Czechoslovakian Salsa Song Louisville Soundcheck & Jon Hammond Journal 07/30/2012

*WATCH THE VIDEO HERE: Czechoslovakian Salsa Song Louisville Soundcheck

http://archive.org/details/JonHammondCzechoslovakianSalsaSongLouisvilleSoundcheck/

Youtube http://www.youtube.com/watch?v=qONB1DmAVBc

Jon Hammond Band soundchecking in Louisville Kentucky, original composition “Czechoslovakian Salsa Song” with Alex Budman tenor sax, Ronnie Smith Jr. drums, John Bishop guitar, Jon Hammond organ
http://www.jonhammondband.com
Category:
Music
Tags:
czechoslovakian, salsa song, jon hammond band, organ jazz, louisville kentucky

Blip TV http://blip.tv/jon-hammond/czechoslovakian-salsa-song-louisville-soundcheck-6280468

Vimeo http://vimeo.com/46595437

Czechoslovakian Salsa Song Louisville Soundcheck from Jon Hammond on Vimeo.

Pictures from Evening Health Walk

http://www.facebook.com/media/set/?set=a.10150992523257102.403672.558692101

Kunio Miyauchi Why did this photo shoot Jon? It is a picture that a healing!

Jon Hammond Good morning Kunio! This is one of our favorite places to walk. Like my friend Narada Michael Walden says, walk to stay alive! Have a wonderful day & week, very best wishes from California, Jon

San Francisco California — Jon Hammond Band Lunchtime Gig in front of San Francisco City Hall – shown James Preston drums Jon Hammond at 1965 B3 Hammond organ
Youtube http://www.youtube.com/watch?v=V98fwDJSHWw
2,062
Presented by City Hall San Francisco & Local 6: JON HAMMOND Band on front lawn of the beautiful SF City Hall during lunch hour free concert. JON HAMMOND at the B3 Organ along with Harvey Wainapel tenor, Steve Campos flugel horn, Barry Finnerty gtr. & James Preston drms. of Sons of Champlin band playing JH Band original “Nu Funk” (Hip Hop Chitlins). *Note: Jon’s organ bench fell out of the truck on Polk St. (was recovered) One of Jon’s famous sayings: “It’s easier to find an Organ with no Bench than a Bench without an Organ” ! http://www.jonhammondband.com/ — with James Preston at San Francisco City Hall

Cammy Blackstone Hey! That’s my office! When were you there?

Jon Hammond Sorry missed you Cammy! That was when Willie Brown was the Mayor and the Honorable Terence Hallinan was our District Attorney. Hope we can do it again sometime, and see you next time – cool venue! Jon

Musikmesse Frankfurt Germany — In memory of Wilhelm-Peter “Charly” Hosenseidl – far right, Press Conference with Charly Hosenseidl – Jon Hammond also Sabine Nold, Cordelia von Gymnich and Dr. Peters – JH
*Obit: Charly Hosenseidl dies aged 62
http://www.mi-pro.co.uk/news/read/charly-hosenseidl-dies-aged-62/012291
While the storms couldn’t keep the crowds away, Musikmesse got off to sad start today as it was revealed that Wilhelm-Peter “Charly” Hosenseidl sadly passed away earlier this month aged 62.

Hosenseidl spent his final years as an entertainer, having had trouble settlng into a life of inactivity after retiring from his position as brand manager for Messe Frankfurt – the company with which he enjoyed a 24-year career.

In 1989, Hosenseidl was able to combine his love of music with his expertise in the trade fair sector in becoming director of Musikmesse. It was during his time at the helm that Prolight + Sound was founded in 1995.

