CHARLIE CHRISTIAN

Charlie Christian, (Charles Henry Christian) (29 July 1916 – 2 March 1942) was an American swing and bebop jazz guitarist. 

Christian was an important early performer on the electric guitar, and is cited as a key figure in the development of bebop. In the liner notes to the 1972 Columbia album Solo Flight: 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." 

Christian was born in Bonham, Texas, but his family moved to Oklahoma City, Oklahoma, when he was a small child. Both of his parents were musicians and he had two brothers, Edward, born 1906, and Clarence, born 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 goods. When Charles was old enough to go along he first entertained by dancing. Later he learned guitar, inheriting his father's instruments upon his death when Charles was 12. 
The Gibson ES-150, the first electric guitar played by Charlie Christian, equipped with the pickup that would later be named after him. 

He attended Douglass School in Oklahoma City, and was further encouraged in music by instructor Zelia Breaux. Charles wanted to play tenor saxophone in the school band, but she insisted he try trumpet instead. Because he believed playing the trumpet would disfigure his lip, he quit to pursue his interest in baseball, at which he excelled. 

In a 1978 interview with Charlie Christian biographer Craig McKinney, Clarence Christian said that in the 1920s and 30s Edward Christian led a band in Oklahoma City as a pianist and had a shaky relationship with trumpeter James Simpson. After a rivalry with a certain girl, Simpson had the urge to get even with the egotistical Christian. Around 1931, he took guitarist "Bigfoot" Ralph Hamilton and began secretly schooling the younger Charles on jazz. They taught him to solo on three songs, "Rose Room," "Tea for Two," and "Sweet Georgia Brown." When the time was right they took him out to one of the many after-hours jam sessions along "Deep Deuce," Northeast Second Street in Oklahoma 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 of the 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. 

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, and jammed with many of the big name performers traveling through Oklahoma City, among them Teddy Wilson and Art Tatum. It was Mary Lou Williams, pianist for Andy Kirk and His Clouds of Joy, who told John Hammond about him. 
  
National fame 

Benny Goodman 

In 1939, he auditioned for record producer John Hammond, who recommended Christian to bandleader Benny Goodman. Goodman was the first white bandleader to feature black musicians — he hired Fletcher Henderson as arranger and Teddy Wilson on piano in 1935, and in 1936 added Lionel Hampton on vibraphone. 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 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 Charlie 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 Christian's playing that he hired him instead. 

There are several versions of the first meeting of Christian and Goodman on August 16, 1939. Suffice to say the encounter that afternoon at the recording studio had not gone well. Charles recalled in a 1940 Metronome magazine article, "I guess neither one of us liked what I played," but Hammond decided to try again — without consulting Goodman (Christian says Goodman invited him to the show that evening, ibid.), he installed Christian on the bandstand for that night's set at the Victor Hugo restaurant in Los Angeles. Displeased at the surprise, Goodman called "Rose Room", a tune he assumed that Christian would be unfamiliar with. Unknown to Goodman, Charles had been reared on the tune, and he came in with his solo — which was to be the first of about twenty, all of them different, 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 making $150 a week. 

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 made sure to retain Charlie Christian, and in the fall of that year Goodman led the Sextet with Charlie Christian, Count Basie, longtime Duke Ellington trumpeter Cootie Williams, and former Artie Shaw tenor saxophonist Georgie Auld, an all-star band in 1940 that dominated the jazz polls in 1941. 

In 1966, years after his death, Christian was inducted into the Down Beat Jazz Hall of Fame. 

Style and influences 

Christian's solos are frequently referred to as "horn-like", and in that sense he was more influenced by horn players such as Lester Young and Herschel Evans than by early acoustic guitarists like Eddie Lang and jazz/bluesman Lonnie Johnson, although they both had contributed to the expansion of the guitar's role from "rhythm section" instrument to a solo instrument. Christian admitted he wanted his guitar to sound like a tenor saxophone. Belgian gypsy jazz guitarist Django Reinhardt had little influence on Christian, but he was obviously familiar with some of his recordings. Guitarist Mary Osborne recalled hearing him play Django's solo on "St. Louis Blues" note for note, but then following it with his own ideas. By 1939 there had already been electric guitar soloists—Leonard Ware, George Barnes, trombonist/composer ("Topsy") Eddie Durham had recorded with Count Basie's Kansas City Six, Floyd Smith recorded "Floyd's Guitar Blues" with Andy Kirk in March 1939, using an amplified lap steel guitar, and Texas Swing pioneer Eldon Shamblin was using amplified electric guitar with Bob Wills. However, Charles Christian was the first great soloist on the amplified guitar. 

Guitarists who followed Christian and who were to varying degrees influenced by him include Mary Osborne, Oscar Moore (Nat King Cole trio), Barney Kessel, Herb Ellis, Jimmy Raney, Tal Farlow, and—-a generation later—-Jim Hall. "Tiny" Grimes, who made several records with Art Tatum, can often be heard quoting Christian note-for-note. 

Christian paved the way for the modern electric guitar sound that was followed by other pioneers, including T-Bone Walker, Les Paul, Grant Green, Kenny Burrell, Wes Montgomery, B.B. King, Chuck Berry and Jimi Hendrix. For this reason Christian was inducted in 1990 into the Rock and Roll Hall of Fame as an "Early Influence." 

Christian's exposure was so great in the brief period he played with Goodman that he influenced not only guitarists, but other musicians as well. The influence he had on "Dizzy" Gillespie, Charlie Parker, Thelonious Monk and Don Byas can be heard on their early "bop" recordings "Blue'n Boogie" and "Salt Peanuts." Other musicians, such as trumpeter Miles Davis, cite Christian as an early influence. Indeed, Christian's "new" sound influenced jazz as a whole. He reigned supreme in the jazz guitar polls up to two years after his death. 

Minton's Playhouse 

Thelonious Monk, who played with Charlie Christian at Minton's Playhouse, developed a style similar to his. 

Though known mainly for his influence on electric guitar, Christian was also an important figure in the development of bebop. His contributions at late night after-hours jam sessions at Minton's Playhouse in Harlem in New York City were landmarks in the evolution from the then-popular, radio-friendly, accessible swing music to the more experimental bebop. This transition is readily 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 flow 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). 

An even more striking example is a series of recordings made at Minton's on a portable disk recorder by a Columbia student, Jerry Newman, in 1941. Newman captured Christian, accompanied by Joe Guy on trumpet, Kenny Kersey on piano and Kenny Clarke on drums, stretching out far beyond what the confines of the 78 RPM record would allow. His work on "Swing to Bop", a later record company re-title of Eddie Durham's "Topsy," is a stunning example of what Christian was capable of creating 

His use of tension and release, a technique employed by Lester Young and later bop musicians, is also present on "Stompin' at the Savoy", included among the Newman recordings. The collection also includes recordings made at Clark Monroe's Uptown House, another late-night jazz haunt in the Harlem of 1941. Kenny Clarke claimed that "Epistrophy" and "Rhythm-a-ning" were Charlie Christian compositions that Christian played with Clarke and Thelonious Monk at Minton's jam sessions. The "Rhythm-a-ning" line can be heard on "Down on Teddy's Hill" and behind the introduction on "Guy's Got To Go" from the Newman recordings, but it is also a line from Mary Lou Williams' "Walkin' and Swingin'". Clarke said Christian first showed him the chords to "Epistrophy" on a ukulele. These recordings have been packaged under a number of different titles, including "After Hours" and "The Immortal Charlie Christian." While the recording quality of these sessions is poor, they show Charlie stretching out much longer than he could on the Benny Goodman sides. On some of the Minton's recordings, Christian can be heard taking 12 or more choruses on a single tune, playing long stretches of melodic ideas with remarkable ease. 

Death 

There were many reports of Charlie staying out late at jam sessions and eating poorly. He was not known to be a drug addict, but did use marijuana and alcohol.[citation needed] Further, 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 Benny's back trouble. Goodman was hospitalized in the summer of 1940 after the band's brief stay at Santa Catalina Island, California, where the group stayed when on the west coast. 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 late-night jam sessions after finishing 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. After a visit that same month to the hospital by tap dancer and drummer Marion Joseph "Taps" Miller, who brought Charles some marijuana and a prostitute, Christian declined in health and died March 2, 1942. He was buried in an unmarked grave in Bonham, Texas, and a Texas State Historical Marker and headstone were placed in Gates Hill Cemetery in 1994. 

Selected discography 

As leader 

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 lower-quality recordings of Christian's own groups performing in nightclubs, by amateur technicians. [5] 
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, 1939-1941 recordings) 
Guitar Wizard (LeJazz, 1993 Charly Holdings Inc.) 
Live At Minton's Playhouse 1941 

As sideman 

Appearances on recordings by Ida Cox, Benny Goodman, Lionel Hampton, Coleman Hawkins, Thelonious Monk, Ben Webster.

Notes 

Charlie Christian, (Charles Henry Christian) (29 July 1916 – 2 March 1942) was an American swing and bebop jazz guitarist.

Christian was an important early performer on the electric guitar, and is cited as a key figure in the development of bebop. In the liner notes to the 1972 Columbia album Solo Flight: 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."

Christian was born in Bonham, Texas, but his family moved to Oklahoma City, Oklahoma, when he was a small child. Both of his parents were musicians and he had two brothers, Edward, born 1906, and Clarence, born 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 goods. When Charles was old enough to go along he first entertained by dancing. Later he learned guitar, inheriting his father's instruments upon his death when Charles was 12.
The Gibson ES-150, the first electric guitar played by Charlie Christian, equipped with the pickup that would later be named after him.

He attended Douglass School in Oklahoma City, and was further encouraged in music by instructor Zelia Breaux. Charles wanted to play tenor saxophone in the school band, but she insisted he try trumpet instead. Because he believed playing the trumpet would disfigure his lip, he quit to pursue his interest in baseball, at which he excelled.

In a 1978 interview with Charlie Christian biographer Craig McKinney, Clarence Christian said that in the 1920s and 30s Edward Christian led a band in Oklahoma City as a pianist and had a shaky relationship with trumpeter James Simpson. After a rivalry with a certain girl, Simpson had the urge to get even with the egotistical Christian. Around 1931, he took guitarist "Bigfoot" Ralph Hamilton and began secretly schooling the younger Charles on jazz. They taught him to solo on three songs, "Rose Room," "Tea for Two," and "Sweet Georgia Brown." When the time was right they took him out to one of the many after-hours jam sessions along "Deep Deuce," Northeast Second Street in Oklahoma 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 of the 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.

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, and jammed with many of the big name performers traveling through Oklahoma City, among them Teddy Wilson and Art Tatum. It was Mary Lou Williams, pianist for Andy Kirk and His Clouds of Joy, who told John Hammond about him.
 
National fame

Benny Goodman

In 1939, he auditioned for record producer John Hammond, who recommended Christian to bandleader Benny Goodman. Goodman was the first white bandleader to feature black musicians — he hired Fletcher Henderson as arranger and Teddy Wilson on piano in 1935, and in 1936 added Lionel Hampton on vibraphone. 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 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 Charlie 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 Christian's playing that he hired him instead.

There are several versions of the first meeting of Christian and Goodman on August 16, 1939. Suffice to say the encounter that afternoon at the recording studio had not gone well. Charles recalled in a 1940 Metronome magazine article, "I guess neither one of us liked what I played," but Hammond decided to try again — without consulting Goodman (Christian says Goodman invited him to the show that evening, ibid.), he installed Christian on the bandstand for that night's set at the Victor Hugo restaurant in Los Angeles. Displeased at the surprise, Goodman called "Rose Room", a tune he assumed that Christian would be unfamiliar with. Unknown to Goodman, Charles had been reared on the tune, and he came in with his solo — which was to be the first of about twenty, all of them different, 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 making $150 a week.

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 made sure to retain Charlie Christian, and in the fall of that year Goodman led the Sextet with Charlie Christian, Count Basie, longtime Duke Ellington trumpeter Cootie Williams, and former Artie Shaw tenor saxophonist Georgie Auld, an all-star band in 1940 that dominated the jazz polls in 1941.

In 1966, years after his death, Christian was inducted into the Down Beat Jazz Hall of Fame.

Style and influences

Christian's solos are frequently referred to as "horn-like", and in that sense he was more influenced by horn players such as Lester Young and Herschel Evans than by early acoustic guitarists like Eddie Lang and jazz/bluesman Lonnie Johnson, although they both had contributed to the expansion of the guitar's role from "rhythm section" instrument to a solo instrument. Christian admitted he wanted his guitar to sound like a tenor saxophone. Belgian gypsy jazz guitarist Django Reinhardt had little influence on Christian, but he was obviously familiar with some of his recordings. Guitarist Mary Osborne recalled hearing him play Django's solo on "St. Louis Blues" note for note, but then following it with his own ideas. By 1939 there had already been electric guitar soloists—Leonard Ware, George Barnes, trombonist/composer ("Topsy") Eddie Durham had recorded with Count Basie's Kansas City Six, Floyd Smith recorded "Floyd's Guitar Blues" with Andy Kirk in March 1939, using an amplified lap steel guitar, and Texas Swing pioneer Eldon Shamblin was using amplified electric guitar with Bob Wills. However, Charles Christian was the first great soloist on the amplified guitar.

Guitarists who followed Christian and who were to varying degrees influenced by him include Mary Osborne, Oscar Moore (Nat King Cole trio), Barney Kessel, Herb Ellis, Jimmy Raney, Tal Farlow, and—-a generation later—-Jim Hall. "Tiny" Grimes, who made several records with Art Tatum, can often be heard quoting Christian note-for-note.

