Lenny Hambro

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Lenny Hambro
Lenny Hambro in 1957 with his Martin "Magna" Alto Sax and Brilhart "Tonalin" mouthpiece
Lenny Hambro in 1957 with his Martin "Magna" Alto Sax and Brilhart "Tonalin" mouthpiece
Background information
Birth name Leonard William Hambro
Born October 16, 1923(1923-10-16)
Origin Flag of the United States Bronx, New York, USA
Died September 26, 1995 (aged 71)
Genre(s) Jazz
Swing
Bebop
Mambo
Cubop
Occupation(s) Musician - Woodwinds
Band Manager
Music Arranger
Composer
Music Producer
Entertainment Coordinator
Booking Agent
Instrument(s) Alto Saxophone, Flute,
Tenor Saxophone,
Baritone Saxophone, Clarinet
Years active 1942-1995
Label(s) Savoy, Epic, RCA Victor,
Clef, Verve, Norgran
Columbia, Mercury
Associated acts Gene Krupa Orchestra,
Lenny Hambro Quintet,
Ray McKinley,
Glenn Miller Orchestra,
Machito and His Afro-Cubans,
Chico O'Farrill
Notable instrument(s)
Martin "Magna" Alto Sax

Lenny Hambro (1923–1995), born Leonard William Hambro, was a journeyman jazz musician who played woodwinds (primarily alto saxophone) with a host of bands, orchestras, and jazz notables from the early 1940s through the mid-1960s and continued as a session musician, music producer, booking agent, and entertainment coordinator through the mid-1990s. Early in his professional career, Lenny spelled his name "Lennie" but changed it to the former spelling in 1954.

Contents

[edit] Early life

Lenny Hambro was born on October 16, 1923 to Harry and Rose (Levine) Hambro in the Bronx, New York, the younger of two children.[1] Lenny lived with his parents in an apartment at 984 Sheridan Avenue - just a few blocks northeast of Yankee Stadium, which was completed the year of his birth. His father worked in the diamond trade. His mother, who played ragtime piano in the home, died of breast cancer when Lenny was just 12.[2] He graduated from James Monroe High School (now Bronx Little School) in the Soundview section of the Bronx in 1941 (where Stan Getz would begin as a reluctant, periodic student just a year later).[3] After his father's death from pneumonia when Lenny was 28, he lived with older sister, Adelaide, and her husband, Harold, in the Bronx until his marriage at age 36.[2]

[edit] Musical training

As a youngster, Lenny pestered his father for a trumpet but it was his brother-in-law, Harold Segal (older sister Adelaide's husband), who introduced 15-year old Lenny to woodwinds, giving him a soprano saxophone and introductory music lessons. (Harold Segal played both the tenor saxophone and clarinet semi-professionally with an Irish band for a time). Lenny had a rare talent and quickly eclipsed his brother-in-law, taking every music class in which he could enroll.[2] As a high school student, Lenny took private lessons from Bill Sheiner, one of the leading music teachers and session musicians in New York City. Sheiner taught in a studio behind the Bronx Musical Mart at 174th Street and Southern Boulevard, between Lenny's school and home. (Stan Getz and future Chairman of the Federal Reserve Board, Alan Greenspan, were fellow students of Sheiner's.) Sheiner played multiple instruments - clarinet, saxophone, flute, and oboe - and most of his students were trying to simultaneously learn two similar instruments. Sheiner employed two books that are still standard texts: The Universal Complete Saxophone Method, and Klosé Complete Clarinet Method.).[3] During his later high school years, Lenny played alto sax, tenor sax, clarinet, and flute in an assortment of teen dance bands, including a summer working the Catskills' resort hotels.[2]

