Betty Carter was an American jazz singer known for her improvisational technique and other complex musical abilities that demonstrated her vocal talent and imaginative interpretation of lyrics and melodies. Vocalist Carmen McRae once remarked: "There's only one jazz singer—only one: Betty Carter." Carter was born in Flint and grew up in Detroit, where her father, James Jones, was the musical director of a Detroit church and her mother, was a housewife. As a child, Carter was raised to be independent and to not expect nurturing from her family. 30 years after leaving home, Carter was still aware of and affected by the home life she was raised in, was quoted saying: I have been far removed from my immediate family. There's been no real contact or phone calls home every week to find out how everybody is…As far as family is concerned, it's been a lonesome trek…It's just as much my fault as it is theirs, I can't blame anybody for it, but there was... no real closeness, where the family said... ` We're proud'... and all that.
No, no…none of that happened. Despite the isolation from her family that Carter felt due to their lack of support, it is possible to attribute her fighting spirit and determination to make it in the music business to this sense of abandonment, leading her to be the legend that she was to become, she studied piano at the Detroit Conservatory at the age of 15, but did not exceed a modest level of expertise. At the age of 16, Carter began singing; as her parents were not big proponents of her pursuing a singing career, she would sneak out at night to audition for amateur shows. After winning first place at her first amateur competition, Carter felt as though she were being accepted into the music world and decided that she must pursue it tirelessly; when she began performing live, she was too young to be admitted into bars, so she obtained a forged birth certificate to gain entry in order to perform. At a young age, Carter was able to bring a new vocal style to jazz; the breathiness of her voice was a characteristic heard before her appearance on the music scene.
She was well known for her passion for scat singing and her strong belief that the throwaway attitude that most jazz musicians approached it with was inappropriate and wasteful due to its spontaneity and basic inventiveness seen elsewhere. Detroit, where Carter grew up, was a hotbed of jazz growth. After signing with a talent agent after her win at amateur night, Carter had opportunities to perform with famous jazz artists such as Dizzy Gillespie, who visited Detroit for an extensive amount of time. Gillespie is considered responsible for her strong passion for scatting. In earlier recordings, it is apparent that her scatting had similarities to the qualities of Gillespie's. At the time of Gillespie's visit, Charlie Parker was receiving treatment in a psychiatric hospital, delaying her encounter with him. However, Carter performed with Parker, as well as with his band consisting of Tommy Potter, Max Roach, Miles Davis. After receiving praise from both Gillespie and Parker for her vocal prowess, Carter felt a strong burst in confidence and knew that she could make it in the business with perseverance.
Carter was right. In 1948, Carter was asked by Lionel Hampton to join his band, she had her big break. Working with Hampton's group gave her the chance to be bandmates with artists such as Charles Mingus and Wes Montgomery, as well as with Ernest Harold "Benny" Bailey, who had vacated Gillespie's band and Albert Thornton "Al" Grey who would go on to join Gillespie's band. Hampton had an ear for talent and a love for bebop. Carter too had a deep love for bebop as well as a talent for it. Hampton's wife Gladys gave her the nickname "Betty Bebop", a nickname she detested. Despite her good ear and charming personality, Carter was fiercely independent and had a tendency to attempt to resist Hampton's direction, while Hampton had a temper and was quick to anger. Hampton expected a lot from his players and did not want them to forget that he was the band's leader, she hated his swing style, refused to sing in a swinging way, she was far too outspoken for his tastes. Carter honed her scat singing ability while on tour, not well received by Hampton as he did not enjoy her penchant for improvisation.
Over the course of two and a half years, Hampton fired Carter a total of seven times. Being a part of Hampton's band provided a few things for "The Kid": connections, a new approach to music, making it so that all future musical attitudes that came from Carter bore the mark of Hampton's guidance; because of Hampton's hiring of Carter, she goes down in history as one of the last big band era jazz singers in history. However, by 1951, Carter left the band. After a short recuperation back home, Carter was in New York, working all over the city for the better part of the early 1950s, as well as participating in an extensive tour of the south, playing for "camp shows"; this work made little to no money, but Carter believed it was necessary in order to develop as an artist, was a way to "pay her dues". Soon after Carter's arrival in New York City, she was given the opportunity to record with King Pleasure and the Ray Bryant Trio, becoming more recognizable and well known and subsequently being granted the chance to sing at the Apollo Theatre.