Christian paved the way for the modern electric guitar sound that was followed by other pioneers, including T-Bone Walker, Les Paul, Grant Green, Kenny Burrell, Wes Montgomery, B.B. King, Chuck Berry and Jimi Hendrix. For this reason Christian was inducted in 1990 into the Rock and Roll Hall of Fame as an "Early Influence."

Christian's exposure was so great in the brief period he played with Goodman that he influenced not only guitarists, but other musicians as well. The influence he had on "Dizzy" Gillespie, Charlie Parker, Thelonious Monk and Don Byas can be heard on their early "bop" recordings "Blue'n Boogie" and "Salt Peanuts." Other musicians, such as trumpeter Miles Davis, cite Christian as an early influence. Indeed, Christian's "new" sound influenced jazz as a whole. He reigned supreme in the jazz guitar polls up to two years after his death.

Minton's Playhouse

Thelonious Monk, who played with Charlie Christian at Minton's Playhouse, developed a style similar to his.

Though known mainly for his influence on electric guitar, Christian was also an important figure in the development of bebop. His contributions at late night after-hours jam sessions at Minton's Playhouse in Harlem in New York City were landmarks in the evolution from the then-popular, radio-friendly, accessible swing music to the more experimental bebop. This transition is readily 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 flow 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).

An even more striking example is a series of recordings made at Minton's on a portable disk recorder by a Columbia student, Jerry Newman, in 1941. Newman captured Christian, accompanied by Joe Guy on trumpet, Kenny Kersey on piano and Kenny Clarke on drums, stretching out far beyond what the confines of the 78 RPM record would allow. His work on "Swing to Bop", a later record company re-title of Eddie Durham's "Topsy," is a stunning example of what Christian was capable of creating

His use of tension and release, a technique employed by Lester Young and later bop musicians, is also present on "Stompin' at the Savoy", included among the Newman recordings. The collection also includes recordings made at Clark Monroe's Uptown House, another late-night jazz haunt in the Harlem of 1941. Kenny Clarke claimed that "Epistrophy" and "Rhythm-a-ning" were Charlie Christian compositions that Christian played with Clarke and Thelonious Monk at Minton's jam sessions. The "Rhythm-a-ning" line can be heard on "Down on Teddy's Hill" and behind the introduction on "Guy's Got To Go" from the Newman recordings, but it is also a line from Mary Lou Williams' "Walkin' and Swingin'". Clarke said Christian first showed him the chords to "Epistrophy" on a ukulele. These recordings have been packaged under a number of different titles, including "After Hours" and "The Immortal Charlie Christian." While the recording quality of these sessions is poor, they show Charlie stretching out much longer than he could on the Benny Goodman sides. On some of the Minton's recordings, Christian can be heard taking 12 or more choruses on a single tune, playing long stretches of melodic ideas with remarkable ease.

Death

There were many reports of Charlie staying out late at jam sessions and eating poorly. He was not known to be a drug addict, but did use marijuana and alcohol.[citation needed] Further, 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 Benny's back trouble. Goodman was hospitalized in the summer of 1940 after the band's brief stay at Santa Catalina Island, California, where the group stayed when on the west coast. 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 late-night jam sessions after finishing 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. After a visit that same month to the hospital by tap dancer and drummer Marion Joseph "Taps" Miller, who brought Charles some marijuana and a prostitute, Christian declined in health and died March 2, 1942. He was buried in an unmarked grave in Bonham, Texas, and a Texas State Historical Marker and headstone were placed in Gates Hill Cemetery in 1994.

Selected discography

As leader

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 lower-quality recordings of Christian's own groups performing in nightclubs, by amateur technicians. [5]
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, 1939-1941 recordings)
Guitar Wizard (LeJazz, 1993 Charly Holdings Inc.)
Live At Minton's Playhouse 1941

As sideman

Appearances on recordings by Ida Cox, Benny Goodman, Lionel Hampton, Coleman Hawkins, Thelonious Monk, Ben Webster.

Notes

Craig R. McKinney, "Charles Christian: Musician" http://www3.nbnet.nb.ca/hansen/Charlie/ccbio.htm
Craig R. McKinney, "Charles Christian: Musician" http://www3.nbnet.nb.ca/hansen/Charlie/ccbio.htm
Craig R. McKinney, "Charles Christian: Musician" http://www3.nbnet.nb.ca/hansen/Charlie/ccbio.htm
Laurie E. Jasinski, "Charles Henry Christian" The Handbook of Texas Online http://www.tshaonline.org/handbook/online/articles/CC/fch37.html
Liner notes from Columbia Records G 30779
Reference
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. 48-51, ISBN 080611648X
Goins, Wayne E. and McKinney, Craig (2005) A Biography of Charlie Christian, Jazz Guitar's King of Swing ISBN 0-7734-6091-8
Lee, Amy (1940) "Charlie Christian Tried to Play Hot Tenor!" Metronome
Broadbent, Peter (2002) Charlie Christian, Solo Flight - The story of the Seminal Electric Guitarist ISBN-10:1872639216 ISBN-13:978-1872639215 Hal Leonard, pub.

Valdes, Leo (1997) Solo Flight: The Charlie Christian Newsletter Leo Valdes, pub.

---------------

by Craig R. McKinney

(Webmaster's note: Craig R. McKinny is co-author (along with Wayne Goins) of A Biography of Charlie Christian, Jazz Guitar's King of Swing. Lewiston, N.Y.: Mellen, 2005. Portions of this early draft served as source material for the book-length biography. )

25 years ago I sought to discover an accurate description of the character, life and times of Charlie Christian, and to record the same. I called my friend Clarence Christian to offer to come and share with him my rough draft. His wife answered and stunned me with "Why we buried Clarence yesterday."  

I went to Oklahoma City anyway and asked Clarence Christian's widow what she thought. As she did not know Charlie, Mrs. Christian had no ideas on the subject.  

Years later a call came out of the blue from a person working with the Oklahoma Arts Council. Apparently without my permission the copy of my rough draft had been given away.  

A few years after learning this it became clear that others also had copies and were using the information. I then came to the conclusion that it would be in the best interests of Charlie Christian's memory to share that rough draft so the original source could be analysed for the historical record.  

Here is that draft I came up with when I was 21. (Craig R. McKinney, Topeka, Kansas)

The Early Years

C harles Henry Christian was born July 29, 1916 in Bonham, Texas, a small community about 60 miles northeast of Dallas. His family lived in a part of town know as "tank town". The name "tank town" came from the water supply located here for the railroad. Charles' family and their neighbors were black. Bonham was also the hometown of Sam Rayburn, who in 1912 would be elected to Congress and would eventually become Speaker of the House, serving longer in that position than any other man. The Rayburns were white. Charles grandmother had worked in the Rayburn house before he was born. Charles' father worked as a waiter. An important part of his entertainment was baseball. He played on the black teams in the area surrounding Bonham. His wife was called Willie Mae Christian. She was a distinctly beautiful woman. Both were musicians. There were two boys born before Charles. He had no sisters. Edward was the e1dest, ten years older than Charles. Edward was born December 23, 1906. Clarence, Jr. was five years older than Charles, born on July 30, 1911. They too were musicians. The house where Charles was born still stands at 511 West Johnson Street in Bonham. 2  

Charles was born into a family of musical tradition. Both his father and his mother were musicians. His grandmother on his mother's side was a musician. Two of his uncles on his mother's side were musicians, as were his older brothers.3  

Before Charles' second birthday Clarence Christian, Sr. was struck by a mysterious illness. While at work as a waiter his vision in one eye began to fail him. First his left eye went dark, then over several months he lost his sight completely. Clarence Christian, Sr. now faced the problems of supporting a family as a blind man. Already an accomplished musician, Charles' father now turned to music to break the monotony of his tragic illness. It was music also that would support the family during the very hard times. Charles' father's favorite music was sacred music, chords played on string instruments, especially when performed late in the evening. Clarence Christian was an experienced musician; he could be heard to play a tune on about every instrument except the Scottish bagpipes. But he didn't turn immediately to music to support his young family. Two of Charles' uncles persuaded him to play what were called "busts" with them. They wanted Clarence to keep active, and not to lose himself in depression. "Busts" might be described as musical performances of the street. (More on "busts" is contained later). Even as a blind man Clarence Christian was determined to provide for his family.4  

It was during Mr. Christian's first year of blindness that Charles Christian was first introduced to the guitar. Charles was about a year and a half in age; it was about the time he was beginning to walk. In the evenings when the boy was sleepy, his father would set him on his lap. In front of Charles lay the eleven string Symphony Harp guitar his father owned. Charles would reach for the strings, and run his fingers across them until he fell asleep. As he grew a bit older the guitar was replaced by the bass. There was something noticeably special about him even at this age.5  

An important date for most living in the United States in 1918 was Armistice Day. The armistice was signed November 11. Edward rode his bicycle in the parade and celebration in Bonham. Two days later the family left Bonham for Oklahoma City. Charles' grand-mother was already living there. Clarence's opportunities for work had dried up in Bonham. Clarence Christian did what he could to provide for his family, but being subjected to racism it was very hard to find work. However, a sense of pride, dignity and necessity drove him. He found a job pumping valves by hand to unload railroad cars. It was a job that required enduring strength, and not the type often selected by a blind man. This move to Oklahoma City relocated his sons near North-east 2nd Street. North-east Second or "Deep Second" as it was called, was to be an important school of music education for Edward, Clarence, Jr. and Charles.6  

Charles' musical career began when he was quite young; he too was involved in "busts." His father had bought his two older sons musical instruments. Edward had a mandolin and Clarence, Jr. played the violin. To begin a series of "busts," they would walk downtown; and after an OK from the establishment's owner (usually these places were cafes and pool halls) they would play two or three pieces and pass a hat for tips. For the music people would maybe give a nickel, a dime, but a quarter was seldom seen. Edward didn't care much for this practice because he felt it was 'beneath his character'. It seemed to be too much like begging to him, but he continued to play. Most of the time they were in the downtown area, but sometimes on their way back home they would go through a white part of town. Here they would play music at homes. It was in this section of town they came to, because some people here had the little extra change for music. If the Christians knew someone liked music, they might approach their house, and quietly step up to the porch. Softly, they would begin to play their stringed instruments. People would come to the door; sometimes they might be given food, some gave a nickel or a dime, or perhaps a drink of whiskey. Although some wouldn't give anything, they might compliment the family on their playing. And then, others wouldn't. These were "busts." This is what the Christians wanted to do. Clarence Christian Jr. recalls, "We weren't all that great or nothing, but we had something to offer." When Charles grew old enough to join in, he was just a board beater; but he "could dance real good."  

Charles Christian was raised in Oklahoma City. He attended Douglas school until the seventh grade. Here he met Mrs. Zelia N. Breaux. It was she who first encouraged Charles to play music. Mrs. Breaux at one time owned a musical theater on 2nd Street. Many big names appeared at her place including Ma Rainey, Bessie Smith, Ida Cox, Maimie Smith and King Oliver's band.8 Mrs. Breaux was the musical director for the black public schools for all grade levels. She encouraged Charles to begin with the trumpet; but this did not really appeal to him. The discoloration and corn that builds on a trumpeter's lip soon drove Charles away from the instrument.9 In a few years Charles would take up the instrument that was traditional as his father's favorite: guitar.

Part Two: Charles, don't nobody want to hear them old blues.
The Christians were a very close family. They found strength at home during many hard times. When Charles was ten, his father died. It should be mentioned here that although Clarence Christian loved and played the guitar, Charles did not begin to learn to play until after his father's death. His passing left Willie Mae Christian with her mother and three sons. Edward was about twenty years old at this time, so he and Charles weren't around each other too much while growing up. But Clarence, Jr. was only five years older than Charles, and these two were almost inseparable. "When you'd see one, you'd see the other." Mrs. Christian and her sons were very close. Her secret, according to her son Clarence, was that she was a "buddy." The Christians took good care of each other. The family was a strong institution here.10  

Like his father, Charles had a passion for baseball. Much of his time as a youngster (and much of Oklahoma City) was spent playing the game; and according to friends, he probably would have become a professional ball player had he not turned to music.11 And some say if it had been the post-Jackie Robinson era, he probably had talent enough to have played in the major leagues.12 Jerry Jerome, who played music with Charles in 1939 and 1940 with Benny Goodman, noted this talent along with his music skills: "He also was an outstanding third baseman on our baseball team at Catalina Island." 13 But one factor in Charles' personality limited his future in this field. When Charles did something, he usually put all his energies into it. Charles was a pitcher, a good one; but he liked it so much he wanted to pitch every day. But his friends wouldn't let him wear himself out. They knew that physically the strain would be too much for any kid. So at this point Charles began to drop away from baseball (most likely he was 11 to 15 years old at this time, 1927-1931). It was at this time he turned seriously to music.14 He began to hang around with musicians. Two in particular began to teach Charles what they knew about music and the guitar. They were "Big Foot Chuck" Ralph Hamilton and James Simpson. Ralph Hamilton played the guitar; and James Simpson played the trumpet. These two musicians gave Charles much of his early formal education in music. Clarence Christian, Jr. recalls their efforts:  
...the first thing they (Hamilton and Simpson) taught him, (was) 'Learn to read, then you won't have to take anyone's word for what's on that paper'. And the term they used was 'Learn how to pick them dots,' that's read notes. They taught Charles how to build chords, break down chords, transpose, and modulate, and read.15  
Edward Christian first happened across Ralph Hamilton in Chickasha, Oklahoma. "Big Foot" Chuck, as he was called, was playing his guitar out in the streets. He was accompanying a blind man who played religious music on the washboard, with thimbles on his hands. Ralph Hamilton, it should be noted, played guitar, and Charles first wanted to play like him. Hamilton's style was characterized by his lead chord approach; and because of his knowledge and style, the familiar songs he played were easily recognized.16  

At this time, Charles practically idolized Hamilton. After he quit playing steady baseball, he would be with musicians, especially Simpson and Hamilton. At this time Charles was known to say, " I want my guitar to sound like Chuck's." But even then he was different. One fundamental but derivative change from the style of Hamilton to the style of young Christian was Charles expressed himself by playing solo notes, and Chuck, of course, played lead chords. This too, is significant. Charles began playing solo long before most jazz groups featured the guitar as a primary instrument. And when he eventually was exposed to electric guitars, his solo style was already solid, and not merely an adaptation to the guitar's newly-found volume.  

