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| 1. | Ko-Ko
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| 2. | Wail For The Cat
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| 3. | Tap Step
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| 4. | Dr. Lambchop
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| 5. | Hamp & Dex
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| 6. | In The Mood
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Jazz
Lionel Hampton - vibes
Barry Ries - trumpet
Walt Johnson - trumpet
Oscar Brashear - trumpet, flugelhorn
Bob O'jeda - trumpet
Jack Kelso - sax
Paul Moen - sax
Herman Riley - sax
Bill Green - sax
Jimmy Cleveland - trombone
Tom McIntosh - trombone
Maurice Spears - trombone
George Bohanan - trombone
Curtis Fuller - trombone
Roy Roman - trumpet
Zeke Mullins - piano
Wild Bill Davis - organ
Bob Seravia - bass
Gary Mazzaroppi - bass
Sammy Turner - percussion
Gary Bell - guitar
Frankie Dunlop - drums
Richie Pratt - drums
Amos Hunt - hands over mouth
"Outrageous", according to my Webster's dictionary means, among other things, extravagant, fantastic, exceeding the limits of what is normal, not conventional or matter-of-fact.
On the basis of those definitions I would say that Lionel Hampton is one of the most outrageous talented men I have ever known. It is hard to believe that more than four decades have passed since he left Benny Goodman to organize his own first great orchestra: Even harder to compile a list of the incomparable gifted musicians who have passed through his ranks. As a talent scout, Hamp gave innumerable young musicians their first inspiration, their initial major showcase, before they look off on careers of their own.
Among the saxes, Dexter Gordon. Illinois Jacquet, Arnett Cobb, Marshall Royal and dozens more; on trumpets, Quincy Jones, Clifford Brown, Art Farmer and on and on; in the rhythm sections Charles Mingus, Milt Buckner et al; and that's not counting the singers, from ]oe Williams and Dinah Washington on up through the years.
The Hamp of the 1980s is a man of many parts: a superb musician who has never (ailed to move with the times; an astute businessman; a much honored figure in the academic world (he has been awarded six honorary doctorates); and a philanthropist whose good works have included the construction of low cost housing in areas where it was badly needed. But if there was ever any doubt that music has remained his first love, it was dispelled, for me at least, when I walked into a Hollywood studio to hear him take an all-star orchestra through some of the charts you will hear on this album.
Lionel's enthusiasm is as contagious as ever. The extent to which his taste has broadened can be deduced from the variety of arrangements you will hear on these two sides.
The opening track, Ko-Ko, is an ingenious moderation of the famous Charlie Parker combo recording cut in 1945. In Ray Knehnetsky's arrangement you will hear an extension of the original introduction, followed by Bird's solo written out (or unison saxes with brass punctuations. Hamp's solo maintains the up-tempo boppish spirit as does the greatly underrated Jack Kelso on alto. Knehnetsky is a promising Hollywood studio arranger, from Wilmington, Del.,: this was the first chart for Hampton's band.
The second cut, Wail for the cat, was composed and arranged by Roy Roman, who idolizes Cat Anderson, the veteran high note trumpet specialist who wailed over Hamp's brass section in the summer of 1942. The performance is high on excitement and rich in soloists: they are, in order, Curtis Fuller on trombone, Barry Ries on trumpet, Paul Moen on sax, Amos Hunt in that hands-over-mouth bit (yes, he actually is singing into his cupped hands); Lionel himself; Roy in a very feline passage; the great Wild Bill Davis on organ, then Hunt and Hamp closing it out. The admirable rhythm section on this tune includes Gary Mazzaroppi on bass, Richie Pratt on drums and Sammy Turner on percussion.