This theatre was notorious for giving up-and-coming artists the final shove into becoming household names. Carter was propelled into notoriety, recording with Epic label by 1955 and was a well-known artist by the late 1950s, her first solo LP, Out There, was released on the
Theodore Shaw Wilson was an American jazz pianist. Described by critic Scott Yanow as "the definitive swing pianist", Wilson's sophisticated and elegant style was featured on the records of many of the biggest names in jazz, including Louis Armstrong, Lena Horne, Benny Goodman, Billie Holiday, Ella Fitzgerald. With Goodman, he was one of the first black musicians to appear prominently with white musicians. In addition to his extensive work as a sideman, Wilson led his own groups and recording sessions from the late 1920s to the 1980s. Wilson was born in Austin, Texas, on November 24, 1912, he studied violin at Tuskegee Institute in Tuskegee, Alabama. After working in Speed Webb's band, with Louis Armstrong, understudying Earl Hines in Hines's Grand Terrace Cafe Orchestra, Wilson joined Benny Carter's Chocolate Dandies in 1933. In 1935, he joined the Benny Goodman Trio; the trio performed during the big band's intermissions. By joining the trio, Wilson became one of the first black musicians to perform prominently in a racially integrated group.
Jazz producer and writer John Hammond was instrumental in getting Wilson a contract with Brunswick, starting in 1935, to record hot swing arrangements of the popular songs of the day, with the growing jukebox trade in mind. He recorded fifty hit records with various singers such as Lena Horne, Helen Ward and Billie Holiday, including many of Holiday's greatest successes. During these years, he took part in many regarded sessions with a wide range of important swing musicians such as Lester Young, Roy Eldridge, Charlie Shavers, Red Norvo, Buck Clayton, Sarah Vaughan and Ben Webster. From 1936 to 1942 he recorded for Columbia Records. In the 1950s he recorded on Verve Records. Wilson formed his own short-lived big band in 1939 led a sextet at Café Society from 1940 to 1944, he was dubbed the "Marxist Mozart" by Howard "Stretch" Johnson due to his support for left-wing causes: he performed in benefit concerts for The New Masses journal and for Russian War Relief, he chaired the Artists' Committee to elect Benjamin J. Davis.
In the 1950s, Wilson taught at the Juilliard School. Wilson can be seen appearing as himself in the 1937 motion picture Hollywood Hotel and in The Benny Goodman Story from 1955, he worked as music director for the Dick Cavett Show. Wilson lived in suburban Hillsdale, New Jersey, he was married three times, including to the songwriter Irene Kitchings. He performed as a soloist and with pick-up groups until the final years of his life, including leading a trio with his sons Theodore Wilson on bass and Steven Wilson on drums. In 1979, Wilson was awarded an Honorary Doctorate of Music from Berklee College of Music. Wilson died in New Britain, Connecticut, on July 31, 1986, he is buried at Fairview Cemetery in New Britain. In addition to Theodore and Steven, Wilson had three more children, William and Dune. 1944: Teddy Wilson Sextet 1949: Teddy Wilson Featuring Billie Holiday 1952: Runnin' Wild 1952: Just A Mood - Teddy Wilson Quartet Starring Harry James & Red Norvo 1955: The Creative Teddy Wilson - released as For Quiet Lovers 1956: Pres and Teddy with Lester Young 1956: I Got Rhythm 1956: The Impeccable Mr. Wilson 1956: These Tunes Remind Me of You 1957: The Teddy Wilson Trio & Gerry Mulligan Quartet with Bob Brookmeyer at Newport 1957: The Touch of Teddy Wilson 1959: Mr. Wilson and Mr. Gershwin 1959: Gypsy in Jazz 1959: And Then They Wrote... 