Not long after Charles became proficient on guitar (probably between 1929 and 1931) there was a jam session up at Honey's. Honey's was an after hours spot, run by Honey Murphy. It was an exciting place when the jamming started. When the jam sessions began "whole streets would just empty and go up to Honey's." Many bands came through town and when they came, they would jam at Honey's. On this night Don Redman's orchestra was there at Honey's. The jam session included Edward Christian on piano and Ralph "Big Foot Chuck" Hamilton on guitar. Young Charles Christian walked in with his brother, Clarence. Charles was anxious to participate. Charles went up to the rest of the active musicians and pressed his brother, "Let me play one".18 And Edward's reply was a classical, "Charles, don't nobody want to hear them old blues." Luckily Ralph Hamilton intervened on Charles' behalf. He convinced Edward he should let his youngest brother at least have a chance. There is an explanation for Edward's attitude. Edward didn't know Charles had learned to play. Charles was asked by the group what he wanted to play. He chose a tune that most of the crowd knew and was popular with the people. He selected "Sweet Georgia Brown". The choice was a surprise to Edward; but the band began to play with Edward setting the pace at piano. The song began with soloists each putting in their part. Then it was Charles' turn.19  

"...so he licked his thumb, and gripped his pick the way he wanted it. And Chuck told him, 'Come on, Charlie, you can do it. Charles set there, and they encored him back for sixteen choruses, and every one was different. And my oldest brother like to went through the ceiling. 'Hey, hey man! This is my brother! This is my brother! Take another one, Charles. Take another one!' You know he was going out, you know..."20

His impromptu debut that evening was a surprise to many people. Charles' sixteen choruses were single note solos and this was "way before he started playin' professionally." Charles' brother, Edward, was very surprised, to say the least. Edward was unaware that Charles had been studying music and the guitar under Simpson and Hamilton. The simple reason for his ignorance was a difference that had come up between Simpson and himself. Both Edward and James Simpson were pursuing the same young lady. Because of this, very little was said between the two.21  

After this first number at Honey's, everyone was quite excited and wanted to hear more of Charles on guitar. Charles was asked to choose another number. He politely and shrewdly explained he was not the leader of this session, he was just "sitting in" with the rest of the musicians. Actually Charles had only three songs he knew well, and wanted to play in front of others. He finally suggested they play "Tea for Two" and everyone agreed. Charles again electrified the awaiting crowd with his music. He exploded into his music, and the crowd reciprocated in appreciation.22

After "Tea for Two" Charles thanked the rest of the guys for letting him play, telling them he felt better now. But everyone wanted to hear more. Charles was very aware he had only one more tune he felt secure playing with this group of musicians. The others begged him to play once more. He consented to one more number, and he chose "Rose Room". The crowd was genuinely amazed by what it had heard that night, performed by a young, local musician. It was the talk of the neighborhood, and word spread fast. When Clarence and Charles arrived back home, their mother already 'knew all about what had happened. And the effect of the incident on Charles' eldest brother's opinion of his baby brother' talent was altered permanently.23  
"...Edward learned that Charles had progressed so far over his head until they were like two peas in a pod from then on...So getting down to this one point. People talking about what they learned Charles, what they taught him. The principle ingredient there is Ralph Hamilton, James Simpson and his oldest brother, Edward."24

This was Charlie Christian's first public appearance on guitar. This sixteen solos display of his talent on guitar was not peculiar to this evening. Charles constantly revised; it was an essential and creatively demanding part of his approach and updated his music; it was a trademark of his style. (Incidentally, John Hammond who later "discovered" Christian, believed Charles had never heard "Rose Room" before he played with Benny. "Rose Room" was to figure prominently in Christian's first session with Benny Goodman, dubbed the "king of Swing".)25

Part Three: Deep Second

Oklahoma City doesn't appear to have been the backwater area or unexposed to New York and California music-wise, which seems to be what some works listing Christian seem to hint. Oklahoma City was a hub, a hot spot for jazz. New York and Los Angeles simply seem to have had little idea what was happening out in the Great Plains. On North East 2nd Street one could find all sorts of live music. This is the neighborhood where Charles lived. It was here he met musicians such as Lester Young. Lester reportedly had spoken of these days when he said, "We (he and Charlie) used to go out in the alley and jam."26 It was there on 2nd Street that Charlie heard and played with members of visiting territorial bands including Andy Kirk, Alphonso Trent, bands from Kansas City, and the Blue Devils, whose home base was Oklahoma City. The Blue Devils at one time included Count Basie, Lester Young and many other talented musicians. Musicians were Charles' kind of folks.  

In the 1930's, not many musicians had the opportunity to play in mixed crowds meaning those groups including blacks and whites. One of the earliest instances (or the earliest) of this occurring in Oklahoma City involved Charles, his friends and two white brothers, the Selathias, and their friends. Their names were Merle and Doyle Selathia. The Selathias lived in the south part of Oklahoma City. Their father owned a dancehall called Selathia's Barn. Selathia's Barn at one time actually was a barn which the Selathia's had remodeled. Merle and Doyle had much in common with the Christians, because they too loved music. They accepted the Christians and their friends as musicians-as equals. Charles and his friends were never sent away here; or forced to enter through the kitchen. But the music itself wasn't exactly tame. They "had some wild jam sessions there." The Selathia's and their friends in turn came to 2nd Street to jam in the Christian's neighborhood at Bridges. Together, the two groups of musicians would play for hours, and there "was never a cross word" between them. Everybody would pass one bottle around for all to share; and no one disgraced the affair by wiping the bottle. Charles got along very well with this crowd. One of the other musicians with the Selathias also played a stringed instrument; and he and Charles would make music together for hours.27  

Christian's style was unique. Often it is said by those who heard Charles' music for the first time, this music is different in some way than any they've heard before. He was different from most other guitarists of the day. To begin with, he started off playing solo, unlike Ralph Hamilton and most other guitarists involved in popular music. There were many blues singers who accompanied themselves with guitar but fewer played the guitar as if it had solo voice of its own. With a band, the guitar's function was rhythm more than lead. The guitar was difficult to hear otherwise."  

Charles' brother, Clarence, doesn't attempt to explain his brother's genius, Charles was always different; but eventually he explained part of his approach to the instrument:  
"...later on he revealed his secret, his interpretation of music. He said, 'I don't look at it as playing a guitar.' He said, 'I try to make my guitar sound like I think a saxophone should. ` So he had him a whole new ballgame there. In his mind he's doing what he thinks a sax player should do. So he picked up something. In other words, right there he went original, something no one else had offered.28  

Abe Bolar, a musician and a good friend of Charles, supports evidence that his ability was recognized years before Charles went east or west. At one time, Abe was the bass player for the Blue Devils, an influential band around Oklahoma City and the region. Abe was older and began his music career before Charles, but they jammed many times. He affirms, "Charles always could play solo." He remembered Charles to be playing in 1931, and "He could play like hell in '34... He was just a natural... he improvised naturally." And Mr. Bolar claims Charles could play as well as a teenager as he ever did at a later age.29  

Jay McShann, pianist and band leader, heard Charles in person only once. This was in 1937 in Kansas City at Wolf's Buffet. Charles was with Alphonso Trent and his group returning from the Dakotas. There was a jam session from eleven at night til five in the morning. The guys sounded so good McShann says he just wanted to listen. He says about Christian, "Charlie had that thing." Jay McShann agrees Charles had to have always had this special "thing". 30 In the liner notes of a Charlie Christian record album released around 1958, Al Avakian and Bob Prince claim "...Charlie Christian's Texas birthplace and Oklahoma home were areas relatively untouched by more sophisticated forms and expressions than the blues...." 31 Writer Ralph Ellison refuted these claims when they ware first made, and correctly so.32 But the blues definitely did have their impact on Christian: although he wanted more, the blues were all around.  
"....Of course, he'd been around blues all his life, 'cause we strictly lived in a blue environment. "Cause along then when Charles just started out trying to play guitar every-body sat down to the piano, everybody picked up a guitar, mandolin, a little fiddle; it was blues. And Charlie really didn't like blues. But for his kind of playing, his kind of music, his type of music style, there wasn' t enough action in blues. I don't mean to say this boastfully, but when you sit down to listen to Charles play there is never a pause. He's always doing something. He's digging in everything. But in motion, you know, that continuous something. You look for a pause, and he's putting something in there....33  

"Deep Second" was extremely fertile ground for a budding musician such as Charles Christian. Without having to leave town, or even his neighborhood, he acquired experience playing at the many sessions on Northeast 2nd Street. The places he jammed with the other musicians were pool halls, and after hours joints: places where a man could get a drink. Frequented often were Honey's (mentioned earlier), Deep Deuce, Band Box, The Hole and Ruby's Grill. Honey Murphy's and Hally Richardson's were two of the important centers for musicians in this area. Hally Richardson owned a "shining parlor," and Honey Murphy ran the upstairs, this part of the building overflowed with people during the day. Ruby's was built as a ballroom which tended for better use for crowds. The 'Hole was run by Big bridges was located in a basement, and above it on the first floor was the 'Band Box' which began as a pool hall.

Charles' musical ability did not go unnoticed in Oklahoma City. Although many dates are often cited indicating when Charles first left home to play with a traveling band, this author's research has found no conclusive evidence for precision. He first left probably sometime between 1931 and 1937. At any rate, he was very young. Although both of Charles' brothers also had had earlier offers to leave Oklahoma City for musical careers, only Charles received his mother's OK. Edward had his chance to go with Buster Moten. And Clarence, Jr. also had a chance to do musical work in California. But their mother wouldn't allow it in these two cases. When Charles' chance came, Clarence, Jr. helped convince his mother that she should let her youngest give it a try. He persuaded her this was the time to let him go because with their two jobs they would be financially capable of bringing Charles home if things went sour on the road, as many times just so happened. Also, Clarence convinced her that at this early date Charles would still have the necessary moral support needed to keep him in the right track.  

Alphonso Trent was the leader and organizer of one of the popular traveling orchestras in the midwest. He had heard of Charles and came to Oklahoma City to hear him. Trent's bands had a very good reputation musically, in the area; and Alphonso asked Charles to play with his band. Charles had to practically beg his mother to let him go. She understandably didn't want her youngest to leave. But Mr. Trent promised her he would take care of Charles. So after Charles made all of his promises to his family concerning what he would and would not do, he left with Trent. 36  

Alphonso promised to take care of Charles, but there were a few dangers. At first, Charles played the guitar for the band, but because of the kinds of places they were playing and the hazards, this did not continue. The jobs the band held were north of Oklahoma in Deadwood, South Dakota, Bismark, North Dakota and Casper, Wyoming. Most of the mail his family received bore postmarks from Deadwood and Bismark. The clientele at these places were miners, not always the crowd easiest to please. The band wasn't paid much of a salary for each of the engagements; so most of their revenue was tips from the audience. But here lay the danger. Paper money was very scarce in the area at this time; all that was usually to be found was coin. Usually, the men would just throw their money at the bandstand, and this was very hazardous for the musicians. "Some guys come in there they'd get to feeling good, he'd bust up your instrument, your head, (and) anything else." 37 So to keep part of the flying coin from doing too much damage, a net was set up in front of the bandstand to protect the musicians. Charles was very worried about his new guitar. Before he left Oklahoma he had bought himself a new guitar. Since he was making payments on the guitar, he didn't want it to be broken or ruined. So he started playing bass fiddle instead.38  

A young school girl home on vacation also had the opportunity to see this electric guitarist while he was with Alphonso Trent. The place was Bismark, North Dakota. The time was September, 1938. The band was a swinging sextet she recalls. She walked in after hearing about this guitarist. She heard Charles playing, but it was new, different and she didn't even know what instrument was making this music. Then she saw him. Later in the evening he played "St. Louis Blues." She was familiar with Django Reinhardt's version. Mary Osborne claims Charles played Django's version exactly. This is an example of his approach. Charles loved music and musicians, and when it came to music education, he knew songs and musicians' styles that no one even expected to hear. Charles was full of surprises when it came to his knowledge of music and musicians. Django was an important pre-Christian solo jazz guitarist. He was known as the Belgian Gypsy Mary Osborne met Charles the next evening. She describes him as "very nice, exceptionally nice." 39  

The places where Charles and the rest of the group would stay were "average." But usually the crowds were rough; and Charles was unhappy with his role on bass fiddle. He wanted to play his guitar. So after about a year or a little more with Alphonso Trent, he returned to Oklahoma City.40

Part Four: Who the hell wants to hear an electric-guitar player?

