Charlie Christian Biography
Charlie Cristian's influence on the development of jazz is indisputable, and in it'sown way, incomparable. In a brief span of approximately two years on the New York scene, he revolutionized the concept of jazz guitar playing. Charlie broughtthe instrument out of its traditionally accepted place in the rhythm section into itsrole as an exciting solo voice. His guitar style was able to hold its own playing withand against trumpets, trombones, clarinets and saxophones.Charlie was born in Dallas in 1919, raised in Oklahoma, and by 1934 was playingthe bass with Alphonso Trent. Eddie Durham, a trombonist in Jimmy Lunceford'sband who doubled on the guitar, and "Jim Daddy" Walker are credited withinteresting Charlie in the guitar. Eddie recalled: "It was late in 1937, and I'll neverforget the beat-up $5 guitar Charlie had. I never in my life heard a guy learn theguitar faster than he did."By 1939 Charlie was the talk of the mid-west. Back with Al Trent's band hetoured throughout the south and mid-west. With Al's sextet he blended his singlestring guitar with the trumpet and tenor sax for three part harmonic effects thatwere completely new in jazz. It was around this time that Mary Osborne entered aclub in Bismark, North Dakota. She related that at first she thought she washearing a tenor sax distorted by the amplifying system.. Looking around sherealized that the sound was produced by Charlie playing single note solos on hiselectric guitar, and voicing them like a horn. Truly, this was an innovation in jazz.Charlie stayed with Trent for around two more years playing his solos with anutterly relaxed even beat mainly in 8th notes. He was able to experiment with themore advanced harmonies and create his own improvisations around some of thebetter standard tunes. Rhythmically and harmonically, his ideas were suggestiveof later became known as be-bop. John Hammond heard Charlie and eventually persuaded Benny Goodman to givehim a try. It is reported that Charlie arrived for the meeting wearing "a ten gallonhat, pointed yellow shoes, a bright green suit with a purple shirt and a string bowtie (!)". The sight was reported to be too much for Benny who immediately lostinterest. However, at a performance that night while Benny was offstage, friendsmoved Charlie's amp onto the stand. When Benny came back, there was Charlieand one performer reported that they played "Rose Room" - and played it for 48minutes! Charlie gave an inspired (and inspiring) performance. During the time hewas with the band he seemed to bring a new excitement in Benny's playing.Charlie went to New York with the Goodman band in September 1939. The nextmonth, Benny played his second Carnegie Hall concert. He introduced Charlie onthe sextet number, "Flying Home" saying "...with Charlie Christian on the electricguitar. I really think he is one of the most terrific musicians that has beenproduced in years".
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