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120651bk Hampton2 16/3/05 5:25 PM Page 2 15. Bouncing At The Beacon 3:29 18. Hamp’s Boogie-Woogie 3:26 Track 7: Ziggy Ellman, trumpet; Toots Track 18: Cat Anderson, Lammar Wright Jr, Roy (Lionel Hampton) (Lionel Hampton–Milton Buckner) Mondello, clarinet, alto sax; Ben Webster, Jerry McCoy, Joe Morris, trumpets; Al Hayse, Piano by Lionel Hampton Decca 18613, mx 71828-A Jerome, tenor sax; Clyde Hart, piano; Albert Mitchell ‘Booty’ Wood, Fred Beckett, Victor 27364, mx PBS055237 Recorded 2 March 1944, New York Casey, guitar; Art Bernstein, string bass; Slick trombones; Earl Bostic, Gus Evans, alto sax; Al Recorded 20 December 1940, Hollywood 19. Beulah’s Boogie 3:20 Jones, drums; Lionel Hampton, vibes Sears, Arnett Cobb, tenor sax; Charles Fowlkes, 16. Chasin’ With Chase 3:05 (Lionel Hampton) Tracks 8 & 9: Nat ‘King’ Cole, piano; Oscar baritone sax; Milt Buckner, piano; Eric Miller, (Gladys Neal–Bernard Shivers) Decca 18719, mx 72876-A Moore, guitar; Wesley Prince, string bass; Al guitar; Vernon King, string bass; Fred Radcliffe, drums; Lionel Hampton, vibes, piano Drums by Lionel Hampton Recorded 21 May 1945, New York Spieldock, drums; Lionel Hampton, piano or drums (as noted) Track 19: Wendell Culley, Joe Morris, Al Kilian, Victor 27529, mx BS064057 20. Air Mail Special 6:22 Lammar Wright Jr, Dave Page, trumpets; Abdul Recorded 8 April 1941, Chicago (Benny Goodman–Jimmy Mundy–Charlie Tracks 10 & 11: THE HAMPTON RHYTHM Hamid, John Morris, Al Hayse, Andrew Penn, 17. Three-Quarter Boogie 2:42 Christian) BOYS. Nat ‘King’ Cole, piano; Oscar Moore, trombones; Herbie Fields, Gus Evans, alto sax; (John M. Elliott–Jack Fascinato) Decca 18880, mx 73333 & 73334 guitar; Lionel Hampton, vibes Arnett Cobb, Jay Peters, tenor sax; Charlie Victor 27409, mx BS064058 Recorded 31 January 1946, New York Tracks 12 & 13: Marlowe Morris, piano; Teddy Fowlkes, baritone sax; Dardenelle Breckenridge, Recorded 8 April 1941, Chicago Bunn, electric guitar; Douglas Daniels, tiple piano; Charlie Harris, Ted Sinclair, string bass; Transfers, Production & Digital Noise Reduction by Peter Dempsey (small guitar); Hayes Alvis, string bass; Kaiser Fred Radcliffe, drums; Lionel Hampton, vibes, Original monochrome photo of Lionel Hampton from the Tully Potter Collection Marshall, drums; Lionel Hampton, vibes piano Tracks 14 & 15: LIONEL HAMPTON & HIS Track 20: Joe Morris, Dave Page, Wendell Cullie, Personnel SEXTETTE. Marshall Royal, clarinet, alto sax; Jimmy Nottingham, Lammar Wright Jr, Billed as LIONEL HAMPTON & HIS ORCHESTRA except as indicated Ray Perry, violin; Sir Charles Thompson, piano; trumpets; Jimmy Wormick, Mitchell ‘Booty’ Irving Ashby, guitar; Vernon Alley, string bass; Wood, Andrew Penn, Al Hayse, trombones; Tracks 1& 2: Ziggy Ellman, trumpet; Hymie Billy Kyle, piano; John Kirby, string bass; Joe Lee Young, drums; Lionel Hampton, vibes, Bobby Plater, Ben Kynard, alto sax; Arnett Schertzer, George Koenig, alto sax; Vido Jones, drums; Lionel Hampton, vibes piano (track 15) Cobb, Johnny Griffin, tenor sax; Charlie Musso, Arthur Rollini, tenor sax; Jess Stacy, Track 5: Rex Stewart, cornet; Lawrence Brown, Fowlkes, baritone sax; Milt Buckner, piano; piano; Allen Reuss, guitar; Harry Goodman, Tracks 16 & 17: Karl George, trumpet; Marshall trombone; Harr Carney, baritone sax; Clyde Billy Mackel, guitar; Charles Harris, Ted Snclair, string bass; Gene Krupa, drums; Lionel Royal, clarinet, alto sax; Ray Perry, violin; Sir Hart, piano; Billy Taylor, string bass; Sonny string bass; George Jenkins, drums; Lionel Hampton, vibes (drums where noted) Charles Thompson, piano; Irving Ashby, guitar; Greer, drums; Lionel Hampton, vibes Vernon Alley, string bass; Shadow Wilson, Hampton, vibes Track 3: Jonah Jones, trumpet; Eddie Barefield, Track 6: Dizzy Gillespie, trumpet; Benny Carter, drums; Lionel Hampton, vibes, drums (track 16) clarinet; Clyde Hart, piano; Bobby Bennett, alto