[edit] Career - The Early Years

During the Second World War, many professional musicians served in military bands. As a result, there were occasional openings in established commercial bands. Thus, at just 18 years of age, Lenny auditioned for an empty seat in Gene Krupa's band. His audition included playing "American Bolero", a piece written in 5/4 time, which was quite progressive at the time.[4] Although initially skeptical, Krupa and trumpeter Roy Eldridge were impressed and called Lenny at home the next day to tell him he got the job and to schedule him for a tuxedo fitting. On October 28th, 1942, two weeks after his 19th birthday, Lenny was on stage with the Gene Krupa Band at the Times Square Paramount Theater.[2] However, he left the band in December of that year to join Shorty Rogers with the 379th Army Service Forces (ASF) Band in Newport News, Virginia, where he stayed for three years.[1] From 1946 to 1947, he was a featured soloist with Billy Butterfield and his orchestra. In 1947 he played with Bobby Byrne before rejoining Gene Krupa as lead alto sax and featured jazz soloist through 1950. Lenny, along with fellow saxophonist Buddy Wise, is featured in a 15 minute film short, Deep Purple, directed by Will Cowan in 1949, which focused on Gene Krupa and His Orchestra.[5] In addition to playing with Krupa, Hambro simultaneously played in other bands, including the Latin jazz ensembles of Vincent Lopez and Pupi Campo. In 1948, Hambro toured with Machito and his Afro-Cuban Orchestra where he was featured as a soloist on alto sax. From 1951 to 1952, Lenny played with and managed the Ray McKinley Band. From 1951 to 1954, he also played and recorded with Chico O'Farrill's orchestra, with a year off (1952) to tour with The Gene Krupa Orchestra. From 1948 until 1954, he recorded with all of these artists as well as the orchestra of Charlie Ventura and Joe Loco's band. During this period (1951 - 1956), Lenny accompanied vocalists at the Paramount Theater, did studio work, worked as a music copyist,[6] and taught private lessons. He also continued to hone his own skills by studying clarinet with Leon Russianoff of the Manhattan School of Music, and flute with Henry Zlotnick.[7]

In 1954 Lenny formed the Lenny Hambro Quintet. Over the next two years, the members of the quintet alternately included Wade Legge, Rene Hernandez, Eddie Costa, or Hank Jones on piano; Dick Garcia, Sal Salvador, or Barry Galbraith on guitar; Louis Barretto, Clyde Lombardi or Arnold Fishkin on bass; Eddie Bert on trombone; Mel Zelnick, Harold Granowsky, Gus Johnson Jr., or Sid Bulkin on drums; Jose Mangual, Ubaldo Nieto, and Ray "Mongo" Santamaria on Bongos/Congas; and Babs Gonzales' vocals.

In 1955, Hambro again played in and managed the Ray McKinley Band. Subsequently, in 1956, Lenny was asked to reorganize the Glenn Miller Orchestra, newly under the direction of Ray McKinley, and Hambro functioned as both manager and assistant leader. In addition to being a featured soloist, Hambro and his quintet - formed from other members of the GMO - were a featured act with the Orchestra. The band toured the United States routinely during this period as well as Poland, "Iron Curtain" Europe, and Africa in 1957 and 1958 - where they played at U.S. military facilities and Embassies - and Japan in early 1964.[7] He was with the Glenn Miller Orchestra for eight years, during which time they played a 13-week summer replacement show on CBS ("Glenn Miller Time" - 1961), and the NBC Bandstand on both radio and television, and cut seven albums for RCA Victor. During this period, Lenny lived on 77th Road in Kew Gardens Hills in Queens[8] where his friend, composer and pianist Eddie Costa, was a neighbor.[9]

Lenny Hambro with the Glenn Miller Orchestra with Ray McKinley
Lenny Hambro with the Glenn Miller Orchestra with Ray McKinley

[edit] Marriage

Lenny met vocalist Lynn Michels in 1958, when he was 34 and she was 18. Lynn, from Chester, Pennsylvania, was on stage from age 10, and worked with a number of acts - most notably, Paul Whiteman and Al Raymond. When she met Lenny, Lynn was a singer with the Matys Brothers, a rockabilly and later polka band from the Philadelphia area that was part of Bill Haley's stable. Lynn went to New York City to see the New Glenn Miller Orchestra at a private club and was introduced to Lenny by the club's manager, who knew them both. That evening, Lenny told her that he would pursue and marry her and, after an extended courtship, they married on November 5th, 1960, with Ray McKinley as their best man.[8]

[edit] Career - The Later Years

Beginning in 1964, Lenny worked as a booking agent while continuing with both teaching and studio work, playing on recordings of The Spinners, Cissy Houston (Whitney Houston's mother), Marlene Ver Planck, Bobby Hutcherson and his old friend Chico O'Farrill.

