{"id":10256,"date":"2021-06-05T22:28:16","date_gmt":"2021-06-05T22:28:16","guid":{"rendered":"https:\/\/www.mosaicrecords.com\/?page_id=10256"},"modified":"2021-10-28T18:34:20","modified_gmt":"2021-10-28T22:34:20","slug":"lionel-hampton","status":"publish","type":"page","link":"https:\/\/www.mosaicrecords.com\/the-great-jazz-artists\/lionel-hampton\/","title":{"rendered":"Lionel Hampton"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”padding-1-percent” column_padding_tablet=”padding-2-percent” column_padding_phone=”inherit” column_padding_position=”all” background_color=”#000000″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_custom_heading text=”Lionel Hampton” font_container=”tag:h1|text_align:center” use_theme_fonts=”yes”][vc_custom_heading text=”“Motored by a seemingly limitless supply of energy and stamina, Hampton’s playing is known the world over for its relentless physicality, unhampered technical facility, and a seemingly imperturbable inventiveness.“ – Gunther Schuller, The Swing Era” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][divider line_type=”No Line” custom_height=”150″][vc_column_text]\n
\u00a9 William P. Gottlieb Library of Congress<\/h6>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ background_image=”10477″ background_image_position=”center center” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”shadow-image-column col-height-600″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color=”#000000″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Lionel Hampton<\/strong><\/h1>\n

Lionel Hampton was jazz\u2019s first major vibraphonist, making a very strong impact when he joined Benny Goodman\u2019s quartet in 1936. An enthusiastic and inventive soloist over 55 years, he was also one of jazz\u2019s great showmen. Not only did he play stirring vibraphone solos but he was an excellent drummer (who twirled his sticks to gain the audience\u2019s attention), played rapid two-finger piano solos (one on each hand), took an occasional vocal, and could also do an impressive soft-shoe.<\/p>\n

Lionel Hampton led rollicking big bands that invariably featured honking saxophonists, roaring trombonists, and screaming trumpeters, thrilling audiences with \u201cHey Ba-Ba-Re-Bop,\u201d \u201cHamp\u2019s Boogie Woogie\u201d and, most of all \u201cFlying Home.\u201d He led the way towards r&b and rock while swinging hard, and always performed music full of joy and excitement.[\/vc_column_text][vc_zigzag color=”black” el_width=”60″][vc_column_text]\n

I\u2019m In The Mood For Swing
\nJuly 21, 1938<\/h3>\n

Harry James (tp), Benny Carter (cl, as, arr), Dave Matthews (as), Babe Russin, Herschel Evans (ts), Lionel Hampton (vib, vcl), Billy Kyle (p), John Kirby (b), Jo Jones (d)<\/em><\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=4Yd-mmpxsAc” el_width=”60″ align=”center”][vc_column_text]Track analysis by Loren Schoenberg<\/strong>
\nLionel Hampton hits pay dirt for the first time with arrangements and players that are of equal quality. Benny Carter, 30 years old and just back after three years in Europe, announced his return to his native country with brilliant writing and playing, aided by a band full of mostly newcomers to New York who responded in inspired fashion to Carter\u2019s scores.<\/p>\n

It\u2019s worth noting that the great bulk of jazz musicians<\/span><\/a> on these sessions were under 30, and that their work, for all its maturity, still has the sheen of youth to it. Texas is represented by 22 year-old Benny Goodman trumpeter Harry James (his family moved there from Georgia when he was in his mid-teens), and 28 year old Herschel Evans, featured tenor saxophonist (along with Lester Young) with Count Basie. It was Basie\u2019s rhythm section which astounded New York, and its drummer was Jo Jones (26), known for his emphasis on playing the flow of the rhythm rather than its strict demarcation.<\/p>\n

I\u2019m In The Mood For Swing is not only a highlight in the Lionel Hampton and Benny Carter discographies, but a jazz classic for all time. Everything comes together and a synergy takes place where the sum is truly greater than even these distinguished parts.<\/p>\n

Carter had a way of composing that created a perfect balance between written and improvised segments, and his mastery of orchestration placed everything in the optimal register for all the instruments at hand. Here, it\u2019s a relatively intimate ensemble of trumpet, four saxophones, vibes and a three piece rhythm section (minus the standard for the time guitar).<\/p>\n

Harry James was one of the most technically gifted trumpeters of his generation and a member of Goodman\u2019s band, where he had become one of its most popular soloists. Harry James was already his own man as he takes the lead during the first chorus, working his way naturally into a series of paraphrases and then free inventions that never lose site of the theme.<\/p>\n

What follows is truly magical \u2013 Carter creating a solo that for all its spontaneity has\u00a0 <\/span>the hallmarks of a classic composition. His use of symmetry can be heard in all its glory. Every phrase leads to the next, rhyming without falling into the trap of predictability. He also knows how to utilize space \u2013 the pause at the end of the bridge is a master stroke, filled as it is by Kyle\u2019s descending left hand scale.[\/vc_column_text][vc_zigzag color=”black” el_width=”60″][vc_column_text]By Scott Yanow<\/strong>
\nLionel Hampton was born April 20, 1908 in Louisville, Kentucky, growing up in Birmingham, Alabama, Kenosha, Wisconsin, and Chicago. Hampton started out as a drummer, playing with Major N. Clark Smith\u2019s Chicago Defender Newsboys\u2019 Band and some local kids\u2019 groups in Chicago. He had a few xylophone lessons from Jimmy Bertrand, moved to Los Angeles in 1927, and worked briefly with the Spike Brothers. During 1929-30 he was a member of one of the hottest bands in the state, Paul Howard\u2019s Quality Serenaders, with whom he made his recording debut as a drummer, taking a vocal on \u201cMoonlight Blues.\u201d<\/p>\n

