Name	Rhythm and blues
Color	white
Bgcolor	#0000E1
Stylistic origins	JazzBlues (esp., jump, electric)Gospel
Cultural origins	1940s–1950s, USA
Instruments	Drum kit – Double bass – Saxophone – Horns – Piano – Organ – Electric guitar – Vocals – Background vocalists
Popularity	Significant from 1940s to 1960s; iconic afterwards
Derivatives	Funk – Ska – Soul – Rock and roll - Reggae
Subgenres	Contemporary R&B; – Smooth R&B;
Local scenes	New Orleans R&B;
Other topics	List of R&B; musicians, British Invasion, Mod (lifestyle)

Rhythm and blues, often abbreviated to R&B;, is a genre of popular African American music that originated in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular.

The term has subsequently had a number of shifts in meaning. In the early 1950s and beyond, the term rhythm and blues was frequently applied to blues records. Starting in the 1950s, after this style of music contributed to the development of rock and roll, the term "R&B;" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music. By the 1970s, rhythm and blues was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B; developed, becoming known as contemporary R&B;.

Etymology

Jerry Wexler of Billboard magazine coined the term "rhythm and blues" in 1948 as a musical marketing term in the United States. It replaced the term "race music", which originally came from within the black community, but was deemed offensive in the postwar world. Writer/producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music that was made by and for black Americans". He has used the term "R&B;" as a synonym for jump blues. However, Allmusic separates it from jump blues because of its stronger, gospel-esque backbeat. Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.

Rhythm and blues bands usually consisted of piano, one or two guitars, bass, drums, and sax. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, and often hypnotic textures while calling attention to no individual sound. While singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. Bands dressed in suits and even uniforms. Lyrics seem fatalistic and the music feels somehow inevitable.

History

Precursors

The migration of African Americans to the urban industrial centers of Chicago, Detroit, New York, Los Angeles and elsewhere in the 1930s created a new market for jazz, blues, and related genres of music, often performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the 1930s through the work of musicians such as The Harlem Hamfats, with their 1936 hit "Oh Red", as well as Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker. There was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone.

Late 1940s

In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B; charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Robert Palmer described it as "urbane, rocking, jazz based music with a heavy, insistent beat".

In 1949, the term "Rhythm and Blues" replaced the Billboard category Harlem Hit Parade. Paul Williams and His Hucklebuckers' concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit "(The) Rock and Roll Waltz"), were mildly sexually suggestive, and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance". Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a #4 hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top 5 with "Saturday Night Fish Fry". Many of these hit records were issued on new independent record labels, such as Savoy (founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded 1946), Chess (founded 1947), and Atlantic (founded 1948). The Clovers, a vocal trio who sang a distinctive sounding combination of blues and gospel, had the #5 hit of the year with "Don't You Know I Love You" on Atlantic Records. Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "The Moondog Rock Roll House Party" on WJW-AM (850). Freed's show was sponsored by Fred Mintz, whose R&B; record store had a primarily African American clientele. Freed began referring to the rhythm and blues music he played as "rock and roll".

In 1951, Little Richard Penniman began recording for RCA Records in the jump blues style of late 1940s stars Roy Brown and Billy Wright. However, it wasn't until he prepared a demo in 1954, that caught the attention of Specialty Records, that the world would start to hear his new, uptempo, funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock 'n' roll. A rapid succession of rhythm and blues hits followed, beginning with "Tutti Frutti" and "Long Tall Sally", which would influence performers such as James Brown, Elvis Presley, and Otis Redding.

Ruth Brown on the Atlantic label, placed hits in the top 5 every year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) He Treats Your Daughter Mean" and "What a Dream". Faye Adams's "Shake a Hand" made it to #2 in 1952. In 1953, the R&B; record-buying public made Willie Mae Thornton's original recording of Leiber and Stoller's "Hound Dog" the #3 hit that year. Ruth Brown was very prominent among female R&B; stars. Ruth Brown’s popularity most likely derived because of “her deeply rooted vocal delivery in African American tradition” That same year The Orioles, a doo-wop group, had the #4 hit of the year with "Crying in the Chapel".

Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10 with "Ain't That a Shame". Ray Charles came to national prominence in 1955 with "I Got a Woman". Big Bill Broonzy said of Charles' music: "He's mixing the blues with the spirituals... I know that's wrong."

In 1954 The Chords' "Sh-Boom" became the first hit to cross over from the R&B; chart to hit the top 10 early in the year. Late in the year, and into 1955, "Hearts of Stone" by The Charms made the top 20.

At Chess Records in the spring of 1955, Bo Diddley's debut record "Bo Diddley"/"I'm A Man" climbed to #2 on the R&B; charts and popularized Bo Diddley's own original rhythm and blues beat that would become a mainstay in rock and roll.

At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a country fiddle tune with a long history, entitled "Ida Red". The resulting "Maybellene" was not only a #3 hit on the R&B; charts in 1955, but also reached into the top 30 on the pop charts. Alan Freed, who had moved to the much larger market of New York City, helped the record become popular with white teenagers. Freed had been given part of the writers' credit by Chess in return for his promotional activities; a common practice at the time.

Late 1950s

In 1956, an R&B; "Top Stars of '56" tour took place, with headliners Al Hibbler, Frankie Lymon and the Teenagers, and Carl Perkins, whose "Blue Suede Shoes" was very popular with R&B; music buyers. Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, the Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band. Cities visited by the tour included Columbia, SC, Annapolis, MD, Pittsburgh, PA, Syracuse, Rochester and Buffalo, NY, into Canada, and through the mid Western US ending in Texas. In Columbia the concert ended with a near riot as Perkins began his first song as the closing act. Perkins is quoted as saying, "It was dangerous. Lot of kids got hurt. There was a lot of rioting going on, just crazy, man! The music drove 'em insane." In Annapolis 70,000 to 50,000 people tried to attend a sold out performance with 8,000 seats. Roads were clogged for seven hours.

Film makers took advantage of the popularity of "rhythm and blues" musicians as "rock n roll" musicians beginning in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, The Treniers, The Platters, The Flamingos, all made it onto the big screen.

Two Elvis Presley records made the R&B; top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at #1, and "All Shook Up" at #5, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks. Nat King Cole, a former jazz pianist who had had #1 and #2 hits on the pop charts in the early 1950s ("Mona Lisa" at #2 in 1950 and "Too Young" at #1 in 1951), had a record in the top 5 in the R&B; charts in 1958, "Looking Back"/"Do I Like It".

In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar, and Berry Gordy's Motown Records. Brook Benton was at the top of the R&B; charts in 1959 and 1960 with one #1 and two #2 hits. Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Cole, Sinatra and Tony Bennett. Lloyd Price, who in 1952 had a #1 hit with "Lawdy Miss Clawdy" regained predominance with a version of "Stagger Lee" at #1 and "Personality" at #5 for in 1959.

The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley's career, was popular with black listeners. Ninety percent of his record sales were from black people, and his "Smokey, Part 2" (1959) rose to the #1 position on black music charts. He was once told that "a lot of those stations still think you're a black group because the sound feels funky and black." Hi Records did not feature pictures of the Combo on early records.

1960s and later

Sam Cooke's #5 hit "Chain Gang" is indicative of R&B; in 1960, as is Chubby Checker's #5 hit "The Twist". By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue eyed soul. Motown Records had its first million-selling single in 1960 with The Miracles' "Shop Around", and in 1961, Stax Records had its first hit with Carla Thomas' "Gee Whiz! (Look at His Eyes)". Stax's next major hit, the Mar-Keys' instrumental "Last Night" (also released in 1961) introduced the rawer Memphis soul sound for which Stax became known.

British rhythm and blues

British rhythm and blues developed in the early 1960s, largely as a response to the recordings of American artists, often brought over by African American servicemen stationed in Britain during the Cold War, or merchant seamen visiting ports such as London, Liverpool, Newcastle on Tyne and Belfast. Many bands, particularly in the developing London club scene, tried to emulate black rhythm and blues performers, resulting in a "rawer" or "grittier" sound than the more popular "beat groups". Initially developing out of the trad jazz, skiffle and folk club scenes, early artists tended to focus on major blues performers and standard forms, particularly Alexis Korner, who acted as a mentor to members of The Rolling Stones, The Yardbirds, Manfred Mann, the Graham Bond Organisation and The Kinks. Blues songs and influences continued to surface in the Rolling Stones' music in later years. Other London-based bands included the Yardbirds, the Kinks, Manfred Mann and the Pretty Things, beside more jazz-influenced acts like the Graham Bond Organisation, Georgie Fame and Zoot Money. As a result a number of bands emerged to fill this gap, including Small Faces, The Creation, and most successfully The Who.

