Research Catalog

Oral history interview with Chico Hamilton

Title: Oral history interview with Chico Hamilton / Schomburg Center for Research in Black Culture, Louis Armstrong Jazz Oral History Project ; interview conducted by Larry Ridley.
Author: Hamilton, Chico, 1921-2013
Publication: New York : Schomburg Center for Research in Black Culture, 1996

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Status	Vol/Date	Format	Access	Call Number	Item Location
Request Appointment Available - Can be used on site. Please visit New York Public Library - Schomburg Center to submit a request in person.	Disc 2	Moving image	By appointment only	Sc Visual DVD-1080 Disc 2	Schomburg Center - Moving Image & Recorded Sound
Request Appointment Available - Can be used on site. Please visit New York Public Library - Schomburg Center to submit a request in person.	Disc 1	Moving image	By appointment only	Sc Visual DVD-1080 Disc 1	Schomburg Center - Moving Image & Recorded Sound

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Additional Authors

Description

2 videodiscs (99 min.) : sound, color; 4 3/4 in.

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 enlightenment 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 a lot 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.

Subjects

Genre/Form

Nonfiction films.
Oral histories.
Interviews.

Credits (note)

Produced and directed by James Briggs Murray.

Terms of Use (note)

Permission required to cite, quote and reproduce; contact repository for information.

Biography (note)

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.

Linking Entry (note)

Forms part of: Louis Armstrong Jazz Oral History Project.

Call Number

Sc Visual VRA-200

OCLC

892552985

Author

Hamilton, Chico, 1921-2013, interviewee.

Title

Oral history interview with Chico Hamilton / Schomburg Center for Research in Black Culture, Louis Armstrong Jazz Oral History Project ; interview conducted by Larry Ridley.

Production

New York : Schomburg Center for Research in Black Culture, 1996

Country of Producing Entity

United States.

Type of Content

two-dimensional moving image

Type of Medium

video

Type of Carrier

videodisc

Digital File Characteristics

video file DVD

Credits

Produced and directed by James Briggs Murray.

Performer

Interviewer, Larry Ridley.

Event

Recorded December 20, 1996 Schomburg Center for Research in Black Culture.

Terms Of Use

Permission required to cite, quote and reproduce; contact repository for information.

Biography

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.

Linking Entry

Forms part of: Louis Armstrong Jazz Oral History Project.

Local Note

Archival original: 1 videocassette (MII) in Sc Visual VRC-23.

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Request Access to Schomburg Moving Images and Recorded Sound

Added Author

Murray, James Briggs, director.

Murray, James Briggs, producer.

Ridley, Larry, interviewer.

Schomburg Center for Research in Black Culture.

Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project.

Research Call Number

Sc Visual DVD-1080

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