In 1967, Hambro signed on with Don Elliott and Don Elliott Productions, producing music for commercials, cartoons, documentaries and film.[10] That year, Lenny and Lynn, with their two sons, Larry and Lee, moved from New York City to Old Bridge, New Jersey, where they bought their first house and would live for the next 15 years.[8] In 1968, after a break with Elliott, Lenny and virtuoso violist Emanuel Vardi set up shop as Hambro and Vardi at 1619 Broadway, the Brill Building, in NYC producing original music for successful radio and television ads, such as the "Coke Is It" campaign and Lifesaver's "A Part of Living". The pair shared in three CLIOs for Best Television/Cinema advertisement (Buitoni Sauce - 1969; Frigidaire Range - 1974; Life Savers -1977).[11] In addition to writing ad "jingles", in 1970, the team broke into film, composing original music for the film "Dirtymouth" (about Lenny Bruce).[12] In addition to working with Madison Avenue, in 1970, Hambro led and managed the orchestra for vocalist Warren Covington and did two half-hour specials on CBS television in the fall, before returning to work as a booking agent in 1971. In 1972, Vardi and Hambro worked with Bill Daly to orchestrate the sound for the film "Toys Are Not For Children". Through his film industry connections, Lenny was given a short uncredited cameo in the 1973 Paramount Pictures' film "Serpico", starring Al Pacino. Lenny's was still in the music production business as late as 1978 with Lenny Hambro Productions, Inc.[13]

In 1981, at age 58, Lenny went to Atlantic City as Entertainment Director for Del Webb’s Claridge and Hi Ho Casino (later the Claridge Hotel and Casino). With this transition, the family moved to Egg Harbor, New Jersey.[8] Subsequently, in 1983, Lenny became the Music Director at Bally's Park Place Casino Hotel.[1] During this time, he remained active as a working musician, playing Philadelphia jazz clubs with myriad groups, and taking various gigs, including touring Europe with pianist Peter Duchin. In his later years, he donated his time and talent to charities such as the March of Dimes Telethon, and the Association for Retarded Citizens' "Starshine" (organized by performer Nelson Sardelli), a tradition that would continue each summer for 12 years.[14]

Lenny recorded his final tracks at the Clinton Recording Studio at 653 10th Avenue in New York City in February, 1995 for Chico O'Farrill's comeback album, Pure Emotion (1995; Milestone Records). The record was nominated for a Grammy in 1996.[15] The title track, Pura Emocion, was written specifically for Lenny, the journeyman leader of the reed sections in both O'Farrill's and Machito's orchestras.[16] Lenny died of a heart attack seven months later, on 26 September 1995, at Summers Point, Egg Harbor Township, New Jersey, a month shy of his 72nd birthday.[1] Lenny is buried along with his mother and father at Mount Judah Cemetery, Ridgewood, New York.[17] His sister, Adelaide, wife, Lynn, and two sons, Larry and Lee, survive him.

[edit] Jazz lifestyle

A look at the booking dates of The New Glen Miller Orchestra in the two months following Lenny's November 5th wedding is representative of the lifestyle of a big band musician. On the day after his marriage, while Lenny and Lynn celebrated a weekend honeymoon, the band played The Tuxedo Ballroom in New York City. With Lenny and Lynn following the tour bus in their new convertible, the band headed to the Midwest for two weeks of engagements, followed by two dates in Louisiana and Texas. After a brief break for Hanukkah/Christmas, they broadcast from the Aragon Ballroom in Chicago on New Year's Eve, and a few weeks later, on 19 January 1961, performed at one of President John F. Kennedy's five inaugural balls in Washington, DC.[18]

