“Charlie Christian turns out to be–according to many of the historians–one of the generating forces of bebop, and certainly we knew that Charlie was very special and playing very beautifully.  He and I were quite good friends . . . . I took Charlie down to the draft board and — now, I should tell you now, because he’s been gone for so many years, Charlie had virtually every disease in the world. I think I now have them, but he had them at a very young age. And they were kind of ugly. You know, tuberculosis, and syphillis, and God knows what else. And so we went down to the draft board. He asked me to come along with him, down at the Armory someplace. We went down there and I remember the doctor saying, ‘Well, Mr. Christian, is there any reason why you should not be drafted?’ Well, Charlie thought for a minute and said, ‘Well, I wear eyeglasses. I’ve never forgotten that . . . soon enough they found out there was no reason to draft him, but I loved that, thinking about wearing eyeglasses!”


“[Benny Goodman’s band] was a tremendous ensemble. I think Benny was a very, very fine band leader who was inarticulate. Words were not the thing. It was ‘do it again,’ and then he would demonstrate what phrasing he wanted for this or that part of the piece. He knew exactly what he wanted. It was very clear in his mind. He did not make it clear except by doing it again and doing it himself.

I remember one day I was in Chicago, and I had something to do — probably a girl to meet or something — in the afternoon. This was 8:30 in the morning when we were rehearsing, and [when] I looked at the clock it was noon; we’d been at it for three-and-a-half hours, maybe two or three pieces.  And I said, ‘Benny, do you know when we’re going to wrap up this?’ Well, he was furious at me for the question. He said, ‘When something happens!’ Well, it’s a very good picture of him, you see. When something happens.”

Excerpts from Mel Powell’s oral histories (c. 1994): questions by Alex Cline. Reprinted by kind permission of Kati Powell.

And a little aural evidence: the 1941 CAPRICE XXIV PAGANINI, arranged by Skip Martin, with wonderful playing from Benny, Mel, Sidney Catlett, and George Berg:

Because I couldn’t resist, here’s the Goodman Sextet with Charlie, Count Basie, George Auld, Cootie Williams, Jo Jones . . . I FOUND A NEW BABY:

May your happiness increase!



  1. Michael Burgevin

    Thank you Kati, Michael, and of course, Mel and Alex! “When it happens” (?) An insightful remark / and by what we hear it is evident it DID happen. What solos! – I had not heard “Caprice” in many years now, and what an arrangement by Skip Martin! What punch! – was that band tight, or what! – Same with “New Baby” – Sid and Jo putting it down so beautifully, dropping those ringing rim shots in there. – My O my, what a way to start the day!

  2. Joanne Horton

    I spent a whole evening in Boulder Colorado-Bob was off at a gig & our hostess had asked me to stay behind to entertain Mel,hardly appropriate he entertained me with hilarious/serious stories-what a great story-teller!

  3. Big Sid and the BG band. Short lived, maybe too incandescent to last long. Columbia surely knew by 1941 how to properly record a big band! Listen to those rim shots by Sid and the perfectly architected solo (containing “late-Romantic” harmonies apropos to the context) by Mel.

    Precision and swing.

    Thanks for this wee bit of ecstasy!

  4. Where did you find that autographed photo of Charlie Christian? I’d love to hear more about it.


  5. I can’t take any credit — it is fairly common online. Search for CC in Google Images and I am sure the original site will come up!

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