#This Is Hampton Hawes

[jazzdailyblog]

Hampton Hawes: Pioneering Jazz Virtuoso

Introduction: The annals of jazz history are punctuated with the names of musicians whose artistry not only defined an era but also left an indelible mark on the genre itself. Among these luminaries stands Hampton Hawes, a pianist whose virtuosity, innovative spirit, and soulful expressions continue to resonate with jazz enthusiasts worldwide. Early Years and Musical Awakening: Born…

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#All Night Session! #Charlie Parker #Chuck Thompson #Dexter Gordon #Four! #Hampton Hawes #Jazz History #Jazz Pianists #John F. Kennedy #Red Mitchell #The Seance #This Is Hampton Hawes #Wardell Gray

[radiophd]

hampton hawes trio -- i got rhythm

#1950s #jazz #bop #hampton hawes trio

[jazzplusplus]

1956 - Bud Shank Quartet & Hampton Hawes Trio - Rouge Lounge in River Rouge, Michigan

#jazz #jazz ads #bud shank #hampton hawes #1956

[arterrorist]

First listen. This is 1986 re-release of Mitchell’s debut 12’’ album from 1956, recorded in Hollywood, September 27, 1955.

Swinging as hell on uptempo numbers 🕺and deliciously noirish on the slower ones 🖤

Great bass passages from the leader of the session and fabulous piano work by Hampton Hawes. OG this is not, but for a 3$ it’s a steal. Happy to have it 🥰

#vinyl #vinyl records #records #jazz #west coast jazz #Red mitchell #hampton hawes

[topoet]

Hawes Atomic Wild Side

I added this collection of Hampton Hawes: Three Classic Albums plus, a year or so ago as the iTunes price was right & I love Hampton. When I was living in Sydney, Cape Breton he was my real introduction to jazz that wasn’t fusion. Traditional straight ahead inventive playing & well worth adding to any collection. John Betsch Society: Earth Blossom (1974) – sweet postbop percussion & sax/flute…

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#am writing #Babatunde Olatunji #Brook Benton #Christer Norden #Count Basie #Elmer Bernstein #Gerry Mulligan #Hampton Hawes #I Want To Live #jazz #jazz piano #John Betsch Society #Limbo #music #Neil Hefti #Nigeria #Ontario #photographs #review #soundtracks #Toronto #Walk On The Wild Side

[joshhaden]

Financial Paperwork From A Box, Pt. 2, by me.

#charlie haden #jazz #jazz music #hampton hawes #ornette coleman #artists house #john snyder

[mtransmission3]

Easy Living - Hampton Hawes Trio

More magic from Radio Swiss Jazz

#hampton hawes #jazz #Youtube

[inuvik]

Children And All That Jazz / Joan Baez (1975)

#youtube #joan baez #hampton hawes

[dustedmagazine]

Listed: Michael Bisio

Equally adept with fingers and bow, double bassist Michael Bisio has a knack for the complementary gesture that makes another musician sound good. This may explain his enduring relationships with multi-instrumentalists Joe McPhee and Charles Gayle, drummer Tani Tabbal, and, most notably, pianist Matthew Shipp. But Bisio has also been a bandleader and composer since the early 1980s. For the first three decades of his career, he was based in Seattle, but even then, he often came to New York to perform and record. Beginning in the 1990s, Bisio established an enduring relationship with Joe McPhee, and in 2007 he moved to New York. Within a couple years, he had joined Shipp’s trio. But it’s as a leader that he most recently was covered by Dusted. In our 2022 Midyear roundup, Bryon Hayes said of MBefore, a quartet recording that features Karl Berger, Mat Maneri, and Whit Dickey, “the quartet is so in sync that there’s no discernable rhythm section. Equally matched, the players create the perfect storm of sound.”

Matthew Shipp Trio — World Construct (ESP-Disk)

OK, let’s get this out there upfront, I am on this recording and it’s a privilege. My relationship with this ensemble, music and artists is deep, very deep. I am in my third decade of making music with Matthew. His vision, dedication and follow through are beyond beyond. Newman Taylor Baker brings it at the very highest level, always. I hear his humanity in every note. There have been many peaks, World Construct is Mount Everest.

Charles Mingus — Mingus The Lost Album From Ronnie Scott’s (Resonance Records)

Like most other bassists, hopefully most musicians involved in this music, Charles Mingus is a primary influence. His ability to infiltrate and lift my soul is a boundless joy. This document is no exception. His direction is simultaneously in the tradition and moves the tradition forward. His writing and playing are always phenomenal. On this set his abilities as leader, musical director, and conductor (especially on the two longest tracks) are astonishing! Much of this material we’ve heard before, but this ensemble brings such energy, power and beauty to it that it’s new again… and again. Although it is a band of giants, I am especially blown away by John Foster’s connection to the bassist’s every color, whim and direction.