Despite the "different-hotel-every-night" lifestyle of a jazz musician, Lenny managed not to be seduced by the drugs and alcohol that were rampant during the jazz era of the 1930s, 40s, and 50s, and which ended the careers and/or lives of many jazz musicians. Lenny credited Roy Eldridge, a mentor from his initial years with Gene Krupa's band, for his being able to shun narcotics. When Lenny was just 19, Roy forced him to watch a band member inject heroin, and stay to watch its affects, with a stern warning not to get involved with drugs.[8]

[edit] Jazz legacy

Lenny Hambro was active as a performing and recording jazz musician for over 50 years. Although of Dutch Jewish extraction, Lenny was as comfortable with an Afro-Cuban jazz orchestra as he was with a Swing era dance band. He was steadily in demand as a stage and session musician during the 1950's New York-based Mambo dance craze. A review of the musicians on Machito's 1958 album for Tico, "Mi Amigo, Machito", reveals a host of Latinos - José Mangual Sr., Uba Nieto, Johnny "La Vaca" Rodríguez Sr., Mario Bauza, José "Pin" Madera, Ray Santos - and Lenny Hambro.[19] A Metronome article from 1955 referred to Lenny as the "Latin from Manhattan",[20] and Lenny traveled to Cuba during this period to perfect his art.[21] Yet, he spent eight subsequent years playing the disciplined, sophisticated swing of The New Glenn Miller Orchestra.

Lenny worked over 80 recording sessions[22] and appears as either a leader or sideman on more than 85 records and compact discs. Due to a resurgence of interest in period Swing, Bebop, and Latin jazz, recordings of Lenny's efforts as a sideman continue to be promulgated, with over 30 retrospective albums featuring his efforts released since his death. Additionally, both Lenny Hambro Quintet albums were re-released as compact discs in 2002 (Collectables).

As a composer, Lenny is best known for "The Lonely One", written with Roberta Heller, which Nat King Cole recorded for Capitol in 1956. It has been covered over the years by a variety of artists, including Sil Austin, Kitty Kallen, Kelly Friesen, Lisa Ekdahl, Mark Doyle, and the Robin Nolan Trio. On the Latin side, Lenny wrote "Mamboscope" for Machito, an instrumental that has been widely licensed for Afro-Cuban and Latin jazz compilation albums.

[edit] Musical preferences

There is little doubt that Lenny was influenced by Charlie Parker, and he was once described as mixing the styles of Benny Carter and Johnny Hodges.[23] (Lenny was Duke Ellington's first choice to sit in with his band as saxophone lead, whenever Johnny Hodges was absent.) As a jazz aficionado and "insider", Lenny was fond of the musical stylings of Charlie Parker, Johnny Hodges, and Benny Goodman. His favorite arrangers included Neal Hefti (for Woody Herman, Count Basie, Alvino Rey, Georgie Auld, and Neal Hefti), Johnny Mandel (for Alvino Rey), and Chico O'Farrill (for Machito and Chico O'Farrill).

Although Lenny played a Selmer Alto saxophone on occasion, his favorite instrument was a Martin "Magna" alto sax. He used an Arnold Brilhart "Ebolin" Streamline Model 4* mouthpiece with a Vic Olivieri #4 reed. Lenny liked the "Magna" model alto sax for its brilliant sound, and believed the "Magna" - hard reed combination was less likely to play out of tune. During the fifties, Lenny was often photographed with a Brilhart "Tonalin" ivory-colored Lucite mouthpiece. On clarinet, he also played a harder reed - a Vandoren #4. Lenny played a Martin "The Martin" tenor saxophone.[24]

[edit] Discography as leader

  • Ham Nose c/w Try A Little Tenderness (1953; Savoy) Lenny Hambro
  • Mambo Barbarita c/w Feeding The Chicken (1954; Savoy) Lenny Hambro / Eddie Bert
  • Lennie Hambro (1954; Savoy) Lenny Hambro
  • Mambo Hambro (1954; Savoy) Lenny Hambro
  • Message From Hambro (1955; Epic) Lenny Hambro Quintet
  • The Nature of Things (1956; Epic) Lenny Hambro Quintet

[edit] Album Discography as sideman

(On Alto Saxophone unless otherwise noted.)