sax, arranger; Coleman Hawkins, Ben guitar; Mack Walker, string bass; Lionel Webster, Chu Berry, tenor sax; Clyde Hart, Hampton, piano, drums piano; Charlie Christian, guitar; Millt Hinton, Track 4: Harry James, trumpet; Benny Carter, string bass; Cozy Cole, drums; Lionel clarinet, alto sax, arranger; Dave Matthews, alto Hampton, vibes NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia sax; Herschel Evans, Babe Russin, tenor sax; www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120651 6 8.120651 120651bk Hampton2 16/3/05 5:25 PM Page 1 drums, for Victor, in April 1929). By that year entourage. A key figure in the evolution of 1. Hampton Stomp 3:18 8. Central Avenue Breakdown 3:09 LIONEL HAMPTON Vol.2 he was also drumming with Louis Armstrong Swing, after making his official debut with (Lionel Hampton) (Lionel Hampton) Original Recordings 1937-1946 and at a mid-1930 Armstrong recording session Goodman in New York (at the Pennsylvania Drums by Lionel Hampton Piano by Lionel Hampton ‘Air Mail Special’ first featured the vibes which, legend has it, he Hotel, on 21 November) he became a regular of Victor 25535, mx BS04585 Victor 26652, mx PBS049676 had found lying around in the studio. By 1930, the Goodman Sextet and, after Gene Krupa’s The exuberance and excitement and feeling of exultation that Lionel Hampton contributes to any Recorded 8 February 1937, New York Recorded 10 May 1940, Hollywood Hamp had decided that the Quality Serenaders sudden departure in 1938, often sat in with the musical occasion with which he is associated are absolutely amazing. No other single performer in 2. My Last Affair 2:41 9. Jack The Bellboy 2:56 ‘weren’t playing [his] kind of music’. He wanted Goodman big-band. American jazz – and in American big bands, too – has so consistently and joyously incited and (Lionel Hampton) (Lionel Hampton) to swing and, in collaboration with the Hamp’s association with Goodman led to inspired his fellow musicians and listening audiences. – George T. Simon Vocal by Lionel Hampton Drums by Lionel Hampton Serenaders’ leader (his old friend from Chicago, an RCA-Victor commission to make his own Victor 25527, mx BS04582 Victor 26652, mx PBS049677 No less a virtuoso of piano and drums, Lionel relates, via the work generated by his Santa Monica-born alto-saxophonist Les Hite, small-group recordings. Featuring available Recorded 8 February 1937, New York Recorded 10 May 1940, Hollywood Hampton has long been a synonym for jazz speakeasies, ‘the saviour of the black musicians 1903-1962) set up a resident band at musicians ad hoc from Ellington and other vibraphone; and while he may not have been in those days’), Morgan bought him drums and Sebastian’s Cotton Club in Culver City. Until ‘visiting’ big-bands, Hamp’s own first efforts in 3. Drum Stomp (Crazy Rhythm) 3:14 10. Blue Because Of You 3:03 quite the first to experiment with that generally encouraged his musically precocious 1932 Louis Armstrong also worked regularly the genre are jazz classics. Bright gems in the (Lionel Hampton) (Charles Carpenter–Louis Dunlap–Quinn instrument in a jazz context, he certainly nephew. Lionel soon became a member of the with this band, which interspersed dance music discography of Swing they comprise an exciting Drums by Lionel Hampton Wilson) invested it with the life’s breath of Swing and Chicago Defender youth band, a classical a la Gus Arnheim’s Coconut Grove Orchestra if predictable mixture of pyrotechnic hot jazz Victor 25658, mx PBS09645 Victor 26724, mx PBS049934 Blues and spawned a new tradition of orchestra which modelled itself on the Chicago with hot jazz numbers. There, drummer Hamp numbers and mid-tempo commercial standards Recorded 16 August 1937, Hollywood Recorded 17 July 1940, Hollywood vibraphonists. Celebrated during the Swing Era Symphony and there ‘got ear training’ from its first began to feature vibes seriously and won and indeed several titles, from 1937 onwards, 4. Shoe Shiner’s Drag 3:30 11. A Ghost Of A Chance 3:01 as a bigband sideman, and latterly the organiser Major N. Clark Smith, a noted recognition for the new jazz instrument via a earned the equivalent status of US popular Top (Ferdinand ‘Jelly Roll’ Morton) (Bing Crosby–Ned Washington–Victor Young) spontaneous showman par excellence of jazz educator under whose tutelage he also studied series of promotional shorts. 