(1981). “John Hammond: On Record.” Harmondsworth: Penguin. pp.

223-228, 231-
233.

This article covers similar events to Hammond (1966).

(——) (1982). “On Charlie Christian: John Hammond.” Guitar Player, March.

This article also covers similar ground to Hammond (1966).

Hampton, Lionel, with James Haskins. (1989). “Hamp: An Autobiography.” London:

Robson Books. pp. 69-70.

Describes CC’s audition with the Benny Goodman Sextet—the account is similar to
Hammond’s (1966); adds the observation that CC and Goodman did not get on together
very well, but inspired each other musically.

Handy, D. Antoinette. (1998). “The International Sweethearts of Rhythm.”

(Revised Ed.)
Metuchen, NJ: Scarecrow.

Only one brief reference to CC in a comprehensive history of this band, with whom
CC is said to have played. Even then, CC is mentioned only in the context of a
review of prominent black artists by the “Negro Handbook.” No details are given of
CC’s connection with the “Sweethearts.”

Hennessey, Mike. (1990). “Klook: The Story of Kenny Clarke.” New York: Quartet
Books.

Gives an account of CC’s role in composing “Epistrophy” and “Rhythm-a-ning,” and

how he demonstrated to Clarke chord playing on the ukulele, during a visit to the
Douglas Hotel in N.Y. Also describes CC’s appreciation of the rhythm section at
Minton’s.

Hoefer, George. (2001). In: van der Bliek (2001). pp. 14-18.
[reprint of “Hotbox: Thelonious Monk in the ‘40’s.” Down Beat, October
25, 1962.]

Describes Minton’s and the way music was presented there in the 1940’s; states
that CC sat in with the house band on Mondays, and that his playing drew attention
from musicians all over town.

Jackson, Lawrence. (2002). “Ralph Ellison: Emergence of Genius.” New York:

John Wiley. p. 65.

In this account of the writing of “Invisible Man,” it is reported that CC did not
play in any of (his school teacher) Zelia N. Breaux’ bands; it is implied that
this was because he would not renounce the music of his roots. [cf. Ellison, 1986]
Kessel, Barney. (1977). “Meeting Charlie Christian.” Guitar Player, XI, January.
pp. 10, 71-72.

Relates how CC came to hear Kessel in Oklahoma City in October 1940. CC played
Kessel’s guitar with the band, the two later went out to eat, and discussed music,
guitar players, etc. and agreed to jam together the next afternoon.

(——) (1977). “Jamming with Charlie Christian.” Guitar Player, XI, February. pp.
10, 74, 80.

Tells how Kessel met CC at a club, where they played with a pianist, bass player,
and later a tenor saxophone. CC, whose guitar and amplifier is described, played
louder than Kessel, who recalls he had played solos based on CC’s own lines up to
then. They never met again.

(——) (1982). “On Charlie Christian: Barney Kessel.” Guitar Player, March.

Interviewed by Jas Obrecht, Kessel discusses Christian’s tone, harmonic sense, and
guitar technique, relates how he met CC, played with him, and discusses his
influence on other jazz guitarists.

Lester, James. (1994). “Too Marvelous for Words: The Life and Genius of Art
Tatum.”
New York: Oxford University Press. p. 166.

Nothing about Tatum playing with CC [cf. Collette, 2000], but Les Paul, interviewed
by the author, describes playing with CC at Minton’s: “I remember one night that
[CC] and I were up there battling on guitar, with Leonard Ware. There were three
guitar players in this town that were good. There was Leonard Ware…And they had
[CC] who I knew from Oklahoma ’cause that’s where I met him, out in Oklahoma before
he ever joined Benny, and […] the three of us, we’d go up there and we’d battle it
out.”

Mongan, Norman. (1983). “The History of the Guitar in Jazz.” Oak Publications.
Ch. 6 “Charlie’s Solo Flight.” pp. 79-94.

Discusses the history of guitar amplification, and the respective roles of Durham,
Floyd Smith, CC and others in this process. Reviews CC’s career, and describes a
phrase in Eddie Durham’s 1935 solo [sic] on Lunceford’s “Avalon” which CC adapted
in a 1940 “Gilly” break.