By the 1970s, the term rhythm and blues was being used as a blanket term for soul, funk, and disco. Around the same time, earlier R&B; was an influence on British pub rock and later, the mod revival. Now the term R&B; is almost always used instead of the full rhythm and blues, and mainstream use of the term usually refers to contemporary R&B;, which is a newer version of soul and funk music that originated as disco faded from popularity.

See also

African American music

Music of the United States

Chitlin' Circuit

Rhythm and Blues Foundation

Urban contemporary gospel

List of number-one rhythm and blues hits (United States)

List of artists who reached number one on the Billboard R&B; chart

Museum of African American Music

References

The House of Mihrān was a leading Iranian noble family (šahrdārān), one of the Seven Great Houses of the Sassanid Persian Empire which claimed descent from the earlier Arsacid dynasty. A branch of the family formed the Mihranid line of the kings of Caucasian Albania and the Chosroid Dynasty of Kartli.

History

First mentioned in a mid-3rd-century CE trilingual inscription at the Ka'ba-i Zartosht, concerning the political, military, and religious activities of Shapur I, the second Sassanid king of Iran, the family remained the hereditary "margraves" of Ray throughout the Sassanid period. Several members of the family served as generals in the Roman–Persian Wars, where they are mentioned simply as Mihran or , mirranēs, in Greek sources. Indeed, Procopius, in his History of the Wars, holds that the family name Mihran is a title equivalent to General.

Notable generals from the Mihran clan included: Perozes, the Persian commander-in-chief during the Anastasian War and the Battle of Dara, Golon Mihran, who fought against the Byzantines in Armenia in 572–573, and his son Bahram Chobin, who led a coup against Khosrau II and briefly usurped the crown from 590 to 591.

In the course of the 4th century, the purported branches of this family acquired the crowns of three Caucasian polities: Iberia (Chosroids), Gogarene and Caucasian Albania/Gardman (Mihranids).

References

Sources

Category:History of the Caucasus Category:History of Iran Category:Persian noble families Category:Sassanid people

Name	Lionel Leo Hampton
Landscape	yes
Background	solo_singer
Birth name	Lionel Leo Hampton
Alias	"Hamp", "Mad Lionel"
Born	April 20, 1908Louisville, Kentucky, U.S.
Died	August 31, 2002New York City, New York, U.S.
Instrument	VibraphoneDrumsPianoVocals
Genre	SwingBig bandMainstream jazzNew York blues
Occupation	Multi-instrumentalistSingerActorComposer
Years active	1927–2002
Label	Decca
Associated acts	Benny Goodman, Teddy Wilson, Quincy Jones, Louis Armstrong, Gloria Parker

Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, bandleader and actor. Like Red Norvo, he was one of the first jazz vibraphone players. Hampton ranks among the great names in jazz history, having worked with a who's who of jazz musicians, from Benny Goodman and Buddy Rich to Charlie Parker and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame.

Biography

Early life

Lionel Hampton was born in Louisville, Kentucky in 1908, and was raised by his grandmother. Shortly after he was born, he and his mother moved to her hometown Birmingham, Alabama. He spent his early childhood in Kenosha, Wisconsin before he and his family moved to Chicago, Illinois in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America due to segregation. During the 1920s—while still a teenager—Hampton took xylophone lessons from Jimmy Bertrand and started playing drums. Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago.

Early career

Lionel Hampton began his career playing drums for the Chicago Defender Newsboy's Band (led by Major N. Clark Smith) while still a teenager in Chicago. He moved to California in 1927 or 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard, then left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. During this period he began practicing on the vibraphone. In 1930 Louis Armstrong came to California and hired the Les Hite band, asking Hampton if he would play vibes on two songs. So began his career as a vibraphonist, popularizing the use of the instrument ever since.

