Lionel Leo Hampton (April 20, 1908 – August 31, 2002)
by Radcliffe A. Joe
Freelance Writer, New York CityLionel Hampton was an extraordinary kid. One day while in church with his evangelist grandmother, Louvenia Morgan, the drummer in the church band "caught the spirits" and began "speaking in tongues." Young Lionel quickly picked up the sticks she'd dropped and kept time on her bass drum to the rhythm of the music. Not once did he miss a beat. Nor has he missed a beat since.
Today, Lionel Hampton's name is legend around the world, and his wizardry on the vibraharp has brought amazement, inspiration and joy to generations of music lovers of every genre from classical to rock & roll.
The phenomenal story of Hampton's life, from his childhood in Birmingham, Alabama where he was raised by his doting grandmother, to his multifaceted career as bandleader extraordinaire, business tycoon, philanthropist and civic-conscious citizen, is detailed with style, wit and insight in HAMP, the musician's 300 page autobiography, written with James Haskins and published in hardcover by Warner Books.
Here, in a unique blend of candor, humor, and the flair of the showman that's an integral part of his personality, Hampton talks about growing up black, the advantages of being the nephew of a man who was Al Capone's business partner in the lucrative illegal booze business of Prohibition-era Chicago, and the women (his grandmother Louvenia, his wife Gladys, and Sister Petra, his teacher at the first Catholic school he attended) who helped shape his character, his business acumen and his early career.
The men who played a pivotal role in helping to establish his highly acclaimed and enduring career, are also brought to life in Hampton's breezy, threedimensinal style of raconteuring. He introduces the reader to Louis Armstrong, who was instrumental in Hampton's switch from drums (He was once billed as The World's Fastest Drummer) to the vibraharp; Les Hite who provided the first opportunity for him to play professionally; Benny Goodman who helped him tear down racial barriers, and gain international acclaim; and Major Nathaniel Clark Smith, a black, European trained, classical music teacher, with little use for jazz as a serious music form, even though he was instrumental in training some of the most celebrated names in jazz history. Hampton writes of the Major, "He was about the greatest musician I'd ever known."
Between Major Smith and Sister Petra, they taught Hampton the academics of music, from harmony to reading, and the ear training that proved critical to his continued success as his career developed. He also learned the twenty-six rudiments of the drums; and that drums have a scale, just like the horn. He even learned the correct way to hold his drum sticks.
Hampton's memories of his dear "Mama Louvenia" are detailed with fondness and wit. He recalls that when he developed his passion for drumming, Mama Louvenia silenced the complaints of the rest of the family, and encouraged him to drum away to his heart's content.
Later, when the family moved to Chicago to escape the tough post-war (World War I) hardships that had befallen Southern blacks, Mama Louvenia sent her favorite grandchild to an out of state Catholic school so he'd escape exposure to and possible harm in Chicago's rough public schools.
When he moved to California to play with Les Hite, Gladys Neal, the woman who would later become his wife, friend, business advisor and confidant, took over where Mama Louvenia left off. She saw to it that Hampton's talent was properly recognized, got him star billing at the top clubs at which he performed, made sure he worked for decent wages and preferably with a contract, and nugged him into his first hesitant steps to forming his own band.
Gladvs was also very protective of Hampton, sheltering him from the booze, drugs, womanizing and the tendency to squander money that were an accepted part of the jazz musician's lifestyle. She went so far as to have him tracked down, corralled and hauled home kicking and screaming, on those occasions when he tried to sneak off' 'to unwind and have some fun." "But," Hampton recalls lovingly, "Gladys made me the man I am today. "
In HAMP, the reader learns that although Hampton achieved most of his fame and fortune as a vibraharpist, he was, unlike many other musicians of his genre, adept at, and comfortable with a variety of other instruments, including the piano, drums, orchestra bells and timpanis. Many of his early records feature him on drums, and there are vintage Hampton recordings on which he plays the piano and sings. Early in his career Hampton seriously considered becoming a singer like Louis Armstrong, and he often went without an overcoat in winter so "I'd get laryngitis and be able to sing like Louis."
Interspersed with the joy and excitement of discovering and nurturing his talents, is the pathos of life as a black albeit highly regarded - musician in segregated America. There is the grim reality of having to sleep in his car or find a black family that would rent him lodgings, because he couldn't stay at the hotels in which he played. Of having to eat cold sandwiches on the run because he wasn't allowed in segregated restaurants. And of white managers (critical to his success in those days) that played fast and loose with his money.
Later on when Benny Goodman dared to integrate Hampton and Teddy Wilson into his all-white band, there were slurs, slights and assorted indignities; and people often assumed that Hampton and Wilson were Goodman's valet and chauffeur.
Hampton's book is a veritable Who is Who of American jazz. Every big name in jazz history either played with Hampton or touched his career in one way or another. They included illinois Jacquet, Jack McVea, Dexter Gordon, Arnett Cobb, Milt Hinton, Eddie South, Nat "King" Cole, Ray Nance, Jimmy Fletcher, Hayes Alvis, Happy Caldwell, Joe "King" Oliver, Al Morgan, Bix Biederbecke, Mugsy Spanier, Jellyroll Morton, Erskine Tate, Barney Bigard, Stump Evans, Don Byas, Tyree Glenn, Cab Calloway, Art Tatum, Teddy Buckner, Ben Webster, Doc Cheatham, Dizzy Gillespie and of course, Louis Armstrong. There were also the great ladies of blues, like Alberta Hunter, Ma Rainey, Dinah Washington, and Bessie Smith, who was his Uncle Richard's old lady.
![The Lionel Hampton Story [BOX SET] [IMPORT] Lionel Hampton](lionel2.jpg)
Hampton was the drummer on many of Armstrong's early recordings for Okeh and Columbia Records. It was while working with Armstrong that Hampton first recorded as a viraharpist. The tune was Eubie Blake's "Memories of You. " It was also the first time jazz was played professionally on the vibes. Hampton also appeared with Armstrong and Bing Crosby in the movie, "Pennies From Heaven. " It was also Armstrong who gave Hampton the nickname Gates, " Because you swing so great," Armstrong complimented him.
Hampton again helped shape jazz history when Benny Goodman integrated him and Teddy Wilson into his band, in 1936 following a memorable jam session that included Gene Krupa and Wilson. Goodman later suggested they make a record or two together, and the overwhelming success of those recordings resulted in Hampton becoming a full-time member of Goodman's band.
In the heady years that followed, Hampton's fame as a vibraharpist exploded, and his records, both with Goodman, and on his own, as the Lionel Hampton Band, were top sellers of the day. It was also with Goodman that Hampton recorded his first composition, "Flying Home." Jazz critic Leonard Feather wrote of that record, "It was a colossal success and established Hampton's dominance in the big band field."
Hampton played with Goodman until 1940 when he left to again establish his own big band. This time, as Feather writes, " the band was spectacularly successful, and was in demand around the world. " His records too, on labels like Victor, Verve, Vanguard, MGM, Columbia, Audio Fidelity and others, have been colossal successes, and many are today treasured collector's items.
Hampton has supported the campaigns of every Republican Presidential candidate since Dwight D. Eisenhower and the wall of his New York home are covered with Presidential Awards and letters from the White House. He is also the proud holder of about a dozen Honorary Doctorates from major American universities.
Over the years, Hampton also devoted much of his time and money to helping the disadvantaged. One of his proudest achievements was the 205-unit Gladys Hampton apartment complex in Harlem.
Return to: Black Music Archives