1963: Teddy Wilson 1964 1967: Moonglow 1968: The Noble Art of Teddy Wilson 1972: With Billie in Mind 1973: Runnin' Wild 1976: Live at Santa Tecla 1980: Teddy Wilson Trio Revisits the Goodman Years 1990: Air Mail Special 1933–1942: Billie Holiday, The Quintessential Billie Holiday 1935: Mildred Bailey, Mildred Bailey and Her Alley Cats 1935–1939: Benny Goodman, The Complete RCA Victor Small Group Recordings 1938: Benny Goodman, The Famous 1938 Carnegie Hall Jazz Concert 1946-1947: Sarah Vaughan, The Chronological Classics: Sarah Vaughan 1946-1947 1974: Phoebe Snow Phoebe Snow Teddy Wilson discography at Discogs Teddy Wilson on IMDb Teddy Wilson at Find a Grave
Daniel Moses Barker was an American jazz musician and author from New Orleans. He was a rhythm guitarist for various bands of the day, including Cab Calloway, Lucky Millinder and Benny Carter throughout the 1930s. One of Barker's earliest teachers in New Orleans was fellow banjoist Emanuel Sayles, with whom he recorded. Throughout his career, he played with Jelly Roll Morton, Baby Dodds, James P. Johnson, Sidney Bechet, Mezz Mezzrow, Red Allen, he toured and recorded with his wife, singer Blue Lu Barker. From the 1960s, Barker's work with the Fairview Baptist Church Brass Band was pivotal in ensuring the longevity of jazz in New Orleans, producing generations of new talent, including Wynton and Branford Marsalis who played in the band as youths. Danny Barker was born to a family of musicians in New Orleans in 1909, the grandson of bandleader Isidore Barbarin and nephew of drummers Paul Barbarin and Louis Barbarin, he took up clarinet and drums before switching to a ukulele that his aunt got him, a banjo from his uncle or a trumpeter named Lee Collins.
Barker began his career as a musician in his youth with his streetband the Boozan Kings, toured Mississippi with Little Brother Montgomery. In 1930 he switched to the guitar. On the day of his arrival in New York, his uncle Paul took him to the Rhythm Club, where he saw an inspiring performance by McKinney's Cotton Pickers, it was their first performance in New York as a band. Barker played with several acts when he moved to New York, including Fess Williams, Billy Fowler and the White Brothers, he worked with Buddy Harris in 1933, Albert Nicholas in 1935, Lucky Millinder from 1937 to 1938, Benny Carter in 1938. During his time in New York, he played with West Indian musicians, who mistook him for one of them due to his Creole style of playing. From 1939 to 1946 he recorded with Cab Calloway, started his own group featuring his wife Blue Lu Barker after leaving Calloway. On September 4, 1945 he recorded with Ohio's native jazz pianist, Sir Charles Thompson, saxophonists Dexter Gordon and Charlie Parker.
In 1947 he was performing again with Lucky Millinder, with Bunk Johnson. He returned to working with Al Nicholas in 1948 and in 1949 rejoined efforts with his wife in a group. During the 1950s he was a freelance musician, but did work with his uncle Paul Barbarin from 1954 to 1955. In the mid-1950s he went to California to record again with Albert Nicholas, he performed at the 1960 Newport Jazz Festival with Eubie Blake. In 1963 he was working with Cliff Jackson, in 1964 appeared at the World Fair leading his own group. Sometime in the early 1960s he formed a group. In 1965, Barker returned to New Orleans and took up a position as assistant to the curator of the New Orleans Jazz Museum. In 1970 he founded and led a church-sponsored brass band for young people—the Fairview Baptist Church Marching Band—which became popular. Reverend Andrew Darby, Jr. the Pastor of Fairview Baptist Church commissioned'Brother' Barker to form a Christian band, Barker went throughout the neighborhood of the church enlisting young musicians.
