Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, and bandleader. Hampton worked with jazz musicians from Teddy WilsonBenny Goodman, and Buddy Richto Charlie ParkerCharles Mingus, and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame, and was awarded the National Medal of Arts in 1996.

Lionel Hampton was born in 1908 in Louisville, Kentucky, and was raised by his mother. Shortly after he was born, he and his mother moved to her hometown of Birmingham, Alabama. He spent his early childhood in KenoshaWisconsin, before he and his family moved to ChicagoIllinois, in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off-limits because of racial segregationDuring the 1920s, while still a teenager, Hampton took xylophone lessons from Jimmy Bertrand and began to play drums. Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago.

Also 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, and 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 the 1940s and 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.[14] 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, and would perform and record with him almost continuously through to the late 1970s.[15] In 1947, Hamp performed "Stardust" at a "Just Jazz" concert for producer Gene Norman, also featuring Charlie Shavers and Slam Stewart; the recording was issued by Decca. Later, 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 later had significant careers. They included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, and vocalist Dinah Washington. Other noteworthy band members were trumpeters Dizzy GillespieCat AndersonKenny Dorham, and Snooky Young; trombonist Jimmy Cleveland, and saxophonists Jerome Richardson and Curtis Lowe.

The Hampton orchestra that toured Europe in 1953 included Clifford BrownGigi GryceAnthony OrtegaMonk MontgomeryGeorge WallingtonArt FarmerQuincy Jones, and singer Annie Ross. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with Oscar PetersonBuddy DeFranco, and 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, as it broke into a real jazz session. That same year, Hampton received a Papal Medal from Pope Paul VI.

Hampton died from congestive heart failure at Mount Sinai Hospital, New York City, on August 31, 2002. He was interred at 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

On November 11, 1936, in Yuma, Arizona, Lionel Hampton married Gladys Riddle (1913–1971).  Gladys was Lionel's business manager throughout much of his career. Many musicians recall that Lionel ran the music and Gladys ran the business.

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 was also a Thirty-third degree Prince Hall freemason. In January 1997, his apartment caught fire and destroyed his awards and belongings; Hampton escaped uninjured.

Hampton died from heart failure August 31, 2002 and was buried in Woodlawn CemeteryThe Bronx, New York City immediately adjacent to both Miles Davis and Duke Ellington's graves.


Lionel Hampton - Flying Home (1957) - Amazing !!!!


Prezados amigos,

Vamos começar de modo simples, aqui é lugar de música boa, não importa se é esse ou aquele ritmo, melodia, harmonia o que vale é a presença do amor e qualidade. A música, independente da motivação, origem, etnia ou vertente sempre é fator multiplicador de emoçôes, de comunhão e de fraternidade. Nesse contexto resolvi dedicar um pouco de meu tempo para uma das coisas que mais me aproxima das pessoas. Sidão na Parada é onde a gente se encontra, onde posso, considerados os meus parcos conhecimentos do ambiente, considerada a qualidade que é um componente indispensável, me relacionar com os meus amigos e com todos aqueles que apreciam e são devotos da música boa. Parece claro que um pouco de influência do que mais aprecio na música fará a tônica do espaço e nada mais me representa do que o jazz, o blues e o samba, nessa ordem. As raízes africanas é a interseção e a mistura, o drive, o swing, o balanço são os componentes para ajudar de modo imprescindível a tribulação que é viver hoje. Então sem mais delongas o show começa hoje - 09/03/2016. Aproveitem e tenham a certeza que estarei sempre a disposição, com o empenho e dedicação que a MÚSICA merece para falar, comentar e viver de modo pleno e intenso esse universo. Aguardo a presença e a visita de todos, sempre. 

Com os meus respeitos, aqui é lugar de música boa !!!!

Sidão Anttogneto


James Peter Giuffre (April 26, 1921 – April 24, 2008) was an American jazz clarinetist, saxophonist, composer, and arranger. He is notable for his development of forms of jazz which allowed for free interplay between the musicians, anticipating forms of free improvisation.

Jimmy Giuffre was born in Dallas, Texas, the son of Joseph Francis Giuffre (an Italian immigrant from Termini Imerese Palermo Province, and of Sicilian Italian ancestry)[citation needed] and Everet McDaniel Giuffre. Giuffre was a graduate of Dallas Technical High School and North Texas State Teachers College (University of North Texas College of Music). He first became known as an arranger for Woody Herman's big band, for which he wrote "Four Brothers" (1947). He would continue to write creative, unusual arrangements throughout his career. He was a central figure in West Coast jazz and cool jazz.[1] He became a member of Howard Rumsey's Lighthouse All Stars in 1951 as a full-time All Star along with Shorty Rogers and Shelly ManneThe Lighthouse in Hermosa Beach, California became the focal point of West Coast jazz in the 1952–53 time period. It was during this time when he collaborated with Rogers on many of the successful charts written for the All Stars. The first recording released by the Lighthouse All Stars was a not so West Coast jazz chart named "Big Boy" which he and Rogers had put together.[2] It was an instant hit in Los Angeles.[citation needed] He left the band in September 1953 and became a member of Shorty Rogers and His Giants before going solo. At this point in his career, Giuffre predominantly played tenor and baritone saxophone.