While working with the Les Hite band, Hampton also occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s he studied music at the University of Southern California. In 1934 he led his own orchestra, and then appeared in the 1936 Bing Crosby film Pennies From Heaven alongside Louis Armstrong (wearing a mask in a scene while playing drums).

With Benny Goodman

Also in November 1936, the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom. John Hammond brought Goodman to see Hampton play. Hampton backed Billie Holiday with the Goodman orchestra, which was discovered by Hammond, and Goodman asked Hampton to join the Benny Goodman Trio, made up of Goodman, Teddy Wilson, and Gene Krupa, expanding it into the Benny Goodman Quartet. The Trio and Quartet were among the first racially integrated jazz groups to record and play before wide audiences, and were a leading small-group in an era when jazz was dominated by big bands.

Lionel Hampton Orchestra

While Hampton worked for Goodman in New York, he recorded with several different small groups known as the Lionel Hampton Orchestra, as well as assorted small groups within the Goodman band. In 1940 Hampton left the Goodman organization under amicable circumstances to form his own big band.

Hampton's orchestra became popular during the 1940s and early 1950s. His third recording with them in 1942 produced a classic version of Flying Home, featuring a solo by Illinois Jacquet that anticipated rhythm & blues. The selection became very popular, and so in 1944 Hampton recorded "Flying Home, Number Two" featuring Arnett Cobb. The song went on to become the theme song for all three men. Guitarist Billy Mackel first joined Hampton in 1944, and would perform and record with him almost continuously through the late 1970s. In 1947 he recorded Stardust at a "Just Jazz" concert with Charlie Shavers and Slam Stewart produced by Gene Norman.

From around 1945 to the early 1950s Hampton's band played in a style that merged jazz with rhythm & blues. Represented in recordings on Decca Records, the band included performers that achieved renown in their own right in the 1950s and 1960s, composer and bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, vocalist Dinah Washington and keyboardist Milt Buckner. Other noteworthy performers in the orchestra then included trumpeters Dizzy Gillespie, Cat Anderson, Kenny Dorham and Snooky Young, trombonist Jimmy Cleveland and saxophonists Illinois Jacquet and Jerome Richardson.

In 1953 the orchestra toured Europe with Clifford Brown, Gigi Gryce, George Wallington and Art Farmer in his lineup; Quincy Jones was arranger/trumpeter and Annie Ross sang. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with groups including Oscar Peterson, Art Tatum and Buddy DeFranco among others. In 1955 he was in California working on The Benny Goodman Story he was able to record sessions with Stan Getz and Art Tatum for Norman Granz as well as with his own big band.

Hampton performed with Louis Armstrong and Italian singer Lara Saint Paul at the 1968 Sanremo Music Festival in Italy. The performance created a sensation with Italian audiences, as it broke into a real jazz session. That same year, Hampton received a Papal Medal from Pope Paul VI.

Later career

honors Lionel Hampton during a ceremony recognizing Black Music Month in the East Room of the White House on June 30, 2001.]] During the 1960s, Hampton's groups were in decline; he was still performing what had succeeded for him during the 1930s, 1940s, and 1950s. He did not fare much better in the 1970s, though he recorded actively on the Who's Who Record label.

Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, which was renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampton, the first university music school named for a jazz musician.

Hampton remained active until a stroke in Paris in 1991 led to a collapse on stage. That incident, combined with years of chronic arthritis, forced him to cut back drastically on performances. However, he did play at the Smithsonian National Museum of American History in 2001 shortly before his death.

Personal life

During the 1950s he had a strong interest in Judaism and raised money for Israel. In 1953 he composed a King David suite and performed it in Israel with the Boston Pops Orchestra. Later in life Hampton became a Christian Scientist. Hampton's wife was his manager throughout much of his career. Many musicians recall that Lionel ran the music and Gladys ran the business. Hampton was a Thirty-three degree Prince Hall freemason in New York, also. In January 1997, his apartment caught fire and destroyed his awards and belongings; Hampton escaped uninjured.