Morgan, Alun, & Raymond Horricks. (1956). “Modern Jazz: A survey of Developments
Since 1939.”
London: Gollancz. Ch. II “Christian and the Minton Sessions.” pp. 30-
42, passim.
A critical appraisal of CC’s contribution to the development of jazz guitar, in the
swing era though to bop. Examines specifically the role of guitar in ensembles,
and also describes how CC would play with Goodman at the Pennsylvania Hotel during
the day, then afterwards go to Minton’s to jam.

Murray, Charles Shaar. (1981). “Crosstown Traffic: Jimi Hendrix and Post-war
Pop.”
London: Faber & Faber. pp. 120-128.
Ch. 5 “Never to Grow Old: Robert Johnson, Charlie Christian and the
Meteorite Syndrome.”

Traces CC’s career and examines parallels between him and Hendrix.

Nicholson, Stuart. (ca. 1989). “Axe of the Apostles.” The Wire. pp. 36, 72.

Examines CC’s influence upon jazz, blues, and R&B guitar players, and his role in
the development of Bop. Includes discussion of influence on T-Bone Walker, B.B.
King, and Chuck Berry; also notes CC’s friendship with steel guitarist Noel Boggs.

Obrecht, Jas. (1982). “Charlie Christian: First Star of the Electric Guitar.”
Guitar Player, March.

Outlines CC’s career, describes his principal recording sessions, relates how Mary
Osborne heard him for the first time, and considers Eddie Durham’s meeting with CC
and account of tutoring him.

(——) (2000). “Saunders King.” In: Obrecht “Rollin’ and Tumblin’: The Postwar
Blues Guitarists.”
San Francisco: Miller Freeman. pp. 28-29.
[interview with King originally published in edited form in Living Blues,
March/April 1996]

King tells how CC visited Jack’s Tavern in San Francisco, when touring with Goodman
and Hampton. He was invited to play, and performed “Star Dust” solo on King’s
guitar. Ben Webster joined him later and both apparently played for some time.
Indicates CC played at several San Francisco clubs at this time, and refers to his
fondness for dancing. King explains how, even though he had admired CC’s records,
hearing and seeing him play live was a quite different experience.

Oliphant, Dave. (1993). “Eddie Durham and the Texas Contribution to Jazz
History.”
Southwestern Historical Quarterly, Vol. XCVI, April. pp. 490-525.

Traces Durham’s career and role in the development of jazz. Short section on
Durham’s influence on CC; argues Durham helped pass on the tradition of “Western
Swing” to CC.
(——) (1996). “Texan Jazz.” Austin: University of Texas. pp. 196-202.

Reviews CC’s career, and examines how the various musical traditions in Texas (e.g.
Western Swing guitar playing) influenced him. Draws upon many of the well known
sources that analyse CC’s style (e.g. Schuller, 1989) and describes key events in
his life. Adds some additional comments about CC’s style, e.g. the use of
quotations in his solos.

O’Meally, Robert G. (ed.) (2001). “Living with Music: Ralph Ellison’s Jazz
Writings.”
New York: Modern Library.

[see Ellison, Ralph]

O’Neal, Jim. (1972). Living Blues. [probably issue No. 11, Winter 1972-73]

Interview with T-Bone Walker that indicates CC led the Lawson-Brooks band after
replacing him in the band in 1934. He met CC in 1933 when the the latter was still
at school; they had an act where they would alternate on guitar and bass, and then
both go into a tap dance routine. CC’s brother Edward played piano.

Patoski, Joe Nick & Bill Crawford. (1993). “Caught in the Crossfire.” Boston:
Little, Brown and Co. pp. 17-18.

In this biography of Stevie Ray Vaughan, it is claimed that both CC and T-Bone
Walker “swapped licks” with Oklahoma City guitarist Chuck Richardson, who
encouraged them in a horn-like method of playing. [original source for this
information is unclear]

Patrick, James. (1983). “Al Tinney, Monroe’s Uptown House, and the Emergence of
Modern Jazz in Harlem.”
Annual Review of Jazz Studies, 2. pp. 150-179.

Interview with Tinney (a relatively unknown pianist who led the Monroe’s house
band) in which he mentions that he played with CC, and describes how he placed his
amplifier in the curve of the grand piano at the club.