By 2001, he was busy as brand development manager and introduced Prolight + Sound Saint Petersburg. Later, in 2002 he founded Music China, and then Prolight + Sound Shanghai in 2003. — at Messe Frankfurt

San Francisco California – Local 6 Musicians Union — My friend Earl Watkins the late great jazz drummer being sworn in yet again on Board of Directors of Local 6 – secret swearing in ceremony in our rehearsal hall – Jon Hammond *Member Local 6 / Local 802
**Obit: http://www.afm6.org/archives/the-end-of-an-era-earl-watkins/
Saturday night, June 23, 2007. Earl Watkins decided to go out. He went out…See More — at Musicians Union Local 6

San Francisco California — Jon Hammond at John Lee Hooker’s Boom Boom Room with the boys – Tony the Door Man and Oscar Myers just after John Lee passed http://en.wikipedia.org/wiki/John_Lee_Hooker
John Lee Hooker (August 22, 1917 – June 21, 2001) was a highly influential American blues singer-songwriter and guitarist.
Hooker began his life as the son of a sharecropper, William Hooker, and rose to prominence performing his own unique style of what was originally a unique brand of country blues. He developed a ‘talking blues’ style that was his trademark. Though similar to the early Delta blues, his music was metrically free. John Lee Hooker could be said to embody his own unique genre of the blues, often incorporating the boogie-woogie piano style and a driving rhythm into his blues guitar playing and singing. His best known songs include “Boogie Chillen'” (1948), “I’m in the Mood” (1951) and “Boom Boom” (1962), the first two reaching R&B #1 in the Billboard charts.
There is some debate as to the year of Hooker’s birth[3][4] in Coahoma County, Mississippi, the youngest of the eleven children of William Hooker (1871–1923),[6] a sharecropper and Baptist preacher, and Minnie Ramsey (born 1875, date of death unknown); according to his official website, he was born on August 22, 1917.
Hooker and his siblings were home-schooled. They were permitted to listen only to religious songs, with his earliest exposure being the spirituals sung in church. In 1921, his parents separated. The next year, his mother married William Moore, a blues singer who provided Hooker with his first introduction to the guitar (and whom John would later credit for his distinctive playing style).[8] John’s stepfather was his first outstanding blues influence. William Moore was a local blues guitarist who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time.[5] Around 1923 his natural father died. At the age of 15, John Lee Hooker ran away from home, reportedly never seeing his mother or stepfather again.[9]
Throughout the 1930s, Hooker lived in Memphis, Tennessee where he worked on Beale Street at The New Daisy Theatre and occasionally performed at house parties.[5] He worked in factories in various cities during World War II, drifting until he found himself in Detroit in 1948 working at Ford Motor Company. He felt right at home near the blues venues and saloons on Hastings Street, the heart of black entertainment on Detroit’s east side. In a city noted for its pianists, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly and, seeking a louder instrument than his crude acoustic guitar, he bought his first electric guitar.

Hooker playing Massey Hall, Toronto Photo: Jean-Luc Ourlin
Hooker’s recording career began in 1948 when his agent placed a demo, made by Hooker, with the Bihari brothers, owners of the Modern Records label. The company initially released an up-tempo number, “Boogie Chillen'”, which became Hooker’s first hit single.[5] Though they were not songwriters, the Biharis often purchased or claimed co-authorship of songs that appeared on their labels, thus securing songwriting royalties for themselves, in addition to their own streams of income.
Sometimes these songs were older tunes which Hooker renamed, as with B.B. King’s “Rock Me Baby”, anonymous jams “B.B.’s Boogie” or songs by employees (bandleader Vince Weaver). The Biharis used a number of pseudonyms for songwriting credits: Jules was credited as Jules Taub; Joe as Joe Josea; and Sam as Sam Ling. One song by John Lee Hooker, “Down Child” is solely credited to “Taub”, with Hooker receiving no credit for the song whatsoever. Another, “Turn Over a New Leaf” is credited to Hooker and “Ling”.
In 1949, Hooker was recorded whilst performing in an informal setting for Detroit jazz enthusiasts, his repertoire included down-home and spiritual tunes which he would not record commercially.[11] The recorded set has been made available in the album “Jack O’Diamonds”.
Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting the occasionally traditional blues lyric (such as “if I was chief of police, I would run her right out of town”), he freely invented many of his songs from scratch. Recording studios in the 1950s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs or variations on his songs for each studio. Because of his recording contract, he would record these songs under obvious pseudonyms such as John Lee Booker, notably for Chess Records and Chance Records in 1951/52,[13] as Johnny Lee for De Luxe Records in 1953/54 as John Lee, and even John Lee Cooker,[14] or as Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, or The Boogie Man.[15]
His early solo songs were recorded under Bernie Besman. John Lee Hooker rarely played on a standard beat, changing tempo to fit the needs of the song. This often made it difficult to use backing musicians who were not accustomed to Hooker’s musical vagaries. As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden pallet.[16] For much of this time period he recorded and toured with Eddie Kirkland, who was still performing as of 2008. Later sessions for the VeeJay label in Chicago used studio musicians on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies very well. His biggest UK hit, “Boom Boom”, (originally released on VeeJay) was recorded with a horn section.
Later life