Gene Ammons — The Greatest Hits, Vol.1 The Sixties (Original Jazz Classics)

What can I say, this one is going to school for me… with a big smile on my face and I can’t wait for tomorrow! This curated collection is absolutely superb, each performance raises the bar. Just listen to Misters Ammons and Stitt (on alto) connect on My Foolish Heart — stunning. The ballads are especially poignant but everywhere it “floats like a butterfly, stings like a bee.”

John Coltrane — A Love Supreme (Impulse)

The classic and in a class by itself. My son was born to A Love Supreme. I brought a boom box and cassette into the delivery room. Those beautiful sounds welcomed him into this world. Perfect.

“I humbly asked to be given the means and privilege to make others happy through music.” John Coltrane

Art Farmer Quintet — The Time and The Place /The Lost Concert (Mosaic Records)

This is one of the many recordings given to me by Mike Panico, a dear friend, producer, and label owner (Relative Pitch Records), now departed. Before hearing it I honestly didn’t know what to expect. It is a live recording from MoMA’s Jazz in the Garden series, dated 1966. I was blown away by what I heard. Jimmy Heath blowing Trane, absolutely owning it, Art Farmer playing free on “Blue Bossa!”Don’t get me wrong. The music stands on its own and is remarkable, due in no small part to an ultra-remarkable rhythm section. It does however always leave me wondering where the music sans the neo wars of the ’80s might be today.

Billy Bang / William Parker — Medicine Buddha (NoBusiness Records)

A live recoding from The Rubin Museum of Art, 2009, given to me by another wonderful, beautiful friend. June 13, 2019, I played The Vision Festival. June 14, 2019, I had open heart surgery. It was not a surprise. I planned it that way. I did not want to miss this spectacular celebration. In between sets I visited with my friend, Maria, we had a wonderful conversation. She wished me well and was aware of the stresses and strains of recovery. A couple of weeks later this CD showed up in the mail with a note from Maria letting me know what good medicine this music was… It is.

Bob Nell — Soft & Bronze (Plechmo)

I am on this one as well but please don’t let that stop you from hearing it. To call Bob my friend is an understatement of gigantic proportions. The same is true of the term genius as applied to Bob. Beyond being my friend, Bob taught me almost everything I know about harmony simply by playing music with me day-in and day-out, all day, every day. By itself, that’s not a good enough reason for you to listen. But Bob’s music, artistry and spirit certainly are. You need to hear him.

Alice Coltrane — Journey In Satchidananda (Impulse)

This music is stunning, spiritual and amazing in the most joyful sense. Cecil McBee’s contribution to this music is monumental — the way he can maintain and manipulate an ostinato is beautiful. His solos are out of this world!

Charlie Haden / Hampton Hawes — As Long As There’s Music (Verve)

This one seems hard to come by nowadays. Hampton Hawes is one of my favorite musicians. His artistry is amazing! This recording documents the last time he and Charlie Haden played music together. (Side note: if you haven’t read Raise Up Off Me, do yourself a favor). Although I am not the biggest fan of the sound of the piano on this recording, the music is stellar — magical really.

To my ears Charlie Haden was born to play in the classic Ornette Coleman Quartet. Although there were other great bassists associated with OC (Scott LaFaro, David Izenzon) he defined the sound, function, spirit and language of the bass for that music. Here he redefines all those qualities in the piano/bass duo format. A very special recording.

Albert Ayler — Revelations (Elemental Music)

Albert Ayler - Revelations by Albert Ayler

There are few artists who had a bigger impact spreading the word. I can vividly remember brother Paul (a great musician, local Hendrix clone) bringing home New Grass (Impulse)… Wow! It’s about the sound! Spiritual Unity (ESP) remains monumental! (I seem to need a lot of exclamation points writing about Albert Ayler.) Yet this collection of live concerts certainly deserves its place in the pantheon of those beautiful documents. Power, energy and love are always evident. There are four great CDs in this set, all remarkable. To me disc three is the giant among giants.