Lionel's admiration for Chick Corea led to the use of Chick's Tap Step in an ingenious treatment (arranged by Ray Knehnetsky) that blends the original character of the work with the spirit of big band jazz, 1980s style. The horn solos are by Barry Ries on trumpet and Paul Moen on tenor. ---Leonard Feather
Jazz
Lionel Hampton
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Apr 20, 1909 in Louisville, KY
Died: Aug 31, 2002 in New York, NY
Genre: Jazz
Styles: Big Band, Classic Jazz, Mainstream Jazz, New York Blues, R&B, Swing
Lionel Hampton was the first jazz vibraphonist and was one of the jazz giants beginning in the mid-'30s. He has achieved the difficult feat of being musically open-minded (even recording "Giant Steps") without changing his basic swing style. Hamp started out as a drummer, playing with the Chicago Defender Newsboys' Band as a youth. His original idol was Jimmy Bertrand, a '20s drummer who occasionally played xylophone. Hampton played on the West Coast with such groups as Curtis Mosby's Blue Blowers, Reb Spikes, and Paul Howard's Quality Serenaders (with whom he made his recording debut in 1929) before joining Les Hite's band, which for a period accompanied Louis Armstrong. At a recording session in 1930, a vibraphone happened to be in the studio, and Armstrong asked Hampton (who had practiced on one previously) if he could play a little bit behind him and on "Memories of You" and "Shine"; Hamp became the first jazz improviser to record on vibes.
It would be another six years before he found fame. Lionel Hampton, after leaving Hite, had his own band in Los Angeles' Paradise Cafe, until one night in 1936 when Benny Goodman came into the club and discovered him. Soon, Hampton recorded with B.G., Teddy Wilson, and Gene Krupa as the Benny Goodman Quartet, and six weeks later he officially joined Goodman. An exciting soloist whose enthusiasm even caused B.G. to smile, Hampton became one of the stars of his organization, appearing in films with Goodman, at the famous 1938 Carnegie Hall concert, and nightly on the radio. In 1937, he started recording regularly as a leader for Victor with specially assembled all-star groups that formed a who's who of swing; all of these timeless performances (1937-1941) were reissued by Bluebird on a six-LP set, although in piecemeal fashion on CD.
Hampton stayed with Goodman until 1940, sometimes substituting on drums and taking vocals. In 1940, Lionel Hampton formed his first big band, and in 1942 had a huge hit with "Flying Home," featuring a classic Illinois Jacquet tenor spot (one of the first R&B solos). During the remainder of the decade, Hampton's extroverted orchestra was a big favorite, leaning toward R&B, showing the influence of bebop after 1944, and sometimes getting pretty exhibitionistic. Among his sidemen, in addition to Jacquet, were Arnett Cobb, Dinah Washington (who Hampton helped discover), Cat Anderson, Marshall Royal, Dexter Gordon, Milt Buckner, Earl Bostic, Snooky Young, Johnny Griffin, Joe Wilder, Benny Bailey, Charles Mingus, Fats Navarro, Al Gray, and even Wes Montgomery and Betty Carter. Hampton's popularity allowed him to continue leading big bands off and on into the mid-'90s, and the 1953 edition that visited Paris (with Clifford Brown, Art Farmer, Quincy Jones, Jimmy Cleveland, Gigi Gryce, George Wallington, and Annie Ross) would be difficult to top, although fights over money and the right of the sideman to record led to its breakup. Hampton appeared and recorded with many all-star groups in the 1950s including reunions with Benny Goodman, meetings with the Oscar Peterson Trio, Stan Getz, Buddy DeFranco, and as part of a trio with Art Tatum and Buddy Rich. He also was featured in The Benny Goodman Story (1956).
Since the 1950s, Lionel Hampton has mostly repeated past triumphs, always playing "Hamp's Boogie Woogie" (which features his very rapid two-finger piano playing), "Hey Ba-Ba-Re-Bop," and "Flying Home." However, his enthusiasm still causes excitement and he remains a household name. Hampton has recorded through the years for nearly every label, including two of his own (Glad Hamp and Who's Who). Despite strokes and the ravages of age, Lionel Hampton remained a vital force into the 1990s. In January 2001, a vibraphone he had played for 15 years was put into the National Museum of American History. On August 31, 2002, at age 94, Lionel Hampton suffered major heart failure and passed away.
---Scott Yanow, All Music Guide |
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