HMR Project: History of Music & Modern Recording

Milt Hinton

Birth of Modern Jazz: Milt Hinton

Milt Hinton

Photo: Dave Dexter Jr. Collection

Miller Nichols Library

Bassist, Milt Hinton ("The Dean") was born in Vicksburg, Mississippi, on 23 January 1910, but was moved to Chicago with his family at age nine. He was given his first violin at age thirteen, but began playing local gigs on tuba. It was probably as a tuba player that he hired on with Tiny Parham and His Musicians, but soon switched to upright bass for which his slap technique [Stattadoo] would become notable. Hinton first recorded in Chicago with Parham on November 4 of 1930: 'Doin' the Jug-Jug', 'Rock Bottom', 'Down Yonder', 'Blue Moon Blues' 'Squeeze Me' (Hinton on tuba), 'Back to the Jungle' 'Nervous Tension' and Memphis Mamie'. November 11 witnessed 'Now That I've Found You', 'My Dreams' and 'After You've Gone', all for Victor. Please note that this page will not descend in customary chronological order. It progresses, instead, through major figures with whom Hinton performed, examples of which might be drawn from any time that they played together.

'Nervous Tension' Milt Hinton w Tiny Parham and his Musicians

From Hinton's 1st recording session

4 Nov 1930 in Chicago Matrix 62937-2 Victor 23386

Cornet: Roy Hobson Trombone: John Thomas Piano: Parham

Sax: Dalbert Bright (clarinet) / Jimmy Hutchinson

Banjo / guitar: Mike McKendrick Bass brass or tuba: Hinton

Drums: Jimmy McEndre

Composition: Parham

'Memphis Mamie' Milt Hinton w Tiny Parham and his Musicians

From Hinton's 1st recording session

4 Nov 1930 in Chicago Matrix 62938-2 Victor 23386

Cornet: Roy Hobson Trombone: John Thomas Piano: Parham

Sax: Dalbert Bright (clarinet) / Jimmy Hutchinson

Banjo / guitar: Mike McKendrick Bass brass or tuba: Hinton

Drums: Jimmy McEndre

Composition: Parham

In late 1932 or early 1933 Hinton joined Eddie South in Hollywood on 'Dark Eyes', 'Body and Soul' and 'Throw a Little Salt on the Bluebird's Tail'. A host of titles ensued with South to November of 1934 in New York City per 'Just an Old Banjo' and 'At the Ball, That's All'.

'Gotta Go!' Milt Hinton (upright bass) w Eddie South and his Orchestra

12 June 1933 in Chicago Matrix BS75864-1 Victor 24343

Violin: South Trombone: John Thomas

Sax: Dalbert Bright (clarinet) / Jimmy Hutchinson

Banjo / guitar: Mike McKendrick Bass brass or tuba: Hinton

Drums: Jimmy McEndre

Composition: Parham

Hinton hired on with Cab Calloway in New York City in 1936, his first titles with that orchestra on May 31: 'Love Is the Reason', 'When You're Smiling', et al. Calloway's band was Hinton's milk and potatoes for fourteen years through World War II, his last tracks with that outfit traced by Tom Lord to 1950 in NYC: 'Give Me Twenty Nickels for a Dollar' and 'The Jungle King'. Hinton would reunite with Calloway in 1958, 1973 and 1990.