Lionel Hampton became a member of Les Hite\u2019s orchestra in 1930, a group that was used as Louis Armstrong\u2019s<\/span><\/a> backup band when he visited L.A. that year. Spotting a vibraphone in the studio, Armstrong asked Lionel Hampton if he could play it and, remembering his xylophone lessons, the drummer said yes. Lionel Hampton can be heard playing vibes behind Armstrong on \u201cMemories Of You\u201d and \u201cShine,\u201d the earliest examples of the vibes being used on a jazz record for anything other than brief punctuations.<\/p>\n

After Louis Armstrong went back East, Lionel Hampton remained with the Les Hite band until forming his own orchestra in 1934. In 1936 he crossed paths with Armstrong again, appearing on film as a masked drummer with Satch in the Bing Crosby film Pennies From Heaven and recording with Armstrong on two numbers with a Hawaiian group.<\/p>\n

Most importantly, Benny Goodman heard Lionel Hampton play vibes and was so impressed that he expanded his trio with pianist Teddy Wilson and drummer Gene Krupa into the Benny Goodman Quartet. Lionel Hampton made a few guest appearances with the King of Swing and then officially joined his outfit in Nov. 1936.<\/p>\n

During his nearly four years with Goodman, Lionel Hampton became a household name in the swing world, not only adding fire, color and inventive ideas to Goodman\u2019s quartet and occasionally filling in on drums with the big band<\/span><\/a>, but staying long enough to be one of the stars at Goodman\u2019s famed Carnegie Hall concert in 1938, and to be part of the clarinetist\u2019s sextet with the pioneering electric guitarist Charlie Christian. At the same time, Lionel Hampton led a series of mostly superb all-star sessions for the Victor label.<\/p>\n

During that period, Lionel Hampton had no real competitors on the vibraphone. Adrian Rollini, who had gained prominence in the 1920s as a bass saxophonist, was gradually switching to the vibes although his style was more easy-listening. Red Norvo was a xylophonist who would not seriously take up the vibes until 1943 while such greats as Milt Jackson and Terry Gibbs would not emerge for a few more years.<\/p>\n

In mid-1941, the 33-year old Lionel Hampton was more than ready to go out on his own. He always loved the sound of Goodman\u2019s big band and decided to form an orchestra of his own. The big band field was way overcrowded at the time and the odds were against his success, but Lionel Hampton had a big name and was always a crowd pleaser.<\/p>\n

On May 26, 1942 he recorded \u201cFlying Home\u201d which became not only a major hit but was a major influence on the up-and-coming rhythm & blues movement. Illinois Jacquet\u2019s tenor solo, the leader\u2019s vibes, the famous arrangement (with Ernie Royal\u2019s high notes), and the ensembles made the song into an immediate standard and a must at every Lionel Hampton performance. From then on, Lionel Hampton\u2019s big band was extremely popular. Its live performances were so explosive meant no other jazz artist<\/span><\/a> could follow it.<\/p>\n

During the 1940s the Hampton Orchestra, while based in swing, was open to the influences of both bop and r&b. At various times the vibraphonist\u2019s sidemen included such notables as trumpeters Cat Anderson, Snooky Young, Kenny Dorham, Fats Navarro and Benny Bailey, trombonist Fred Beckett, tenor-saxophonists Jacquet, Arnett Cobb and Johnny Griffin, altoist Earl Bostic, guitarist Wes Montgomery (a decade before his discovery), pianist Milt Buckner, bassist Charles Mingus, and singers Dinah Washington, Little Jimmy Scott, and Betty Carter.\u00a0<\/span><\/p>\n

Most of the swing era big bands broke up during 1945-50 but Lionel Hampton was able to keep his going, while taking time off to participate in special all-star sessions. In 1953 he led what was possibly his greatest orchestra for a European tour, one that included trumpeters Clifford Brown, Art Farmer and Quincy Jones (who was just starting out as an arranger), trombonists Jimmy Cleveland and Buster Cooper, altoist Gigi Gryce, tenor-saxophonist Clifford Scott, pianist George Wallington, drummer Alan Dawson, and singer Annie Ross.<\/p>\n

But for unknown reasons, LionelHampton insisted that his musicians not record while overseas. Most of his sidemen ignored him and even the vibraphonist was on some sessions of his own. Other than some radio broadcasts that find the band in loose form and not being featured very favorably, no recordings exist of the full orchestra which broke up soon after they returned to the U.S.<\/p>\n

From that point on, Lionel Hampton\u2019s musical career alternated between three different settings. He continued to regularly lead a big band<\/span> <\/a>and, although it never really evolved, many top young (and inexpensive) players gained experience touring and playing with the vibraphonist. Lionel Hampton was enlisted for many small-group record sessions which gave him opportunities to record in a trio with Art Tatum and Buddy Rich, to co-lead a memorable album with Stan Getz, and to have several dates with Oscar Peterson. And Lionel Hampton was always happy to have reunions with his old boss Benny Goodman including appearing in the 1955 film The Benny Goodman Story, making television appearances, and revisiting past glories with Goodman, Krupa and Wilson in the reunited quartet.<\/p>\n

The decades passed but Lionel Hampton\u2019s enthusiasm for playing never dimmed. In the early 1990s he led the Golden Men Of Jazz, an octet of fellow veterans that included Clark Terry, Harry \u201cSweets\u201d Edison, James Moody, and Buddy Tate. A serious stroke in 1991 led to him cutting back on his activities but Lionel Hampton stayed active until shortly before his death. In his later years, he would look his age when he was being helped onstage but, as soon as he was in front of his vibes, the years would melt away and he would be remarkably youthful and energetic.<\/p>\n

The always beloved Lionel Hampton passed away on Aug. 31, 2002 at the age of 94.[\/vc_column_text][vc_column_text][\/vc_column_text][vc_zigzag color=”black” el_width=”60″][vc_column_text]\n