#dusted magazine #listed #michael bisio #matthew shipp #charles mingus #gene ammons #john coltrane #art farmer #billy bang #william parker #bob nell #alice coltrane #charlie haden #hampton hawes #albert ayler

[raggywaltz1954]

Let's Cook! // Barney Kessel (Contemporary M3603)

Let’s Cook! // Barney Kessel (Contemporary M3603)

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#Barney Kessel #Ben Webster #Contemporary Records #Frank Rosolino #Hampton Hawes #Shelly Manne #West Coast

[mutant-what-not]

Regarded as the ‘Master of the Walking Bass,’ Leroy Vinnegar was a mainstay on jazz recording sessions from 1952 on where he was on over 600 dates. His signature walking bass was the foundation for his impeccable sense of swing, which has gone on to influence several generations of players.

Vinnegar was born into a musically inclined family in Indianapolis, Indiana, on July 13, 1928. His earliest musical education came from the radio, on which he listened religiously to the great bands of Duke Ellington and Count Basie. His two sisters played piano, and young Leroy thought that might be his instrument as well. “I tried my hand at piano,” he says, “and I would have been a nice piano player, had I stayed with it.” Things changed when he actually started playing with others, however. “The bass player used to leave his instrument at the house after we’d rehearse,” Vinnegar remembers, “and I just started messing with it, and the next thing you know I was playing the bass. We just got a communication going.”

When he was about 24, Vinnegar considered pursuing his muse on a grander scale. “I was getting ready to make my push,” he recalls. “I knew I had to get out of Indianapolis, so I could get my music career started. There were good musicians in Indianapolis, but I wanted to move up the ladder, so I figured I’d move to Chicago and tune up, and then I would go to New York.” That was 1952, and Vinnegar was shocked to discover that the Windy City was something far more challenging than a momentary stopover. “Little did I know Chicago was just as fast as New York,” he recollects with another hearty laugh. “I thought I would just go there and get ready for the big one. Little did I know I was walking into a lion’s den. They were there waiting for my ass.”

Vinnegar found himself to be “the tenth bass player on the totem pole” in a hierarchy of jazz bassists topped by Israel Crosby and Wilbur Ware. “When you’re new, you just have to wait your turn,” he says. But Vinnegar’s turn was not long in coming. “All the bass players were busy one week,” he remembers, “and somebody said, ‘Hey there’s a new bass player in town by the name of Leroy Vinnegar.’ ‘Well, how does he play, man?’ ‘They say he can play, you know?’ ‘Well, we ain’t heard him.’ ‘Let’s try him and see. There ain’t nobody else here we can get.’”

Soon, Vinnegar was playing in a band with Chicago’s great native tenor saxophonist Von Freeman, and then, with a brotherly boost from Israel Crosby, in the house rhythm section at the famous Bee Hive. There, he had the chance to work with Lester Young, Ben Webster, Johnny Griffin, Sonny Stitt, and others. “It’s hard to pinpoint a single influence,” Vinnegar says, “because everyone I played with or made a record with was such an influence on my career. But I think Art Tatum topped ’em all. He gave me such a nice compliment by wanting me to join his trio. I figured if Art Tatum asked me to join his trio, I must be doing something right.”

It was while playing with Bill Russo at the Blue Note, opposite Tatum, that Vinnegar was heard by the great pianist. “He heard me and wanted me to move to Los Angeles to join his trio,” the bassist recalls. “I was going to move anywhere.”

Shortly after he arrived in Southern California in 1954, Vinnegar insinuated himself indelibly into that scene. “They say it was much better in the ’40s, but for me, everything was happening,” he says, citing the L.A. presence of Dexter Gordon, Wardell Gray, Conte Candoli, Teddy Edwards, Frank Morgan, Hampton Hawes, Carl Perkins, Shorty Rogers, Zoot Sims, Stan Getz, Bud Powell, and many more. Ensconced again in a house rhythm section, this time at Jazz City, Vinnegar played regularly with pianists Kenny Drew, Carl Perkins, and Hampton Hawes, and drummers Lawrence Marable, Frank Butler, and for a while, Philly Joe Jones. He recorded with virtually everyone on the scene, formed a band with saxophonist Teddy Edwards, drummer Billy Higgins, and pianist Joe Castro, toured with Shelly Manne, and helped Les McCann put together his pioneering trio in 1960.

By then, at the urging of Contemporary’s Les Koenig, Vinnegar had already recorded his first albums as a leader"Leroy Walks!, in 1957, followed by Leroy Walks Again! “I was real nervous, wondering what I could do,” Vinnegar remembers. “Les said he wanted me to do songs that had the word ‘walk’ in them. That made it a little easier.”

