Legendary trombonist to do Leonardi show at YSU

By John Benson

When you’re talking about jazz trombonists, the conversation better include living legend Slide Hampton.

Born in Pittsburgh and raised in Indianapolis, the master musician has enjoyed a legendary career that continues to grow. While a new album – dedicated to African-American greatness – is on the horizon, Hampton remains committed to furthering the 20th-century jazz sound and trombone style he helped shape.

That’s why he’s taking part in the Youngstown State University College of Fine Performing Arts Leonardi Legacy programs, including a special concert Wednesday at The Youngstown Club, 201 E. Commerce St.

“I do a lot of the university shows because it has to do with master classes and clinics and a concert,” said Hampton, calling from his home in Orange, N.J. “We have some interesting compositions that the people will hear from the ensemble. They’re all my arrangements. So it’s going to be a lot of fun.”

Now an elder statesman, Hampton remembers when he was a young man just discovering the power and potential of the trombone.

“One guy who was a big help to me was Benny Powell, a trombone player who was playing in Nat King Cole’s band,” Hampton said. “And Dizzy [Gillespie] and all of the guys were very helpful in teaching us. J.J. Johnson, Kenny Clarke. Art Blakey … they all were people that taught us.”

At age 75, Hampton remains as busy as ever.

After winning a 1998 Grammy Award for Best Jazz Arrangement Accompanying Vocalist(s) for Dee Dee Bridgewater’s “Cotton Tail,” he was nominated again in 2005 (for Best Large Jazz Ensemble Album with “The Way: Music of Slide Hampton, The Vanguard Jazz Orchestra”) and in 2006 (for his arrangement of “Stardust” for the Dizzy Gillespie All-Star Big Band featuring Roberta Gambarini).

It’s been a pretty interesting journey for Hampton, who over the years has witnessed interest in the trombone ebb and flow.

“At one time the trombone was very popular but in the ’60s and early ’70s, you didn’t hear much of the trombone as far as recordings were concerned,” Hampton said. “That’s because they were commercial [recordings] and weren’t using the trombone that much. But the trombone had been a soloist long before then.

“Then starting in the mid ’70s, we started to hear the trombone again. Now it’s quite popular again as a solo instrument, besides being in the ensemble.”

What makes Hampton’s story even more unique is the fact he didn’t choose the trombone as much as it was chosen for him. Actually, he was born into a musical performance family, The Hampton Band, and, well, the rest is history.

“I was born into a musical family that didn’t have any trombone players yet,” Hampton laughed. “They had everything but trombone, so they chose the trombone for me.

“At first my arms weren’t long enough, but when I was old enough, I started to play.”

Considering he was pushed into playing the trombone, does he have any animosity about the situation?

“I have wondered whether I would but I love the trombone,” Hampton said. “The distance you have to judge and the human aspect of it, the trombone is much more of a human instrument.”