Sweethearts On Parade
\nApril 5th, 1939<\/h3>\n

Chu Berry (ts), Lionel Hampton (vib, vcl), Clyde Hart (p), Allan Reuss (g), Milt Hinton (b), Cozy Cole (d)<\/em><\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=jGdsjVLSPhQ” el_width=”60″ align=”center”][vc_column_text]\n

This is perfection.\u00a0<\/span><\/h3>\n

Track analysis by Loren Schoenberg<\/strong>
\nHere we have the birth, if the not the apex, in the long legacy of Lionel Hampton records with stomping tenor sax solos. Sweethearts On Parade finds Chu Berry creating a new sound in the tenor saxophone lexicon. This style leavened with an equal dose of Lester Young, would give birth a decade later to the honkin\u2019 R&B sounds that led to early rock and roll. While Illinois Jacquet stoked that fire, it was set by Berry and Young.<\/p>\n

Equally striking is the sheer perfection of the rhythm section. They carry off one of the most perfect shuffle beats ever recorded. Most times, shuffles get sloppy and heavy because of a lack of definition in the subtle strong and weak parts of the defining beat.<\/p>\n

The precision heard here allows Hart, Reuss, Hinton and Cole to dig deeply into the groove and Berry is with them every swinging quarter note of the way. Clearly, they had the idea that Berry would play throughout the record, but I wonder if Lionel Hampton had even an inkling that the tenor saxophonist would steamroll his way into the pantheon of jazz on this particular effort.<\/p>\n

Benny Carter\u2019s sequential phrasing and mastery of the saxophone were major influences on the young Berry, and the way he patiently links his phrases is nothing short of miraculous. Then there is also the way he masterfully gradates a vibrato that is at moments as broad as Sidney Bechet\u2019s. In lesser hands (or lips) the high note Berry holds from the fifth measure of his solo into the sixth would be bathetic; in his, it is thrilling. Note his habit of preceding a minor chord with the 13th of the dominant chord which makes for a modal ambiguity that is quite unusual for the era.<\/p>\n

And let\u2019s not forget Cole\u2019s tantalizing restraint, making his occasionally subtle emphases and slight extension of the hi-hat beat (measures seven and eight of Hampton\u2019s closing chorus) all the more exciting. He was likely aware that Lionel Hampton had played drums on Armstrong\u2019s 1930 recording, which was one of the trumpeter\u2019s best ever.\u00a0<\/span>[\/vc_column_text][vc_zigzag][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_widget_sidebar sidebar_id=”blog-sidebar”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Lionel Hampton<\/h2>\n

Selected Jazz Albums<\/span><\/h2>\n

By Scott Yanow[\/vc_column_text][vc_column_text]\n

The Complete Lionel Hampton Victor Sessions (1937-41)<\/h3>\n[\/vc_column_text][image_with_animation image_url=”13678″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][tabbed_section style=”default” alignment=”left” spacing=”default” tab_color=”Accent-Color”][tab icon_family=”none” title=”Description” id=”1635459669234-8″ tab_id=”1635459669236-9″][vc_column_text]While a member of the Benny Goodman Quartet, Lionel Hampton started leading a series of all-star swing dates for the Victor label. During 1937-41 he recorded 107 selections with 23 different groups that, like the Teddy Wilson dates of the same period, give listeners a strong cross section of the many talents of the time. All of the music was reissued on Mosaic\u2019s five-CD limited-edition box set.<\/p>\n

Among the highpoints are such numbers as \u201cStomp\u201d (with Hampton on drums), \u201cStompology,\u201d \u201cOn The Sunny Side Of The Street\u201d (which has some beautiful Johnny Hodges alto), \u201cRing Dem Bells,\u201d \u201cShoe Shiner\u2019s Drag,\u201d \u201cSweethearts On Parade\u201d (Chu Berry at his best), \u201cWhen Lights Are Low,\u201d \u201cDinah\u201d (with Benny Carter on trumpet and Coleman Hawkins), and \u201cHouse Of Morgan\u201d (with the Nat King Cole Trio) but every session has its rewards. Consider that the personnel includes trumpeters Ziggy Elman, Cootie Williams, Jonah Jones, Harry James, Rex Stewart, Dizzy Gillespie in 1939 (unfortunately he does not get a chance to solo), and Henry \u201cRed\u201d Allen, trombonists Lawrence Brown and J.C. Higginbotham, clarinetists Buster Bailey and Edmond Hall, altoists Johnny Hodges and Earl Bostic, tenor-saxophonists Herschel Evans, Chu Berry, Coleman Hawkins, and Ben Webster, baritonist Harry Carney, pianists Jess Stacy, Billy Kyle, Clyde Hart, Nat King Cole and Sir Charles Thompson, guitarists Charlie Christian, Oscar Moore and Teddy Bunn, bassists John Kirby and Milt Hinton, and drummers Gene Krupa, Cozy Cole, Sonny Greer, Jo Jones, Sid Catlett, and Zutty Singleton, not to mention Hampton himself. It is not surprising that a great deal of musical magic occurred.[\/vc_column_text][\/tab][tab icon_family=”none” title=”Discography” id=”1635459669516-10″ tab_id=”1635459669518-9″][vc_column_text]All sessions as “Lionel Hampton and Orchestra\u201d or \u201cLionel Hampton and his Orchestra\u201d unless noted. To the best of our knowledge, the discography is in the order in which the tunes were recorded. However, the CDs contained in this box set are presented with the master take first and then any alternates at the conclusion of the disc. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span>________________________________________________________________________<\/p>\n

(A) Ziggy Elman (tp), Hymie Schertzer, George Koenig (as), Vido Musso, Arthur Rollini (ts), Lionel Hampton (vib, vcl), Jess Stacy (p), Allen Reuss (g), Harry Goodman (b), Gene Krupa (d).\u00a0<\/span><\/p>\n