  • Lionel Hampton and His Orchestra – 1948 / Gene Krupa and His Orchestra - 1949 (1949; Forlane) Lionel Hampton / Gene Krupa and their orchestras
  • Flamingo c/w Carioca (1951; Mercury / Clef) Chico O'Farrill
  • Music from South America (1951; Verve Records) Chico O'Farrill
  • Afro-Cuban Jazz (1951; Clef / Verve) Machito / Chico O’Farrill / Dizzy Gillespie
  • Afro-Cuban (1951; Clef / Verve) Chico O’Farrill
  • Soul Source (1951; Verve) Chico O’Farrill / Machito
  • The Second Afro-Cuban Jazz Suite (1951; Norgran) Chico O’Farrill
  • Bucabu c/w Sonoro (1951; Mercury / Clef) Flip Phillips / Machito
  • JATP Mambo c/w Cuban Blues (1951; Clef) Chico O'Farrill
  • Peanut Vendor c/w Malaguena (1951; Clef) Chico O'Farrill
  • Taboo c/w The Disappearance (1951; Clef) Chico O'Farrill
  • Castaglia c/w Havana Special (1951; Norgran) Chico O'Farrill
  • Chico O’Farrill (1951; Norgran) Chico O'Farrill
  • Our Best (1951; Clef) Various Artists
  • Chico O'Farrill Jazz (1951; Clef) Chico O'Farrill
  • Jazz North and South of the Border (1952; Clef / Verve) Chico O'Farrill
  • It Ain't Necessarily So c/w Guess What? (1952; Mercury / Clef) Chico O'Farrill
  • Gene Krupa (1952; Clef) Gene Krupa (not released)
  • Gene Krupa Plays the Classics (1952; Verve) Gene Krupa (not released)
  • Tremendo Cumban (1953; Seeco) Machito and His Afro-Cubans
  • An Evening with Mary Ann McCall and Charlie Ventura (1954; Norgran) Charlie Ventura
  • Another Evening with Charlie Ventura and Mary Ann McCall (1954; Norgran) Charlie Ventura (Alto Sax, Baritone Sax)
  • Various Artists - Tenor Saxes (1954; Norgran) Various Artists (Tenor Sax)
  • Almost Like Being In Love (1954; Norgran) Charlie Shavers (Tenor Sax)
  • Afro-Cuban Jazz (1954; Verve) Machito / Chico O'Farrill / Dizzy Gillespie
  • Tony Bennett (1955; Columbia) Tony Bennett
  • All Star Pops (1955; Columbia) Various Artists
  • Whatever Lola Wants c/w Heart (1957; Philips - UK) Tony Bennett
  • The New Glenn Miller Orchestra in Hi-Fi (1957; RCA Victor) The New Glenn Miller Orchestra Directed by Ray McKinley
  • Something Old, New, Borrowed and Blue (1958; RCA Victor) The New Glen Miller Orchestra Directed by Ray McKinley
  • Mi Amigo, Machito (1958; Tico) Machito and His Afro-Cubans
  • The Miller Sound (1958; RCA Victor) The New Glenn Miller Orchestra Directed by Ray McKinley (Alto Sax, Clarinet)
  • On Tour With The New Glen Miller Orchestra (1959; RCA Victor) The New Glen Miller Orchestra Directed by Ray McKinley
  • Dance anyone? (1960; RCA Victor) The New Glenn Miller Orchestra Directed by Ray McKinley (Alto Sax, Clarinet)
  • The Authentic Sound of The New Glenn Miller Orchestra - Today (1961; RCA Victor) The New Glen Miller Orchestra Directed by Ray McKinley
  • Glenn Miller Time (1961; RCA Victor) The New Glenn Miller Orchestra Directed by Ray McKinley
  • Gene Krupa: Drummin' Man (1963; Columbia) Gene Krupa and various artists
  • Inolvidables (1967; Verve) Miguelito Valdes
  • Back to the Miller Sound (1968; Magic - FR) The New Glenn Miller Orchestra Directed by Ray McKinley Featuring the Lennie Hambro Quartet
  • Chico O’Farrill - Married Well (1968; Verve) The Chico O'Farrill Orchestra
  • A Breath of Fresh Air (1968; Audiophile) Marlene Ver Planck (Alto Sax, Clarinet)
  • This Happy Feeling (1969; Mounted Records) Marlene Ver Planck (Alto Sax, Clarinet)
  • The Fisher Fidelity Standard (1972; Fisher) Various Artists (Quadraphonic demo disc)