The “walk,” of course, referred to the inimitably sturdy “walking” style that Vinnegar had perfected, a style he says came to him “because I couldn’t solo. I didn’t know the bass well enough, because I’d never studied it,” he elaborates. “I was just going by ear. I didn’t know the positions or the sound of the fiddle so whenever it got to me, I couldn’t solo and I just stayed right with the walking. It was a safe thing at the beginning, a sure shot, then it started developing into something. I found I had a lot of imagination for the walking bass.” That imagination had been fueled by singing bass in gospel choirs as a youngster, and it became invaluable for both Vinnegar and the musicians around him. “It gave other players a cushion to work off and it sort of woke up the bass players, too,” he says. “It gave people an understanding of what the bass could really do beyond going one, two, three, four.” Today, that understanding is as widespread as the respect that Vinnegar has garnered as the walking master.

Except for occasional recording sessions (such as Teddy Edwards’s breakthrough Mississippi Lad), festival appearances, and European tours, Vinnegar is content to play his regular gigs in Portland. “I’d been coming up to Oregon since 1973 and I fell in love with it,” he says. “Then I met some nice musicians up here and we started creating something, so I said I’ll stay right here. And I’m glad I did, because people up here accept real jazz.” And that’s what Vinnegar plays, with all the honesty and determination that “the Walker” has always embodied.

In 1995, the Oregon State Legislature honored him by proclaiming May 1 Leroy Vinnegar Day.

Leroy Vinnegar died August 3, 1999.

Source: AllAboutJazz/Wikipedia

[lboogie1906]

George Washington Fields (April 25, 1854 - August 19, 1932) was born enslaved in Hanover County, Virginia. He was one of 11 children of Martha Ann Berkley and Washington Fields. He grew up on Clover Plain Plantation in northeastern Virginia.

In July 1863, his mother escaped along with him and five other siblings, they reached the safety of Fortress Monroe. Fortress Monroe was one of the first Union-occupied fortifications that received escaping enslaved. Those who arrived (1861-62) were labeled “contraband” and their status as free people was disputed. They were granted freedom by the Emancipation Proclamation.

The family settled in Hampton. His father arrived the next year followed soon afterwards by four siblings whom slavery had earlier dispersed.

He enrolled at Hampton Normal and Agricultural Institute, graduated, and headed north for full-time work. A series of menial jobs at famous resorts and as a manservant for prominent families led to a position (1881-87) as a butler for the governor of New York. He continued to educate himself through tutors and schools, studying everything from French to medicine. He settled on law as a career, he read law with a local attorney.

He graduated as a member of Cornell University Law School’s inaugural class and its first African American graduate. He returned to Hampton to practice law, joining his older brother who was an attorney and state senator. He was admitted to the Virginia bar. He represented Elizabeth City and James City in the Virginia House of Delegates.

He married Sarah (Sallie) Haws Baker, a graduate of Hampton Institute. Together they had two children.

In 1896 he lost his eyesight. He served on the board of the Weaver Orphan Home, a Trustee and Superintendent of Sunday School of the Third Baptist Church, and. He wrote “Come On, Children”: The Autobiography of George Washington Fields, Born a Slave in Hanover County, Virginia. The original unpublished manuscript was found in the Hampton University Archives. #africanhistory365 #africanexcellence

[radiophd]

jimmy witherspoon -- midnight blues [instrumental]

#1950s #jazz #blues #jimmy witherspoon #hampton hawes

[jazzplusplus]

Jazz Monthly (UK) - June 1958 - Hampton Hawes

#jazz #journal #jazz monthly #hampton hawes #1958

[projazznet]

Harold Land – Westward Bound!

“Westward Bound! is a buoyant time capsule of modern jazz on the move, before the free jazz era, when East Coast bop met West Coast cool.” – Matt Collar/AllMusic. Bass – Monk Montgomery Cover – John Sellards Drums – Joseph Rudolph Jones, Mel Lee Piano – Buddy Montgomery, Hampton Hawes, John Houston Tenor Saxophone – Harold Land Trumpet – Carmell Jones

#haroldland #tenorsaxophone #jazz #projazznet

[onehandtypingb1]

Song of the Day: Hampton Hawes, "Yardbird Suite"

Jazz pianist Hampton Hawes was born on this day in 1928. He was the author of the 1974 memoir Raise Up Off Me, which won the 1975 Deems-Taylor Award for music writing in 1975. “Yardbird Suite” was from his 1959 album Four!, on which he was joined by session men Barney Kessel (guitar), Shelly Manne (drums), and Red Mitchell (bass).

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#Youtube