Supervised by Leonard Joy
\nNYC, February 8, 1937 \u00a0<\/span><\/p>\n

04582-2 My Last Affair (LH-vcl) RCA (F) NL 89583 (LP)
\n04582-1 My Last Affair (LH-vcl) Vic 25527
\n04583-1 Jivin\u2019 The Vibres Vic 25535
\n04584-1The Mood That I\u2019m In (LH-vcl)Vic 25527
\n04585-1 Stomp \u20131 Vic 25535
\n\u20131 Hampton (d) replaces Krupa.<\/p>\n

Note: The master and alternate of matrix 04582 are reversed on the RCA LP and CD 66500, The Complete Lionel Hampton Vol. 1\/2 (1937-1938).
\n________________________________________________________________________<\/p>\n

(B) Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (as), Lionel Hampton (vib, vcl), Jess Stacy (p), Allen Reuss (g), John Kirby (b), Cozy Cole (d).\u00a0<\/span><\/p>\n

Supervised by Eli Oberstein & Leonard Joy<\/p>\n

NYC, April 14, 1937<\/p>\n

07792-3R Buzzin\u2019 \u2018Round With The Bee (LH-sp) Vic 25575
\n07793-3R Whoa Babe (LH-vcl) \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n07794-1 Stompology Vic 25601<\/p>\n

Note: The flip side of Victor 25601 is by the Quintette of the Hot Club of France.\u00a0<\/span>
\nMezz Mezzrow\u2019s name was listed on the label and in discographies, but he is not audible.\u00a0<\/span>
\n________________________________________________________________________
\n(C) Buster Bailey (cl), Johnny Hodges (sop, as), Lionel Hampton (vib, vcl), Jess Stacy (p), Allen Reuss (g), John Kirby (b), Cozy Cole (d).<\/p>\n

Supervised by Leonard Joy<\/p>\n

NYC, April 26, 1937<\/p>\n

07864-1 On The Sunny Side Of The Street (LH-vcl) Vic 25592
\n07865-1 Rhythm, Rhythm (I Got Rhythm) Vic 25586
\n07866-1 China Stomp (Chinatown, My Chinatown) \u20131 \u00a0 \u00a0 \u00a0 <\/span>–
\n07867-1A I Know That You Know \u20132\u00a0 <\/span>Vic 25592
\n\u20131 Hampton and Stacy (p); omit Hodges.
\n\u20132 Hampton (d) replaces Cole.
\n________________________________________________________________________
\n(D) Jonah Jones (tp), Eddie Barefield (cl), Lionel Hampton (vib, vcl), Clyde Hart (p), Bobby Bennett (g), Mack Walker (b), Cozy Cole (d).<\/p>\n

NYC, August 16, 1937<\/p>\n

09644-1 Confessin\u2019 (That I Love You) (LH-vcl) Vic 25658
\n09645-1 Drum Stomp (Crazy Rhythm) \u20131 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n09646-1 Piano Stomp (Shine) \u20132 Vic 25666
\n09647-1 I Surrender Dear \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n\u20131 Hampton (d) replaces Cole.
\n\u20132 Add Hampton (p).
\n________________________________________________________________________
\n(E) Ziggy Elman (tp), Vido Musso (cl, ts), Arthur Rollini (ts), Lionel Hampton (vib, vcl), Jess Stacy (p), Allen Reuss (g), Johnny Miller (b), Cozy Cole (d).\u00a0<\/span><\/p>\n

NYC, September 5, 1937<\/p>\n

09680-1 The Object Of My Affections (LH-vcl) RCA (F) 741077 (LP)
\n09680-2 The Object Of My Affections (LH-vcl) Vic 25699
\n09681-2 Judy (LH-vcl) \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n09682-2 Baby, Won\u2019t You\u00a0<\/span>
\nPlease Come Home (LH-vcl) Vic 25674
\n09683-2 Everybody Loves My Baby (LH-vcl) Vic 25682
\n09684-1 After You\u2019ve Gone (LH-vcl) Vic 25674
\n09685-1 I Just Couldn\u2019t Take It, Baby (LH-vcl) Vic 25682
\n________________________________________________________________________
\n(F) Cootie Williams (tp), Johnny Hodges (as), Edgar Sampson (bari, arr), Lionel Hampton (vib, vcl), Jess Stacy (p), Allen Reuss (g), Billy Taylor (b), Sonny Greer (d).<\/p>\n

Supervised by Leonard Joy\u00a0<\/span><\/p>\n

NYC, January 18, 1938<\/p>\n

018335-1 You\u2019re My Ideal (LH-vcl) Vic 25771
\n018336-1 The Sun Will Shine Tonight (LH-vcl) previously unissued
\n018336-2 The Sun Will Shine Tonight (LH-vcl) Vic 25771
\n018337-1 Ring Dem Bells (LH-vcl) Vic 25889, 26017
\n018338-1 Don\u2019t Be That Way (ES-arr) Vic 26173<\/p>\n

Note: Although some discographies list Victor 25889 as never being issued, matrix 018337 did appear and was backed with Pick The Winner a horse racing game! The more common release, Victor 26017, was issued shortly thereafter and is listed here as well.\u00a0<\/span><\/p>\n

As is noted in the liner notes to this set, Edgar Sampson is more than likely the arranger on all of the titles from this session.
\n________________________________________________________________________
\n(G) Harry James (tp), Benny Carter (cl, as, arr), Dave Matthews (as), Babe Russin, Herschel Evans (ts), Lionel Hampton (vib, vcl), Billy Kyle (p), John Kirby (b), Jo Jones (d).\u00a0<\/span><\/p>\n

NYC, July 21, 1938<\/p>\n

024065-1 I\u2019m In The Mood For Swing (BC-arr) Vic 26011
\n024066-1 Shoe Shiner\u2019s Drag\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n024067-1 Any Time At All (LH-vcl) (BC-arr) Vic 26039
\n024068-1 Muskrat Ramble Vic 26017<\/p>\n