The Fairview band launched the careers of a number of professional musicians who went on to perform in brass band and mainstream jazz contexts, including Leroy Jones, Wynton Marsalis, Branford Marsalis, Kirk Joseph, Nicholas Payton, Shannon Powell, Lucien Barbarin, Dr. Michael White and others; as Joe Torregano—another Fairview band alumnus—described it, "That group saved jazz for a generation in New Orleans." In years the band became known as the Dirty Dozen Brass Band. During that time, he led the French Market Jazz Band. Barker played at many New Orleans venues from the late 1960s through the early 1990s, in addition to touring. During the 1994 Mardi Gras season, Barker reigned as King of Krewe du Vieux, he published an autobiography and many articles on New Orleans and jazz history. Barker had published two books on jazz from the Oxford University Press; the first was Bourbon Street Black, cowritten with Dr. Jack V. Buerkle, in 1973, followed by A Life In Jazz in 1986, he enjoyed painting and was an amateur landscape artist.
Living during a period when segregation was still common practice in the United States, Barker faced many obstacles during his career. Barker suffered from diabetes throughout most of his adult life, was in general poor health, he died of cancer in New Orleans on 13 March 1994 at age 85. Barker is featured posthumously in the 2011 non-fiction film by Darren Hoffman, Tradition is a Temple. Musicians from the documentary speak at length of the profound impact that Barker had on their lives and careers and New Orleans poet Chuck Perkins reads a poem written for and dedicated to his memory. Barker appears in Les Blank's New Orleans documentary Always for Pleasure, including an interview and several performance sequences. Barker appeared in the 1987 American television drama film A Gathering of Old Men, in which he played the role of Chimlee. 1994 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker 1993 - Big Easy Entertainment Awards - Lifetime Achievement In Music 1993 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker 1991 - National Endowment for the Arts NEA Jazz Masters Award 1991 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker 1990 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker and the Jazz Hounds 1989 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker and the Jazz Hounds with Blue Lu Barker List of people from New Orleans Barker and Alyn Shipton.
A Life in Jazz. New
Roy Owen Haynes is an American jazz drummer and group leader. Haynes is among the most recorded drummers in jazz, in a career lasting over 70 years has played in a wide range of styles ranging from swing and bebop to jazz fusion and avant-garde jazz, he has a expressive, personal style. He has led his own groups, some performing under the name Hip Ensemble, his recordings as a leader, Fountain of Youth and Whereas, were nominated for a Grammy Award. He continues to perform worldwide and was inducted into the Modern Drummer Hall of Fame in 1999, his son Graham Haynes is a cornetist. Born in the Roxbury section of Boston, Haynes made his professional debut in 1944 in his native Boston. Haynes began his full-time professional career in 1945. From 1947 to 1949 he worked with saxophonist Lester Young, from 1949 to 1952 was a member of saxophonist Charlie Parker's quintet, he recorded at the time with pianist Bud Powell and saxophonists Wardell Gray and Stan Getz. From 1953 to 1958 he toured with singer Sarah Vaughan and recorded with her.
Haynes's influence on the rock world has been apparent, with a tribute song recorded by Jim Keltner and Charlie Watts of the Rolling Stones, on-stage appearances with the Allman Brothers Band in 2006 and Page McConnell of Phish in 2008. In 2008 Haynes appeared in Grand Theft Auto IV as himself as the DJ of the radio station JNR. A 3 CD/1 DVD boxed set entitled A Life in Time - The Roy Haynes Story was released by Dreyfus Jazz in October 2007; the set chronicles highlights from Haynes career from 1949 to 2006, including recordings with Parker, Davis, Corea and his own Hip Ensemble and Fountain of Youth quartet. The set was listed by The New Yorker Magazine as one of the Best Boxed Sets of 2007, was nominated for an award by the Jazz Journalist's Association. WKCR-FM, New York, surveyed Haynes's career in 301 hours of programming, January 11–23, 2009. On April 21, 2016, at the age of 91, Haynes performed drums on The Late Show with Stephen Colbert, accompanied by Jon Batiste and Stay Human. Haynes extracted the rhythmic qualities from melodies and created unique new drum and cymbal patterns in an idiosyncratic, now recognizable style.
