has anyone here really gotten into the fantastic hampton hawes? he really swings hard and has got this unique feel which he seems to have and i haven't heard anyone else do anything quite like it. has anyone really analysed what he's doing?
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i have his cds and read his autobiography. he was self taught and started as a bebop player then hard bop and later modern post bop. he got all messed up on drugs and never quite got the recognition. there are some youtube videos of him playing.
a great talent.  i don't know about 'analyzing'.  i did like listening to his work with art pepper eg. 'all the thing you are'
is a superb lesson in comping.
he's astonishing -- the first pianist i transcribed off the original lps on contemporary with his trio and the quartet with jim hall.  i think i was about fifteen or so, using a reel-to-reel 1/4" to slow down his (quick!) lines.

his technique is now mainly what i really admire about him -- crystal-clear scales on the rubato numbers.  he has such a unique attack on the piano, especially on the bebop uptempo things -- i don't really know how to analyze it.  one bar and you know it's him, though.  

you should really read "raise up off me" (his autobiography) -- and then pick up later recordings like "the seance" and "i'm all smiles."   or "the sermon" if you haven't heard it.  and also "the challenge," his solo piano record recorded in japan.  lots of really amazing lh bass stuff.  great record.  asssuming you have all his earlier stuff, which is essential and unique.  so much great music.  pardoned by jfk, i believe, off one of his drug charges.
"the challenge" is one of my favorite jazz solo piano recordings. his arrangement of my romance is great. i wish it was released on cd.
my transcription of hampton's 'yesterdays' solo appears in 'exploring jazz piano, vol 2', published by schott music, shortly to be available in the usa. looking forward to seeing scot's review!

i really like his first two trio albums, and the 'all night session' recordings. what an under-rated player!
i really like the thing he has going with his left hand when he's really swinging - he seems to sort of comp in the lh on the off beats which gives it this really swinging feel, and helps him lock in with the drummer really well. my favourite songs of his are one of the blues' on all night sessions, and what is this thing called love on his the trio album.
i've been listening deeply to hamp for a while now.  i came across him accidentally from his rep as a "funky" player (which is now considered to be a mislabeling i think) and have been stuck on him since.  

i think he really was a true bop player on those early records, in that he has a style that was mainly steeped in bird and the blues and hadn't absorbed many of the more modern harmonies or styles that would be ushered in during the years to come.
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