Note: The flip side of Victor 26039 is by Nick LaRocca and the Original Dixieland Band.\u00a0<\/span>
\n________________________________________________________________________
\n(H) Walter Fuller (tp), Omer Simeon (cl, as), George Oldham (as), Budd Johnson (cl, ts, prob. arr. on all titles), Robert Crowder (ts), Lionel Hampton (vib, vcl), Spencer Odom (p), Jesse Simpkins (b), Alvin Burroughs (d).\u00a0<\/span><\/p>\n

NYC, October 11, 1938<\/p>\n

025866-1 Down Home Jump Vic 26114
\n025867-1 Rock Hill Special \u20131 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n025868-1 Fiddle Diddle (LH-vcl) Vic 26173
\n\u20131 Add Hampton (p and vib).
\n________________________________________________________________________
\n(I) Irving Randolph (tp), Hymie Schertzer, Russell Procope (cl, as), Jerry Jerome (cl, b-cl, ts), Chu Berry (cl, ts), Lionel Hampton (vib, vcl), Clyde Hart (p), Allan Reuss (g), Milt Hinton (b), Cozy Cole (d), Fred Norman (arr).\u00a0 <\/span><\/p>\n

Supervised by Leonard Joy<\/p>\n

NYC, April 3, 1939<\/p>\n

035392-1 I Can Give You Love (LH-vcl) Vic 26343
\n035393-1 High Society (FN-arr) Vic 26209
\n035394-2 It Don\u2019t Mean A Thing (If It\u00a0<\/span>
\nAin\u2019t Got That Swing) (LH-vcl) previously unissued
\n035394-1 It Don\u2019t Mean A Thing (If It\u00a0<\/span>
\nAin\u2019t Got That Swing) (LH-vcl) Vic 26254
\n035395-1 Johnny Get Your Horn (LH-vcl) Vic 26343<\/p>\n

Note: Discographies list Hymie Schertzer as the bass clarinetist on High Society. However, Jerry Jerome confirmed he was the soloist.\u00a0<\/span><\/p>\n

The ledgers reveal that a rehearsal was called after this session from 1:30-2:30pm and included those who would participate in the April 5th<\/sup> session. No recordings were made.
\n________________________________________________________________________\u00a0<\/span><\/p>\n

(J) Chu Berry (ts), Lionel Hampton (vib, vcl), Clyde Hart (p), Allan Reuss (g), Milt Hinton (b), Cozy Cole (d).<\/p>\n

NYC, April 5, 1939<\/p>\n

035703-1 Sweethearts On Parade (LH-vcl) Vic 26209
\n035704-1 Shufflin\u2019 At The Hollywood RCA (G) LPM 10024 (LP)
\n035704-2 Shufflin\u2019 At The Hollywood Vic 26254
\n035705-1 Denison Swing \u20131 Vic 26233
\n035706-1 Wizzin\u2019 The Wizz \u20132 Mosaic MD7-236 (CD)
\n035706-2 Wizzin\u2019 The Wizz \u20132 Vic 26233<\/p>\n

\u20131 Hampton (p) replaces Hart.
\n\u20132 Hampton and Hart (p).\u00a0<\/span>
\n________________________________________________________________________\u00a0<\/span><\/p>\n

(K) Ziggy Elman (tp), Hymie Schertzer (cl, as), Russell Procope (cl, sop, as), Jerry Jerome, Chu Berry (cl, ts), Lionel Hampton (vib, d, timpany, vcl, arr), Clyde Hart (p), Danny Barker (g), Milt Hinton (b), Cozy Cole (d), Fred Norman (arr).<\/p>\n

Supervised by Steve Sholes
\n <\/i><\/b>NYC, June 9, 1939<\/p>\n

037614-1 If It\u2019s Good (LH-vcl) (LH, FN-arr) Vic LPM 6702-5 (LP)
\n037615-1 Stand By! For Further Announcements (And\u00a0<\/span>
\nMore Good News) (LH-vcl) (LH, FN-arr) Vic 26296
\n037616-1 Ain\u2019t Cha Comin\u2019 Home ? Vic 26362
\n037617-2 Big Wig In The Wigwam (ens.vcl) (LH, FN-arr) previously unissued 037617-1 Big Wig In The Wigwam (ens.vcl) (LH, FN-arr) Vic 26296<\/p>\n

________________________________________________________________________\u00a0<\/span><\/p>\n

(L) Rex Stewart (cor), Lawrence Brown (tb), Harry Carney (bari), Lionel Hampton (vib, vcl), Clyde Hart (p), Billy Taylor (b), Sonny Greer (d), Fred Norman (arr).\u00a0<\/span><\/p>\n

NYC, June 13, 1939<\/p>\n

037630-1 Memories Of You (FN-arr) Vic 26304
\n037631-1 The Jumpin\u2019 Jive (LH-vcl) (FN-arr)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n037632-2 Twelfth Street Rag \u20131 previously unissued
\n037632-1 Twelfth Street Rag \u20131 Vic 26362<\/p>\n

\u20131 Add Hampton (p).
\n________________________________________________________________________
\n(M) Dizzy Gillespie (tp), Benny Carter (as, arr), Coleman Hawkins, Chu Berry, Ben Webster (ts), Lionel Hampton (vib), Clyde Hart (p), Charlie Christian (g), Milt Hinton (b), Cozy Cole (d).<\/p>\n

Supervised by Leonard Joy<\/p>\n

NYC, September 11, 1939<\/p>\n

041406-2 When Lights Are Low RCA (F) PM 42406 (LP)
\n041406-1 When Lights Are Low Vic 26371
\n041407-1One Sweet Letter From You (LH-vcl)Vic 26393
\n041408-1 Hot Mallets Vic 26371
\n041409-1 Early Session Hop Vic 26393
\n________________________________________________________________________
\n(N) Henry \u201cRed\u201d Allen (tp, vcl), J.C. Higginbotham (tb), Earl Bostic (as), Lionel Hampton (vib, vcl), Clyde Hart (p), Charlie Christian (g, el-g), Artie Bernstein (b), Sid Catlett (d).\u00a0<\/span><\/p>\n