Lionel Hampton died from congestive heart failure on August 31, 2002 at Mount Sinai Hospital in New York City, and is interred in the Woodlawn Cemetery, Bronx, New York. His funeral was held on September 7, 2002 and featured a performance by Wynton Marsalis and David Ostwald's Gully Low Jazz Band at Riverside Church in Manhattan; the procession began at The Cotton Club in Harlem.

Charity

Hampton was deeply involved in the construction of various public housing projects, and founded the Lionel Hampton Development Corporation. Construction began with the Lionel Hampton Houses in Harlem, New York in the 1960s, with the help of then Republican governor Nelson Rockefeller. Hampton's wife—Gladys Hampton—also was very involved in construction of a housing project in her name—the Gladys Hampton Houses. Gladys died in 1971. In the 1980s, Hampton built another housing project called Hampton Hills in Newark, New Jersey. Hampton was a staunch Republican and served as a delegate to several Republican National Conventions during his lifetime. He served as Vice-Chairman of the New York Republican County Committee for some years and also was a member of the New York City Human Rights Commission.

Hampton donated close to $279,000 to Republican campaigns and committees during his lifetime.

Awards

2001 - Harlem Jazz and Music Festival's Legend Award

1996 - National Medal of Arts presented by President Bill Clinton

1995 - Honorary Commissioner of Civil Rights by George Pataki

1995 - Honorary Doctorate from the New England Conservatory of Music

1993 - Honorary Doctorate from the University of Maryland Eastern Shore

1992 - Inducted into the Alabama Jazz Hall of Fame

1992 - "Contributions To The Cultural Life of the Nation" award from the John F. Kennedy Center for the Performing Arts

1988 - The National Endowment for the Arts Jazz Masters Fellowship

1988 - The National Association of Jazz Educators Hall of Fame Award

1987 - Honorary Doctorate of Humanities from the University of Idaho - UI's School of Music renamed "Lionel Hampton School of Music."

1987 - The Roy Wilkins Memorial Award from the NAACP

1986 - The "One of a Kind" Award from Broadcast Music, Inc.

1984 - Jazz Hall of Fame Award from the Institute of Jazz Studies

1984 - Honorary Doctorate of Music from USC

1983 - The International Film and Television Festival of New York City Award

1983 - Honorary Doctorate of Humane Letters from the State University of New York

