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Schomburg Center for Research in Black Culture > Video Oral History Gallery Video Gallery Cataloging Data: Chico HamiltonLocation Schomburg-MIRS Call # Sc Visual VRA-200 Service copy. Sc Visual VRB-2033 Original of Sc Visual VRA-200. Author Hamilton, Chico, interviewee. Title Oral history interview with Chico Hamilton, 20 December, 1996 [videorecording] / interviewer, Larry Ridley. Imprint 1996 Description 1 videocassette (1 hr., 39 min.) : sd., col. ; 1/2 in. 013900 Note Title supplied; duration: 1 hr., 39 min Credits Produced and directed by James Briggs Murray. Note Recorded on December 20, 1996, at the Schomburg Center for Research in Black Culture, Louis Armstrong Jazz Oral History Project. Summary The oral history interview with jazz drummer and composer Chico Hamilton begins with his childhood in Los Angeles, California. Born September 21 in Hollywood, Chico Hamilton grew up in Los Angeles with four brothers and one sister. Hamilton recalls being exposed to both Black and White worlds, and describes a ghetto-less L.A. during the period of his childhood. Music was required in the public schools where Hamilton attended along with schoolmates Dexter Gordon, Buddy Collette, Charles Mingus, Ernie Royal and Jack Kelso. Hamilton describes Louis Armstrong as one of the most lovable, humble, personable musicians; he was modest about his endeavors and possessed an incredible stage presence. He describes how Armstrong and Count Basie could do unbelievable things with one note. Hamilton scoffs at young people today who are unaware of such great jazz figures, and at the inaccurate portrayal of Black historical figures in films and books, etc. He refers to one of his first groups (Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Buddy Collette, horn), their highly successful recording and the prejudice they encountered. This leads Hamilton to discuss how racism and money control the entertainment industry and education; that the family, environment and access to knowledge all contribute to elightenment and further education; and thus the power to change the system. He contrasts Americans with Europeans who maintain knowledge of and respect for jazz music and musicians. At age 8 Hamilton began playing clarinet and found it a real challenge; between the ages of 9 and 11 he turned to playing drums with a set belonging to an older brother who had graduated. Hamilton recalls making his own drum sticks and playing them on everything in the house (in the Lionel Hampton mode of playing all over the stage). In junior high Hamilton won first place ($50) playing with pianist Chewey Reyes in the Amateur Hour at the Burless Theater on Main Street in L.A.; Hamilton bought his first drum set at age 12 from money he earned shining shoes on Wednesdays and Saturdays. Hamilton recalls playing in clubs for gangsters, at rodeos, and expresses how good music has been to him, he feels blessed to be able to play his own music/compositions in addition. Teaching (New School for Social Research, N.Y.C.: analysis of rhythm, ensemble and improvisation) is his way of giving something back in return. Hamilton developed his brush technique, one of his trade-marks, while playing with Jack Kelso in a family band (Old Man Meyer's) as youngsters in outlying spots around L.A. He later used this brush technique while playing with Lena Horne and Tony Bennett. Hamilton played with Lena Horne for 8 years, he states that he learned alot from her, her husband, Lennie Hayton and her musical director, Luther Henderson. He describes his audition in 1947, rehearsing at her home for a week prior to her singing with the band. Hamilton describes Horne's perceptiveness, control, aura, and how she embellished the music. Herelates some racial incidents they encountered, the dues they paid and how he feels this opened doors for others. Hamilton then elaborates upon the differences between being an entertainer and a musician/performer. Hamilton recalls playing at a memorial service for saxophonist Gerry Mulligan at St. Peter's Church, and recalls Mulligan's successful quartet (Chet Baker, horn; Bob Brookmeyer, trombone; Hamilton, drums) which began in Hamilton's living room in California. Their first gig was at the Hague with Bobby Short; their first recording, on Pacific Jazz label. Later Hamilton returned to Lena Horne's band. Hamilton comments on the perils of drug abuse in the jazz community. Next, jazz air play on public radio is discussed concerning new programming policies which represent a disregard for the music. Hamilton describes Jimmy Lunceford's music, style, and swing, his leading position in the big band scene until Basie came along. Hamilton once replaced Lunceford's drummer Jo Jones for one month, he describes Jo Jones' syncopation and technique, Walter Page's walking-bass style, and Freddie Green's drumming style. Hamilton comments on: music becoming an industry from the involvement of lawyers and businessmen; the lack of support for jazz from the Afro-American community; his new CD comprised of all drum music; Wynton Marsalis' jazz education series at Lincoln Center; the making of the film Jazz on a Summer's Day from the Newport Jazz Festival of 1958. Hamilton concludes the interview by elaborating on Miles Davis, his persona, his sound and his following. Note Reproduction. Originally produced: New York, N.Y. : Schomburg Center for Research in Black Culture, The New York Public Library, 1996. 1 videocassette; 1/2 in. (MII) VHS. Use terms Permission required to cite, quote and reproduce; contact repository for permission. Biography/History Chico Hamilton is a jazz drummer, composer and band leader. Born September 21 [1921] in Hollywood, he began playing drums as a youth growing up in Los Angeles. Hamilton has had a long tenure with Lena Horne, has also played with Tony Bennett among others. One of his trademarks is his brush-technique. Hamilton continues to record and perform. Note Forms part of: Louis Armstrong Jazz Oral History Project. In Louis Armstrong Jazz Oral History Project Subject Amrstrong, Louis, 1900-1971 -- Influence. Baker, Chet. Basie, Count, 1904- Davis, Miles. Gordon, Dexter, 1923- Hamilton, Chico. Hamilton, Chico -- Childhood and Youth. Hamilton, Chico -- Views on music industry. Horne, Lena. Jones, Jo. Kelso, Jack. Lunceford, Jimmy -- Influence. Mulligan, Gerry. Newport Jazz Festival (1928) Jazz on a Summer's Day (Videorecording). Afro-American college teachers. Afro-American musicians. Drum -- Methods. Drummers (Musicians) -- United States -- Interviews. Jazz -- Los Angeles (Calif.) -- History. Jazz audiences -- Europe. Jazz musicians -- Europe. Jazz musicians -- United States -- Interviews. Musicians -- Drug abuse. Percussion music (Jazz) Percussionists -- United States -- Interviews. Public radio -- United States. Afro-American composers. Los Angeles (Calif.) -- History. Form/genre Biographies. Interviews. Additional name Ridley, Larry, interviewer. Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project. Schomburg Center for Research in Black Culture. Donor The Louis Armstrong Jazz Oral History Project was funded by the Louis Armstrong Educational Foundation, Inc. |