'Minnie the Moocher' Milt Hinton (upright bass) w Cab Calloway and his Orchestra

Film of latter 1941

Trumpet: Jonah Jones Trombone: Tyree Glenn

Piano: Bennie Payne Guitar: Danny Baker

Sax: Jerry Blake / Foots Thomas

Composition: Cab Calloway / Irving Mills / Clarence Gaskill

See 'Cab Calloway On Film 1934-1950' Harlequin HQ2005 1984

'Calloway Boogie' Cab Calloway and his Orchestra w the Cabaliers

Film of 1950

Trumpet: Jonah Jones Trombone: Tyree Glenn

Tenor sax: Ike Quebec Piano: Dave Rivera

Double bass: Milt Hinton Drums: Panama Francis

Composition: Cab Calloway / Allen Leroy Gibson

See 'Cab Calloway On Film 1934-1950' Harlequin HQ2005 1984

Lindyland

Hinton's first titles as a leader had long since arrived by the time he'd left Calloway in 1950, having formed an orchestra in New York City, with which he recorded 'Broadway Holdover', 'Bass Pandemonium', 'Everywhere' and 'Beefsteak Charlie' on July 6 of 1945. He recorded his first album on January 20, 1955, titled 'East Coast Jazz/5'. Joining him were Tony Scott (clarinet), Dick Katz (piano) and Osie Johnson (drums) among others. Hinton had first recorded titles with all three in the summer of 1953. First it was Johnson in support of pianist and vocalist, Joe Denise, toward 'Joe Denise Sings'. Then he joined Katz in backing vocalist, Jackie Paris, with the Tony Scott Orchestra on 'My Kinda Love' and 'Opus One'. Hinton held a session with Louis Armstrong's All Stars before joining Scott and Kantz again with drummer, Sid Bulkin, in the summer of 1953 for a couple titles on Scott's 'Jazz for G.I.'s' released in 1954. Scott would figure fairly large in Hinton's career, he and Johnson sitting in his band again in December of 1955 for 'Scott's Fling'. Among titles recorded in 1956 were Scott's 'The Touch of Tony Scott' and 'The Complete Tony Scott'. Titles followed in 1958 and 1968 (: 'Swara Sulina'). Hinton and Johnson had also supported other bands together on occasion in the fifties.

'Everywhere' Milt Hinton (double bass) and his Orchestra

3rd track of 4 from Hinton's 1st name session

6 July 1945 in NYC Matrix: HL103-2 Keynote 639

Trumpet: Jonah Jones Trombone: Tyree Glenn

Clarinet: Al Gibson Piano: Dave Rivera Drums: J.C. Heard

Composition: Dave Rivera

'Katz' Meow' ('A Canon for Cats') Milt Hinton (double bass) Quartet

20 Jan 1955 in NYC See the album 'East Coast Jazz/5' on Bethlehem BCP10

Clarinet: Tony Scott Piano: Tyree Glenn

Clarinet: Al Gibson Piano: Dick Katz Drums: Osie Johnson

Composition: Dick Katz

Being a studio musician, Hinton was one the most recorded figures in jazz. Lord's disco has him at 1250 sessions, above twenty of those as a leader. This brief account will then be something incomplete, even more so without mention of Mona Clayton who met Milt in 1939 during his Calloway period and became Mona Hinton until Milt's death 61 years later. Mona was Hinton's assistant as well as Mother Superior of Calloway's touring band, arranging such as bed and board.

Those with whom Hinton worked over the widest range of time were pianist, Hank Jones, and bandleader, Benny Goodman. His first titles with Jones may have been in 1952 with Tyree Glenn's All Stars, Papa Jo Jones on drums for 'Sidewalks of New York' and 'How Could You Do a Thing Like That to Me?' ('Sultry Serenade'). Hinton and Jones would witness countless sessions together into the nineties in support of various operations. Their last recordings together are thought to have been 'Live at the Blue Note' for Lionel Hampton in June of 1991. Some of Jones' albums to which Hinton contributed along the way were 'The Talented Touch' (1958), 'Porgy and Bess' (1959), 'Here's Love' (1963), 'This Is Ragtime Now!' (1964), 'Live in Buffalo 1976' and 'The Trio' (1977), the latter with Bobby Rosengarden at drums.

'Softly As In a Morning Sunrise' Milt Hinton (double bass) w the Hank Jones Trio

May 1976 at the Statler Hotel in NYC See the album 'Live In Buffalo 1976'

Piano: Hank Jones Drums: Nasar Abadey

Music: Sigmund Romberg Lyrics: Oscar Hammerstein II For the 1928 operetta 'The New Moon'

Hinton's first tracks with Goodman are thought to have been in the latter's Octet at Basin Street West in New York City in March of 1955 for such as 'Don't Be That Way' and 'Rose Room', numerous sessions to ensue that year. Hinton joined Goodman again in 1958-59, 1967, 1969 and 1975, that last occasion with Goodman's quintet for 'Benny-Seven Come Eleven' joined by Jones, Bucky Pizzarelli (guitar) and Grady Tate (drums).