Toronto, August 20, 1978
He appeared and sang in the 1980 movie The Blues Brothers. Due to Hooker’s improvisational style, his performance was filmed and sound-recorded live at the scene at Chicago’s Maxwell Street Market, in contrast to the usual “playback” technique used in most film musicals.[17] Hooker was also a direct influence in the look of John Belushi’s character Jake Blues.
In 1989, he joined with a number of musicians, including Carlos Santana and Bonnie Raitt to record The Healer, for which he and Santana won a Grammy Award. Hooker recorded several songs with Van Morrison, including “Never Get Out of These Blues Alive”, “The Healing Game” and “I Cover the Waterfront”. He also appeared on stage with Van Morrison several times, some of which was released on the live album A Night in San Francisco. The same year he appeared as the title character on Pete Townshend’s The Iron Man: A Musical.
Hooker recorded over 100 albums. He lived the last years of his life in Long Beach, California.[18] In 1997, he opened a nightclub in San Francisco’s Fillmore District called “John Lee Hooker’s Boom Boom Room”, after one of his hits.[19]
He fell ill just before a tour of Europe in 2001 and died on June 21 at the age of 83, two months before his 84th birthday. His last live in the studio recording on guitar and vocal was of a song he wrote with Pete Sears called “Elizebeth”, featuring members of his “Coast to Coast Blues Band” with Sears on piano. It was recorded on January 14, 1998 at Bayview Studios in Richmond, California. The last song Hooker recorded before his death was “Ali D’Oro”, a collaboration with the Italian soul singer Zucchero, in which Hooker sang the chorus “I lay down with an angel”. He was survived by eight children, nineteen grandchildren, eighteen great-grandchildren, a nephew, and fiance Sidora Dazi. One of his children is the musician John Lee Hooker, Jr.
Among his many awards, Hooker has a star on the Hollywood Walk of Fame and in 1991 he was inducted into the Rock and Roll Hall of Fame. Two of his songs, “Boogie Chillen” and “Boom Boom” were included in the list of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. “Boogie Chillen” was included as one of the Songs of the Century. He was also inducted in 1980 into the Blues Hall of Fame. In 2000, Hooker was awarded the Grammy Lifetime Achievement Award.
[edit]Music

Hooker’s guitar playing is closely aligned with piano boogie-woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are “Boogie Chillen”, about being 17 and wanting to go out to dance at the Boogie clubs, “Baby, Please Don’t Go”, a blues standard first recorded by Big Joe Williams, and “Tupelo Blues”,[20] a stunningly sad song about the flooding of Tupelo, Mississippi in April 1936.
He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing.
His vocal phrasing was less closely tied to specific bars than most blues singers. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound.
Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or “front porch blues”. His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues.[21]
His songs have been covered by Buddy Guy, Cream, AC/DC, ZZ Top, Led Zeppelin, Tom Jones, Jimi Hendrix, Eric Clapton, Nick Cave & The Bad Seeds, Van Morrison, The Yardbirds, The Animals, The Doors, The White Stripes, MC5, George Thorogood, R. L. Burnside, The J. Geils Band, Big Head Todd and the Monsters, The Gories, Cat Power, and The Jon Spencer Blues Explosion. — with John Lee Hooker