After an undetermined length of time back home, Charles again had an opportunity to travel with a band. Charles' mother was no more pleased about him leaving this time than she was the first. This time Charles went with a orchestra headed by Anna Mae Winburn. Charles again went north, playing places in Kansas City, Chicago and other cities. It has been claimed that he toured the southwest with Anna Mae, but it appears this is not true. He was not touring Texas and the southwest with Trent and Winburn; he was exploring north. But fate did not smile on this orchestra; the band became stranded. The bus that they traveled in was taken back into the "hands of the receivers." Luckily, Charles' family had enough money to bring him back home safely.41  

Charles Christian was a respected musician around Oklahoma City and his ability was known to many local musicians. For an undetermined period of time, over a year possibly, Charles was back home in Oklahoma City. Here he played music on 2nd Street with many musicians in town, and also with those passing through town. Two of the local bands were popular, their leaders were Leslie Sheffield and Edward Christian. Charles would play with one for a month or so, then with the other. Everyone in both these groups gave Charles plenty of solo time.42 He was acquiring a reputation as a wizard on the guitar throughout the area.  

Charles' nickname around the area gives one indication of his reputation. His nickname was Charles Christian "The Great." In jam sessions if one musician outplayed the next, they were said to have "cut his head." "So Charles cut every head come here carrying a guitar."43 Soon, Charles' name was put in front of a band's, such was his popularity with the public. When Andy Kirk's group came to town, below the advertisement for this nationally known group was another smaller announcement:  
....Every Thursday, Saturday and Sunday nights will be regular attraction nights with music on Sunday by Charles Christian's band. No extra charges will be added for service in the "Lyons Den." 44  

It seems natural that Charles Christian turned to the electric guitar; his solo approach was mature and ready to be heard along side horns and the rest of the band. Charles started off playing a loud unamplified guitar, an acoustic Epiphone. It was this guitar that allowed his solos to be heard before he was able to acquire the newly developed electric guitar. When he played a piece with a group, the rest of the band would play softly so he could be heard. Sometime before he was "discovered" Charles acquired one himself. A woman in Oklahoma City told Charles about a place where he could get one. He went down and bought his first electric from Lee Thaggart who owned a music shop in Oklahoma City. He made payments he could afford to finance the purchase. Later, with his first check from John Hammond, to go to Los Angeles, he paid off the balance. His next electric guitars were furnished after he joined Benny Goodman. The second was a beautiful, big white Gibson guitar (Charlie preferred Gibsons). This guitar was cherished by his family who kept it after he died, but in the 1950s it was stolen from their home. 45  

In the summer of 1939 Charles Christian was swept away from Oklahoma to New York and Los Angeles and the expanding mass media network--the national scene. This included appearances, radio performances and records. In astoundingly little time, a few months, Charles would be in the center of the popular jazz of that day via Benny Goodman.  

It was pianist-arranger Mary Lou Williams who first brought Charles to the attention of New York and John Hammond. Mary Lou Williams was the pianist-arranger for Andy Kirk and his Clouds of Joy. They had both toured the mid-west and recorded in New York.46 John Hammond, on the other hand, had just recently gone to work for Columbia Records, Inc., a new enterprise owned by CBS network. His position was that of associate recording director. He came into this job after and as a result of his successful production of The 1938 "Spirituals to Swing" concert featuring black artists from all over the United States.47 Hammond was also responsible for recording Benny Goodman's groups at this time; and was intimately involved with finding new personnel for Benny.  

John Hammond was not looking for a guitarist in particular at this time, but he was out trying to find the best musicians. Weeks before John Hammond had ever heard of Christian, Andy Kirk and his Clouds of Joy were playing at the Trianon Ballroom in Oklahoma City. This was July 10, 1939. Included in Kirk's band was Mary Lou Williams on piano, and Floyd Smith on guitar. The performance was to be a benefit dance; proceeds would go to the entertainment committee of the local Negro Business League. Advance tickets were 56 cents, while at the door the charge would be 78 cents.48 Mary Lou may have heard Charles a few years before, but it was probably this encounter that was fresh in her mind at a recording session in New York a few weeks later. In Oklahoma City, at this appearance or afterwards, a jam session took place.  

According to Mary Lou, everyone wanted Charles to bring Kirk's guitarist down a bit, even the members of Kirk's band. First Charles played. Everyone encouraged him to do his bit, to show the other guitarist up. But Charles wouldn't, yet. Then the other guitarist played. He tried very hard to do his best. Then Charles played again, much stronger than the first time. Charles was too good. The other guitarist would not tolerate it and walked out.49  

Mary Lou and the band were soon back in New York. but she had not forgotten what she had heard. The band was playing the Apollo, and also making recordings. At the recording session Hammond heard a guitarist who played "the Hawaiian guitar sound ." After speaking with Mary Lou, and telling her he cared very little for this guitar music, he jarred Mary Lou's memory.50  

Hammond remembers Mary Lou saying, "If you really want to hear an electric guitar played like an acoustic guitar....you 've got to go to Oklahoma City, where Charlie Christian works. He's the greatest electric-guitar player I've ever heard."51  

Hammond was already planning to go to Los Angeles to begin recordings for Goodman on Columbia. He decided to stop and give Charles an audition. 52 Mr. Hammond subsequently wrote Charles inquiring about an audition. Charles wrote back inviting him to stop and hear.  

Clarence Christian, Jr. remembers this same period:  
....Truly, John Hammond did come here. And to show you what kind of life we were living, we didn't have a car, didn't have a bicycle. So Charles went to a friend of his -- the musicians' friend, Hally Richardson. He had housed, clothed and fed a many musician. Charles went and explained to Hally what he had going for him. So Hally told him, "Say well now, I got an old Plymouth down there." He said, "We'll just go to the airport and meet him." 53  

As was mentioned earlier, Charles was working at Ruby's Grill and the Lyons Den owned by Ruby Lyons. At the first meeting between Christian and Hammond, Ruby and Hally were there also. They talked for awhile, and Hammond asked if there were more good musicians in the area. Charles hadn't auditioned yet, so Hammond suggested the following evening. First, he needed a hotel room and asked Charles about it. Charles suggested the Huckins Hotel where his mother worked. This is where Hammond stayed.54  

So Hammond told Charles to gather up the good musicians he knew, and asked him to meet the next evening at 8 o'clock. The next evening at 8 o'clock sharp the band started their theme song and Hammond walked in. He listened to four or five numbers, and then he got up to leave. He provided the musicians drinks for the night for everyone that wanted them. Plus, at this time he said, "You'll hear from me in a few days." Then he left.55  

Hammond saw Christian's connection with the horn players. He saw a Texas influence, and he notes that Christian was "endlessly inventive." What surprised Hammond, he wrote, was like all the greats he "discovered," why hadn't anyone heard it before?  
I knew immediately, for instance, that Charlie Christian belonged in the Goodman small group. I was on my way to join Benny; what could I tell him that would convince him? I called California. "I've just heard the greatest guitar player since Eddie Lang," I told him. "He plays electric guitar and..."  
"Who the hell wants to hear an electric-guitar player?" Benny interrupted.  
"I don't know," I admitted, "but you won't believe him until you hear him."56  

Hammond convinced Goodman to allow Christian to be brought out on the budget allowed by the Camel Cigarette sponsors. The Camel Company supported a radio program and Benny had a contract with them for regular national radio appearances.  

After Hammond left Oklahoma, Charles was left with no idea of what Hammond had thought of him. About ten days after the event Charles received a telegram. It read something close to this: "Come at once. Have position with Benny Goodman."  

Clarence recalls what Charles' reaction was:  
And Charles set down and laughed. I said, "Charles, what are you laughing about?"  
He said, "Man, that man's in Los Angeles."  
I said, "I know it."  
"How in the hell am I going to make it to Los Angeles if I ain't got cab fare down town?"57  

Charles didn't have any money. So his brother, Clarence, and his friends, policeman Ernest Jones and Hally Richardson raised enough money between themselves to send Charles off. But before they had a chance to present Charles with this money, he had found his own way of solving the problem. Charles wired Hammond back; and in return Hammond sent $300. This was accompanied by a second telegram which said, "If this is not enough, will wire more. See you."58  

Benny Goodman was tremendously popular at this time, and it was a boost for most musicians to just be part of his orchestra. Charles still hadn't met the leader, and his new boss hadn't heard him play. His position was to play with the orchestra according to the local report from the Black Dispatch. It described the event as "one of the biggest breaks ever received by a local musician." With the three hundred dollars Hammond had sent him Charles completed the payments on his electric guitar. A party was given at Ruby's Grill on Sunday, August 13, 1939, for Charles. The next afternoon he left town by train.59 The possibilities ahead for this young musician were unknown. Benny certainly had made few plans, probably none, for this new musician he had never heard.  

Charles Christian's thoughts about this world usually were not broadcast. Charles was "soft-spoken, shy like" in conversation. His answers to friends' questions many times were not words, but grunts. So to understand him meant one had to know Charlie pretty good. He did not complain much. One of the few times he did express worry was to his family just before he left to join Benny Goodman. He was working moving cabinets inside a building when one of his fingers was mashed between a wall and the cabinet. He was very worried this would hinder his playing, and he had not yet been heard by Goodman. By the time he left, although sore, the finger was well enough for Charles to play.60  

Persons who knew and heard Charles before he went with Goodman agree Charles' style was developed before he ever met Benny Goodman. It was mentioned earlier that Charles was taught to play and read music by Ralph Hamilton, James Simpson and Edward Christian. But Charles quickly progressed. There was something unique about his ability even as a baby. And in his first jam session his ever-changing improvisations surprised much of the neighborhood, not to mention other musicians present. So where did he get it? First of all, it should be remembered Charles was a very agreeable and likable person. He would borrow from any musician he came in contact with or any kind of music. He would use the blues, folk songs, jazz classics, popular tunes, hillbilly music and he even surprised a few with his knowledge of classical music. Charles would use stuff no one else would try.61  

Charles Christian did hear a saxophone inside his head. As a solo guitarist he was unusual because he played on his guitar lines he thought a saxophonist should play.62  

His music was constantly changing. For example, he was known to play a beautiful solo. Then when asked to repeat it after his efforts, he would say, "What?" He wasn't being snobbish at these times, or really meek. It is just the ideas he had the moment before were gone and new sounds were filling his head. He was constantly revising.63  

When critics attempt to explain where Charlie Christian came from, one should remember Charles' own words. He was a quiet man, but he told his brother, Clarence, his philosophy many times. Although Charles didn't talk much, he did give his brother this piece of philosophy:  
"Don't never try to be like somebody else. Let somebody else try to be like you. Because when you start being a copycat, they are a dime a dozen." 64  

This approach put him in the same category as the top line soloists, while not losing the function of the guitar as a rhythm instrument. Charles' favorite bands when he left Oklahoma City were Duke Ellington's and Count Basie's. But "he was strictly a Duke man" (which questions the theory that Charles' style was taken from Lester Young). He would not rate musicians as to who was better than whom; he would not categorize his fellow musicians. His philosophy was that those that were playing had to be good to be up there. Charles eventually played with some of the biggest names in jazz in his day, but it didn't matter to him who he was playing with, just as long as he had a chance "to unbutton himself." Playing with Benny or Count Basie or whoever, Charles Christian just seemed to always want to add to what was going down as he was able. He could play anywhere.65

Part Five: From one good thing to another

Charles first played with Benny Goodman in Beverly Hills, California at the Victor Hugo restaurant. It was not Benny's intentions to have Charlie as part of his small group, but it must have proved to Goodman that he needed Christian. At least Christian proved he was too skilled to be left in the background.  

On August 16, 1939 Charles met Benny for the first time. On that date, two days after he had left Oklahoma by train, Charles walked into the studio where the band was recording. John Hammond noted that Benny was anxious about his opening night, and not very interested when he first met Christian.66  

At this point Charles left with the black members of the band to go to Watts. Hammond told Christian before they left to meet back at the kitchen of the Victor Hugo later that evening. This first audition was followed up by a second and more public one that evening. A plan was hatched to give Charles another chance. Hammond called musician friends of his in the area, and told them not to miss the show that evening. Hammond and Benny Goodman's bass player, Artie Bernstein, secretly set up Charlie's amplifier on stage, and the scene was set. Unknown to the "King of Swing," Charles would be part of the Benny Goodman Sextet that evening, and subsequently important to Benny Goodman's organization for the next two years.67  

It was opening night that evening. Benny Goodman and his Quintet took to the stage. Los Angeles was segregated, as was much of the United States, and through the kitchen door appeared Charles Christian. Charles walked up to the stage. Benny was not too pleased with this last minute surprise. He chose to play "Rose room" which seemed to Hammond to be Benny's revenge. "I am reasonably certain Christian had never heard `Rose Room' before, because it was a West Coast song not in the repertoire of most black bands."68 Actually, this is one of the only three songs that Charles wanted to put before the public back in the original jam session with Don Redman's Orchestra years before.69 The number began. Between Benny Goodman and Lionel Hampton riffs began to pass; then Charles would come in with his parts, improvising in a way that was part of his trademark. He played at least twenty solos, all of them different.70  
Before long the crowd was screaming with amazement. "Rose room" continued for more than three quarters of an hour and Goodman received an ovation unlike any even he had before. No one present will ever forget it, least of all Benny.71

So Charles was now standing on the inside with Benny Goodman. He was accepted by Goodman, and was instructed to get acquainted with each of the other bandmembers and their styles over the next week. Charles was even surprised to receive a check at the end of this first week.72 He was reportedly paid $150 a week.73 But Charles quickly made friends with the group, and pleased Benny Goodman also.74  

It has been said that Charles and Benny didn't interest each other much personally, but apparently both were very interested in what the other was doing. Part of the beginnings of a stronger bond between the two came when Charles in these early days of the new Sextet was calling the other band members "Mister" as a sign of respect. Clarence Christian remembered what Charles told him about the occasion. It bugged Benny that he was calling his fellow musicians by this title. Swiftly, Benny corrected Charlie. He explained to Charles that in his band there were no whites or blacks, Misters or Mrs. The band was to be one unit, and Charles could just call him Benny. Charles was impressed. Benny did suggest at this time that "Charles" was too formal for the public. From then on he was known not as Charles, but as "Charlie Christian."75  

D. Russell Connor, author of two bio-discographies entitled B.G. off the record and BG on the Record, also agrees that Charles did interest Benny very much, especially as a musician. He wrote in 1978:  
I think it quite likely it is true...that Charlie was someone special to Benny. Benny realized that Charlie was young and unsophisticated when he first joined the band. In addition to that, Benny recognized (and said at the time) that Charlie's was a great and unique talent; and no one respects talent more than Benny Goodman.76  

In fact, Benny apparently liked Charles, and Charles liked Benny. He told his family he had "never met a more down to earth person." Benny always had a good word for Charlie, while at the same time he watched out for Charlie. Because of Charles' inexperience Benny kept an eye on him and when they played engagements on the road Goodman would ask Charles to stay with him in his room. Within weeks of their initial meeting Charlie Christian was incorporated into the Goodman program. His duties were to be vital to the new Benny Goodman Sextet, Goodman's feature group.77 In contrast to this, Charles was not obscured in his orchestra. Charles' position was right at the front, just as John Hammond had hoped.  