'Always' Milt Hinton (double bass) w Benny Goodman (clarinet)

Taped 1967 in NYC

Trumpet: Clark Terry Tenor sax: Zoot Sims

Piano: Hank Jones Guitar: Gene Bertoncini Drums: Ed Shaugnessy

Composition: Irving Berlin 1925

Some of Hinton's other high impact colleagues were arranger and bandleader, Manny Albam, Helen Merrill, Hal McKusick, Chris Connor and Dinah Washington. Hinton is thought to have worked with Albam as early as 1951, the latter arranging songs on 'My Name Is Ruth Price...I Sing'. Beginning in 1955 Hinton and Albam would support numerous operations to 1962, that last occasion thought to be for Curtis Fuller's 'Cabin in the Sky'. Some of Albam's own projects to which Hinton contributed were 'The Jazz Workshop' (1956), two volumes of 'The Jazz Greats of Our Time' (1957), 'The Blues Is Everybody's Business' (1957), 'Sophisticated Lady (The Songs of Duke Ellington)' (1958), 'Jazz New York' (1958), 'Steve's Songs' (1958) and 'I Had the Craziest Dream' (1961). Tracks for 'Steve's Songs' had gone down on 21 and 29 July of 1958.

'All Too Soon' Milt Hinton (double bass) w Manny Albam

3 April 1957 in NYC Matrix: 102152

See the album 'Manny Albam and the Jazz Greats of Our Time' on Coral CRL 57173

Trumpet: Nick Travis / Art Farmer Trombone: Bob Brookmeyer

Alto sax: Phil Woods Tenor sax: Zoot Sims / Al Cohn (baritone)

Baritone sax: Gerry Mulligan

Piano: Hank Jones Drums: Osie Johnson Arrangement: Albam

Composition: Duke Ellington / Carl Sigman 1940

'Blues From Neither Coast' Milt Hinton (double bass) w Manny Albam

4 April 1957 in NYC Matrix: 102155

See the album 'Manny Albam and the Jazz Greats of Our Time' on Coral CRL 57173

Trumpet: Nick Travis / Art Farmer Trombone: Bob Brookmeyer

Alto sax: Phil Woods Tenor sax: Zoot Sims / Al Cohn (baritone)

Baritone sax: Gerry Mulligan

Piano: Hank Jones Drums: Osie Johnson Arrangement: Albam

Composition: Albam

About the time as 'Steve's Songs' (recorded 21 and 29 July 1958) Hinton was working with Cannonball Adderley, Art Farmer ('Steve's Songs') and Barry Galbraith toward John Benson Brooks' 'Alabama Concert', between which sessions the iconic jazz photograph by Art Kane was shot on 18 August of 1958 called 'A Great Day in Harlem' for publishing in 'Esquire' magazine. Two days after that photograph was snapped arrived the first session for Adderley's 'Jump for Joy'. Hinton himself was a well-known photographer and photo collector with thousands of images of the jazz scene from the thirties to the nineties in his and Mona's archive.

Great Day in Harlem 1958

A Great Day in Harlem

Milt is standing far right in first row between taller Monk in light suit and shorter Stewart in dark

Photo: Art Kane 18 August 1958

Source: Wikipedia

Backing up a little, Hinton had been with the Clifford Brown Sextet with Osie Johnson to support Merrill on December 22 of 1954 for such as 'Don't Explain' and 'Born to Be Blue'. Continuing with Merrill into 1955, Hinton would join her again in 1957 and 1959, that last occasion on June 11 in NYC for such as 'I'm So Lonesome I Could Cry' and 'My Heart Would Know'.