Hamburg Germany — the great tenor saxophonist Dewey Redman – Jon Hammond *whenever I would see Dewey he would tell me he was dying. Unfortunately/sadly this time he was right, soon after he was dead http://en.wikipedia.org/wiki/Dewey_Redman
Dewey Redman (born Walter Dewey Redman in Fort Worth, Texas, May 17, 1931; d. Brooklyn, New York September 2, 2006
Redman attended I.M. Terrell High School, and played in the school band with Ornette Coleman, Prince Lasha and Charles Moffett. After high school, Redman briefly enrolled in the electrical engineering program at the Tuskegee Institute in Alabama, but became disillusioned with the program and returned home to Texas. In 1953, Redman earned a Bachelors Degree in Industrial Arts from Prairie View Agricultural and Mechanical University. While at Prairie View, he switched from clarinet to alto saxophone, then, eventually, to tenor. Following his bachelor’s degree, Redman served two-years in the US Army.
Upon his discharge from the Army, Redman began working on a master’s degree in education at the University of North Texas. While working on his degree, he taught music to fifth graders in Bastrop, Texas, and worked as a freelance saxophonist on nights and weekends around Austin, Texas. In 1957, Redman earned a Masters Degree in Education with a minor in Industrial Arts from the University of North Texas.[4] While at North Texas, he did not enroll in any music classes.
Towards the end of 1959, Redman moved to San Francisco, a musical choice resulting in an early collaboration with Donald Rafael Garrett.
Dewey Redman at Moers Festival, June 2006, Germany
Redman was best known for his collaborations with saxophonist Ornette Coleman, with whom he performed in his Fort Worth high school marching band. He later performed with Coleman from 1968 to 1972, appearing on the recording New York Is Now, among others. He also played in pianist Keith Jarrett’s American Quartet (1971–1976), and was a member of the collective Old And New Dreams. The American Quartet’s The Survivor’s Suite was voted Jazz Album of the Year by Melody Maker in 1978.[8]
He also performed and recorded as an accompanying musician with jazz musicians who performed in varying styles within the post-1950s jazz idiom, including bassist and fellow Coleman-alum Charlie Haden and guitarist Pat Metheny.
With a dozen recordings under his own name Redman established himself as one of the more prolific tenor players of his generation. Though generally associated with free jazz (with an unusual, distinctive technique of sometimes humming into his saxophone as he played), Redman’s melodic tenor playing was often reminiscent of the blues and post-bop mainstream. Redman’s live shows were as likely to feature standards and ballads as the more atonal improvisations for which he was known.
Redman was the subject of an award-winning documentary film Dewey Time (dir. Daniel Berman, 2001).
On February 19 and 21, 2004, Redman played tenor saxophone as a special guest with Jazz at Lincoln Center, in a concert entitled “The Music of Ornette Coleman.”audio link
Redman died of liver failure in Brooklyn, New York, on September 2, 2006. He is survived by his wife, Lidija Pedevska-Redman, as well as sons Tarik and Joshua, who is also a jazz saxophonist. The father and son recorded two albums together. — with Dewey Redman at Fabrik Hamburg

Tenor Saxophonist Tom Scott and Jon Hammond..both with hair!

Jon Hammond
Works at Musikmesse

Timo Bergström
Gymnasiet svenska normallyceum

Jon Paris
New York, New York

Jimmy Lyon
Works at Having As Much Fun As Possible, Inc.

Ulrich Vormehr

Narada Michael Walden
President at Tarpan Studios

Hal Oppenheim

Kenji Nakai
Los Angeles, California

Corey Prentice
Cabo San Lucas, Baja California Sur

Dan Saraceno

Alan Skwarla
Duquesne University School of Law

Glenn Caz Cazenave
Owner-Operator at PC HuB

Adele Guerrero
UCLA

Donald Parks
The Ohio State University

Alan Hickman

Carl Green
Sonoma State University

David Schwartz

Helena Johnson

Andy Daddario
Works at Warner Bros. Entertainment

Kiera Les
Model, Runway & Print at Ford Models

Brian Wildman
North Olmsted, Ohio

Sommer Helmut
Bassman at Alive&kicking simple minds tribute band

Александр Шустер
Netanya, Israel

Robert Panerio
University Place, Washington

Pamela Lefko
Works at TUSD

Craig Adams tom scott.. didnt he play with the blues brothers.. i know that name

Jon Hammond Hi Craig, also Joni Mitchell, John Lennon, tons of TV and movie work http://en.wikipedia.org/wiki/Tom_Scott_(musician) – Jon

Tom Scott (musician) – Wikipedia, the free encyclopedia
en.wikipedia.org
Tom Scott (born May 19, 1948) is an American saxophonist, composer, arranger, conductor and bandleader of the west coast jazz/jazz fusion ensemble The L.A. Express.