1982 - Hollywood Walk of Fame Star

1981 - Honorary Doctorate of Humanities from Glassboro State College

1979 - Honorary Doctorate of Music from Howard University

1978 - Bronze Medallion from New York City

1976 - Honorary Doctorate of Humanities from Daniel Hale Williams University

1975 - Honorary Doctorate of Music from Xavier University of Louisiana

1974 - Honorary Doctorate of Fine Arts from Pepperdine University

1968 - Papal Medal from Pope Paul VI

1966 - George Frederick Handel Medal

1957 - American Goodwill Ambassador by President Dwight D. Eisenhower

1954 - Israel's Statehood Award

Discography

{| Class="wikitable"|width=100% |- bgcolor="#CCCCCC" !align="center" valign="bottom" width="40"|Year !align="center" vallign="bottom" width="230"|Album !align="center" valign="bottom" width="230"|Notes !align="center" valign="bottom" width="120"|Label |- bgcolor="#efefef" |align="left" valign="top"|1937–39 |align="left" valign="top"|Benny Goodman -The Complete RCA Victor Small Group Recordings |align="left" valign="top"| - |align="left" valign="top"|RCA Records |-|- bgcolor="#efefef" |align="left" valign="top"|1937–39 |align="left" valign="top"|Hot Mallets, Vol. 1 |align="left" valign="top"| - |align="left" valign="top"|Bluebird Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1937–39 |align="left" valign="top"|The Jumpin Five, Vol. 2 |align="left" valign="top"| - |align="left" valign="top"|Bluebird Records |- |- bgcolor="#efefef" |align="left" valign="top"|1938 |align="left" valign="top"|The Famous 1938 Carnegie Hall Jazz Concert |align="left" valign="top"|appearance as sideman for Benny Goodman |align="left" valign="top"|Columbia Records |- |- bgcolor="#efefef" |align="left" valign="top"|1939–40 |align="left" valign="top"|Tempo and Swing |align="left" valign="top"|appearances by Ben Webster, Coleman Hawkins and Nat "King" Cole |align="left" valign="top"|Bluebird Records |- |- bgcolor="#efefef" |align="left" valign="top"|1944 |align="left" valign="top"|Star Dust |align="left" valign="top"| the famous "Just Jazz" jam session |align="left" valign="top"|Verve Records |- |- bgcolor="#efefef" |align="left" valign="top"|1947 |align="left" valign="top"|with the Just Jazz All Stars |align="left" valign="top"|Charlie Shavers, Willie Smith, Corky Corcoran, Milt Buckner, Slam Stewart, Jackie Mills, Lee Young |align="left" valign="top"|GNP Crescendo/Vogue 78s/London Records 1972 transfer |- |- bgcolor="#efefef" |align="left" valign="top"|1953–54 |align="left" valign="top"|The Lionel Hampton Quintet |align="left" valign="top"| with DeFranco and Peterson. Includes a 17 minute jam on "Flyin Home". There is also a 5CD box of the complete Verve recordings of the quartets and quintets with Peterson, as well as a number of other compilations and selections. |align="left" valign="top"|Verve Records |- |- bgcolor="#efefef" |align="left" valign="top"|1955 |align="left" valign="top"|Hamp and Getz |align="left" valign="top"| |align="left" valign="top"|Verve Records |- |- bgcolor="#efefef" |align="left" valign="top"|1958 |align="left" valign="top"|The Golden Vibes |align="left" valign="top"| with a reed quintet |align="left" valign="top"|Columbia Records |- |- bgcolor="#efefef" |align="left" valign="top"|1958 |align="left" valign="top"|Lionel |align="left" valign="top"| |align="left" valign="top"|Audio Fidelity |- |- bgcolor="#efefef" |align="left" valign="top"|1960 |align="left" valign="top"|Silver Vibes |align="left" valign="top"|with a Trombones And Rhythms (Trombone Quartet) |align="left" valign="top"|Columbia Records |- |- bgcolor="#efefef" |align="left" valign="top"|1963 |align="left" valign="top"|Benny Goodman Together Again! |align="left" valign="top"| reunion with Lionel Hampton, Teddy Wilson & Gene Krupa |align="left" valign="top"|Columbia Records |- |- bgcolor="#efefef" |align="left" valign="top"|1963 |align="left" valign="top"|You Better Know It!!! |align="left" valign="top"|with Clark Terry, Ben Webster, Hank Jones, Milt Hinton, Osie Johnson |align="left" valign="top"|Impulse! Records |- |- bgcolor="#efefef" |align="left" valign="top"|1972 |align="left" valign="top"|Please Sunrise |align="left" valign="top"| |align="left" valign="top"|Brunswick Record Corporation |- |- bgcolor="#efefef" |align="left" valign="top"|1988 |align="left" valign="top"|Mostly Blues |align="left" valign="top"| |align="left" valign="top"|Jazz Heritage Society |- |- bgcolor="#efefef" |align="left" valign="top"|1991 |align="left" valign="top"|Live at the Blue Note |align="left" valign="top"| jamming with old friends including trombonist Al Grey |align="left" valign="top"|Columbia Records |- |}

;Compilations {| Class="wikitable"|width=100% |- bgcolor="#CCCCCC" !align="center" valign="bottom" width="50"|Year !align="center" vallign="bottom" width="230"|Album !align="center" valign="bottom" width="230"|Notes !align="center" valign="bottom" width="120"|Label |- bgcolor="#efefef" |align="left" valign="top"|37–40 |align="left" valign="top"|Swing Classics - Lionel Hampton and His Jazz Groups |align="left" valign="top"|Recordings from 1937-1940 Reissued 1961 |align="left" valign="top"|RCA Victor LPM-2318 |- |- bgcolor="#efefef" |align="left" valign="top"|39–56 |align="left" valign="top"|Greatest Hits |align="left" valign="top"|Selections from above records |align="left" valign="top"|RCA Victor |- |- bgcolor="#efefef" |align="left" valign="top"|42–63 |align="left" valign="top"|Hamp! |align="left" valign="top"| - |align="left" valign="top"|GRP/Decca |- |- bgcolor="#F0F8FF" |align="left" valign="top"|37–63 |align="left" valign="top"|The Lionel Hampton Story |align="left" valign="top"|Selections from all records and eras above |align="left" valign="top"|Proper |- |}