The rest of Goodman's performances and records featured the orchestra. But Charles played here only occasionally since Goodman had two other guitarists. The guitar chair here was held by either Arnold Covarrubias or Mike Bryan. The Sextet was to perform before the full orchestra's appearance, and between intermission and the second half of the program.78 Charles was definitely new and unique. The electric guitar itself would be presented for the first time to mass audiences across the nation by live radio broadcasts, performances and by record. By being featured with Benny Goodman,79 Charlie was no longer the unknown musician, the legend of the Great Plains. There was probably no quicker road to national exposure than to play with Goodman.  

Charles was now making more money than ever before. When he first received his instructions he was amazed by the amount of his paycheck and the short duration of his appearance. His salary was reportedly $150 a week. "Now Charles looked at that and at his salary and said, `Well good! But this can't last.'"80  

Every check that Charles received, his family received part of it. Times were still not easy for the black community in Oklahoma City. Charles wanted badly to help his family. What he wanted most to be done with his new-found wealth was to buy a house for his grandmother. But the area of town Charles decided on was too far from downtown. His grandmother wanted to be closer to the city. This problem plus Charles' unexpected illness laid these plans to rest. "But Charlie, he went from one good thing to another."81  

The band left California not long after Charles joined the organization. They were playing engagements while also doing a weekly performance for the "Camel Caravan" show. Charles flew to Atlantic City, Detroit, and then on to the New York World's Fair on September 6. Charles gradually became acquainted with others in the Goodman band. During a Camel Caravan broadcast from Detroit on September 2, Benny told the crowd that one of the first numbers he heard performed by Charles was "Stardust" and that he was very impressed. The crowd was then given a glimpse of Charles; and "Stardust" was the only song performed by the Sextet that evening. Recordings of this are available.82  

Early in his career with Goodman Charles had a request by mail from his mother. She wanted him to play a song for her. But Charles had to explain to her that he just could not do that, even though they did take some requests from the public.  
And he finally answered and told her that the audience was so vast and demanding, he couldn't just single her out because she was his mother. He said, `But I have a piece, regardless of where I am or who I'm playing for, this one particular piece is always dedicated to you from..."Stardust" And he turns loose something in "Stardust" that he don't seem to turn loose in no other record.83

References

2 Clarence Christian, Jr., older brother of Charles, but younger than Edward Christian, personal interview at Clarence Christian's home, Oklahoma City, Oklahoma, 7 January, 1978. Present were Clarence Jr., Ella Mae Christian, Kevin and Patty Centlivre and the author.

3. Ibid.

4. Ibid. plus Clarence Christian, Jr., personal interview with Kevin Centlivre and the author at Clarence Christian's home, Oklahoma City, 24 March, 1978.

5. Christian, op. cit., 7 January, 1978.

6. Christian, op. cit., 7 January, 1978 and 24 March, 1978.

7. Christian, op. cit., 7 January, 1978.

8. Blesh, Combo: USA (New York: Chilton Book Company, 1971), pp. 163-164.

9. Christian, op. cit., 7 January, 1978 and 24 March, 1978.

10 Christian, op. cit., 7 January, 1978.

12 Blesh, Combo: USA, p. 165

13 Jerry Jerome, Sarasota, Florida, letter, 24 March 1978, to the author.

14 Christian, op. cit., 7 January, 1978.

15 Ibid.

16 Ibid.

17 Ibid.

18 Ibid.

19 Ibid.

20 Ibid.

21 Ibid.

22 Ibid.

23 Ibid.

24 Ibid.

25 John Hammond, John Hammond On Record (New York: Ridge Press).

26 Nat Hentoff, "Lester Young," in The Jazz Makers, eds. Nat Shapiro and Nat Hentoff (Westport, connecticut: Greenwood Press Publishers, 1957), p. 247.

27 Christian, op. cit., 7 January and 24 March, 1978.

28 Christian, op. cit., 7 January, 1978.

29 Abe Bolar, musician, bass player, friend of Charles, and a former member of the "Blue Devils," personal interview with Kevin Centlivre and the author at home of clarence Christian, Jr., Oklahoma City, Oklahoma, 18 March, 1978.  

30 Jay McShann, bandleader and pianist, personal interview with the author, Paul Gray's Jazz Place, Lawrence, Kansas, December, 1978.

31 Al Avakian and Bob Prince, Charlie Christian with the Benny Goodman Sextet and Orchestra (sound recording) CL 652.

32 Ralph Ellison, "The Charlie Christian Story," in Saturday Review, May 17, 1958, pp. 42, 43, 46.

33 Christian, op. cit., 7 January, 1978.

34 Christian, op. cit., 24 March, 1978.

35 Christian, op. cit., 7 January, 1978.

36 Christian, op. cit., 7 January and 24 March, 1978.

37 Christian, op. cit., 7 January, 1978.

38 Ibid.

39 Mary Osborne, guitarist, telephone interview with the author, September, 1978.

40 Christian, op. cit., 24 March, 1978.

41 Christian, op. cit., 24 March, 1978.

42 Ibid.

43 Christian, op. cit., 7 January, 1978.

44 The Black Dispatch (Oklahoma City), July 1, 1939.  

45 Christian, op. cit., 7 January, 1978.

47 John Hammond, "Random Notes on the Spirituals to Swing Recordings" from the liner notes of From Spirituals to Swing, VSD 47/48 (record).  

48 The Black Dispatch (Oklahoma City), July 1 and 8, 1939.  

49 Mary Lou Williams, pianist, telephone interview with the author, 31 August, 1978.

50 Hammond, John Hammond On Record, p. 223.

51 Ibid.

52 Ibid.

53 Christian, op. cit., 7 January, 1978.

54 Ibid.
55 Ibid.

56 Hammond, John Hammond On Record, p. 224-25.

57 Christian, op. cit., 7 January, 1978.

58 Ibid.

59 The Black Dispatch (Oklahoma City), 19 August, 1939.

66 Hammond, John Hammond on Record, p. 225.

67 Hammond, John Hammond on Record, p. 226.

68 Ibid.

69 Christian, op. cit., 7 January, 1978.

70 Hammond, John Hammond on Record, p. 226.

71 Hammond, John Hammond on Record, p. 226.

72 Christian, op. cit., 7 January, 1978.

73 Bill Simon, "Charlie Christian," in The Jazz Makers, eds. Nat Shapiro and Nat Hentoff (Westport, Connecticut: Greenwood Press Publishers, 1957), p. 323.

74 Christian, op. cit., 7 January, 1978.

75 Ibid.

76 D. Russell Connor, Philadelphia, PA., letter to the author in return for letter mailed to Benny Goodman, 27 March, 1978.

77 Christian, op. cit., 7 January, 1978.

78 Ibid.

79 Tom and Mary Evans, Guitars: Music, History, Construction and Players (New York: Paddington Press Ltd., 1977) p. 389.

80 Christian, op. cit., 7 January, 1978.

81 Ibid.

82 D. Russell Connor and Warren W. Hicks, BG On the Record (New York: Arlington House, 1969) pp. 259-260.

83 Christian, op. cit., 7 January, 1978.

60 Christian, op. cit., 7 January, 1978.

61 Ibid.

62 Ibid.

63 Ibid.

64 Ibid.

65 Ibid.

Craig R. McKinney, "Charles Christian: Musician" http://www3.nbnet.nb.ca/hansen/Charlie/ccbio.htm 

Craig R. McKinney, "Charles Christian: Musician" http://www3.nbnet.nb.ca/hansen/Charlie/ccbio.htm 
Craig R. McKinney, "Charles Christian: Musician" http://www3.nbnet.nb.ca/hansen/Charlie/ccbio.htm 
Laurie E. Jasinski, "Charles Henry Christian" The Handbook of Texas Online http://www.tshaonline.org/handbook/online/articles/CC/fch37.html 
Liner notes from Columbia Records G 30779
Reference 
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. 48-51, ISBN 080611648X 
Goins, Wayne E. and McKinney, Craig (2005) A Biography of Charlie Christian, Jazz Guitar's King of Swing ISBN 0-7734-6091-8 
Lee, Amy (1940) "Charlie Christian Tried to Play Hot Tenor!" Metronome 
Broadbent, Peter (2002) Charlie Christian, Solo Flight - The story of the Seminal Electric Guitarist ISBN-10:1872639216 ISBN-13:978-1872639215 Hal Leonard, pub. 

Valdes, Leo (1997) Solo Flight: The Charlie Christian Newsletter Leo Valdes, pub.

---------------

by Craig R. McKinney 

(Webmaster's note: Craig R. McKinny is co-author (along with Wayne Goins) of A Biography of Charlie Christian, Jazz Guitar's King of Swing. Lewiston, N.Y.: Mellen, 2005. Portions of this early draft served as source material for the book-length biography. ) 

25 years ago I sought to discover an accurate description of the character, life and times of Charlie Christian, and to record the same. I called my friend Clarence Christian to offer to come and share with him my rough draft. His wife answered and stunned me with "Why we buried Clarence yesterday."  

I went to Oklahoma City anyway and asked Clarence Christian's widow what she thought. As she did not know Charlie, Mrs. Christian had no ideas on the subject.  

Years later a call came out of the blue from a person working with the Oklahoma Arts Council. Apparently without my permission the copy of my rough draft had been given away.  

A few years after learning this it became clear that others also had copies and were using the information. I then came to the conclusion that it would be in the best interests of Charlie Christian's memory to share that rough draft so the original source could be analysed for the historical record.  

Here is that draft I came up with when I was 21. (Craig R. McKinney, Topeka, Kansas)

The Early Years 

C harles Henry Christian was born July 29, 1916 in Bonham, Texas, a small community about 60 miles northeast of Dallas. His family lived in a part of town know as "tank town". The name "tank town" came from the water supply located here for the railroad. Charles' family and their neighbors were black. Bonham was also the hometown of Sam Rayburn, who in 1912 would be elected to Congress and would eventually become Speaker of the House, serving longer in that position than any other man. The Rayburns were white. Charles grandmother had worked in the Rayburn house before he was born. Charles' father worked as a waiter. An important part of his entertainment was baseball. He played on the black teams in the area surrounding Bonham. His wife was called Willie Mae Christian. She was a distinctly beautiful woman. Both were musicians. There were two boys born before Charles. He had no sisters. Edward was the e1dest, ten years older than Charles. Edward was born December 23, 1906. Clarence, Jr. was five years older than Charles, born on July 30, 1911. They too were musicians. The house where Charles was born still stands at 511 West Johnson Street in Bonham. 2  

Charles was born into a family of musical tradition. Both his father and his mother were musicians. His grandmother on his mother's side was a musician. Two of his uncles on his mother's side were musicians, as were his older brothers.3  

Before Charles' second birthday Clarence Christian, Sr. was struck by a mysterious illness. While at work as a waiter his vision in one eye began to fail him. First his left eye went dark, then over several months he lost his sight completely. Clarence Christian, Sr. now faced the problems of supporting a family as a blind man. Already an accomplished musician, Charles' father now turned to music to break the monotony of his tragic illness. It was music also that would support the family during the very hard times. Charles' father's favorite music was sacred music, chords played on string instruments, especially when performed late in the evening. Clarence Christian was an experienced musician; he could be heard to play a tune on about every instrument except the Scottish bagpipes. But he didn't turn immediately to music to support his young family. Two of Charles' uncles persuaded him to play what were called "busts" with them. They wanted Clarence to keep active, and not to lose himself in depression. "Busts" might be described as musical performances of the street. (More on "busts" is contained later). Even as a blind man Clarence Christian was determined to provide for his family.4  

It was during Mr. Christian's first year of blindness that Charles Christian was first introduced to the guitar. Charles was about a year and a half in age; it was about the time he was beginning to walk. In the evenings when the boy was sleepy, his father would set him on his lap. In front of Charles lay the eleven string Symphony Harp guitar his father owned. Charles would reach for the strings, and run his fingers across them until he fell asleep. As he grew a bit older the guitar was replaced by the bass. There was something noticeably special about him even at this age.5  

An important date for most living in the United States in 1918 was Armistice Day. The armistice was signed November 11. Edward rode his bicycle in the parade and celebration in Bonham. Two days later the family left Bonham for Oklahoma City. Charles' grand-mother was already living there. Clarence's opportunities for work had dried up in Bonham. Clarence Christian did what he could to provide for his family, but being subjected to racism it was very hard to find work. However, a sense of pride, dignity and necessity drove him. He found a job pumping valves by hand to unload railroad cars. It was a job that required enduring strength, and not the type often selected by a blind man. This move to Oklahoma City relocated his sons near North-east 2nd Street. North-east Second or "Deep Second" as it was called, was to be an important school of music education for Edward, Clarence, Jr. and Charles.6  

Charles' musical career began when he was quite young; he too was involved in "busts." His father had bought his two older sons musical instruments. Edward had a mandolin and Clarence, Jr. played the violin. To begin a series of "busts," they would walk downtown; and after an OK from the establishment's owner (usually these places were cafes and pool halls) they would play two or three pieces and pass a hat for tips. For the music people would maybe give a nickel, a dime, but a quarter was seldom seen. Edward didn't care much for this practice because he felt it was 'beneath his character'. It seemed to be too much like begging to him, but he continued to play. Most of the time they were in the downtown area, but sometimes on their way back home they would go through a white part of town. Here they would play music at homes. It was in this section of town they came to, because some people here had the little extra change for music. If the Christians knew someone liked music, they might approach their house, and quietly step up to the porch. Softly, they would begin to play their stringed instruments. People would come to the door; sometimes they might be given food, some gave a nickel or a dime, or perhaps a drink of whiskey. Although some wouldn't give anything, they might compliment the family on their playing. And then, others wouldn't. These were "busts." This is what the Christians wanted to do. Clarence Christian Jr. recalls, "We weren't all that great or nothing, but we had something to offer." When Charles grew old enough to join in, he was just a board beater; but he "could dance real good."  

