Lionel Hampton with Oscar Peterson - Verve Jazz Masters.26

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 while still a teenager in
Chicago, a group that was led by Major N. Clark Smith. 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.[11] 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.

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 very 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 paved the way for 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.[15] In 1947 he recorded Stardust
at a "Just Jazz" concert with Charlie Shavers and Slam Stewart produced by Gene Norman.

Hampton's band played in a jazz, merged with rhythm & blues vein from around 1945 to the early 1950s. 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
–––––––––-
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.

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.

for more, see: http://en.wikipedia.org/wiki/Lionel_Hampton

Oscar Emmanuel Peterson, (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist and composer. He was called
the "Maharaja of the keyboard" by Duke Ellington, "O.P." by his friends, and was a member of jazz royalty. He released
over 200 recordings, won seven Grammy Awards, and received other numerous awards and honours over the course of his
career. He is considered to have been one of the greatest jazz pianists of all time, who played thousands of live
concerts to audiences worldwide in a career lasting more than 65 years.

Biography
––––––––––-
Peterson grew up in the neighbourhood of Little Burgundy in Montreal, Quebec. It was in this predominantly black
neighbourhood that he found himself surrounded by the jazz culture that flourished in the early 20th century.
At the age of five, Peterson began honing his skills with the trumpet and piano. However, a bout of tuberculosis
at age seven prevented him from playing the trumpet again, and so he directed all his attention to the piano.
His father, Daniel Peterson, an amateur trumpeter and pianist, was one of his first music teachers, and his sister
Daisy taught young Oscar classical piano. Young Oscar was persistent at practising scales and classical etudes
daily, and thanks to such arduous practice he developed his astonishing virtuosity.

As a child, Peterson also studied with Hungarian-born pianist Paul de Marky, a student of Istvan Thomán who was
himself a pupil of Franz Liszt, so his training was predominantly based on classical piano. Meanwhile he was
captivated by traditional jazz and learned several ragtimes and especially the boogie-woogie. At that time Peterson
was called "the Brown Bomber of the Boogie-Woogie."

At age nine Peterson played piano with control that impressed professional musicians. For many years his piano
studies included four to six hours of practice daily. Only in his later years did he decrease his daily practice
to just one or two hours. In 1940, at age fourteen, Peterson won the national music competition organized by the
Canadian Broadcasting Corporation. After that victory, he dropped out of school and became a professional pianist
working for a weekly radio show, and playing at hotels and music halls.

Peterson resided in a two-storey house on Hammond Road in Mississauga, Ontario, Canada, until his death in 2007 of
kidney failure.

Influences
––––––––––
Some of the artists who influenced Peterson's musicianship during the early years were Teddy Wilson, Nat "King" Cole,
James P. Johnson and Art Tatum, to whom many have tried to compare Peterson in later years. One of his first exposures
to Tatum's musical talents came early in his teen years when his father played Art Tatum's Tiger Rag for him,
and Peterson was so intimidated by what he heard that he became disillusioned about his own playing, to the extent
of refusing to play the piano at all for several weeks. In his own words, "Tatum scared me to death" and
Peterson was "never cocky again" about his mastery at the piano. Tatum was a model for Peterson's musicianship during
the 1940s and 1950s. Tatum and Peterson eventually became good friends, although Peterson was always shy about being
compared with Tatum and rarely played the piano in Tatum's presence.

Peterson has also credited his sister Daisy Sweeney — a noted piano teacher in Montreal who also taught several
other noted Canadian jazz musicians — with being an important teacher and influence on his career. Under his sister's
tutelage, Peterson expanded into classical piano training and broadened his range while mastering the core
classical pianism from rigorous scales to such staples of every pianist's repertoire as preludes and fugues by
Johann Sebastian Bach.

Building on Art Tatum's pianism and aesthetics, Peterson also absorbed Tatum's musical influences, notably from
piano concertos by Sergei Rachmaninoff. Rachmaninoff's harmonizations, as well as direct quotations from his 2nd
Piano Concerto, are thrown here and there in many recordings by Peterson, including his work with the most familiar
formulation of the Oscar Peterson Trio, with bassist Ray Brown and guitarist Herb Ellis. During the 1960s and 1970s
Peterson made numerous trio recordings highlighting his piano performances that reveal more of his eclectic style
that absorbed influences from various genres of jazz, popular and classical music.

for more, see: http://en.wikipedia.org/wiki/Oscar_Peterson

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 2. March 2010, 19:32

Lionel Hampton with Oscar Peterson / Verve Jazz Masters 26

Used drive : ASUS DRW-1608P3S Adapter: 0 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.32 | 4:46.48 | 32 | 21529
2 | 4:47.05 | 8:01.60 | 21530 | 57664
3 | 12:48.65 | 6:13.55 | 57665 | 85694
4 | 19:02.45 | 9:58.20 | 85695 | 130564
5 | 29:00.65 | 6:33.05 | 130565 | 160044
6 | 35:33.70 | 10:14.27 | 160045 | 206121
7 | 45:48.22 | 6:23.48 | 206122 | 234894
8 | 52:11.70 | 7:12.27 | 234895 | 267321
9 | 59:24.22 | 5:57.23 | 267322 | 294119


Range status and errors

Selected range

Filename C:\extracts\Lionel Hampton with Oscar Peterson - Verve Jazz Masters.26\Lionel Hampton with Oscar Peterson - Verve Jazz Masters 26.wav

Peak level 100.0 %
Range quality 100.0 %
Test CRC 1C61AA71
Copy CRC 1C61AA71
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 8) [F7AD30FA]
Track 2 accurately ripped (confidence 8) [8FEFFD61]
Track 3 accurately ripped (confidence 8) [77E6011B]
Track 4 accurately ripped (confidence 8) [156ED2DB]
Track 5 accurately ripped (confidence 8) [7B36218D]
Track 6 accurately ripped (confidence 8) [75ECA199]
Track 7 accurately ripped (confidence 7) [5F21CA0B]
Track 8 accurately ripped (confidence 7) [08BB1C2B]
Track 9 accurately ripped (confidence 8) [6D50E3A9]

All tracks accurately ripped

End of status report