NYC, October 12, 1939<\/p>\n

042941-1 I\u2019m On My Way From You (LH-vcl) Vic 26476
\n042942-1 Haven\u2019t Named It Yet \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n042943-1 The Heebie Jeebies Are Rockin\u2019 The Town (LH, HA-vcl) Vic 26423
\n042943-2 The Heebie Jeebies Are\u00a0<\/span> Rockin\u2019 The Town (LH, HA-vcl)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–<\/p>\n

Note: Matrix 042943-1 was not released until c. 1945. The title given in the ledgers and file cards is The Heebie Jeebies Rock.
\n________________________________________________________________________
\n(O) Ziggy Elman (tp), Toots Mondello (cl, as), Jerry Jerome (ts), Ben Webster (ts), Lionel Hampton (vib, vcl), Clyde Hart (p, arr), Al Casey (g), Artie Bernstein (b), Slick Jones (d).<\/p>\n

Supervised by Leonard Joy<\/p>\n

NYC, October 30, 1939<\/p>\n

043246-1 The Munson Street Breakdown (CH-arr) \u20131 Vic 26453
\n043247-1 I\u2019ve Found A New Baby (CH-arr) \u20132 Vic 26447
\n043248-1 I Can\u2019t Get Started (CH-arr) Vic 26453
\n043249-1 Four Or Five Times (LH-vcl) (CH-arr) Vic 26447
\n043250-1 Gin For Christmas \u20133 Vic 26423<\/p>\n

\u20131 Add Hampton (p and vib).
\n\u20132 Add Hampton (p).
\n\u20133 Hampton (d) replaces Jones.\u00a0<\/span><\/p>\n

Note: The ledgers and file cards indicate that Fletcher Henderson was the arranger on I\u2019ve Found A New Baby.
\n________________________________________________________________________
\n(P) Benny Carter (tp), Edmond Hall (cl), Coleman Hawkins (ts), Lionel Hampton (vib), Joe Sullivan (p), Freddie Green (g), Artie Bernstein (b), Zutty Singleton (d).<\/p>\n

Supervised by Leonard Joy<\/p>\n

NYC, December 21, 1939<\/p>\n

046024-2 Dinah RCA Victor LPV 501 (LP)
\n046024-1 DinahVic 26557
\n046025-1 My Buddy Vic 26608
\n046026-1 Singin\u2019 The Blues Vic 26557
\n________________________________________________________________________
\n(Q) Ziggy Elman (tp), Toots Mondello, Buff Estes (as), Jerry Jerome, Budd Johnson (ts), Lionel Hampton (vib), Spencer Odom (p), Ernest Ashley (g), Artie Bernstein (b), Nick Fatool (d).\u00a0<\/span><\/p>\n

Chicago, February 26, 1940<\/p>\n

044724-1 Shades Of Jade Vic 22604
\n044725-1 Till Tom Special \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n044726-1 Flyin\u2019 Home Vic 26595
\n044727-1 Save It, Pretty Mama \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n044728-1 Tempo And Swing Vic 26608
\n________________________________________________________________________
\n(R) Lionel Hampton (vib), Nat \u201cKing\u201d Cole (p), Oscar Moore (el-g), Wesley Prince (b), Al Spieldock (d), Helen Forrest (vcl).<\/p>\n

Supervised by Harry Meyerson<\/p>\n

Hollywood, May 10, 1940<\/p>\n

049674-1 House Of Morgan Vic 26751
\n049675-1 I\u2019d Be Lost Without You (HF-vcl) \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n049676-1 Central Avenue Breakdown \u20132 Vic 26652
\n049677-1 Jack The Bellboy \u20131 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–<\/p>\n

\u20131 Hampton (d) replaces Spieldock.
\n\u20132 Hampton and Cole (p).<\/p>\n

Note: What should be Jack The Bellboy on Bluebird CD 63966, (Ring Dem Bells), is actually House of Morgan.\u00a0<\/span>
\n________________________________________________________________________<\/p>\n

(S) Lionel Hampton (vib, vcl), Nat \u201cKing\u201d Cole (p, vcl), Oscar Moore (el-g, vcl), Wesley Prince (b), Al Spieldock (d), Hampton Rhythm Boys (Cole, Moore), Helen Forrest (vcl).<\/p>\n

prob. supervised by Harry Meyerson<\/p>\n

Hollywood, July 17, 1940<\/p>\n

049932-2 Dough-Ra-Me (HRB-vcl) RCA (J) 90-95 (LP)
\n049932-1 Dough-Ra-Me (HRB-vcl) Vic 26696
\n049933-1 Jivin\u2019 With Jarvis (LH, NKC, OM-vcl) Vic 26724
\n049934-1 Blue \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n049935-1 I Don\u2019t Stand A Ghost\u00a0<\/span>Of A Chance With You (HF-vcl) Vic 26696
\n________________________________________________________________________
\n(T) Lionel Hampton (vib), Marlowe Morris (p), Teddy Bunn (el-g), Douglas Daniels (tipple, vcl), Hayes Alvis (b), Kaiser Marshall (d).\u00a0<\/span><\/p>\n

NYC, August 21, 1940<\/p>\n

055532-2 Just For Laffs previously unissued
\n055532-1 Just For Laffs Vic 26793
\n055533-1 Martin On Every Block previously unissued
\n055533-2 Martin On Every Block Vic 26739\u00a0<\/span>
\n055534-1 Pig Foot Sonata Vic 26793
\n055535-1 Charlie Was A Sailor (DD-vcl) Vic 26739<\/p>\n