Charles Christian was raised in Oklahoma City. He attended Douglas school until the seventh grade. Here he met Mrs. Zelia N. Breaux. It was she who first encouraged Charles to play music. Mrs. Breaux at one time owned a musical theater on 2nd Street. Many big names appeared at her place including Ma Rainey, Bessie Smith, Ida Cox, Maimie Smith and King Oliver's band.8 Mrs. Breaux was the musical director for the black public schools for all grade levels. She encouraged Charles to begin with the trumpet; but this did not really appeal to him. The discoloration and corn that builds on a trumpeter's lip soon drove Charles away from the instrument.9 In a few years Charles would take up the instrument that was traditional as his father's favorite: guitar. 

Part Two: Charles, don't nobody want to hear them old blues.
The Christians were a very close family. They found strength at home during many hard times. When Charles was ten, his father died. It should be mentioned here that although Clarence Christian loved and played the guitar, Charles did not begin to learn to play until after his father's death. His passing left Willie Mae Christian with her mother and three sons. Edward was about twenty years old at this time, so he and Charles weren't around each other too much while growing up. But Clarence, Jr. was only five years older than Charles, and these two were almost inseparable. "When you'd see one, you'd see the other." Mrs. Christian and her sons were very close. Her secret, according to her son Clarence, was that she was a "buddy." The Christians took good care of each other. The family was a strong institution here.10  

Like his father, Charles had a passion for baseball. Much of his time as a youngster (and much of Oklahoma City) was spent playing the game; and according to friends, he probably would have become a professional ball player had he not turned to music.11 And some say if it had been the post-Jackie Robinson era, he probably had talent enough to have played in the major leagues.12 Jerry Jerome, who played music with Charles in 1939 and 1940 with Benny Goodman, noted this talent along with his music skills: "He also was an outstanding third baseman on our baseball team at Catalina Island." 13 But one factor in Charles' personality limited his future in this field. When Charles did something, he usually put all his energies into it. Charles was a pitcher, a good one; but he liked it so much he wanted to pitch every day. But his friends wouldn't let him wear himself out. They knew that physically the strain would be too much for any kid. So at this point Charles began to drop away from baseball (most likely he was 11 to 15 years old at this time, 1927-1931). It was at this time he turned seriously to music.14 He began to hang around with musicians. Two in particular began to teach Charles what they knew about music and the guitar. They were "Big Foot Chuck" Ralph Hamilton and James Simpson. Ralph Hamilton played the guitar; and James Simpson played the trumpet. These two musicians gave Charles much of his early formal education in music. Clarence Christian, Jr. recalls their efforts:  
...the first thing they (Hamilton and Simpson) taught him, (was) 'Learn to read, then you won't have to take anyone's word for what's on that paper'. And the term they used was 'Learn how to pick them dots,' that's read notes. They taught Charles how to build chords, break down chords, transpose, and modulate, and read.15  
Edward Christian first happened across Ralph Hamilton in Chickasha, Oklahoma. "Big Foot" Chuck, as he was called, was playing his guitar out in the streets. He was accompanying a blind man who played religious music on the washboard, with thimbles on his hands. Ralph Hamilton, it should be noted, played guitar, and Charles first wanted to play like him. Hamilton's style was characterized by his lead chord approach; and because of his knowledge and style, the familiar songs he played were easily recognized.16  

At this time, Charles practically idolized Hamilton. After he quit playing steady baseball, he would be with musicians, especially Simpson and Hamilton. At this time Charles was known to say, " I want my guitar to sound like Chuck's." But even then he was different. One fundamental but derivative change from the style of Hamilton to the style of young Christian was Charles expressed himself by playing solo notes, and Chuck, of course, played lead chords. This too, is significant. Charles began playing solo long before most jazz groups featured the guitar as a primary instrument. And when he eventually was exposed to electric guitars, his solo style was already solid, and not merely an adaptation to the guitar's newly-found volume.  

Not long after Charles became proficient on guitar (probably between 1929 and 1931) there was a jam session up at Honey's. Honey's was an after hours spot, run by Honey Murphy. It was an exciting place when the jamming started. When the jam sessions began "whole streets would just empty and go up to Honey's." Many bands came through town and when they came, they would jam at Honey's. On this night Don Redman's orchestra was there at Honey's. The jam session included Edward Christian on piano and Ralph "Big Foot Chuck" Hamilton on guitar. Young Charles Christian walked in with his brother, Clarence. Charles was anxious to participate. Charles went up to the rest of the active musicians and pressed his brother, "Let me play one".18 And Edward's reply was a classical, "Charles, don't nobody want to hear them old blues." Luckily Ralph Hamilton intervened on Charles' behalf. He convinced Edward he should let his youngest brother at least have a chance. There is an explanation for Edward's attitude. Edward didn't know Charles had learned to play. Charles was asked by the group what he wanted to play. He chose a tune that most of the crowd knew and was popular with the people. He selected "Sweet Georgia Brown". The choice was a surprise to Edward; but the band began to play with Edward setting the pace at piano. The song began with soloists each putting in their part. Then it was Charles' turn.19  

"...so he licked his thumb, and gripped his pick the way he wanted it. And Chuck told him, 'Come on, Charlie, you can do it. Charles set there, and they encored him back for sixteen choruses, and every one was different. And my oldest brother like to went through the ceiling. 'Hey, hey man! This is my brother! This is my brother! Take another one, Charles. Take another one!' You know he was going out, you know..."20 

His impromptu debut that evening was a surprise to many people. Charles' sixteen choruses were single note solos and this was "way before he started playin' professionally." Charles' brother, Edward, was very surprised, to say the least. Edward was unaware that Charles had been studying music and the guitar under Simpson and Hamilton. The simple reason for his ignorance was a difference that had come up between Simpson and himself. Both Edward and James Simpson were pursuing the same young lady. Because of this, very little was said between the two.21  

After this first number at Honey's, everyone was quite excited and wanted to hear more of Charles on guitar. Charles was asked to choose another number. He politely and shrewdly explained he was not the leader of this session, he was just "sitting in" with the rest of the musicians. Actually Charles had only three songs he knew well, and wanted to play in front of others. He finally suggested they play "Tea for Two" and everyone agreed. Charles again electrified the awaiting crowd with his music. He exploded into his music, and the crowd reciprocated in appreciation.22 

After "Tea for Two" Charles thanked the rest of the guys for letting him play, telling them he felt better now. But everyone wanted to hear more. Charles was very aware he had only one more tune he felt secure playing with this group of musicians. The others begged him to play once more. He consented to one more number, and he chose "Rose Room". The crowd was genuinely amazed by what it had heard that night, performed by a young, local musician. It was the talk of the neighborhood, and word spread fast. When Clarence and Charles arrived back home, their mother already 'knew all about what had happened. And the effect of the incident on Charles' eldest brother's opinion of his baby brother' talent was altered permanently.23  
"...Edward learned that Charles had progressed so far over his head until they were like two peas in a pod from then on...So getting down to this one point. People talking about what they learned Charles, what they taught him. The principle ingredient there is Ralph Hamilton, James Simpson and his oldest brother, Edward."24 

This was Charlie Christian's first public appearance on guitar. This sixteen solos display of his talent on guitar was not peculiar to this evening. Charles constantly revised; it was an essential and creatively demanding part of his approach and updated his music; it was a trademark of his style. (Incidentally, John Hammond who later "discovered" Christian, believed Charles had never heard "Rose Room" before he played with Benny. "Rose Room" was to figure prominently in Christian's first session with Benny Goodman, dubbed the "king of Swing".)25

Part Three: Deep Second 

Oklahoma City doesn't appear to have been the backwater area or unexposed to New York and California music-wise, which seems to be what some works listing Christian seem to hint. Oklahoma City was a hub, a hot spot for jazz. New York and Los Angeles simply seem to have had little idea what was happening out in the Great Plains. On North East 2nd Street one could find all sorts of live music. This is the neighborhood where Charles lived. It was here he met musicians such as Lester Young. Lester reportedly had spoken of these days when he said, "We (he and Charlie) used to go out in the alley and jam."26 It was there on 2nd Street that Charlie heard and played with members of visiting territorial bands including Andy Kirk, Alphonso Trent, bands from Kansas City, and the Blue Devils, whose home base was Oklahoma City. The Blue Devils at one time included Count Basie, Lester Young and many other talented musicians. Musicians were Charles' kind of folks.  

In the 1930's, not many musicians had the opportunity to play in mixed crowds meaning those groups including blacks and whites. One of the earliest instances (or the earliest) of this occurring in Oklahoma City involved Charles, his friends and two white brothers, the Selathias, and their friends. Their names were Merle and Doyle Selathia. The Selathias lived in the south part of Oklahoma City. Their father owned a dancehall called Selathia's Barn. Selathia's Barn at one time actually was a barn which the Selathia's had remodeled. Merle and Doyle had much in common with the Christians, because they too loved music. They accepted the Christians and their friends as musicians-as equals. Charles and his friends were never sent away here; or forced to enter through the kitchen. But the music itself wasn't exactly tame. They "had some wild jam sessions there." The Selathia's and their friends in turn came to 2nd Street to jam in the Christian's neighborhood at Bridges. Together, the two groups of musicians would play for hours, and there "was never a cross word" between them. Everybody would pass one bottle around for all to share; and no one disgraced the affair by wiping the bottle. Charles got along very well with this crowd. One of the other musicians with the Selathias also played a stringed instrument; and he and Charles would make music together for hours.27  

Christian's style was unique. Often it is said by those who heard Charles' music for the first time, this music is different in some way than any they've heard before. He was different from most other guitarists of the day. To begin with, he started off playing solo, unlike Ralph Hamilton and most other guitarists involved in popular music. There were many blues singers who accompanied themselves with guitar but fewer played the guitar as if it had solo voice of its own. With a band, the guitar's function was rhythm more than lead. The guitar was difficult to hear otherwise."  

Charles' brother, Clarence, doesn't attempt to explain his brother's genius, Charles was always different; but eventually he explained part of his approach to the instrument:  
"...later on he revealed his secret, his interpretation of music. He said, 'I don't look at it as playing a guitar.' He said, 'I try to make my guitar sound like I think a saxophone should. ` So he had him a whole new ballgame there. In his mind he's doing what he thinks a sax player should do. So he picked up something. In other words, right there he went original, something no one else had offered.28  

Abe Bolar, a musician and a good friend of Charles, supports evidence that his ability was recognized years before Charles went east or west. At one time, Abe was the bass player for the Blue Devils, an influential band around Oklahoma City and the region. Abe was older and began his music career before Charles, but they jammed many times. He affirms, "Charles always could play solo." He remembered Charles to be playing in 1931, and "He could play like hell in '34... He was just a natural... he improvised naturally." And Mr. Bolar claims Charles could play as well as a teenager as he ever did at a later age.29  

Jay McShann, pianist and band leader, heard Charles in person only once. This was in 1937 in Kansas City at Wolf's Buffet. Charles was with Alphonso Trent and his group returning from the Dakotas. There was a jam session from eleven at night til five in the morning. The guys sounded so good McShann says he just wanted to listen. He says about Christian, "Charlie had that thing." Jay McShann agrees Charles had to have always had this special "thing". 30 In the liner notes of a Charlie Christian record album released around 1958, Al Avakian and Bob Prince claim "...Charlie Christian's Texas birthplace and Oklahoma home were areas relatively untouched by more sophisticated forms and expressions than the blues...." 31 Writer Ralph Ellison refuted these claims when they ware first made, and correctly so.32 But the blues definitely did have their impact on Christian: although he wanted more, the blues were all around.  
"....Of course, he'd been around blues all his life, 'cause we strictly lived in a blue environment. "Cause along then when Charles just started out trying to play guitar every-body sat down to the piano, everybody picked up a guitar, mandolin, a little fiddle; it was blues. And Charlie really didn't like blues. But for his kind of playing, his kind of music, his type of music style, there wasn' t enough action in blues. I don't mean to say this boastfully, but when you sit down to listen to Charles play there is never a pause. He's always doing something. He's digging in everything. But in motion, you know, that continuous something. You look for a pause, and he's putting something in there....33  

"Deep Second" was extremely fertile ground for a budding musician such as Charles Christian. Without having to leave town, or even his neighborhood, he acquired experience playing at the many sessions on Northeast 2nd Street. The places he jammed with the other musicians were pool halls, and after hours joints: places where a man could get a drink. Frequented often were Honey's (mentioned earlier), Deep Deuce, Band Box, The Hole and Ruby's Grill. Honey Murphy's and Hally Richardson's were two of the important centers for musicians in this area. Hally Richardson owned a "shining parlor," and Honey Murphy ran the upstairs, this part of the building overflowed with people during the day. Ruby's was built as a ballroom which tended for better use for crowds. The 'Hole was run by Big bridges was located in a basement, and above it on the first floor was the 'Band Box' which began as a pool hall.