Rather than using cymbals for effect, Haynes brought them to the forefront of his unique rhythmic approach. He established a distinctively crisp and rapid-fire sound on the snare. Haynes endorses Yamaha drums and hardware, Zildjian cymbals and Remo drumheads, he uses his Zildjian Roy Haynes signature drumstick and has a Yamaha Roy Haynes signature snare drum. In the past, he endorsed Ludwig and Slingerland and he has been photographed playing Latin Percussion, notably congas. Haynes had used Paiste flat rides in the past, thus indicating he may have endorsed Paiste at some stage. Esquire named Roy Haynes one of the Best Dressed Men in America in 1960, along with Fred Astaire, Miles Davis, Clark Gable, Cary Grant. In 1994, he was awarded the prestigious Danish Jazzpar prize, in 1996 the French government recognized Haynes as a knight, decorating him with the prestigious "Chevalier de l'Ordre des Arts et des Lettres," France's top literary and artistic honor. Haynes received honorary doctorates from the Berklee College of Music, The New England Conservatory, as well as a Peabody Medal, the highest honor bestowed by the Peabody Institute of The Johns Hopkins University, in 2012.
He was inducted into the Down Beat Magazine Hall of Fame in 2004. On October 9, 2010, Roy Haynes was awarded the Mid Atlantic Arts Foundation's BNY Mellon Jazz Living Legacy Award at the Kennedy Center for the Performing Arts in Washington, DC. On December 22, 2010, Haynes was named a recipient of a Grammy Lifetime Achievement Award by the National Academy of Recording Arts and Sciences. Haynes received the award at the Special Merit Awards Ceremony & Nominees Reception of the 53rd Annual Grammy Awards on February 12, 2011. 1954: Busman's Holiday 1954: Roy Haynes Modern Group 1956: Jazz Abroad split album with Quincy Jones 1958: We Three with Paul Chambers & Phineas Newborn 1960: Just Us 1962: Out of the Afternoon 1963: Cracklin' with Booker Ervin 1963: Cymbalism 1964: People 1971: Hip Ensemble 1972: Equipoise 1973: Senyah 1975: Togyu 1976: Jazz a Confronto Vol. 29 1976: Sugar Roy 1977: Thank You Thank You 1977: Vistalite 1979: Live at the Riverbop 1986: True or False 1992: Homecoming 1992: When It's Haynes It Roars 1994: My Shining Hour 1994: Te Vou!
1998: Praise 2000: The Roy Haynes Trio 2000: Roy Haynes 2001: Birds of a Feather: A Tribute to Charlie Parker 2003: Love Letters 2004: Fountain of Youth 2004: Quiet Fire 2006: Whereas 2007: A Life in Time: The Roy Haynes Story 2011: Roy-Alty 1949: Meet Milt Jackson 1949: The Amazing Bud Powell 1949: Modern Jazz Trombones 1950: Bird at St. Nick's 1950: Stan Getz Quartets, The Complete Roost Recordings 1951: Miles Davis and Horns 1952: Memorial Album 1954: Sarah Vaughan with Clifford Brown 1954: Vibist 1954: I Only Have Eyes For Shu 1954-1957: Swingin' Easy 1955: In the Land of Hi-Fi 1955: Introducing Nat Adderley 1956: Mo
David Roy Eldridge, nicknamed "Little Jazz", was an American jazz trumpet player. His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the dominant style of jazz trumpet innovator Louis Armstrong, his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop. Eldridge was born on the North Side of Pittsburgh, Pennsylvania on January 30, 1911, to parents Alexander, a wagon teamster, Blanche, a gifted pianist with a talent for reproducing music by ear, a trait that Eldridge claimed to have inherited from her. Eldridge began playing the piano at the age of five; the young Eldridge looked up to his older brother, Joe Eldridge because of Joe's diverse musical talents on the violin, alto saxophone, clarinet. Roy took up the drums at the age of six, playing locally. Joe recognized his brother's natural talent on the bugle, which Roy played in a local church band, tried to convince Roy to play the valved trumpet.
