Some jazz critics and fans who admired other aspects of Lionel Hampton’s musicianship criticized him for his raw blues riffing, hard backbeat, screaming and honking saxophones, and stunts like marching into the audience with his horn players or getting the audience to clap along.
“I learned all that in the Sanctified Church: the beat, the hand-clapping, marching down the aisles and into the audience” he explained in a 1987 interview.
“When I was six or seven and temporarily living with my grandmother in Birmingham, Alabama, she’d take me to the Holiness Church services, not just on Sundays but all the time. They’d have a whole band in the church—guitars, trombones, saxophones, drums—and they’d be rocking. I’d be sitting by the sister who was playing the big bass drum, and when she’d get happy and start dancing in the aisle, I’d grab that bass drum and start in on that beat. After that, I always had that beat in me.”
This according to “Lionel Hampton, who put swing in the vibraphone, is dead at 94” by Peter Watrous (The New York times CLI/52,228 [1 September 2002] pp. 1, 35).