Yours truly commented:
Wow! What an interesting find! — Since I’m a big fan of Sonny Berman, I tried to imagine him, improvising on “Sonny” a.k.a. “Solar” before I heard the above acetate sound — And indeed: It’s very much reflecting his trumpet style.
By the way: There is a reason why Miles called it “Solar”: The 12-bar chord sequence is pointing strongly up to heaven, namely to “How High The Moon”. Certainly only for making it not too obvious, Miles hasn’t entitled it “Lunar”.
Announcement: Whenever I will perform “Solar” with my students in the future, I will point to Chuck’s authorship, and I will also call it “Sonny”. Maybe that I’ll even rename the original line I wrote on the changes in 1989 from “Miles” to “Chuck”
Additional analysis: The first two bars of “Sonny” are in C-Major, respectively C6, while Miles’ famous adaptation of the composition starts with C-minor△ (△ = Major 7).
OK, Miles wasn’t the original composer, but his & Bill Evans’ renditions of the tune made it the immortal jam-session evergreen as we know and love to perform it today.
Mr. Appelbaum’s discovery is nevertheless so very important since we now know the definitive ending of the famous line, we can transcribe it, can play, and practice it with our musical colleagues and students.
P.S. — Why have I composed this tune on the odd changes of a famous tune? Because “Solar” got played to death on numerous jam sessions; and so, I sat down and wrote my own line; I did this also with another “dead old warhorse”, and called it “When Summer Leaves”. Feel free to guess, to which standard I’m hinting to