(2003).

“Charlie Christian: Solo Flight – The Story of the Seminal Electric

Guitarist.” 2nd Ed.
Blaydon on Tyne: Ashley Mark.

Revised and updated version of 1997 publication.

Bryant, Clora, et al (eds.) (1998). “Central Avenue Sounds: Jazz in Los

Angeles.”
Berkeley: University of California. pp. 59, 200-201.

Lee Young refers in passing to CC playing with him, Blanton, Byas, et al. “Upstairs
at the Union” [cf. Epstein, 1999]. Illinois Jacquet describes a Labor Day parade
[possibly 1940?] arranged by Local 767 through Central Avenue with CC, himself,
Blanton, Nat Cole and others.
[original interview apparently from Los Angeles Times, June 11, 1989]

Callendar, Red, & Elaine Cohen. (1985). “Unfinished Dream: The Musical World of
Red Callendar.”
London: Quartet Books. pp. 44, 194.

Discusses the “Capri” club, owned by Billy Berg, located on La Cienega and Pico in
Hollywood. Lee Young organized after-hours jams there, and on one occasion
[apparently in late ’39 or early ’40, when CC was with Goodman] CC visited with
Jimmy Blanton and Lionel Hampton and all three jammed together. Documents 1944
recording dates with Emmanuel ‘Duke’ Brooks [cf. Carr, 1998].

Carr, Ian. (1998). “Miles Davis: The Definitive Biography.” London: Harper
Collins. pp. 12-15.

Reviews a 1964 Down Beat interview with Davis, in which he relates that Emmanuel
St. Claire ‘Duke’ Brooks demonstrated to him some of CC’s music [this may be the
Brooks referred to by Callender & Cohen (1985) since he is described as recording
with Callender]; Davis also mentions that Kansas City trumpeter Buddy Anderson
[cf. Gillespie & Fraser, 1982] who was with Billy Eckstine, played like CC.

Centlivre, Kevin. (ca. 1998). Unpublished interview with Clarence Christian

(Charlie’s brother) conducted 1978.

Details of the circumstances of this interview about CC (though little about its
substance) are reported in the “Bonham” page of the Garry Hansen CC web site,
“Charlie Christian: Legend of the Jazz Guitar.”
http://www3.nbnet.nb.ca/hansen/Charlie/bonham.htm

(——) (2000). “‘Charlie Was Something’: An Interview with Jerry Jerome.”

At Internet site: “Charlie Christian: Legend of the Jazz Guitar”
http://www3.nbnet.nb.ca/hansen/Charlie/jerome.htm [reviewed June 2001]

Interviewed in 1993, Jerome recalls CC’s time with the Goodman band and his
reaction to fame. He also discusses CC’s contribution to the development of bop,
and accounts of CC in other musicians’ autobiographies. Mention is made of CC’s
baseball playing, and his stylish dress.

(——) (2001). “Revisiting Charlie Christian.”

At Internet site: “Charlie Christian: Legend of the Jazz Guitar.”
http://www3.nbnet.nb.ca/hansen/Charlie/centlivre.htm [reviewed March 2001]

Review of CC’s life and music that draws in part on interviews with Clarence
Christian and Jerry Jerome conducted by the author. Clarence refers to CC’s
playing baseball, and tells how CC would listen to his own records at home and then
further develop ideas from them; Jerome recounts that CC learned solos from Basie
records. Traces specific records/solos that may have been adapted by CC in his
solos or compositions.

Christian, Charlie. (1939). “Guitarmen, Wake Up and Pluck! Wire for Sound; Let
’Em Hear You Play.”
Down Beat, December 1.

CC examines the role of the electric guitar as a solo and band instrument, and
discusses several of the contemporary guitarists.
[reprinted in Down Beat, 10 July 1969; Guitar Player, March 1982; and Down Beat,
January 2005]

Collette, Buddy, with Steven Isoardi. (2000). “Jazz Generations: A Life in

American Music and Society.”
New York: Continuum. p. 105.

Collette describes meeting Charlie Parker, and recounts that Parker commented about
being influenced by CC’s tone. Collette then tells how he heard CC: “And [CC] was
marvelous. You could put a lyric to everything he played. In fact, I heard him
with Art Tatum. Those were the giants around here at the time”. [“here” may refer
to Los Angeles, where Collette lived until sometime in 1941, although it is not
clear – cf. Epstein, 1999.]

Crow, Bill. (1990). “Jazz Anecdotes.” New York: Oxford University Press. pp.
158, 261-262.

Harry Edison relates that CC and Freddie Green were close friends, and that CC gave
Green an amplifier; Jerry Jerome recalls a conversation between Benny Goodman and
CC: Goodman passes on startling news about the German blitzkrieg in Europe, to
which CC replies with (the apparently characteristic) “Solid.”

Dahl, Linda. (1984). “Stormy Weather: The Music and Lives of a Century of
Jazzwomen.”
London: Quartet. pp. 55, 261-262.