Note: Matrix 055533-1 is listed in discographies as being issued on Victor 26739. However, the file cards and ledgers list only -2 as being scheduled for release and copies of Victor 26739 we have examined contain only -2 as the master. One of the many reissues claiming they used -1 but actually used -2, is the LP box set The Complete Lionel Hampton \/ 1937-1941 (Bluebird AXM6-5536). \u00a0<\/span><\/b>
\n________________________________________________________________________
\n(U) LIONEL HAMPTON & HIS SEXTETTE: Lionel Hampton (vib), Sir Charles Thompson (p), Irving Ashby (g), Vernon Alley (b), Lee Young (d, vcl), Hampton Rhythm Girls (Evelyn Myers and 2 unknown) (vcl).<\/p>\n

Supervised by Harry Meyerson<\/p>\n

Hollywood, December 19,1940<\/p>\n

055228-2 Lost Love (LY, HRG-vcl) Vic 27278
\nMarshal Royal (cl), Lionel Hampton (vib), Sir Charles Thompson (p), Irving Ashby (g), Vernon Alley (b), Lee Young (d), Evelyn Myers (vcl).
\nsame session
\n055229-1 I Nearly Lost My Mind (EM-vcl) Vic 27316<\/p>\n

Marshal Royal (cl), Lionel Hampton (vib), Sir Charles Thompson (p), Ray Perry (el-vln), Irving Ashby (el-g), Vernon Alley (b), Lee Young (d).<\/p>\n

same session<\/p>\n

055230-1 Altitude Vic 27316
\n055231-1 Fiddle-Dee-Dee Vic 27364<\/p>\n

Note: Matrix 055228-1 is listed in discographies as being issued on Victor 27278, however, this take has eluded us and therefore we cannot confirm its existance. In addition, the metal part (and any test pressings) are no longer in the physical posession of BMG. The CD release on Classics 624 (Lionel Hampton 1941) and RCA (J) 90-95 (LP) both list Lost Love as using -1, however, -2 is the take that is used.\u00a0<\/span>
\n________________________________________________________________________
\n(V) LIONEL HAMPTON AND HIS SEXTETTE: Marshal Royal (cl, as), Lionel Hampton (vib, vcl), Sir Charles Thompson (p), Ray Perry (el-vln), Irving Ashby (el-g), Vernon Alley (b), Lee Young (d), Hampton Rhythm Girls (Evelyn Myers and 2 unknown) (vcl).<\/p>\n

Supervised by Harry Meyerson<\/p>\n

Hollywood, December 20, 1940<\/p>\n

055234-1 Bogo-Jo (LH, HRG-vcl) Vic 27341
\n055235-1 Open House \u00a0 \u00a0 \u00a0 \u00a0 <\/span>–
\n055236-1 Smart Aleck Vic 27278
\n055237-1 Bouncing At The Beacon \u20131 Vic 27364<\/p>\n

\u20131 Hampton and Thompson (p).\u00a0<\/span>
\n________________________________________________________________________
\n(W) LIONEL HAMPTON AND HIS SEXTET: Karl George (tp), Marshal Royal (cl, vcl), Lionel Hampton (vib, vcl), Sir Charles Thompson (p), Ray Perry (el-vln, as), Irving Ashby (el-g), Vernon Alley (b), Shadow Wilson (d), Ruble Blakey (vcl).<\/p>\n

Chicago, April 8, 1941<\/p>\n

064055-2R\u00a0Give Me Some Skin (LH, RB, MR-vcl) Vic 27409
\n064056-1 Now That You\u2019re Mine (RB-vcl) Vic 27529
\n064057-2 Chasin\u2019 With Chase \u20131 previously unissued\u00a0<\/span>
\n064057-1 Chasin\u2019 With Chase \u20131 Vic 27529
\n064058-2 Three Quarter Boogie previously unissued
\n064058-1 Three Quarter Boogie Vic 27409<\/p>\n

\u20131 Hampton (d) replaces Wilson.<\/p>\n

Note: Metal parts of matrix 064055 exist with -1 and -3R, however, they are dubs of -2R.
\n________________________________________________________________________
\nThe original recording supervisors for these sessions were Leonard Joy, Eli Oberstein, Steve Sholes and Harry Meyerson.\u00a0<\/span><\/p>\n

Produced for release by Scott Wenzel
\nExecutive Producer: Michael Cuscuna
\nDisc transfers: Mark Wilder and Andreas Meyer<\/p>\n

Mastered using 24-bit technology by Malcolm Addey \u00a0<\/span><\/p>\n

Vault research: Anthony Fountain, Michael Brooks, Scott Wenzel<\/p>\n

Special thanks: Ed Berger, Michael Brooks, Lloyd Ferencik, Tad Hershorn, The Institute of Jazz Studies, Robin Manning, Dan Morgenstern, Michael Panico, Vincent Pelote, Lloyd Rauch, Phil Schaap, Sir Charles Thompson, Tom Tierney and Maria Triana. \u00a0<\/span><\/p>\n

Design Direction: Richard Mantel
\nDesign Production: InkWell, Inc.<\/p>\n

Should be P 2007 BMG Music. Manufactured by SONY BMG (this line and everything after was correct).\u00a0 <\/span>It should not start as This compilation.<\/p>\n

P 2007\u00a0BMG Music. Manufactured by SONY BMG MUSIC ENTERTAINMENT, 550 Madison Avenue, New York, NY 10022-3211\/WARNING All Rights Reserved. Unauthorized duplication is a violation of applicable laws.<\/p>\n

\u00a9 2007 Mosaic Records L.L.C., 35 Melrose Place, Stamford, CT 06902. All rights reserved.
\nPhone: 203-327-7111\/Fax 203-323-3526\/ Website: www.mosaicrecords.com.<\/p>\n

