INTRODUCTION

I hope this bibliography will be useful for anyone researching Charles “Charlie”
Christian as, to my knowledge, no comprehensive bibliography has ever been
published. My division into biographical, discographical and other categories is
somewhat arbitrary, as many sources contain elements of each type of information.

Many of the items have been reprinted in various forms over the years, but rather
than listing each version, I have given only an example for each. The information
provided should allow the researcher to locate either the version given, or a more
accessible alternative. Also I have indicated various items that are as yet
unpublished, or whose existence could not be verified, if they seemed of interest.

I have carried out a computerized literature search at the British Library in

London, have checked bibliographies, and searched the Internet in the attempt to
locate information. However, I am sure there will be omissions, particularly in
the non-English speaking literature, and I hope it will be possible to update the
bibliography in the future.

In the main, encyclopedias of jazz and blues, many of which have an entry on
Christian, are excluded; this is partly because these entries tend to recycle
primary source material, and also because I do not think I can provide a
comprehensive list of them all. (This is not to say that some of them do not
present some interesting opinions and assessments of Christian’s work). An
exception is where an encyclopedia provides information that is not available
elsewhere. Also excluded are most published notations of solos since these are
listed in a separate bibliography (see below at “Bibliographic Resources”). Record
reviews, except some which are of special interest, again are too numerous to deal
with comprehensively and so have been excluded. Certain items (e.g., an oral
history by Mary Lou Williams), although containing nothing on CC, have been covered
because it may be useful to alert other researchers to the fact that they seem
promising but in the event lack any information on CC.

No critical evaluation is offered of the sources, and each is given approximately

the same length entry, except that I have tried to give a longer, six line
description for those which appear to provide first hand accounts of key events and
biographical episodes.

1. BIOGRAPHICAL AND HISTORICAL

Allen, W. C. (1974). “Hendersonia: The Music of Fletcher Henderson and His

Musicians.”
Highland Park, New Jersey: Author.

“Bio-discography” of Fletcher Henderson which includes some excerpts of rarely

quoted reviews and comment on CC from contemporary periodicals, chronology of
engagements for Benny Goodman’s band from June 1939 to January 1941 (i.e., covering
most of CC’s tenure), discography, and photographs (including a rare one of CC).
Arnold, Anita G. (1994). “Charlie and the Deuce.” Oklahoma City: Black
Liberated Arts Center.

Booklet with reminiscences by Margretta Downey (mother of CC’s only child) and
Billie Johnson (CC’s daughter) about CC and his early life; many photographs,
including several taken from the LeoValdes collection; history of Second Street –
“the deuce” – (site of venues where CC’s early band played) and the musical culture
of Oklahoma City in that era. Billie’s account mentions her collection of
newspaper cuttings and chronology of CC’s engagements, and details are given of
some of the locations where CC played throughout his career.

(——) (1995). “Legendary Times and Tales of Second Street.” Oklahoma City: Black
Liberated Arts Center.

Booklet sketching the history of Second Street in Oklahoma City, its commercial
history, and entertainment and musical venues. Includes some photographs of CC
taken from Leo Valdes’ collection, and biographical material, some drawn from
Ellison (1953.).

(——) (ed.) (1995). “Charlie Christian Photo Collection.” Oklahoma City: Black
Liberated Arts Center.

Booklet with forty-seven photographs taken from the collection of Leo Valdes.
Also reprinted articles: “The Advent of Charlie Christian” (John Hammond), “The
Charlie Christian Story” (Ralph Ellison), and “Guitarmen, Wake Up and Pluck”
(Charlie Christian).

Balliett, Whitney. (1972). “Jazz Records” column. The New Yorker. May 20. pp.
127-134.

Short biography and record review, also includes a report of Mary Lou Williams
playing with CC in Oklahoma City, discussing with him the offer to join Goodman,
their practising together at Dewey Square hotel when she visited New York, and his
playing classical guitar (e.g., “Rhapsody in Blue”) on those occasions; mentions
also some comments by CC on playing with Goodman.

Bechtel, Brad. (1998). “Brad’s Page of Steel.” Internet site:

http://www.well.com/.
[site last updated 1998; reviewed March 2001]

Reports that steel-guitarist Noel Boggs, b. Oklahoma City, 1917, and member of many
well-known Western Swing bands, was a close friend of CC. Notes that Boggs
arranged some of CC’s solos for three guitars.
[The source for this information is believed to be an interview with Boggs
published in the 1970s by Guitar Player magazine.]

Blesh, Rudy. (1971). “Combo: USA.” Philadelphia: Chilton. Ch. “Flying Home.”
pp. 162-186.
Describes the musical culture of Oklahoma City at the time of CC’s childhood, and
his early musical development, with excerpts from an interview with Ralph Ellison.
Recounts jam sessions at Hallie’s shoeshine parlor where CC and other local
musicians jammed with players from Al Trent’s orchestra and other territory bands,
and how in the mid-30’s CC joined Trent’s sextet on bass. An account of his later
career and recordings with Benny Goodman, Lionel Hampton, and at Minton’s is given,
based upon other sources cited here.

van der Bliek, Rob (ed.) (2001). “The Thelonious Monk Reader.” Oxford University
Press.

[see Sales (2001) and Hoefer (2001)]

Blumenthal, Bob. (1980). “Charlie Christian.” Musician, October. pp. 66-67.

Records CC’s first professional job as playing bass with Al Trent. States he led
his own band in Oklahoma City in 1937, when he started to play electric guitar. CC
cited Clarence Love’s guitarist “Jim Daddy” Walker as his inspiration. Relates his
return to Al Trent, meeting with Oscar Pettiford, and possible stint with Jeter-
Pillars, also his stay at the Hotel Cecil (location of Minton’s) when with Goodman.

Boyd, Jean Ann. (1998). “The Jazz of the Southwest: An Oral History of Western
Swing.”
Austin: University of Texas. pp. 101, 201-202.

Reviews CC’s role in the development of jazz guitar in the Southwest. In a chapter
on the rhythm section, Clarence Buell Cagle of Oklahoma City recalls learning jazz
piano in jam sessions with CC and brother Eddie. At one time, he was working for
several months next door to CC and they would jam together during breaks. Eldon
Shamblin tells of listening to CC playing in Oklahoma City clubs [cf. Townsend,
1976].

Broadbent, Peter. (1997). “Charlie Christian.” Newcastle-upon-Tyne: Ashley

Mark.

Biographical account with chronology, selective discography (with cross referenced

album and title indexes), new interviews of musicians with first-hand accounts of
CC (including Kenny Clarke, Al Casey, John Collins, Nick Fatool, Benny Garcia,
Jerry Jerome, Al Viola, et al), short biographies of contemporaries, reproductions
of album covers and details of published notations. Also includes chapter on the
guitars and amplifiers used by CC. Details splicing on issued versions of
“Breakfast Feud,” “Good Enough to Keep” and others.

(——) (2002). “His Life.” In: Booklet accompanying CD box set:

“Charlie Christian: The Genius of the Electric Guitar.” Columbia C4K
65564.

A review of CC’s early life, family, education, and career, drawing upon familiar
sources but also supplemented with original research, including material from the
“Black Dispatch.” The account includes details of his engagements in 1931-1934 in
Oklahoma City, those with his own band in 1939, and further appearances in 1940 in
that city.