  • Think It Over (1978; Private Stock) Cissy Houston Featuring Whitney Houston
  • As The Time Flies (1978; RCA) Frank Weber
  • Conception: The Gift of Love (1979; Columbia) Bobby Hutcherson
  • A New York Singer (1980; Audiophile) Marlene Ver Planck (Alto Sax, Clarinet)
  • Uptown (1990; Columbia) Roy Eldridge with The Gene Krupa Orchestra Featuring Anita O’Day
  • Live at Carnegie Hall & Montreaux, Switzerland (1990; Columbia) Teresa Brewer (Alto Sax, Clarinet)
  • Tremendo Cumban 1949-52 (1991; Tumbao - SP) Machito and His Afro-Cubans
  • One of a Kind Love Affair – The Anthology (1991; Atlantic) The Spinners (Tenor Sax)
  • Best of the Mambo, Vol. 1 (1992; BMG International) Various Artists
  • The Very Best of Spinners (1993; Rhino) The Spinners (Tenor Sax)
  • Mambo Gee Gee 1950-1951 (1995; Tumbao - SP) Tito Rodriquez and His Orchestra
  • Pure Emotion (1995; Milestone) Chico O'Farrill and His Afro-Cuban Jazz Orchestra (Alto Sax, Clarinet, Flute)
  • Ritmo Pa' Gozar (1996; Caney - SP) Machito and His Afro-Cubans
  • Cuban Blues - The Chico O'Farrill Sessions (1996; Verve) Chico O'Farrill (Alto Sax, Clarinet)
  • Let Me Off Uptown (1996; Drive Archives) Gene Krupa and His Orchestra Featuring Roy Eldridge, Don Fagerquist, Dolores Hawkins
  • The Swing Era - An Introduction to Gene Krupa - 1927-1947 (1998; Best of Jazz) Gene Krupa
  • The Gene Krupa Story (1999; Proper Box - UK) Gene Krupa
  • Let Me Off Uptown (1999; Columbia) Anita O’Day with Gene Krupa
  • Pandora's Box: 1946-‘47 (2000; Hep Records - UK) Billy Butterfield and His Orchestra
  • Cinemaphonic – Electro Soul (2000; Emperor Norton) Various Artists
  • Saoco! Masters of Afro-Cuban Jazz (2001; Rhino) Various Artists
  • Mambo Mucho Mambo: The Complete Columbia Masters (2002; Sony) Machito and His Afro-Cuban Orchestra
  • Ritmo Caliente (2002; Proper Box - UK) Machito and His Afro-Cubans (Alto Sax, Tenor Sax)
  • The Essentials (2002; WSM) The Spinners (Tenor Sax)
  • The Chronological Gene Krupa & His Big Band - 1947-1949 (2003; Melodie Jazz Classic) Gene Krupa and His Orchestra
  • Chrome Collection (2003; Atlantic) The Spinners (Tenor Sax)
  • Cigar Lounge, Vol. 3 (2003; Ayia Napa - GE) Various Artists (Alto Sax, Clarinet, Flute)
  • Cuba 1923-1995 (2003; Fremeaux & Associates - FR) Various Artists
  • Arranger's Touch (2004; Proper Box - UK) Various Artists
  • The Arranger's Touch: Young Blood (2004; Proper Box - UK) Various Artists
  • The Miller Sound On Tour (2004; MSI Music) The New Glenn Miller Orchestra (Alto Sax, Clarinet)
  • A Proper Introduction to Gene Krupa - Up an' Atom (2004; Proper Box - UK) Gene Krupa
  • The Best of the Mambo, Volume 1 (2004; RCA International) Various Artists
  • Ritmo Afro-Cubano (2004; Fantasy) Various Artists
  • Gene Krupa Vol. 2 Let Me Off Uptown (2004; Naxos - CA) Gene Krupa Featuring Anita O’Day
  • Drummin’ Man 1927-1949 (2005; Jazz Legends) Gene Krupa
  • What Is There To Say? (2005; Jasmine) Billy Butterfield and His Orchestra
  • Chico O’Farrill - The Complete Norman Granz Recordings (2005; Lonehill Jazz) Chico O’Farrill
  • Starburst (2006; Sounds of Yesteryear) Gene Krupa and His Big Band
  • Manteca – The Roots of Afro-Cuban Jazz! (2007; Giant Steps) Various Artists
  • The Platinum Collection (2007; WEA International - UK) The Detroit Spinners (Tenor Sax)
  • Coffee Time Jazz (2007; Verve) Various Artists
  • Relax and Mambo (2007; Living Era) Machito and His Afro-Cubans

