This interview was conducted when Hamp was age 87, after he had had several strokes which impacted his speech. You may wish to turn on the closed captioning feature (click CC) to enjoy this -- as his mind was sharp as ever.

Great interview with a true jazz legend

You know, I've watched this interview maybe five times. - I understood initially much of the overall significance of this interview. But it is only now, in this watching, that I realize something of its true depth. I commend you, Monk, for getting Mr. Hampton to open up in this way with you here. What he offers in this interview is priceless in terms of our understanding of jazz musicianship at the most organic level, and at this most important juncture. Truly, I believe that doctoral theses could (and will) be written on what Lionel Hampton cryptically intimates in this interview.

Great to see one of the few interviews with Lionel Hampton. Have seen him and his bands about 18 times. Was always a wonderful experience. Astonishing how sharp his mind is even he had health wise hard times. Thank you very much for your great work!

Great video ! Really awesome ! Thanks very much for sharing ! Martin

Monk’s work is so important. He gets better and better at it

I watch these interviews rather closely, so I wonder how is it I didn’t know about your interview with Lionel Hampton? I place this in a special place, Monk, along with your interviews with Harry Edison, Jay McShann and Jerry Jerome. - Great jazz musicians from that most important generation. This is a great and important interview, even though Lionel is perhaps a little frail and (pardon the term) sluggish. We all know, I would guess, just what an impeccable and profound a musician Lionel Hampton was. He had the capacity, like very few musicians, to really and very deeply communicate with an audience in a live situation. Yes, his time with Benny Goodman was great. And he did lead those exciting bands of the 1940s and 50s. But I love that you touched on his great series of small group sessions recorded for RCA Victor between 1937 and 1941. Those are very important documents of small group jazz during that magical period. Right up there with the Teddy Wilson/Billie Holiday stuff.

In the words of old Hamp: Look out, Gates! What a legend. Some pioneers take big chances, like he did. The results are history.

RIP Giant!

Incidentally, when Mr. Hampton refers to to the Victor Hot Mallets session of 1939 as the first BeBop records, he's speaking of the session shown below. It was the first record session on which Dizzy Gillespie was able to solo significantly. - That's why it is sometimes referred to as the first modern jazz date. While Dizzy's solos are quite impressive, particularly for their time, the overall style here is 1930s swing. But this session was also famous for the collective aggregation assembled in the studio that day. Just look at that personnel, and realize that it certainly was one of the greatest all-star jazz ensembles ever put together for a record date! Lionel Hampton And His Orchestra Dizzy Gillespie, trumpet; Benny Carter, alto sax; Chu Berry, Coleman Hawkins, Ben Webster, tenor sax; Lionel Hampton, vibes #1,3,4, vibes, vocal #2; Clyde Hart, piano; Charlie Christian, guitar; Milt Hinton, bass; Cozy Cole, drums. NYC, September 11, 1939 1. 041406-1 When Lights Are Low Victor 26371; His Master's Voice (E) B 9750 2. 041407-1 One Sweet Letter From You Victor 26393; V-Disc 360 3. 041408-1 Hot Mallets Victor 26371; His Master's Voice (F) DA 4978, (F) K 8733; Bluebird 07863-66528-2 4. 041409-1 Early Session Hop Victor 26393

The coffee seemed to improve Hamp's speech a bit. Whatever the result, a good interview from a vitally important figure in jazz.