jazz Guitars King of Swing, pp. 327
[28] Burial Info for - Charles Christian. TXFannin. Retrieved 2014-03-16.
[29] Liner notes from Columbia Records G 30779

[6] Wayne Goins and Craig McKinney, A Biography of

Charlie Christian: Jazz Guitars King of Swing pp. 12-15
[7] Wayne Goins and Craig McKinney, A Biography of
Charlie Christian: Jazz Guitars King of Swing pp. 18-20
[8] Wayne Goins and Craig McKinney, A Biography of
Charlie Christian: Jazz Guitars King of Swing pp. 20,
399
[9] Laurie E. Jasinski, Charles Henry Christian, ''The
Handbook of Texas' (Online)". Tshaonline.org. Retrieved 2012-03-02.
[10] Wayne Goins and Craig McKinney, A Biography of Charlie Christian: Jazz Guitars King of Swing, p. 137
[11] Amy Lee, Charlie Christian Tried to Play Hot Tenor!",
Metronome, 1940

9 References
Broadbent, Peter (2002) Charlie Christian, Solo
Flight - The story of the Seminal Electric Guitarist
ISBN 978-1-872639-21-5 Hal Leonard, pub.
Centlivre, Kevin (1994) Interview with Jerry
Jerome
Centlivre, Kevin (1999) Revisiting Charlie Christian
Feather, Leonard (reprinted 1977) Inside Jazz Da
Capo, pub. ISBN 0-306-80076-4

[12] Liner notes Solo Flight: The Genius of Charlie Christian, Columbia 30779

Goins, Wayne E. and McKinney, Craig (2005) A Biography of Charlie Christian, Jazz Guitars King of
Swing ISBN 0-88946-426-X

[13] Wayne Goins and Craig McKinney, A Biography of Charlie Christian: Jazz Guitars King of Swing, pp. 369, 373374

Lee, Amy (1940) Charlie Christian Tried to Play

Hot Tenor!" Metronome

10
McKinney, Craig Charles Christian: Musician
Savage, William W., Jr. (1983) Singing Cowboys
and All That Jazz: A Short History of Popular Music
in Oklahoma University of Oklahoma Press, Norman, Oklahoma, pp. 4851, ISBN 0-8061-1648-X
Spring, Howard (1980) The Improvisational Style of
Charlie Christian York University
Valdes, Leo (1997) Solo Flight: The Charlie Christian Newsletter Leo Valdes, pub.

10

External links

Charlie Christian Photo Gallery

Charlie Christian at the Rock and Roll Hall of Fame
Encyclopedia of Oklahoma History and Culture Christian, Charlie
Deep Deuce History and photos
Charlie Christian Memorial at Find-a-Grave
Charlie Christian, a biography by C.J Shearn

EXTERNAL LINKS

11
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