When Roy began to play drums in his brother's band, Joe soon convinced him to pick up the trumpet, but Roy made little effort to gain proficiency on the instrument at first. It was not until the death of their mother, when Roy was eleven, his father's subsequent remarriage that Roy began practicing more rigorously, locking himself in his room for hours, honing the instrument's upper register. From an early age, Roy lacked proficiency at sight-reading, a gap in his musical education that would affect him for much of his early career, but he could replicate melodies by ear effectively. Eldridge led and played in a number of bands during his early years, moving extensively throughout the American Midwest, he absorbed the influence of saxophonists Benny Carter and Coleman Hawkins, setting himself the task of learning Hawkins's 1926 solo on "The Stampede" in developing an equivalent trumpet style. Eldridge left home after being expelled from high school in ninth grade, joining a traveling show at the age of sixteen.
He was picked up by the "Greater Sheesley Carnival," but returned to Pittsburgh after witnessing acts of racism in Cumberland, Maryland that disturbed him. Eldridge soon found work leading a small band in the traveling "Rock Dinah" show, his performance therein leading swing-era bandleader Count Basie to recall young Roy Eldridge as "the greatest trumpet I'd heard in my life." Eldridge continued playing with similar traveling groups until returning home to Pittsburgh at the age of 17. At the age of 20, Eldridge led a band in Pittsburgh, billed as "Roy Elliott and his Palais Royal Orchestra", the agent intentionally changing Eldridge's name because "he thought it more classy." Roy left this position to try out for the orchestra of Horace Henderson, younger brother of famed New York City bandleader Fletcher Henderson, joined the ensemble referred to as The Fletcher Henderson Stompers, Under the Direction of Horace Henderson. Eldridge played with a number of other territory bands, staying for a short while in Detroit before joining Speed Webb's band which, having garnered a degree of movie publicity, began a tour of the Midwest.
Many of the members of Webb's band, annoyed by the leader's lack of dedication, left to form a identical group with Eldridge as bandleader. The ensemble was short-lived, Eldridge soon moved to Milwaukee, where he took part in a celebrated cutting contest with trumpet player Cladys "Jabbo" Smith, with whom he became good friends. Eldridge moved to New York in November 1930, playing in various bands in the early 1930s, including a number of Harlem dance bands with Cecil Scott, Elmer Snowden, Charlie Johnson, Teddy Hill, it was during this time that Eldridge received his nickname,'Little Jazz', from Ellington saxophonist Otto Hardwick, amused by the incongruity between Eldridge's raucous playing and his short stature. At this time, Eldridge was making records and radio broadcasts under his own name, he laid down his first recorded solos with Teddy Hill in 1935, which gained immediate popularity. For a brief time, he led his own band at the reputed Famous Door nightclub. Eldridge recorded a number of small group sides with singer Billie Holiday in July 1935, including "What a Little Moonlight Can Do" and "Miss Brown to You", employing a Dixieland-influenced improvisation style.
In October 1935, Eldridge joined Fletcher Henderson's Orchestra, playing lead trumpet and singing. Until he left the group in early September 1936, Eldridge was Henderson's featured soloist, his talent highlighted by such numbers as "Christopher Columbus" and "Blue Lou." His rhythmic power to swing a band was a dynamic trademark of the jazz of the time. It has been said that "from the mid-Thirties onwards, he had superseded Louis Armstrong as the exemplar of modern'hot' trumpet playing". In the fall of 1936, Eldridge moved to Chicago to form an octet with older brother Joe Eldridge playing saxophone and arranging; the ensemble boasted nightly broadcasts and made recordings that featured his extended solos, including "After You've Gone" and "Wabash Stomp." Eldridge, fed up with the racism he had encountered in the music industry, quit playing in 1938 to study radio engineering. He was back to playing in 1939, when he formed a ten-piece band that gained a residency at New York's Arcadia Ballroom.