His first trio consisted of Giuffre, guitarist Jim Hall and double bassist Ralph Peña (later replaced by Jim Atlas). They had a minor hit in 1957 when Giuffre's "The Train and the River" was featured on the television special The Sound of Jazz. This trio explored what Giuffre dubbed "blues-based folk jazz". This same special matched Giuffre with fellow clarinetist Pee Wee Russell for a leisurely jam session simply titled "Blues".

When Atlas left the trio, Giuffre replaced him with valve trombonist Bob Brookmeyer. This unusual instrumentation was partly inspired by Aaron Copland. The group can be seen performing "The Train and the River" in the film Jazz on a Summer's Day filmed at the 1958 Newport Jazz Festival.

In 1959, Giuffre led a trio featuring Hall and bassist Buddy Clark on a concert in Rome, Italy, sharing the bill with Gerry Mulligan's band.

In 1961, Giuffre formed a new trio with piano player Paul Bley and Steve Swallow on double bass, and also began to focus his attention largely on the clarinet. This group received little attention while active, but were later cited by some critics, fans and musicians as among the most important groups in jazz history.[3] They explored free jazz not in the loud, aggressive mode of Albert Ayler or Archie Shepp, but with a hushed, quiet focus more resembling chamber music.[4] The trio's explorations of melodyharmony and rhythm are still as striking and radical as any in jazz. Thom Jurek has written that this trio's recordings are "one of the most essential documents regarding the other side of early-'60s jazz."[5]

Giuffre, Bley and Swallow eventually explored wholly improvised music, several years ahead of the free improvisation boom in Europe. Jurek writes that Free Fall, their final record, "was such radical music, no one, literally no one, was ready for it and the group disbanded shortly thereafter on a night when they made only 35 cents apiece for a set."[6]

In the early 1970s, Giuffre formed a new trio with bassist Kiyoshi Tokunaga and drummer Randy Kaye. Giuffre added instruments including bass flute and soprano saxophone to his arsenal. A later group included Pete Levinplaying synthesizer and replaced Tokunaga with electric bassist Bob Nieske. This group recorded three albums for the Italian Soul Note label.[7]

During the 1970s, Giuffre was hired by New York University to head its jazz ensemble, and to teach private lessons in saxophone and music composition.

Into the 1990s, Giuffre continued teaching and performing. He recorded with Joe McPhee, and revived the trio with Bley and Swallow (though Swallow had switched to bass guitar, giving the group a different sound). Through the mid-1990s Giuffre taught at the New England Conservatory of Music. He suffered from Parkinson's Disease and in his last years he no longer performed. Giuffre died of pneumonia in Pittsfield, Massachusetts, on April 24, 2008, two days short of his 87th birthday.


JIMMY GIUFFRE (saxes e clarinete) - The Train And The River. Com Jimmy Atlas (contrabaixo) e Jim Hall (guitarra).



Roy DeCarava foi um fotógrafo afro-americano que nasceu em 1919 e recebeu muito jovem uma aclamação da crítica por suas fotografias inicialmente pelo envolvimento e o sentido imaginativo das vidas dos músicos de jazz afro americanos  nas comunidade onde viviam e trabalhavam.

Sua carreira abrange aproximadamente seis décadas e DeCarava veio a ser muito conhecido pelo estilo e o aproveitamento do campo nas fotografias em branco e preto  que eram de um refinamento e qualidade incomparáveis. O destaque e o approach de seu objeto eram de tal forma criativos, sensivel e ao mesmo tempo muito diferente da documentação social de seus predecessores. 

DeCarava produziu cinco livros  incluindo The Sound I Saw e The Sweet Flypaper of Life, assim como catálogos de referencia para museus e também pesquisas retrospectivas para os Amigos da Fotografia e o Museu de Arte Moderna de New York. Foi responsável por pelo menos 15 exibições solo e foi o primeiro fotógrafo afro-americano a ganhar o Guggehheim Fellowship. DeCarava foi capaz de fotografar por uma ano sua comunidade e New York, expressando cedo suas impressões criativas em branco e preto através do processo de gelatina de prata.

Em 2006 foi premiado com a National Medal Of Arts do National Endowment for the Arts, a maior premiação dada a artistas pelo governo dos Estados Unidos.DeCarava encorajou outros fotógrafos  e acreditou na acessibilidade no meio. De 1955 a 1957 sob suas expensas estabeleceu e manteve em seu apartamento de arenito na 48 West 85th Street a Photographer's Gallery que mostrou o trabalho de grandes nomes da fotografia no período

DeCarava morreu em 27 de Outubro de 2009.


Para sua discoteca

The Year in Review: Top 16 Albums of 2018






Jazz In The Gardens - 09 e 10 de Março em Miami - BlackStreet, Bobby Brown, Stephanie Mills, Brandy, Betty Wright e Lionel Ritchie.


Sidnei Anttogneto