Anaheim CA – Winter NAMM Show — Jon Hammond at the old Anaheim Convention Hall building, the whole NAMM used to fit in there. No Baby Strollers and No Personal Instruments…unless you’re me! Jon with XK-1 Hammond organ for Midnight Showcase with Bernard Purdie – Youtube http://www.youtube.com/watch?v=afTagFhYOCo
Hilton Hotel Anaheim
Pocket Funk by Jon Hammond © JH INTL ASCAP
Bernard Purdie drums
Joe Berger guitar
Jon Hammond organ
Shea Marshall sax
Winston Byrd trumpet
For Flash Back 1989 Mikell’s Pocket Funk Video:
http://video.google.com/videoplay?docid=-2831189635144040422&hl=en#
Pocket Funk LIVE JON HAMMOND Band w/BERNARD PURDIE at Mikell’s NYC — at Anaheim Convention Center

Oslo Norway – City Hall — Dig this beautiful room inside Oslo City Hall folks! – Jon Hammond interview with Lord Mayor Per Ditlev-Simenson http://www.youtube.com/watch?v=3SEJhqXVqiU
A special visit with Lord Mayor of Oslo PER DITLEV-SIMONSEN in Oslo Norway on Jon Hammond’s HammondCast Show for CBS’ KYCY/KYOU 1550 AM — at Oslo City Hall

Oslo Norway – City Hall — In this shot you see the famous art of Edvard Munch – I believe it is the painting that was stolen and eventually recovered – now hung in a very secure manner folks! Inside Oslo City Hall – photo by Jon Hammond and interview with Lord Mayor Per Ditlev-Simenson http://www.youtube.com/watch?v=3SEJhqXVqiU
A special visit with Lord Mayor of Oslo PER DITLEV-SIMONSEN in Oslo Norway on Jon Hammond’s HammondCast Show for CBS’ KYCY/KYOU 1550 AM — with Edvard Munch at Oslo City Hall

1966 Junior Jazz Champion Jon Hammond at age 13 – Giulietti Classic 127 Accordion was personally delivered to Jon by the greatest John Molinari – R.I.P. John Molinari http://www.accordia-records.com/molinari_biography.htm
John Molinari was one of the greatest masters of the accordion. His natural talent, love of the instrument and years of dedicated study led to an extremely successful musical career. He was an artist who possessed a brilliant and masterful technique with a remarkable solo repertoire that ranged from popular to folk to classical.

John Molinari was born in San Francisco (1912), the only son of Italian immigrants. At the age of four his parents gave him a little two bass semitone accordion. By the time Molinari was twelve he was already performing at dances and weddings. As a teenager he appeared as a featured act in Vaudeville theaters throughout California. Later he studied piano and theory with Adolph Fink, the well-known student of Antonín Dvořák.

During World War II John toured the South Pacific with USO Camp Shows entertaining the Allied Troops. After the war his engagements extended to the concert halls and supper clubs throughout the United States and Canada. John appeared with famous opera soprano, Jamilla Novotna, the Andrew Sisters, Vaudeville stars Veloz and Yolanda, and on national radio with Fred Waring.

In 1952, on the strength of his recordings, John toured Hawaii and Iceland. It was also in 1952 that he turned down a major contract with MCA because it would have meant extensive time away from his young family. Instead, he worked for MCA in Northern California and limited his touring to featured supper club appearances, including the Waldorf Astoria in New York and the Fairmont Hotel in San Francisco.

In 1967, 1969 and again in 1972, through the efforts of his friend and colleage, Veikko Ahvenainen, John toured Europe, Scandinavia, the Baltic States and the Soviet Union. John remained, for the most part, in the San Francisco area where he performed and taught until his death in 1989.

