Charlie Christian

Charlie Christian (born July 29, 1916, Bonham, Texas, U.S.—died March 2, 1942, New York, New York) was an American jazz guitarist who was one of the first to produce improvised masterpieces using electrically amplified equipment. His recording career, tragically brief though it was, helped raise the guitar from an accompanying to a dominant solo instrument.

Reared in Oklahoma City, Oklahoma, Christian studied music with his father, a blind guitarist and trumpet player. During the 1930s, Christian studied with guitarist Eddie Durham, who had pioneered the electric guitar while a member of the Jimmie Lunceford Orchestra and who inspired Christian to start using an amplified instrument in 1937. He soon won a reputation as a guitarist of rare talent and was heard by legendary jazz producer and talent scout John Hammond in 1939. Thinking that Christian would be an ideal addition to Benny Goodman’s small jazz groups, Hammond arranged in that year for a meeting between Christian and Goodman. Goodman, however, was reluctant to hire a young, unknown musician playing an obscure electric instrument and paid scant attention to Christian’s audition, not even allowing the guitarist time to plug in his amplifier. The same night, Hammond surreptitiously maneuvered Christian onstage during a Goodman performance. Angered, Goodman launched into “Rose Room,” a demanding number he thought the young guitar player would either not know or have trouble following. Christian was instead a sensation, breezing through a difficult and lengthy solo. This overwhelming tour de force compelled Goodman to hire Christian on the spot as a permanent member of his small group.

Before Christian, the guitar had been considered primarily a rhythm instrument; the sound of an acoustic guitar in a big-band setting was something “felt” rather than heard. Although not the first electric guitarist, Christian was the first to realize the instrument’s potential for single-line solos, characterized by use of sustain and “bent” notes. The strong influence of tenor saxophonist Lester Young is also evident in Christian’s playing. Outstanding recordings made by Christian with Goodman sextets and septets include “Air Mail Special,” “Seven Come Eleven,” “AC-DC Current,” and “Shivers,” all of which were cowritten by Christian.

Christian was also one of the first musicians whose style heralded the bebop movement of the late 1940s. He often jammed at Minton’s Playhouse, a New York nightclub, with musicians such as Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Kenny Clarke. Recordings made of these informal sessions reveal a level of technique and harmonic sophistication in Christian’s playing that would be unsurpassed by guitarists for decades to come.

Christian, who suffered from ill health throughout his life, was hospitalized with tuberculosis in 1941 and died the following March. The roughly 100 individual recordings that feature Christian are a testament to his genius and lasting influence. In 2024 the U.S. Library of Congress added a recording of “Rose Room,” (1939) by the Benny Goodman Sextet with Charlie Christian to the National Recording Registry, a list of audio recordings deemed “culturally, historically, or aesthetically significant.”