In April 1941, after receiving many offers from white swing bands, Eldri
Lionel Leo Hampton was an American jazz vibraphonist, pianist and bandleader. Hampton worked with jazz musicians from Teddy Wilson, Benny Goodman, Buddy Rich to Charlie Parker, Charles Mingus, Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame, was awarded the National Medal of Arts in 1996. Lionel Hampton was born in 1908 in Louisville and was raised by his mother. Shortly after he was born, he and his mother moved to her hometown of Alabama, he spent his early childhood in Kenosha, 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, off-limits because of racial segregation. During the 1920s, while still a teenager, Hampton took xylophone lessons from Jimmy Bertrand and began to play drums. Hampton was raised Roman Catholic, started out playing fife and drum at the Holy Rosary Academy near Chicago. Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band while still a teenager in Chicago.
He moved to California in 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. One of his trademarks as a drummer was his ability to do stunts with multiple pairs of sticks such as twirling and juggling without missing a beat. 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 in the process. Invented ten years earlier, the vibraphone is a xylophone with metal bars, a sustain pedal, resonators equipped with electric-powered fans that add tremolo. While working with the Les Hite band, Hampton 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, appeared in the Bing Crosby film Pennies From Heaven alongside Louis Armstrong. In November 1936, the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom; when John Hammond brought Goodman to see Hampton perform, Goodman invited him to join his trio, which soon became the Benny Goodman Quartet with Teddy Wilson and Gene Krupa completing the lineup. The Trio and Quartet were among the first racially integrated jazz groups to perform before audiences, were a leading small-group of the day. 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 developed a high-profile during early 1950s, his third recording with them in 1942 produced the version of "Flying Home", featuring a solo by Illinois Jacquet that anticipated rhythm & blues.
Although Hampton first recorded "Flying Home" under his own name with a small group in 1940 for Victor, the best known version is the big band version recorded for Decca on May 26, 1942, in a new arrangement by Hampton's pianist Milt Buckner. The 78pm disc became successful enough for Hampton to record "Flyin' Home #2" in 1944, this time a feature for Arnett Cobb; the song went on to become the theme song for all three men. Guitarist Billy Mackel first joined Hampton in 1944, would perform and record with him continuously through to the late 1970s. In 1947, Hamp performed "Stardust" at a "Just Jazz" concert for producer Gene Norman featuring Charlie Shavers and Slam Stewart. Norman's GNP Crescendo label issued the remaining tracks from the concert. From the mid-1940s until the early 1950s, Hampton led a lively rhythm & blues band whose Decca Records recordings included numerous young performers who had significant careers, they included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, vocalist Dinah Washington.
Other noteworthy band members were trumpeters Dizzy Gillespie, Cat Anderson, Kenny Dorham, Snooky Young. The Hampton orchestra that toured Europe in 1953 included Clifford Brown, Gigi Gryce, Anthony Ortega, Monk Montgomery, George Wallington, Art Farmer, Quincy Jones, singer Annie Ross. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with Oscar Peterson, Buddy DeFranco, others. In 1955, while in California working on The Benny Goodman Story he recorded with Stan Getz and made two albums with 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. That same year, Hampton received a Papal Medal from Pope Paul VI. During the 1960s, Hampton's groups were in decline, he did not fare much better in the 1970s, though he recorded for his Who's Who in Jazz record label, which he founded in 1977/1978.
Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampto
Margaret Marian McPartland, OBE, was an English-American jazz pianist and writer. She was the host of Marian McPartland's Piano Jazz on National Public Radio from 1978 to 2011. After her marriage to trumpeter Jimmy McPartland in February 1945, she resided in the United States when not travelling throughout the world to perform. In 1969 she founded a recording company that produced albums for 10 years. In 2000 she was named a National Endowment for the Arts Jazz Master. In 2004 she was given a Grammy Award for lifetime achievement. In 2007 she was inducted into the National Radio Hall of Fame. Although known for jazz, she composed other types of music as well, performing her own symphonic work A Portrait of Rachel Carson with the University of South Carolina Symphony Orchestra in 2007. In 2010 she was named a member of the Order of the British Empire. Margaret Marian Turner was born on 20 March 1918 to Janet Turner, she had a sister, Joyce. She demonstrated early aptitude at the piano, would realize that she had perfect pitch.