Friends and admirers will long remember John Molinari for his marvelous technique and interpretation that have placed him among the leading artists of the accordion. John’s recordings date back to 1949. He played his own arrangements exclusively. We hope you will enjoy listening to his unique style. — in Sacramento, CA

New York NY 596 10th Ave Mr. Biggs — Jon Hammond Band gig just after I returned from living in Paris France for one year with Ray Grappone drums, Todd Anderson tenor sax and Barry Finnerty guitar – this was the gig that Barry went home on the first break and never came back. He said he ‘couldn’t find his keys’ – Jon Hammond at the organ http://www.jonhammondband.com/ — with Todd Anderson at Mr Biggs Bar and Grill

New York NY 30 Rockefeller Plaza NBC TV Studios — Jon Hammond with Jon’s friend long-time NBC Stage Manager Jeff Samaha at Tom Brokaw’s http://en.wikipedia.org/wiki/Tom_Brokaw NBC Evening News Anchor Desk. Jeff was Stage Manager for David Letterman Show along with Biff Henderson before David moved over to CBS – JH — at 30 Rockefeller Plaza

Zurich Switzerland — Tenor Saxophonist Christian Muenchinger on Jon Hammond Band gig in Moods Jazz Club
http://www.moods.ch/
Schiffbaustrasse 6|8005 Zürich Switzerland
http://www.jonhammondband.com/

Slightly used US Mailboxes! Jon Hammond

Jon Hammond in Hamamatsu Japan with Mr. Tanaka Director of Tourism
アメリカからのミュージシャンが浜松市観光インフォメーションセンターに寄って下さいました。
その方は、Digital B3 Organ Specialisit のMr. Jon Hammond　さんです。
浜松では鈴木楽器製作所さんや浜松市楽器博物館を訪問されたそうです。
浜松がとても気に入って、滞在を楽しんでいらっしゃいました。
http://hamamatsutic.hamazo.tv/e2334330.html

Jon Hammond gets a new pair of super comfortable summer Rieker shoes from main man Rudolf Molzberger at Schuh-Krolla in Frankfurt, rockin’! — at Münchener Str. 16 60329 Frankfurt

*WATCH THE VIDEO HERE: Frank Marocco Plays There Is No Greater Love video by Jon Hammond

http://archive.org/details/JonHammondFrankMaroccoPlaysThereIsNoGreaterLove/

Youtube http://www.youtube.com/watch?v=gNbUiqbIWm4

Astounding performance by master accordionist Frank Marocco “There Is No Greater Love” uptempo closer in Trio with drummer Harold Jones and bassist Kash Killion – Peter DiBono announcing at San Francisco Accordion Club approximately 10 years ago – video by Jon Hammond In Memory of Frank Marocco with permission of Frank’s daughter Cindy Marocco Thoburn and Frank’s manager Elke Ahrenholz. http://en.wikipedia.org/wiki/Frank_Marocco January 2, 1931 — March 3, 2012 Official Frank Marocco website http://www.frankmarocco.com courtesy of HammondCast http://www.HammondCast.com
Category:
Music
Tags:
Frank Marocco, Master Accordionist, Jazz, TV, Radio, Movies, Music, Documentary

Vimeo http://vimeo.com/46548372

Frank Marocco Plays There Is No Greater Love from Jon Hammond on Vimeo.

Blip TV http://blip.tv/jon-hammond/frank-marocco-plays-there-is-no-greater-love-6278659

http://www.facebook.com/photo.php?v=10150989668822102

*WATCH THE VIDEO HERE: Get Back In The Groove Louisville Soundcheck

http://archive.org/details/JonHammondGetBackInTheGrooveLouisvilleSoundcheck/

Blip TV http://blip.tv/jon-hammond/get-back-in-the-groove-louisville-soundcheck-6278298

Youtube http://www.youtube.com/watch?v=PgAdVaR_-K8

Get Back In The Groove by Jon Hammond – at soundcheck in Louisville Kentucky
with John Bishop guitar
Alex Budman tenor saxophone
Ronnie Smith Jr. drums
Jon Hammond organ / bass
from Jon’s album “Hammond’s Bolero” also on “Late Rent” with Jon Hammond playing guitar
http://www.jonhammondband.com
Category:
Music
Tags:
Louisville Kentucky, Soundcheck Get, Back In The Groove, Jon Hammond Band

Vimeo http://vimeo.com/46522256

Get Back In The Groove Louisville Soundcheck from Jon Hammond on Vimeo.