Filmography

{| Class="wikitable"|width=100% |- bgcolor="#CCCCCC" !align="center" valign="bottom" width="20"|Year !align="center" vallign="bottom" width="230"|Movie !align="center" valign="bottom" width="50"|Role !align="center" valign="bottom" width="120"|Director !align="center" valign="bottom" width="120"|Genre |- bgcolor="#efefef" |align="left" valign="top"|1933 |align="left" valign="top"|Girl Without A Room |align="left" valign="top"|himself |align="left" valign="top"|Ralph Murphy |align="left" valign="top"|Comedy |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1936 |align="left" valign="top"|Pennies From Heaven |align="left" valign="top"|himself |align="left" valign="top"|Norman Z. McLeod |align="left" valign="top"|Comedy/Musical |- |- bgcolor="#efefef" |align="left" valign="top"|1937 |align="left" valign="top"|Hollywood Hotel |align="left" valign="top"|himself |align="left" valign="top"|Busby Berkeley |align="left" valign="top"|Musical/Romance |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1938 |align="left" valign="top"|For Auld Lang Syne |align="left" valign="top"|himself |align="left" valign="top"|? |align="left" valign="top"|Documentary |- |- bgcolor="#efefef" |align="left" valign="top"|1948 |align="left" valign="top"|A Song Is Born |align="left" valign="top"|himself |align="left" valign="top"|Howard Hawks |align="left" valign="top"|Comedy/Musical |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1949 |align="left" valign="top"|Lionel Hampton and His Orchestra |align="left" valign="top"|himself |align="left" valign="top"|Will Cowan |align="left" valign="top"|Music |- |- bgcolor="#efefef" |align="left" valign="top"|1955 |align="left" valign="top"|Musik, Musik and nur Musik |align="left" valign="top"|himself |align="left" valign="top"|Ernst Matray |align="left" valign="top"|Comedy |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1955 |align="left" valign="top"|The Benny Goodman Story |align="left" valign="top"|himself |align="left" valign="top"|Valentine Davies |align="left" valign="top"|Drama |- |- bgcolor="#efefef" |align="left" valign="top"|1957 |align="left" valign="top"|Mister Rock and Roll |align="left" valign="top"|himself |align="left" valign="top"|Charles S. Dubin |align="left" valign="top"|Drama/Musical |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1980 |align="left" valign="top"|But Then She's Betty Carter |align="left" valign="top"|himself |align="left" valign="top"|Michelle Parkerson |align="left" valign="top"|Documentary |- |}

References

External links

Lionel Hampton Library Collection, part of the International Jazz Collections at the University of Idaho Library

Christopher Popa, "Lionel Hampton: Music Was His Fountain of Youth," Big Band Library

Interview with Lionel Hampton by Felix Grant in 1982

Lionel Hampton's Gravesite

Lionel Hampton: His Life and Legacy at University of Idaho

Lionel Hampton at Drummersworld

Gene Krupa - What's New(s)

Lionel Hampton Jazz Festival at University of Idaho

Lionel Hampton at IMDB

Official website of the Alabama Jazz Hall of Fame

Photos at Jazzhouse.org

Category:1908 births Category:2002 deaths Category:African American musicians Category:American jazz bandleaders Category:American jazz vibraphonists Category:Big band bandleaders Category:Burials at Woodlawn Cemetery (The Bronx) Category:Cardiovascular disease deaths in New York Category:Deaths from congestive heart failure

Category:Kennedy Center honorees Category:Musicians from Alabama Category:Mainstream jazz vibraphonists Category:Musicians from Kentucky Category:Musical groups from Louisville, Kentucky Category:New York blues musicians Category:New York Republicans Category:People from Birmingham, Alabama Category:Swing bandleaders Category:Swing vibraphonists Category:Timeless Records artists Category:United States National Medal of Arts recipients Category:University of Southern California alumni