I have a theory as to why Bing is a little off in the two Lionel Hampton tracks. He recorded these on the 21 January 1946.
Five days earlier, Bing recorded three outstanding tracks with Eddie Condon's group. Malcolm quotes an extract from Newsweek about the recording session in Day by Day. The following portion is the basis of my theory:
Although trouble loomed when Jack Kapp, president of Decca and Crosby-adviser-extraordinary on record policy, walked in and asked if “Wild Bill” Davison’s trumpet ought to stay so dirty. “You go back to the board of directors if you make one more remark,” Crosby said. “I’ve flown these boys in at great expense. Eddie flew in without a plane.”
Although Bing presented himself as confident and in control during this session, Kapp must have had words with him regarding these jazz sides. We know from his personal writings that Bing often doubted his vocal abilities and would stew on recent experiences. This difference of opinion may have rattled Bing enough to feel a little uncomfortable during the Lionel Hampton sessions.
Also the quaver placement in Hampton's interpretation of Swing is different to the Condon group. Maybe Bing just couldn't change groove.
Pinetop is a curiosity that I've never understood as to why it had to be done. Surely the decision makers could have thought of another song that would have equally showcased Bing and Hamp's unique gifts!
On the Sunny Side of the Street is the better obviously. However, a slightly quicker tempo and maybe Hampton using softer mallets would have helped.
It is a pity Bing and Lionel didn't do more to prove they could have waxed better.
Mind you, I still feel these Hampton sides we have are essential listening.
Last edited by Aaron Tickner (29/9/2026 9:58 am)