Producer\u2019s Note:<\/b><\/p>\n

This set contains all of the sessions led by Lionel Hampton for the Victor label from 1937 to 1941. Although the sound quality of these sessions will differ from track to track, we have made every effort to obtain the best possible source copy which, in the case of this set, were the original metal parts and test pressings.\u00a0 \u00a0<\/span><\/p>\n

In addition to the original Victor file cards and ledgers, the following sources were used for this discography: The Jazz Discography<\/i> by Tom Lord (Cadence Jazz Books), Jazz Survivor<\/i> by Marshal Royal (Cassell Pub.), Jazz Records 1897-1942 Sixth Edition<\/i> by Brian Rust (Storyville).\u00a0<\/span><\/p>\n

Scott Wenzel[\/vc_column_text][\/tab][\/tabbed_section][vc_zigzag el_width=”60″][vc_video link=”https:\/\/www.youtube.com\/watch?v=KvE_nH_nBHc” el_width=”60″ align=”center”][vc_column_text]\n

Hamp (GRP\/Decca)
\nMidnight Sun (GRP\/Decca):<\/h3>\n

Hamp is a two-CD set that does a fine job of summing up Lionel Hampton\u2019s big band recordings for Decca during 1942-50 plus two songs from 1963. It includes the hit recording of \u201cFlying Home,\u201d the original versions of \u201cHamp\u2019s Boogie Woogie,\u201d and \u201cHey Ba-Ba-Re-Bop\u201d and the vibist\u2019s most famous composition, \u201cMidnight Sun.\u201d The twofer also has Dinah Washington singing \u201cEvil Gal Blues\u201d and \u201cBlow Top Blues,\u201d Dizzy Gillespie sitting in with the band during a 1945 Carnegie Hall performance of \u201cRed Cross,\u201d an extended version of \u201cRockin\u2019 In Rhythm,\u201d Charles Mingus\u2019 futuristic \u201cMingus Fingers,\u201d \u201cThree Minutes On 52nd Street,\u201d \u201cRed Top,\u201d and \u201cI Wish I Knew\u201d (featuring Little Jimmy Scott). A special highpoint is Lionel Hampton\u2019s famous and lengthy version of \u201cStardust\u201d from a Just Jazz concert on Aug. 4, 1947 in which he follows the solos of trumpeter Charlie Shavers and altoist Willie Smith with a particularly inspired improvisation.<\/p>\n

Midnight Sun is a single-CD that concentrates on Lionel Hampton\u2019s 1946-47 recordings. While it duplicates a few selections from Hamp, it also contains other numbers that were bypassed including \u201ca two-part \u201cAirmail Special,\u2019 \u201cCobb\u2019s Idea,\u201d and \u201cHamp\u2019s Got A Duke.\u201d[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=eBuVenxA0i8″ el_width=”60″ align=”center”][vc_column_text]\n

The Complete Lionel Hampton Quartets and Quintets with Oscar Peterson On Verve (Verve)<\/h3>\n

Hamp and Getz (Verve):<\/h3>\n

Lionel Hampton<\/span><\/a> loved few things more than jamming with his fellow greats. While his big band was a nightly thrill for him, his best small-group sessions were often more challenging and inspiring. The five-CD Verve set with pianist Oscar Peterson dates from 1953-54 and has Hampton and Peterson performing in a quartet\/quintet with bassist Ray Brown and drummer Buddy Rich, plus clarinetist Buddy DeFranco on one CD and guitarist Herb Ellis on the later sessions. Despite the large quantity, the music is consistently enjoyable with the DeFranco disc being particularly heated.<\/p>\n

On Aug. 1, 1955, producer Norman Granz teamed Hampton with Stan Getz. They were both available in Hollywood since they were appearing in The Benny Goodman Story. While they perform a ballad medley and \u201cLouise,\u201d it is their fiery and even ferocious versions of \u201cCherokee\u201d and \u201cJumpin\u2019 At The Woodside\u201d that take honors. They battle each other at the rapid tempos and are quite competitive. Despite this album\u2019s success, Lionel Hampton and Getz never recorded together again.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=nEnMFbwBOiE” el_width=”60″ align=”center”][vc_column_text]\n

You Better Know It (Impulse)<\/h3>\n

Reunion At Newport 1967 (Bluebird):<\/h3>\n

While Lionel Hampton<\/span><\/a> recorded fairly regularly during his last decades, most of his sets as a leader, whether for larger companies or his Glad Hamp and Who\u2019s Who labels, promised more than they delivered and do not add much new to his legacy. However these two CDs are on a higher level.<\/p>\n

You Better Know It from 1964 is a bit of a throwback to Lionel Hampton\u2019s classic small-group swing dates of the 1930s. Joined by flugel hornist Clark Terry, tenor-saxophonist Ben Webster, pianist Hank Jones, bassist Milt Hinton, and drummer Osie Johnson, the leader is in top form on such numbers as \u201cVibraphone Blues,\u201d \u201cTempo\u2019s Birthday,\u201d \u201cSweethearts On Parade,\u201d and \u201cPick A Rib\u201d<\/p>\n

While the CD reissue of Reunion At Newport adds five numbers from Jazz Flamenco, an interesting Lionel Hampton big band date from 1956 recorded in Spain with a 12-piece group that included a castanets player plus guest pianist Tete Montoliu on two quintet numbers, the bulk of the CD is taken from the Newport Jazz Festival. The July 3, 1967 concert has Hampton leading an all-star alumni big band on some newer material and climaxing with spirited versions of his hits \u201cHey Ba-Ba-Re-Bop,\u201d \u201cHamp\u2019s Boogie Woogie,\u201d and \u201cFlying Home.\u201d<\/p>\n

This rendition of \u201cFlying Home\u201d has Illinois Jacquet sitting in with the band and blowing the roof off. It is just what one would expect from a Lionel Hampton performance: swing, fire and excitement.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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