Charles' musical ability did not go unnoticed in Oklahoma City. Although many dates are often cited indicating when Charles first left home to play with a traveling band, this author's research has found no conclusive evidence for precision. He first left probably sometime between 1931 and 1937. At any rate, he was very young. Although both of Charles' brothers also had had earlier offers to leave Oklahoma City for musical careers, only Charles received his mother's OK. Edward had his chance to go with Buster Moten. And Clarence, Jr. also had a chance to do musical work in California. But their mother wouldn't allow it in these two cases. When Charles' chance came, Clarence, Jr. helped convince his mother that she should let her youngest give it a try. He persuaded her this was the time to let him go because with their two jobs they would be financially capable of bringing Charles home if things went sour on the road, as many times just so happened. Also, Clarence convinced her that at this early date Charles would still have the necessary moral support needed to keep him in the right track.  

Alphonso Trent was the leader and organizer of one of the popular traveling orchestras in the midwest. He had heard of Charles and came to Oklahoma City to hear him. Trent's bands had a very good reputation musically, in the area; and Alphonso asked Charles to play with his band. Charles had to practically beg his mother to let him go. She understandably didn't want her youngest to leave. But Mr. Trent promised her he would take care of Charles. So after Charles made all of his promises to his family concerning what he would and would not do, he left with Trent. 36  

Alphonso promised to take care of Charles, but there were a few dangers. At first, Charles played the guitar for the band, but because of the kinds of places they were playing and the hazards, this did not continue. The jobs the band held were north of Oklahoma in Deadwood, South Dakota, Bismark, North Dakota and Casper, Wyoming. Most of the mail his family received bore postmarks from Deadwood and Bismark. The clientele at these places were miners, not always the crowd easiest to please. The band wasn't paid much of a salary for each of the engagements; so most of their revenue was tips from the audience. But here lay the danger. Paper money was very scarce in the area at this time; all that was usually to be found was coin. Usually, the men would just throw their money at the bandstand, and this was very hazardous for the musicians. "Some guys come in there they'd get to feeling good, he'd bust up your instrument, your head, (and) anything else." 37 So to keep part of the flying coin from doing too much damage, a net was set up in front of the bandstand to protect the musicians. Charles was very worried about his new guitar. Before he left Oklahoma he had bought himself a new guitar. Since he was making payments on the guitar, he didn't want it to be broken or ruined. So he started playing bass fiddle instead.38  

A young school girl home on vacation also had the opportunity to see this electric guitarist while he was with Alphonso Trent. The place was Bismark, North Dakota. The time was September, 1938. The band was a swinging sextet she recalls. She walked in after hearing about this guitarist. She heard Charles playing, but it was new, different and she didn't even know what instrument was making this music. Then she saw him. Later in the evening he played "St. Louis Blues." She was familiar with Django Reinhardt's version. Mary Osborne claims Charles played Django's version exactly. This is an example of his approach. Charles loved music and musicians, and when it came to music education, he knew songs and musicians' styles that no one even expected to hear. Charles was full of surprises when it came to his knowledge of music and musicians. Django was an important pre-Christian solo jazz guitarist. He was known as the Belgian Gypsy Mary Osborne met Charles the next evening. She describes him as "very nice, exceptionally nice." 39  

The places where Charles and the rest of the group would stay were "average." But usually the crowds were rough; and Charles was unhappy with his role on bass fiddle. He wanted to play his guitar. So after about a year or a little more with Alphonso Trent, he returned to Oklahoma City.40

Part Four: Who the hell wants to hear an electric-guitar player? 

After an undetermined length of time back home, Charles again had an opportunity to travel with a band. Charles' mother was no more pleased about him leaving this time than she was the first. This time Charles went with a orchestra headed by Anna Mae Winburn. Charles again went north, playing places in Kansas City, Chicago and other cities. It has been claimed that he toured the southwest with Anna Mae, but it appears this is not true. He was not touring Texas and the southwest with Trent and Winburn; he was exploring north. But fate did not smile on this orchestra; the band became stranded. The bus that they traveled in was taken back into the "hands of the receivers." Luckily, Charles' family had enough money to bring him back home safely.41  

Charles Christian was a respected musician around Oklahoma City and his ability was known to many local musicians. For an undetermined period of time, over a year possibly, Charles was back home in Oklahoma City. Here he played music on 2nd Street with many musicians in town, and also with those passing through town. Two of the local bands were popular, their leaders were Leslie Sheffield and Edward Christian. Charles would play with one for a month or so, then with the other. Everyone in both these groups gave Charles plenty of solo time.42 He was acquiring a reputation as a wizard on the guitar throughout the area.  

Charles' nickname around the area gives one indication of his reputation. His nickname was Charles Christian "The Great." In jam sessions if one musician outplayed the next, they were said to have "cut his head." "So Charles cut every head come here carrying a guitar."43 Soon, Charles' name was put in front of a band's, such was his popularity with the public. When Andy Kirk's group came to town, below the advertisement for this nationally known group was another smaller announcement:  
....Every Thursday, Saturday and Sunday nights will be regular attraction nights with music on Sunday by Charles Christian's band. No extra charges will be added for service in the "Lyons Den." 44  

It seems natural that Charles Christian turned to the electric guitar; his solo approach was mature and ready to be heard along side horns and the rest of the band. Charles started off playing a loud unamplified guitar, an acoustic Epiphone. It was this guitar that allowed his solos to be heard before he was able to acquire the newly developed electric guitar. When he played a piece with a group, the rest of the band would play softly so he could be heard. Sometime before he was "discovered" Charles acquired one himself. A woman in Oklahoma City told Charles about a place where he could get one. He went down and bought his first electric from Lee Thaggart who owned a music shop in Oklahoma City. He made payments he could afford to finance the purchase. Later, with his first check from John Hammond, to go to Los Angeles, he paid off the balance. His next electric guitars were furnished after he joined Benny Goodman. The second was a beautiful, big white Gibson guitar (Charlie preferred Gibsons). This guitar was cherished by his family who kept it after he died, but in the 1950s it was stolen from their home. 45  

In the summer of 1939 Charles Christian was swept away from Oklahoma to New York and Los Angeles and the expanding mass media network--the national scene. This included appearances, radio performances and records. In astoundingly little time, a few months, Charles would be in the center of the popular jazz of that day via Benny Goodman.  

It was pianist-arranger Mary Lou Williams who first brought Charles to the attention of New York and John Hammond. Mary Lou Williams was the pianist-arranger for Andy Kirk and his Clouds of Joy. They had both toured the mid-west and recorded in New York.46 John Hammond, on the other hand, had just recently gone to work for Columbia Records, Inc., a new enterprise owned by CBS network. His position was that of associate recording director. He came into this job after and as a result of his successful production of The 1938 "Spirituals to Swing" concert featuring black artists from all over the United States.47 Hammond was also responsible for recording Benny Goodman's groups at this time; and was intimately involved with finding new personnel for Benny.  

John Hammond was not looking for a guitarist in particular at this time, but he was out trying to find the best musicians. Weeks before John Hammond had ever heard of Christian, Andy Kirk and his Clouds of Joy were playing at the Trianon Ballroom in Oklahoma City. This was July 10, 1939. Included in Kirk's band was Mary Lou Williams on piano, and Floyd Smith on guitar. The performance was to be a benefit dance; proceeds would go to the entertainment committee of the local Negro Business League. Advance tickets were 56 cents, while at the door the charge would be 78 cents.48 Mary Lou may have heard Charles a few years before, but it was probably this encounter that was fresh in her mind at a recording session in New York a few weeks later. In Oklahoma City, at this appearance or afterwards, a jam session took place.  

According to Mary Lou, everyone wanted Charles to bring Kirk's guitarist down a bit, even the members of Kirk's band. First Charles played. Everyone encouraged him to do his bit, to show the other guitarist up. But Charles wouldn't, yet. Then the other guitarist played. He tried very hard to do his best. Then Charles played again, much stronger than the first time. Charles was too good. The other guitarist would not tolerate it and walked out.49  

Mary Lou and the band were soon back in New York. but she had not forgotten what she had heard. The band was playing the Apollo, and also making recordings. At the recording session Hammond heard a guitarist who played "the Hawaiian guitar sound ." After speaking with Mary Lou, and telling her he cared very little for this guitar music, he jarred Mary Lou's memory.50  

Hammond remembers Mary Lou saying, "If you really want to hear an electric guitar played like an acoustic guitar....you 've got to go to Oklahoma City, where Charlie Christian works. He's the greatest electric-guitar player I've ever heard."51  

Hammond was already planning to go to Los Angeles to begin recordings for Goodman on Columbia. He decided to stop and give Charles an audition. 52 Mr. Hammond subsequently wrote Charles inquiring about an audition. Charles wrote back inviting him to stop and hear.  

Clarence Christian, Jr. remembers this same period:  
....Truly, John Hammond did come here. And to show you what kind of life we were living, we didn't have a car, didn't have a bicycle. So Charles went to a friend of his -- the musicians' friend, Hally Richardson. He had housed, clothed and fed a many musician. Charles went and explained to Hally what he had going for him. So Hally told him, "Say well now, I got an old Plymouth down there." He said, "We'll just go to the airport and meet him." 53  

As was mentioned earlier, Charles was working at Ruby's Grill and the Lyons Den owned by Ruby Lyons. At the first meeting between Christian and Hammond, Ruby and Hally were there also. They talked for awhile, and Hammond asked if there were more good musicians in the area. Charles hadn't auditioned yet, so Hammond suggested the following evening. First, he needed a hotel room and asked Charles about it. Charles suggested the Huckins Hotel where his mother worked. This is where Hammond stayed.54  

So Hammond told Charles to gather up the good musicians he knew, and asked him to meet the next evening at 8 o'clock. The next evening at 8 o'clock sharp the band started their theme song and Hammond walked in. He listened to four or five numbers, and then he got up to leave. He provided the musicians drinks for the night for everyone that wanted them. Plus, at this time he said, "You'll hear from me in a few days." Then he left.55  

Hammond saw Christian's connection with the horn players. He saw a Texas influence, and he notes that Christian was "endlessly inventive." What surprised Hammond, he wrote, was like all the greats he "discovered," why hadn't anyone heard it before?  
I knew immediately, for instance, that Charlie Christian belonged in the Goodman small group. I was on my way to join Benny; what could I tell him that would convince him? I called California. "I've just heard the greatest guitar player since Eddie Lang," I told him. "He plays electric guitar and..."  
"Who the hell wants to hear an electric-guitar player?" Benny interrupted.  
"I don't know," I admitted, "but you won't believe him until you hear him."56  

Hammond convinced Goodman to allow Christian to be brought out on the budget allowed by the Camel Cigarette sponsors. The Camel Company supported a radio program and Benny had a contract with them for regular national radio appearances.  

After Hammond left Oklahoma, Charles was left with no idea of what Hammond had thought of him. About ten days after the event Charles received a telegram. It read something close to this: "Come at once. Have position with Benny Goodman."  

Clarence recalls what Charles' reaction was:  
And Charles set down and laughed. I said, "Charles, what are you laughing about?"  
He said, "Man, that man's in Los Angeles."  
I said, "I know it."  
"How in the hell am I going to make it to Los Angeles if I ain't got cab fare down town?"57  

Charles didn't have any money. So his brother, Clarence, and his friends, policeman Ernest Jones and Hally Richardson raised enough money between themselves to send Charles off. But before they had a chance to present Charles with this money, he had found his own way of solving the problem. Charles wired Hammond back; and in return Hammond sent $300. This was accompanied by a second telegram which said, "If this is not enough, will wire more. See you."58  

Benny Goodman was tremendously popular at this time, and it was a boost for most musicians to just be part of his orchestra. Charles still hadn't met the leader, and his new boss hadn't heard him play. His position was to play with the orchestra according to the local report from the Black Dispatch. It described the event as "one of the biggest breaks ever received by a local musician." With the three hundred dollars Hammond had sent him Charles completed the payments on his electric guitar. A party was given at Ruby's Grill on Sunday, August 13, 1939, for Charles. The next afternoon he left town by train.59 The possibilities ahead for this young musician were unknown. Benny certainly had made few plans, probably none, for this new musician he had never heard.  