Margaret never took to the instrument. She trained as a vocalist and received a number of favorable reviews in the local paper. Janet refused to find her daughter a piano teacher until the age of 16, by which time Margaret was adept at learning songs by ear; this lack of early education meant that Marian was never a strong reader of notated music, would always prefer to learn through listening. She studied at Miss Hammond's School for Young Children from 1924 to 1927, Avonclyffe from 1927 to 1929, Holy Trinity Convent from 1929 to 1933, Stratford House for Girls from 1933 to 1935. There, she met a teacher who would be hugely influential on her. Mackie suggested to the Turners that Margaret should apply to the Guildhall School of Music and Drama in London, since Margaret had an aptitude and passion for music, she was accepted in the spring of 1935 on the merit of her "rampant enthusiasm, God-given faculty, a dangerous surplus of imagination" and in spite of the fact that she was "sadly lacking in technique."
Turner pursued studies at the Guildhall School of Music and Drama in London, where she worked toward a performance degree that would enable her to become a concert pianist, though she did coursework in vocal performance. She studied with Orlando Morgan, who taught Myra Hess. Turner's talents for improvisation and composition were recognized early when she won the Wainwright Memorial Scholarship for Composition, the Worshipful Company of Musicians Composition Scholarship, the Chairman's School Composition Prize in 1936 and 1937. Much to her family's dismay, she developed a love for American jazz and musicians such as Duke Ellington, Fats Waller, Teddy Wilson, Mary Lou Williams, many others. In 1938, Turner sought out Billy Mayerl at his School of Modern Syncopation to seek lessons, was convinced to audition for his piano quartet. Despite her family's efforts to keep her at Guildhall, Turner left to join Billy Mayerl's Claviers, a four-piano vaudeville act. There, she elected to perform under the stage name of Marian Page.
She promised her family. After the Claviers tour, Marian returned to London in the fall of 1938 and played sporadically for shows and on the Carroll Lewis Show. To avoid the draft during World War II, she volunteered for the Entertainment National Service Association, a group, playing for Allied troops, in fall 1940. In 1944, her friend Zonie Dale recommended that Marian join the United Service Organizations because they paid more and played with American men. With the USO, Marian went through basic training and was issued a set of combat gear – GI boots and uniform. Marian was assigned to a group called the Band Wagon, which followed the Allied forces after the D-Day invasion. In anticipation of wartime demands, Marian learned to play the accordion in the event that there was no piano available with which to play for the troops. In St Vith, Belgium, on 14 October 1944, Marian met a Chicago cornetist named Jimmy McPartland at a jam session. McPartland had volunteered for the army and was serving active duty when his superiors realized that he could do better work as an entertainer, since he was well-known among the troops.
Jimmy was solicited to put together a sextet to entertain the troops, invited Marian to join him as their pianist. They soon fell for each other, signed an official US Army marriage document on 14 December 1944, they married on 3 February 1945, in Aachen and played at their own military base wedding. Her marriage to an American man automatically gave Marian US citizenship, side-by-side with her British citizenship. Marian was reluctant to tell her parents of the marriage, had Jimmy's commanding officer tell them when he had lunch with them in England in early 1945, it was with Jimmy. Jimmy and Marian did their first recording together on 6 January 1946 in London before leaving for the US, they arrived in New York City on 23 April 1946, Marian would never live outside of the US again. However, she kept her British citizenship throughout her life. After the war and Jimmy moved to Chicago to be near his family. Jimmy grew up in the Austin neighborhood of Chicago, was an original member of the Austin High Gang that popularized Chicago-style Dixieland jazz in the 1920s.
In June 1946, Marian made her American debut at the Moose Lodge. Soon, Jimmy’s group, which now included Marian, landed a standing gig at the Rose Bowl through the end of 1946; this engagement was followed by ones at Tabo