{"id":5738,"date":"2014-05-16T17:11:11","date_gmt":"2014-05-17T00:11:11","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5738"},"modified":"2014-05-16T17:11:11","modified_gmt":"2014-05-17T00:11:11","slug":"bees-followup-lionel-hampton","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/05\/bees-followup-lionel-hampton\/","title":{"rendered":"Bees Followup: Lionel Hampton"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;GG4cSaJMjbqOMHFSUMzsXv7wGebsuhvE&#8221;]<\/p>\n<p><em>Rifftides<\/em> reader Ted Arenson writes in response to yesterday\u00e2\u20ac\u2122s posting about bees and a piece of bee-oriented music:<\/p>\n<blockquote><p>How about Hamp and the Ellingtonians  great recording of &#8220;Buzzin &#8216;Round with the Bee?&#8221;<\/p><\/blockquote>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Hampton.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Hampton.jpg\" alt=\"Hampton\" width=\"210\" height=\"210\" class=\"alignleft size-full wp-image-5739\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Hampton.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Hampton-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Hampton-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Hampton-200x200.jpg 200w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/><\/a>That\u00e2\u20ac\u2122s a fine reminder of the many all-star sessions that Lionel Hampton recorded for RCA Victor in the late 1930s and early 1940s. Victor usually listed the records as by \u00e2\u20ac\u0153Lionel Hampton and His Orchestra,\u00e2\u20ac\u009d suggesting a studio full of musicians. In fact, the bands were combos of as few as six and no more than ten players. They included a cross section of the most prominent jazz artists of the period and helped to overcome the reluctance of major record companies to combine black and white musicians in the studios. <\/p>\n<p>With thanks to Mr. Arenson and at the no doubt small risk of soliciting a tsunami of suggestions about jazz pieces having to do with bees, we bring you \u00e2\u20ac\u0153Buzzin\u00e2\u20ac\u2122 \u00e2\u20ac\u02dcRound With The Bee.\u00e2\u20ac\u009d <em>Lionel Hampton, vibes and vocal; Cootie Williams, trumpet; Lawrence Brown, trombone; Johnny Hodges, alto saxophone; Jess Stacy, piano; Alan Reuss, guitar; John Kirby, bass; Cozy Cole, drums.<\/em>  <\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"\/\/www.youtube.com\/embed\/KIcNX2A7LZs?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>Readers with sharp eyes may have noticed that the record label lists Mezz Mezzrow on clarinet, but he is nowhere to be heard on that track or on &#8220;Whoa Babe&#8221; and &#8220;Stompology,&#8221; the other two from the April 14, 1937 session. The Mosaic label has a <a href=\"http:\/\/www.mosaicrecords.com\/artists.asp?artist_search=Hampton_Lionel\"target-\"_blank\">five-CD box<\/a> of Hampton\u00e2\u20ac\u2122s Victor sessions from 1937 to 1941, amazingly not yet sold out. To see my <em>Jazz Times<\/em> review of the set, <a href=\"http:\/\/jazztimes.com\/articles\/19930-the-complete-lionel-hampton-victor-sessions-1937-1941-lionel-hampton\"target=\"_blank\">go here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;GG4cSaJMjbqOMHFSUMzsXv7wGebsuhvE&#8221;] Rifftides reader Ted Arenson writes in response to yesterday\u00e2\u20ac\u2122s posting about bees and a piece of bee-oriented music: How about Hamp and the Ellingtonians great recording of &#8220;Buzzin &#8216;Round with the Bee?&#8221; That\u00e2\u20ac\u2122s a fine reminder of the many all-star sessions that Lionel Hampton recorded for RCA Victor in the late 1930s and [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5738","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5738","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5738"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5738\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}