Louisville Kentucky, Hamamatsu Japan, Suzuki, Hammond organ, Jazz, Salsa, Czechoslovakian, Local 6, Musicians Union, Earl Watkins, Walk To Stay Alive

Frank Marocco Plays There Is No Greater Love video by Jon Hammond and Journal for 07/28/2012

*WATCH THE VIDEO HERE: Frank Marocco Plays There Is No Greater Love video by Jon Hammond

http://archive.org/details/JonHammondFrankMaroccoPlaysThereIsNoGreaterLove/

Youtube http://www.youtube.com/watch?v=gNbUiqbIWm4

Astounding performance by master accordionist Frank Marocco “There Is No Greater Love” uptempo closer in Trio with drummer Harold Jones and bassist Kash Killion – Peter DiBono announcing at San Francisco Accordion Club approximately 10 years ago – video by Jon Hammond In Memory of Frank Marocco with permission of Frank’s daughter Cindy Marocco Thoburn and Frank’s manager Elke Ahrenholz. http://en.wikipedia.org/wiki/Frank_Marocco January 2, 1931 — March 3, 2012 Official Frank Marocco website http://www.frankmarocco.com courtesy of HammondCast http://www.HammondCast.com
Category:
Music
Tags:
Frank Marocco, Master Accordionist, Jazz, TV, Radio, Movies, Music, Documentary

Vimeo http://vimeo.com/46548372

Frank Marocco Plays There Is No Greater Love from Jon Hammond on Vimeo.

Blip TV http://blip.tv/jon-hammond/frank-marocco-plays-there-is-no-greater-love-6278659

http://www.facebook.com/photo.php?v=10150989668822102

*WATCH THE VIDEO HERE: Get Back In The Groove Louisville Soundcheck

http://archive.org/details/JonHammondGetBackInTheGrooveLouisvilleSoundcheck/

Blip TV http://blip.tv/jon-hammond/get-back-in-the-groove-louisville-soundcheck-6278298

Youtube http://www.youtube.com/watch?v=PgAdVaR_-K8

Get Back In The Groove by Jon Hammond – at soundcheck in Louisville Kentucky
with John Bishop guitar
Alex Budman tenor saxophone
Ronnie Smith Jr. drums
Jon Hammond organ / bass
from Jon’s album “Hammond’s Bolero” also on “Late Rent” with Jon Hammond playing guitar
http://www.jonhammondband.com
Category:
Music
Tags:
Louisville Kentucky, Soundcheck Get, Back In The Groove, Jon Hammond Band

Vimeo http://vimeo.com/46522256

Get Back In The Groove Louisville Soundcheck from Jon Hammond on Vimeo.

http://www.facebook.com/photo.php?v=10150988267537102

Hamamatsu Japan – Suzuki Hall — I love this photograph, Suzuki World Headquarters Team, everybody is smiling I made announcement “This picture is for my Mother” *Note, my Mom loved to see it! Thank you very much all my friends in Suzuki for this very special time together!
Sincerely, Jon Hammond

*Actual Concert – special thanks for beautiful photograph Shigeyuki Ohtaka – Hamamatsu Japan – Suzuki Hall — First time I play here with the great Suzuki harmonica star Tanaka Koei – aka ‘Suzuki Harmonica Santa’ – I am playing Mr. Manji Suzuki’s personal Hammond B3mk2 Organ with the high-power Leslie model 3300W (W for=WOOD) 300 watts solid state power with tube preamp stage – very nice folks! *listen here Youtube
http://www.youtube.com/watch?v=FHjhlSwRkws
Suzuki Headquarters and factory special concert for President Founder Manji Suzuki with introduction by Master of Ceremonies Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 Hammond organ with Koei Tanaka chromatic Suzuki harmonica Part 2 of 3 parts: “Days of Wine and Roses” in Hamamatsu Japan.
*Koei: Born in Tokyo on April 22, 1971. Koei started playing the 10-hole diatonic harmonica at age 15. Until his 20’s. This young musician was playing blues and R & B around the world. He also had a keenness for learning jazz chromatic harmonica as well. Koei plays transcendental mellow delicate and soulful sounds that are unique, which has attracted the attention of many world harmonica players. He is also the official Endorser for SUZUKI HARMONICA.