Reports that Anna Mae Winburn led the band, the Cotton Club Boys, in Omaha,
Nebraska, which included CC. Interview with Mary Osborne relates how she first
heard CC with Al Trent’s band, their meeting, and their friendship. Osborne
indicates that CC played a Reinhardt solo chorus on stage: “...the first thing
that Charlie played at the floor show was ‘St. Louis Blues’ by Django Reinhardt.
But Charlie didn’t say that, he just played it, only it was on electric guitar.”

(——) (1999). “Morning Glory: A Biography of Mary Lou Williams.”

Berkeley: University of California. pp. 194-195.

Delilah Jackson (historian and confidante of Mary Lou) reports John Hammond’s
comments on Goodman’s reluctance to hire CC, and resistance to having black
musicians in the band. She also quotes CC complaining to Mary Lou about his ideas
being “stolen” by Goodman.

Dance, Helen Oakley. (1987). “Stormy Monday: The T-Bone Walker Story.”
Baton Rouge: Louisiana State University. pp. 2, 23.

Biography of T-Bone Walker, that reports CC and Walker became friends in their
teens and jammed together. Relates that both were taught by Oklahoma guitarist
Chuck Richardson. Walker refers to a high school band in which he himself played,
and states: “After a while I left, and Charlie Christian took my place for a
time...” [cf. Santelli, 1994]

Driggs, Franklin S. (1975). “Kansas City and the Southwest.” In: Nat Hentoff &
Albert J. McCarthy (eds.)
“Jazz: New Perspectives on the History of Jazz by Twelve of the Foremost
Jazz Critics and Scholars.”
New York: Da Capo.

Although has only one paragraph on CC, gives history of some of the southwestern or
territory bands in which CC played or which are associated with him, e.g., those of
Alphonso Trent, Walter Page’s Blue Devils, and others. Also identifies some of the
members of the Al Trent combo CC played with in 1938.

(——) (1978). Liner notes to Jazz Archives LP JA-42 “Lester Young and Charlie
Christian 1939-1940.”
Plainview, NY.

Gives details of CC’s time with the Alphonso Trent band (e.g., states the band
played only two venues, one in Casper, Wyoming and another in Deadwood, South
Dakota); details CC’s meeting with Lester Young in Oklahoma City; also refers to
several guitar players from whom CC learned, including “Jim Daddy” Walker
(guitarist with Clarence Love’s band in Kansas City), and specific occasions when
they met.

Ellison, Ralph. (1964). “Shadow and Act.” New York: Random House.
Essay “The Charlie Christian Story.” pp. 23-40.
[reprinted essay from 17 May 1958 “Saturday Review” magazine]

Ellison recalls his schooldays with CC, CC’s musical education, and the musicians
in his family. Describes CC’s time at Douglass School where he made guitars, and
reports that CC was aware of many forms of music other than blues (e.g., playing
light classics with his family’s band, and receiving a broad musical education at
school). Outlines the various musical influences (including Lester Young) on CC at
that time, and discusses the general importance of jazz history.

(——) (1986). “Going to the Territory.” New York: Random House.

Symposium Address: “What the Children Are Like.” (1963). pp. 71-72.

Brief reference to CC, in context of a lecture on education; states that, despite

his later accomplishments, CC did not take part in musical activities at school.

(——) (1995). “Living with Music.” Reprinted in: O’Meally (2001). p. 8

Discussing his own trumpet playing, Ellison mentions how at school he was inspired
by the “considerable virtuosity” of CC playing “marvelous riffs on a cigar-box
banjo.”

(——) (2001). “My Strength Comes from Louis Armstrong.” In: O’Meally (2001). p.
266

Interviewed in 1976 by O’Meally, Ellison recalls playing gigs with CC’s brother
Edward, and comments on the “heroic” stature of the two brothers.

Epstein, Daniel Mark. (1999). “Nat King Cole.” New York: Farrar, Straus, and
Giroux. p. 71.

Lee Young (brother of Lester), interviewed by the author, tells how (apparently in
1938) he obtained a room above the musicians’ union hall in Los Angeles for jamming
with Nat Cole and others; CC, described as “guitar virtuoso, tap dancer, and
prizefighter,” would sit in; Lee adds that CC also played with Art Tatum at
“Ivie’s Chicken Shack” restaurant on Vernon & Central Avenues [cf. Collette, 2000].

Feather, Leonard. (1961). “The Book of Jazz.” London: The Jazz Book Club. pp.
114-116, 239-241.

Gives Eddie Durham’s account of introducing CC in 1937 to the electric guitar, and
tutoring him in solo playing. Describes CC’s playing in N.D. bands, using guitar
as solo instrument, and Mary Osborne studying with him. Includes solo notation and
analysis of phrasing and contour.

(——) (1977). “Inside Jazz.” New York: Da Capo. pp. 5-8.

Describes CC’s early career, including playing with Al Trent’s band in Bismarck,
N.D., as recounted by guitarist Mary Osborne. His performances at Minton’s are
described through accounts by Jerry Newman and Kenny Clarke.
(——) (1986). “The Jazz Years: Earwitness to an Era.” London: Quartet. pp. ??,
138.