Charles Christian's thoughts about this world usually were not broadcast. Charles was "soft-spoken, shy like" in conversation. His answers to friends' questions many times were not words, but grunts. So to understand him meant one had to know Charlie pretty good. He did not complain much. One of the few times he did express worry was to his family just before he left to join Benny Goodman. He was working moving cabinets inside a building when one of his fingers was mashed between a wall and the cabinet. He was very worried this would hinder his playing, and he had not yet been heard by Goodman. By the time he left, although sore, the finger was well enough for Charles to play.60  

Persons who knew and heard Charles before he went with Goodman agree Charles' style was developed before he ever met Benny Goodman. It was mentioned earlier that Charles was taught to play and read music by Ralph Hamilton, James Simpson and Edward Christian. But Charles quickly progressed. There was something unique about his ability even as a baby. And in his first jam session his ever-changing improvisations surprised much of the neighborhood, not to mention other musicians present. So where did he get it? First of all, it should be remembered Charles was a very agreeable and likable person. He would borrow from any musician he came in contact with or any kind of music. He would use the blues, folk songs, jazz classics, popular tunes, hillbilly music and he even surprised a few with his knowledge of classical music. Charles would use stuff no one else would try.61  

Charles Christian did hear a saxophone inside his head. As a solo guitarist he was unusual because he played on his guitar lines he thought a saxophonist should play.62  

His music was constantly changing. For example, he was known to play a beautiful solo. Then when asked to repeat it after his efforts, he would say, "What?" He wasn't being snobbish at these times, or really meek. It is just the ideas he had the moment before were gone and new sounds were filling his head. He was constantly revising.63  

When critics attempt to explain where Charlie Christian came from, one should remember Charles' own words. He was a quiet man, but he told his brother, Clarence, his philosophy many times. Although Charles didn't talk much, he did give his brother this piece of philosophy:  
"Don't never try to be like somebody else. Let somebody else try to be like you. Because when you start being a copycat, they are a dime a dozen." 64  

This approach put him in the same category as the top line soloists, while not losing the function of the guitar as a rhythm instrument. Charles' favorite bands when he left Oklahoma City were Duke Ellington's and Count Basie's. But "he was strictly a Duke man" (which questions the theory that Charles' style was taken from Lester Young). He would not rate musicians as to who was better than whom; he would not categorize his fellow musicians. His philosophy was that those that were playing had to be good to be up there. Charles eventually played with some of the biggest names in jazz in his day, but it didn't matter to him who he was playing with, just as long as he had a chance "to unbutton himself." Playing with Benny or Count Basie or whoever, Charles Christian just seemed to always want to add to what was going down as he was able. He could play anywhere.65 

Part Five: From one good thing to another 

Charles first played with Benny Goodman in Beverly Hills, California at the Victor Hugo restaurant. It was not Benny's intentions to have Charlie as part of his small group, but it must have proved to Goodman that he needed Christian. At least Christian proved he was too skilled to be left in the background.  

On August 16, 1939 Charles met Benny for the first time. On that date, two days after he had left Oklahoma by train, Charles walked into the studio where the band was recording. John Hammond noted that Benny was anxious about his opening night, and not very interested when he first met Christian.66  

At this point Charles left with the black members of the band to go to Watts. Hammond told Christian before they left to meet back at the kitchen of the Victor Hugo later that evening. This first audition was followed up by a second and more public one that evening. A plan was hatched to give Charles another chance. Hammond called musician friends of his in the area, and told them not to miss the show that evening. Hammond and Benny Goodman's bass player, Artie Bernstein, secretly set up Charlie's amplifier on stage, and the scene was set. Unknown to the "King of Swing," Charles would be part of the Benny Goodman Sextet that evening, and subsequently important to Benny Goodman's organization for the next two years.67  

It was opening night that evening. Benny Goodman and his Quintet took to the stage. Los Angeles was segregated, as was much of the United States, and through the kitchen door appeared Charles Christian. Charles walked up to the stage. Benny was not too pleased with this last minute surprise. He chose to play "Rose room" which seemed to Hammond to be Benny's revenge. "I am reasonably certain Christian had never heard `Rose Room' before, because it was a West Coast song not in the repertoire of most black bands."68 Actually, this is one of the only three songs that Charles wanted to put before the public back in the original jam session with Don Redman's Orchestra years before.69 The number began. Between Benny Goodman and Lionel Hampton riffs began to pass; then Charles would come in with his parts, improvising in a way that was part of his trademark. He played at least twenty solos, all of them different.70  
Before long the crowd was screaming with amazement. "Rose room" continued for more than three quarters of an hour and Goodman received an ovation unlike any even he had before. No one present will ever forget it, least of all Benny.71

So Charles was now standing on the inside with Benny Goodman. He was accepted by Goodman, and was instructed to get acquainted with each of the other bandmembers and their styles over the next week. Charles was even surprised to receive a check at the end of this first week.72 He was reportedly paid $150 a week.73 But Charles quickly made friends with the group, and pleased Benny Goodman also.74  

It has been said that Charles and Benny didn't interest each other much personally, but apparently both were very interested in what the other was doing. Part of the beginnings of a stronger bond between the two came when Charles in these early days of the new Sextet was calling the other band members "Mister" as a sign of respect. Clarence Christian remembered what Charles told him about the occasion. It bugged Benny that he was calling his fellow musicians by this title. Swiftly, Benny corrected Charlie. He explained to Charles that in his band there were no whites or blacks, Misters or Mrs. The band was to be one unit, and Charles could just call him Benny. Charles was impressed. Benny did suggest at this time that "Charles" was too formal for the public. From then on he was known not as Charles, but as "Charlie Christian."75  

D. Russell Connor, author of two bio-discographies entitled B.G. off the record and BG on the Record, also agrees that Charles did interest Benny very much, especially as a musician. He wrote in 1978:  
I think it quite likely it is true...that Charlie was someone special to Benny. Benny realized that Charlie was young and unsophisticated when he first joined the band. In addition to that, Benny recognized (and said at the time) that Charlie's was a great and unique talent; and no one respects talent more than Benny Goodman.76  

In fact, Benny apparently liked Charles, and Charles liked Benny. He told his family he had "never met a more down to earth person." Benny always had a good word for Charlie, while at the same time he watched out for Charlie. Because of Charles' inexperience Benny kept an eye on him and when they played engagements on the road Goodman would ask Charles to stay with him in his room. Within weeks of their initial meeting Charlie Christian was incorporated into the Goodman program. His duties were to be vital to the new Benny Goodman Sextet, Goodman's feature group.77 In contrast to this, Charles was not obscured in his orchestra. Charles' position was right at the front, just as John Hammond had hoped.  

The rest of Goodman's performances and records featured the orchestra. But Charles played here only occasionally since Goodman had two other guitarists. The guitar chair here was held by either Arnold Covarrubias or Mike Bryan. The Sextet was to perform before the full orchestra's appearance, and between intermission and the second half of the program.78 Charles was definitely new and unique. The electric guitar itself would be presented for the first time to mass audiences across the nation by live radio broadcasts, performances and by record. By being featured with Benny Goodman,79 Charlie was no longer the unknown musician, the legend of the Great Plains. There was probably no quicker road to national exposure than to play with Goodman.  

Charles was now making more money than ever before. When he first received his instructions he was amazed by the amount of his paycheck and the short duration of his appearance. His salary was reportedly $150 a week. "Now Charles looked at that and at his salary and said, `Well good! But this can't last.'"80  

Every check that Charles received, his family received part of it. Times were still not easy for the black community in Oklahoma City. Charles wanted badly to help his family. What he wanted most to be done with his new-found wealth was to buy a house for his grandmother. But the area of town Charles decided on was too far from downtown. His grandmother wanted to be closer to the city. This problem plus Charles' unexpected illness laid these plans to rest. "But Charlie, he went from one good thing to another."81  

The band left California not long after Charles joined the organization. They were playing engagements while also doing a weekly performance for the "Camel Caravan" show. Charles flew to Atlantic City, Detroit, and then on to the New York World's Fair on September 6. Charles gradually became acquainted with others in the Goodman band. During a Camel Caravan broadcast from Detroit on September 2, Benny told the crowd that one of the first numbers he heard performed by Charles was "Stardust" and that he was very impressed. The crowd was then given a glimpse of Charles; and "Stardust" was the only song performed by the Sextet that evening. Recordings of this are available.82  

Early in his career with Goodman Charles had a request by mail from his mother. She wanted him to play a song for her. But Charles had to explain to her that he just could not do that, even though they did take some requests from the public.  
And he finally answered and told her that the audience was so vast and demanding, he couldn't just single her out because she was his mother. He said, `But I have a piece, regardless of where I am or who I'm playing for, this one particular piece is always dedicated to you from..."Stardust" And he turns loose something in "Stardust" that he don't seem to turn loose in no other record.83 

References

2 Clarence Christian, Jr., older brother of Charles, but younger than Edward Christian, personal interview at Clarence Christian's home, Oklahoma City, Oklahoma, 7 January, 1978. Present were Clarence Jr., Ella Mae Christian, Kevin and Patty Centlivre and the author. 

3. Ibid. 

4. Ibid. plus Clarence Christian, Jr., personal interview with Kevin Centlivre and the author at Clarence Christian's home, Oklahoma City, 24 March, 1978. 

5. Christian, op. cit., 7 January, 1978. 

6. Christian, op. cit., 7 January, 1978 and 24 March, 1978. 

7. Christian, op. cit., 7 January, 1978. 

8. Blesh, Combo: USA (New York: Chilton Book Company, 1971), pp. 163-164. 

9. Christian, op. cit., 7 January, 1978 and 24 March, 1978.

10 Christian, op. cit., 7 January, 1978. 

12 Blesh, Combo: USA, p. 165 

13 Jerry Jerome, Sarasota, Florida, letter, 24 March 1978, to the author. 

14 Christian, op. cit., 7 January, 1978. 

15 Ibid. 

16 Ibid. 

17 Ibid. 

18 Ibid. 

19 Ibid. 

20 Ibid. 

21 Ibid. 

22 Ibid. 

23 Ibid. 

24 Ibid. 

25 John Hammond, John Hammond On Record (New York: Ridge Press). 

26 Nat Hentoff, "Lester Young," in The Jazz Makers, eds. Nat Shapiro and Nat Hentoff (Westport, connecticut: Greenwood Press Publishers, 1957), p. 247. 

27 Christian, op. cit., 7 January and 24 March, 1978. 

28 Christian, op. cit., 7 January, 1978. 

29 Abe Bolar, musician, bass player, friend of Charles, and a former member of the "Blue Devils," personal interview with Kevin Centlivre and the author at home of clarence Christian, Jr., Oklahoma City, Oklahoma, 18 March, 1978.  

30 Jay McShann, bandleader and pianist, personal interview with the author, Paul Gray's Jazz Place, Lawrence, Kansas, December, 1978. 

31 Al Avakian and Bob Prince, Charlie Christian with the Benny Goodman Sextet and Orchestra (sound recording) CL 652. 

32 Ralph Ellison, "The Charlie Christian Story," in Saturday Review, May 17, 1958, pp. 42, 43, 46. 

33 Christian, op. cit., 7 January, 1978. 

34 Christian, op. cit., 24 March, 1978. 

35 Christian, op. cit., 7 January, 1978. 

36 Christian, op. cit., 7 January and 24 March, 1978. 

37 Christian, op. cit., 7 January, 1978. 

38 Ibid. 

39 Mary Osborne, guitarist, telephone interview with the author, September, 1978. 

40 Christian, op. cit., 24 March, 1978. 

41 Christian, op. cit., 24 March, 1978. 

42 Ibid. 

43 Christian, op. cit., 7 January, 1978. 

44 The Black Dispatch (Oklahoma City), July 1, 1939.  

45 Christian, op. cit., 7 January, 1978. 

47 John Hammond, "Random Notes on the Spirituals to Swing Recordings" from the liner notes of From Spirituals to Swing, VSD 47/48 (record).  

48 The Black Dispatch (Oklahoma City), July 1 and 8, 1939.  

49 Mary Lou Williams, pianist, telephone interview with the author, 31 August, 1978. 

50 Hammond, John Hammond On Record, p. 223. 

51 Ibid. 

52 Ibid. 

53 Christian, op. cit., 7 January, 1978. 

54 Ibid.
55 Ibid. 

56 Hammond, John Hammond On Record, p. 224-25. 

57 Christian, op. cit., 7 January, 1978. 

58 Ibid. 

59 The Black Dispatch (Oklahoma City), 19 August, 1939. 

66 Hammond, John Hammond on Record, p. 225. 

67 Hammond, John Hammond on Record, p. 226. 

68 Ibid. 

69 Christian, op. cit., 7 January, 1978. 

70 Hammond, John Hammond on Record, p. 226. 

71 Hammond, John Hammond on Record, p. 226. 

72 Christian, op. cit., 7 January, 1978. 

73 Bill Simon, "Charlie Christian," in The Jazz Makers, eds. Nat Shapiro and Nat Hentoff (Westport, Connecticut: Greenwood Press Publishers, 1957), p. 323. 

74 Christian, op. cit., 7 January, 1978. 

75 Ibid. 

76 D. Russell Connor, Philadelphia, PA., letter to the author in return for letter mailed to Benny Goodman, 27 March, 1978. 

77 Christian, op. cit., 7 January, 1978. 

78 Ibid. 

79 Tom and Mary Evans, Guitars: Music, History, Construction and Players (New York: Paddington Press Ltd., 1977) p. 389. 

80 Christian, op. cit., 7 January, 1978. 

81 Ibid. 

82 D. Russell Connor and Warren W. Hicks, BG On the Record (New York: Arlington House, 1969) pp. 259-260. 

83 Christian, op. cit., 7 January, 1978. 

60 Christian, op. cit., 7 January, 1978. 

61 Ibid. 

62 Ibid. 

63 Ibid. 

64 Ibid. 

65 Ibid.