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| 4.401 Ft
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| 1. | Stompin' At The Savoy
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| 2. | On The Sunny Side Of The Street
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| 3. | Hamp's The Champ
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| 4. | Carnegie Hall Blues
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| 5. | Flying Home
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Jazz
Lionel Hampton - conductor, vibes
Pepper Adams - baritone saxophone
Cat Anderson - trumpet, flugelhorn
Eddie Bert - trombone
Ray Bryant - piano
Doc Cheatham - trumpet
Arnett Cobb - tenor saxophone
Panama Francis - drums
John Gordon - trombone
Chubby Jackson - bass
Charles McPherson - alto saxophone
Billy Mackel - guitar
Jimmie Maxwell - trumpet, flugelhorn
Paul Moen - tenor saxophone
Joe Newman - trumpet, flugelhorn
Benny Powell - trombone
Earle Warren - clarinet, flute, alto saxophone
Bob Wilber - clarinet
A TRIBUTE TO LIONEL HAMPTON Carnegie Hall-July 1'78 by Robert Palmer
Lionel Hampton celebrated his fiftieth anniversary as a jazz performer in style at Carnegie Hall the last weekend of the Newport-New York Jazz Festival. The big band that backed him through most of the concert played with more fire and more precision than all-star aggregations usually manage to muster, and the well-chosen soloists were almost unfailingly attentive to the idioms at hand.
One says "idioms" advisedly, for Hampton's contributions to jazz have been unusually varied. As vibraphonist with the Benny Goodman quartet during the thirties he spun out warm, lyrical improvisations on ballad changes. As leader of some of the finest small recording bands of the thirties and early forties, he consistently put together first-class personnels - one group included Dizzy Gillespie, Benny Carter, Coleman Hawkins, Ben Webster, Chuck Berry and Charlie Christian - and then managed to dominate them with his unflagging rhythmic verve and sheer good humor. His big hands of the forties were a different proposition;they led the way in the transition black popular music was undergoing, from slicker, more urbane jazz styles to the rawer sound and heavier heat of rhythm-and-blues. Hampton's celebrated "Flying Home" has even been called the first rock and all record. Hampton's concert was a well-organized retrospective of all these facets of his career. Teddy Wilson showed up for some light, elegant recreations of the Benny Goodman quartet, with Bob Wilber playing fluent, understated clarinet and the supercharged rhythm section of bassist Chubby Jackson and drummer Panama Francis kicking things along. Hampton played beautifully on these tunes - his forte has always been rhythm, and w hen he works with fairly rich chord changes his rhythmic gifts are cast in a, particularly attractive light - but the real star was Wilson, who seemed to he in a particularly good mood and injected a great deal of passion into his bubbling solos, along with his customary suave control.But it was the big hand music from the forties that drew the biggest response from the audience, and justifiably so. The orchestra really played the charts brilliantly, with the rhythm section - Ray Bryant on piano instead of Wilson - churning deliriously underneath bright, jabbing horns. The trumpets were spectacular both collectively and individually. At one time or another, all four of them - Doe Cheatham, Cat Anderson, Joe Newman, and Jimmy Maxwell-made Stirling solo contributions, with top honors going to Cheatham for a breathtakingly deft bit of doubletiming on blues changes and to Anderson for taking his high note work into harmonic and timbral areas normally reserved for the avant-garde.Ray Bryant turned in some fine, rich playing as well, but the sparkplug of the band, at least as far as this listener was concerned, was Arnett Cobb, who replaced Illinois Jacquet in the Hampton ensemble of the forties and made some wonderful records with Hamp, most notably "Cobb's Idea," before going on to work with his own groups. These days Cobb mainly performs around his home town, Houston, Texas. He was in a bad automobile accident a few years ago and walks on crutches, but he doesn't need any crutches when he plays the tenor. He has that big, swaggering, grainy Texas sound on the tenor, and he has a control of the horn's textural resources that is just about unparalleled. During a single phrase he will begin sounding like Coleman Hawkins, pass through an Archie Shepp coloration and end as velvety as Don Byas on a ballad.
He constructs solos economically and intelligently, contrasting massive, blocked-out phrases with delicate runs and sudden rasps and honks, and he invariably builds to powerful, roaring climaxes. Whenever he began to play, a broad grin spread across Mr. Hampton's face. Both men know their jazz, and both love to really dig into the blues.
Throughout the big hand set, which eventually built up to a marathon "Flying Home" that should never have ended, women in the audience were waving their arms in the air, bounding up out of their seats, and squealing with delight while the men finger-popped and clapped their hands. Surprisingly, only a few of these people seemed old enough to remember the big hand era. Most of them were young, and they were responding naturally to the roots of so much of today's music. It was a pleasure to be part of a jazz event that had an abundance of both improvisational ingenuity and sheer danceable drive. The combination is a rare one these days, and there is no other kick quite like it.
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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