[edit] References

  1. ^ a b c d Arkin, Herb. Home Page, Herb and Carol Arkin. 20 Apr. 2005. Lenny Hambro Genealogy. 20 Nov. 2007
  2. ^ a b c d e Segal, Adelaide (Hambro). Phone interview. 29 Nov. 2007
  3. ^ a b Martin, Justin (2000). The Man Behind Money. Cambridge, Mass., Perseus Publishing. ISBN 0738205249.
  4. ^ Korall, Burt (2002). Drummin' Men: The Heartbeat of Jazz: The Swing Years. New York City, New York., Oxford University Press. ISBN 0195157621.
  5. ^ Klauber, Bruce H. (1990). World of Gene Krupa: That Legendary Drummin’ Man. Ventura, California., Pathfinder Publishing. ISBN 093479328X.
  6. ^ Craig's Big Bands & Big Names.Com Interview with Hal Turner 2002.
  7. ^ a b Feather, Leonard & Gitler, Ira (1999). The Biographical Encyclopedia of Jazz. New York City, New York., Oxford University Press. ISBN 0195074181.
  8. ^ a b c d e Michels-Hambro, Lynn. Phone interview. 23 Mar. 2008
  9. ^ Feather, Leonard. Liner notes. The Nature of Things (1956; Epic Records) Lenny Hambro Quintet.
  10. ^ Pirtle, Scooter. Don Elliot: He Was a Gentleman, too. The Middle Horn Leader. 1994
  11. ^ CLIO Awards. CLIO Awards Archive 10 Mar. 2008
  12. ^ Steely, Kathryn. Breaking Boundaries: An Interview with Emanuel Vardi. Journal of the American Viola Society 19.1. Spring 2003
  13. ^ R. R. Bowker LLC (1978). Audiovisual Market Place 1978: A Multimedia Guide. New York City, New York. ISBN 0835210405.
  14. ^ Sardelli, Nelson. E-mail interview. 28 Nov. 2007
  15. ^ Chadbourne, Eugene. Lenny Hambro - Biography. All Music Guide. 24 Nov. 2007
  16. ^ Giddins, Gary (1998). Visions of Jazz: The First Century. New York City, New York., Oxford University Press. ISBN 0195076753.
  17. ^ Mt. Judah Cemetery records, Ridgewood, New York.
  18. ^ Popa, Christopher. Big Band Library.Com Feb. 2008
  19. ^ Mario Grillo in conversation with John Child. Descarga Journal: The Machito Orchestra - Yesterday, Today And Tomorrow. 8 May. 2007
  20. ^ Coss, Bill. Lenny Hambro: Latin from Manhattan. Metronome lxxi/5. 1955
  21. ^ Acosta, Leonardo. CubaNow.Net Havana in the 1950's. 10 Jul. 2007
  22. ^ Lord, Tom. The JAZZ Discography. 4 Mar. 2008
  23. ^ No byline. Jazz: Bobby Rosengarden Leads his All-Stars at Rainbow Room. The New York Times 16 Mar. 1981
  24. ^ Hambro, Lenny. Letter to Colin Moore. 17 Mar. 1964

[edit] External links

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