Black Music at the University of Idaho

Brody Gasper

Lionel Hampton, though never attending the University of Idaho as a student, was and remains an integral part of the University. Hampton was born on April 20, 1908, in Louisville, Kentucky, to Charles and Gertrude Hampton. ¹ His father was a talented pianist and singer. However, during Hampton’s early childhood his father was unfortunately killed during the first World War. After this tragedy in their family, both Hampton and his mother moved and settled in the Chicago area to start anew. ² During his high school years, Hampton picked up the drums and found himself playing for several bands including the Reb Spikes’ Sharps and Flats and Paul Howard’s Quality Serenaders.

As a bandleader, he founded the Lionel Hampton Orchestra which would skyrocket him into the international spotlight. The establishment of this band also began to fulfill Hampton’s desire as a music educator, hosting talents such as Illinois Jacquet, Cat Anderson, Dexter Gordon, Art Farmer, Clifford Brown, Fats Navarro, Clark Terry, Quincy Jones, Charles Mingus, Wes Montgomery, and singers Joe Williams, Dinah Washington, Betty Carter, and Aretha Franklin. Hampton also wrote 200 original works, many of which would go on to become quite popular, and he also established two of his own record label companies. Hampton’s professional music career was certainly one of great prominence that saw recognition both domestically and internationally, however, Hampton seemed to have a greater interest in his role as an educator.

Hampton’s first appearance at the University of Idaho was in 1984 at the Jazz Festival with his New York Band. ³ From this point on, Hampton and his band would continue to return annually. He would develop a close relationship with Lynn J. Skinner, Executive Director of the UI Jazz Festival, which as a result led to the renaming of the festival to the Lionel Hampton Jazz Festival in 1985. ⁴ This relationship between Hampton and the University would continue, with the University of Idaho eventually renaming their School of Music after him to the Lionel Hampton School of Music in 1987 and he even received an honorary doctorate in 1988. ⁵ With this continued relationship, Hampton elected to designate the University of Idaho as the recipient of all his personal memorabilia, which eventually became part of the University’s International Jazz Collections database online.

Hampton’s presence at the University and work at the festival encouraged other popular jazz musicians such as Dizzy Gillespie, the famous jazz trumpeter, and Ella Fitzgerald, the famous jazz singer to perform at the institution. The increased presence of Black jazz musicians at the University certainly affected the growth of the festival, exposing more student musicians to the music genre, and helping to fulfill Hampton’s dreams of music education.

The festival would continue to be a big hit at the University, with several articles being published through the 21st century noting its continued popularity. ⁶ Hampton would continue to attend the Festival, performing for the last time at the 2002 Festival until his passing on August 31, 2002. ⁷ After his passing, the festival was eventually renamed the Lionel Hampton International Music Festival in 2006, and in 2007 the Festival was awarded the National Medal of the Arts, honoring the legacy of jazz music education at the University of Idaho.

Outside of the music festival at the University of Idaho, there has not been much else in the way of Black music presence. There have been cases of individual students being involved in music at some point during their time at the University, with Edna Gertrude Chrisman playing the guitar in the Mandolin Club during the early 20th century ⁸ and Ray McDonald participating heavily in Gospel Music. There were also a couple of Black student music groups during the 1960s and 1970s, that performed on campus, such as the “Soul Dancers” that were comprised of Joe Tasby, Ray McDonald, Roosevelt Owens, Ken Dotson, Adrian Prince, and Jeff Gullory. ⁹ Outside of this, there is not much else in the way of evidence that suggests there was a significant grassroots presence of Black Music at the University of Idaho, and before Lionel Hampton’s time at the University there is even less evidence of Black students participating in music.

Bibliography

“Extended Biography.” Lionel Hampton Biography - International Jazz Collections (IJC) - University of Idaho Library. University of Idaho. Accessed September 1, 2022. https://www.ijc.uidaho.edu/hampton_collection/bio.html.

Germer, Nancy. “Blue Key Talent Show Set for Saturday - ‘Emphasis on Talent-Variety.’” Argonaut. April 12, 1968.

Hoffman, Annysia. “Saving Jazz in Moscow, Idaho.” Intermountain Histories. University of Idaho. Accessed September 1, 2022. https://www.intermountainhistories.org/items/show/107.

Kornelis, Chris. “The Swing Is Gone - Famed Musician and Jazz Icon Dies at Age 94.” Argonaut. September 4, 2002.

“Lionel and the University of Idaho.” Lionel Hampton and the University of Idaho - International Jazz Collections (IJC) - University of Idaho Library. University of Idaho. Accessed September 1, 2022. https://www.ijc.uidaho.edu/hampton_collection/lionel_and_ui.html.

“Lionel Hampton Collection.” Lionel Hampton Collection - International Jazz Collections (IJC) - University of Idaho Library. University of Idaho. Accessed September 1, 2022. https://www.ijc.uidaho.edu/hampton_collection/.

“The Lionel Hampton International Jazz Festival 2016.” Argonaut. February 2016.

“Lionel Hampton’s Life Is Full of Achievements.” Argonaut. February 22, 1991.

University of Idaho, Gem of the Mountains (Moscow, Idaho: 1904), 113, University of Idaho archives, Vol. 2 - Gem of the Mountains Digital Yearbook Collection - University of

Idaho Digital Collections (uidaho.edu), accessed July 18, 2022.

University of Idaho Lionel Hampton International Jazz Festival. Accessed September 2, 2022. https://www.arts.gov/honors/medals/university-idaho-lionel-hampton-international-jazz-festival.

Notes