'You'd Be So Nice To Come Home To' Milt Hinton (double bass)

Helen Merrill backed by the Clifford Brown Sextet

22 Dec 1954 in NYC Matrix: 11089-6

See the album 'Helen Merrill' on EmArcy MG 36006

Trumpet: Clifford Brown Flute: Danny Bank

Piano: Jimmy Jones Guitar: Barry Galbraith

Drums: Osie Johnson Arrangement: Quincy Jones

Composition: Cole Porter

Hinton and McKusick had been with Al Cohn's Charlie's Tavern Ensemble in October of 1954 for titles toward 'East Coast - West Coast Scene' (with tunes by Shorty Rogers on side B). They supported other bands together numerously to as late as 1963 for Sammy Spear's 'A Little Traveling Music'. A few of McKusick's albums in which Hinton participated were 'East Coast Jazz Vol 8' (1955), 'In a Twentieth-Century Drawing Room' 55) and 'The Jazz Workshop' (1956). The next year they backed Charlene Bartley on 'The Weekend of a Private Secretary'.

'Autumn Leaves'

Milt Hinton (double bass) w Al Cohn and his Charlie's Tavern Ensemble

22 Dec 1954 in NYC Matrix: 11089-6

See the album 'East Coast-West Coast Scene' on RCA Victor LJM1020

Trumpet: Joe Newman Trombone: Billy Byers / Eddie Bert

Alto sax: Hal McKusick / Gene Quill

Tenor sax: Al Cohn Bass sax: Sol Schlinger

Piano: Sanford Gold Guitar: Billy Bauer

Drums: Osie Johnson

Composition

Hinton's initial titles with vocalist, Chris Connor, had been with Osie Johnson on February 8 of 1956 for such as 'You Make Me Feel So Young' and 'Anything Goes'. Titles ensued into 1957, 1959-60 and, finally, March 11 of 1962 for 'No Strings'.

'I Can't Be Bothered Now' Milt Hinton (double bass) backing Chris Connor

1 May 1957 in NYC Matrix: 2517

See the album 'Chris Connor Sings the George Gershwin Almanac of Song' on Atlantic EP 594

Piano: Stan Free Guitar: Mundell Lowe

Vibes: Milt Jackson Drums: Ed Shaughnessy

Composition: Gershwin Brothers

Hinton was with the Quincy Jones Orchestra on November 4 of 1956 to support Dinah Washington's 'I'll Drown in My Tears' and 'You Let My Love Grow Cold'. 'The Swingin' Miss D' ensued in December. Titles followed in February of 1959. Marty Manning was Washington's arranger for titles on October 15 of 1963 like 'That Sunday' and 'They Said You'd Come Back Running'.

'They Didn't Believe Me' Milt Hinton (double bass)

Dinah Washington backed by the Quincy Jones Orchestra

5 December 1956 in NYC Matrix: 14390

See the album 'Queen & Quincy' on Mercury MG20928

Trumpet:

Jimmy Maxwell / Doc Severinsen / Charlie Shavers / Clark Terry / Bernie Glow / Nick Travis

Trombone: Jimmy Cleveland / Urbie Green / Quentin Jackson / Tommy Mitchell (bass)

Reeds (clarinet / sax):

Hal McKusick (flute) / Anthony Ortega / Jerome Richardson / Lucky Thompson / Danny Bank

Piano / celeste: Clarence "Sleepy" Anderson Guitar: Barry Galbraith

Drums: Osie Johnson

Composition: Herbert Reynolds / Jerome Kern

Among the galaxy of others for whom Hinton recorded, of those unmentioned some of the more impacting Hinton's career were Buck Clayton, Teddy Wilson, Jimmy Rushing, Urbie Green, Bobby Hackett, Erskine Hawkins, Ralph Sutton and Milt Jackson. In addition to leading his own ensembles and working as a studio musician Hinton played in the television bands of Jackie Gleason and Dick Cavett. He was made an NEA Jazz Master in 1993. He issued the album, 'Laughing at Life', in 1994. In 1999 he participated in pianist, Jay D'Amico's, 'Ponte Novello'. Hinton had also contributed to titles by banjo player, Cynthia Sayer, at some indeterminable time shortly before his death in Queens on 19 December 2000 [obit].