Feather recalls that CC played with the Goodman Sextet in the Broadway show
“Swingin’ the Dream” (details in Allen, 1970); adds a reminiscence by Bud Freeman
about a particular number in the show where the group were most effective;
discusses the Sweethearts of Rhythm, noting that Anna Mae Winburn also led an all-
male band including CC.

Ferris, Leonard. (1975). “Mary Osborne: A Unique Roll [sic] in Jazz Guitar
History.”
In: “Jazz Guitarists: Collected Interviews from Guitar Player Magazine.”
Saratoga, California: Guitar Player Productions. pp. 78-79.

Brief passage describes how Mary Osborne heard CC play in Bismark, N.D., with the
Al Trent sextet, (including a rendition note-for-note of Django Reinhardt’s “St.
Louis Blues”), and records that they later became friends, after she was inspired
to take up the electric guitar by what she had heard.

Firestone, Ross. (1993). “Swing, Swing, Swing: The Life and Times of Benny
Goodman.”
London: Hodder and Stoughton. pp. 267-268, 296-297.

Jimmy Maxwell (1987 interview with author) recollects CC’s time with Goodman. So
much did Goodman admire CC (and Hampton), the Sextet sometimes played for an hour
or more when the Orchestra took a break. On the band bus, CC would sing Lester
Young solos and also a favorite song, “Shimme Shewaba.” Maxwell reports Goodman
paid CC full salary when he was sick, and comments on his hospitalization.

Gillespie, Dizzy, with Al Fraser. (1982). “Dizzy: To Be or Not to Bop: The

Autobiography of Dizzy Gillespie.”
London: Quartet Books. pp. 117-119.

Interview with trumpeter Buddy Anderson [cf. Carr, 1988] in which he states he was
playing with CC in a band in Oklahoma City at the time John Hammond arranged for
CC’s audition with Goodman.

Gitler, Ira. (1985). “Swing to Bop.” New York: Oxford. pp. 40-43.

Interviews with jazz musicians, including James Moody, Milt Hinton, Mary Lou
Williams, Eddie Barefield, Biddy Fleet, Jay McShann, Barney Kessel, and others.
Describes Kessel’s meeting with CC in Oklahoma City, also Mary Lou Williams’
friendship with CC, and their joint composition.

Goins, Wayne. (2004a). “Searching for Charlie Christian.” Jazz Improv, Vol. 4,
No. 4. Summer. pp. 68-76.

Describes the origins of the author’s research into CC, his travels with Leo Valdes
to Oklahoma City and how they there met people who had known CC, and how they
located previously unpublished, or little-known source material. Reports on the CC
Jazz Festival. [continued with following article].

(——) (2004b). “Searching for Charlie Christian: Part II.” Jazz Improv, Vol. 5,
No. 1. Autumn. pp. 176-179.

Reports meetings and interviews with CC’s daughter and her mother in Oklahoma City
and details the background to research by Craig McKinney and Kevin Centlivre. It
describes further background research for the author’s planned books (with co-
authors McKinney and Leo Valdes) on CC. Reports on the passing of CC’s daughter.

Goins, Wayne E., & Craig R. McKinney. (2005). “A Biography of Charlie Christian,
Jazz Guitar’s King of Swing.”
Lewiston, New York: The Edwin Mellen Press.

Detailed chronological account, drawing on extensive original interviews with

family members, previously unused oral history, contemporary newspaper articles,
and other sources. Includes critical evaluations of previous commentators (such as
Ralph Ellison) and seeks to reconcile conflicting historical accounts, e.g. Eddie
Durham’s recollections of CC.

Goodman, Benny. (1982). “On Charlie Christian: Benny Goodman.” Guitar Player,
March.

Brief interview by Jas Obrecht covers CC’s time with the Goodman bands, covering
his role in bebop developments, his popularity, and influence on other guitarists.

Greenhough, Jane. (1947). “T-Bone Walker’s Story in His Own Words.”

[from stenographic notes by Jane Greenhough] Record Exchanger [sic],
October.
[may refer to “The Record Changer,” source is e-mailed text from an old
photostat of original article].

T-Bone relates that before he moved to California he played with CC at “root beer
stands” (he compares these to the drive-ins of the time), where they would pass
around a cigar-box for customers to put in money.

Hammond, John. (1966). “The Advent of Charlie Christian.” Down Beat, August 25.

Describes how Hammond (on Mary Lou Williams’ recommendation) first heard CC play in
Oklahoma in 1939, (in a band including his brother) and arranged his subsequent
audition with Benny Goodman in Los Angeles, at the Victor Hugo night club.
Recalls the audition, eventually resulting in a 45-minute version of “Rose Room,”
the ecstatic audience reactions, and also describes the “Spirituals to Swing”
concerts. Discusses CC’s playing in jam sessions at Minton’s, and relates his
illness and death. Implies that many of the Goodman tunes credited to the leader
and Hampton were mainly CC’s work.