30 ‘hits’ (included is The Jumpin’ Jive, an Victor 26011, mx BS024066 Vocal by Helen Forrest bandleaders, multi-instrumentalist Lionel timpani and xylophone. In 1924 he ventured to From 1935 Hamp led his own band in estimated No.15, in 1939). Hamp’s musical Recorded 21 July 1938, New York Victor 26696, mx PBS049935 Hampton was born into a middle-class family in Hollywood and there, to supplement his at first California and early the following year, through standing assured by his small band records Recorded 17 July 1940, New York Louisville, Kentucky, on 20 April 1909. His meagre income from music, he took a menial recording guru John Hammond, was introduced (rivalled in these only by Teddy Wilson and 5. The Jumpin’ Jive (Jim Jam Jump) 3:22 childhood was spent in both Louisville and job in a drugstore in Culver City, adjacent to the to Benny Goodman. Hamp played, at first Ellington), in 1940 Hamp quit Goodman to (Cab Calloway–Frank Froeba) 12. Martin On Every Block 2:56 Birmingham, Alabama, and from 1916 he lived MGM film studios. By providing after-hours informally, in various small groups led by form his own big band. From its inception this Victor 26304, mx BS037631 (Lionel Hampton) in Chicago with his grandparents who sent him entertainment for movie stars, however, he was Goodman (he would continue to play and toured extensively and was by 1986 the longest- Recorded 13 June 1939, New York Victor 26739, mx BS055533-2 to the Holy Rosary Academy in Collins, soon mixing in the right musical circles and record with Goodman ensembles until 1940) surviving outfit of its kind.
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  • Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (Guest Essay)*

    Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (Guest Essay)*

    “Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (guest essay)* Album cover Original album Rollins, c. 1956 The moniker “Saxophone Colossus” aptly describes the magnitude of the man and his music. Walter Theodore Rollins is better known worldwide as the jazz giant Sonny Rollins, but in addition to Saxophone Colossus, he has also been given other nicknames, most notably “Newk” because of his resemblance to baseball legend Don Newcombe. To use a cliché, Saxophone Colossus best describes Sonny because he is bigger than life. He is an African American of mammoth importance not only because he is the last major remaining jazz trailblazer, but also because he helped to inspire millions of fans and others to explore the religions and cultures of the East. A former heroin addict, the tenor saxophone icon proved that it was possible to kick the drug habit at a time in the 1950s when thousands of fellow musicians abused heroin and other narcotics. His success is testimony to his strength of character and powerful spirituality, the latter of which helped him overcome what musicians called “the stick” (heroin). Sonny may be the most popular jazz pioneer who is still alive after nearly seven decades of playing bebop, hard bop, and other styles of jazz with the likes of other stalwart trailblazers such as Thelonious Monk, Dizzy Gillespie, Bud Powell, Clifford Brown, Max Roach, and Miles Davis. He follows a tradition begun by Louis Armstrong, Duke Ellington, and Charlie Parker. Eight months after overcoming his habit at a drug rehabilitation facility called “the farm” in Lexington, Kentucky, Sonny made what the jazz cognoscenti rightly contend is his greatest recording ever—ironically entitled “Saxophone Colossus”—which was recorded on June 22, 1956.