In 2007, sound and sound control technology is evaluated to be adopted into the harmonica sound presets that are available in European Yamaha synthesizers.
2008, Harmonica in hand Koie set out to take his talent around the world where he made a guest appearance in concerts with our European premier harmonica players.
In 2009, America’s largest harmonica festival “Harmonica SPAH.2009” saw his perform the first Japanese solo album “sound of the sky (Notes FromThe Air)” presentation.
2010, the Asian Games was held in Singapore, Pacific Ocean Harmonica “Asia Pacific Harmonica Festival” Guest performance were staged by Koei at the closing ceremony.
In 2011, Koei performed at concerts and seminars in Malaysia and Singapore Since 2008, the “harmonica Santa” began operations In Uganda, which encourages the use of harmonicas in children. This young musician began his work in East Africa visiting many schools and orphanages where there were AIDS orphans, street children to name a few. Music Therapy activities he continued to have In 2009, by visiting Cambodia and South Africa in 2010.He was also in Sri Lanka in 2011 at the invitation of the local Gov. Authorities where he visited many schools conducting workshops — at Hamamatsu

‎*Note: Just to right of Koei’s right arm, you can see a set of the famous Suzuki Tone Chimes! I like them very much..incredible pure sound and fun to play solo or ensemble, Jon Hammond

Hamamatsu Japan – Suzuki Hall — First time I play here with the great Suzuki harmonica star Tanaka Koei – aka ‘Suzuki Harmonica Santa’ – I am playing Mr. Manji Suzuki’s personal Hammond B3mk2 Organ with the high-power Leslie model 3300W (W for=WOOD) 300 watts solid state power with tube preamp stage – very nice folks! *listen here Youtube
http://www.youtube.com/watch?v=FHjhlSwRkws
Suzuki Headquarters and factory special concert for President Founder Manji Suzuki with introduction by Master of Ceremonies Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 Hammond organ with Koei Tanaka chromatic Suzuki harmonica Part 2 of 3 parts: “Days of Wine and Roses” in Hamamatsu Japan.
*Koei: Born in Tokyo on April 22, 1971. Koei started playing the 10-hole diatonic harmonica at age 15. Until his 20’s. This young musician was playing blues and R & B around the world. He also had a keenness for learning jazz chromatic harmonica as well. Koei plays transcendental mellow delicate and soulful sounds that are unique, which has attracted the attention of many world harmonica players. He is also the official Endorser for SUZUKI HARMONICA.

Hamamatsu Japan — Jon Hammond with the hammer down on Mr. Manji Suzuki’s personal Hammond B3mk2 organ – special concert – Youtube http://www.youtube.com/watch?v=AF_j3ShpNPk
Suzuki Headquarters and factory concert special for President Founder Manji Suzuki with introduction by Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 organ Part 1 of 3 original composition “Lydia’s Tune” in Hamamatsu Japan. — in Hamamatsu-shi, Shizuoka

Flughafen München/MUC — Air Dolomiti to fly over the Italian Alps – Jon Hammond
http://www.airdolomiti.eu/
http://www.airdolomiti.it/news-press/gallery/atr.html
ATR
La flotta Air dolomiti è composta da 11 aeromobili a turboelica — at Muenchen Airport

*WATCH THE VIDEO HERE: SIX YEAR ITCH by Jon Hammond in Louisville Kentucky

http://archive.org/details/SixYearItchByJonHammond

Youtube http://www.youtube.com/watch?v=TaCYavcSZs8

Jon Hammond original composition “Six Year Itch” from Jon’s album
“Hammond’s Bolero” – here in Louisville Kentucky at soundcheck
with Ronnie Smith Jr. drums
Alex Budman tenor saxophone
John Bishop guitar
Jon Hammond organ
http://www.jonhammondband.com
JH INTL ASCAP

Jon Hammond – organ

Ronnie Smith Jr. drums

Alex Budman tenor sax

John Bishop guitar

Vimeo http://vimeo.com/46233394

SIX YEAR ITCH by Jon Hammond from Jon Hammond on Vimeo.

Jon Hammond Journal July 22, 2012 Report

San Francisco Skyline at dusk as seen from San Francisco-Oakland Bay Bridge – Jon Hammond
http://en.wikipedia.org/wiki/San_francisco_skyline

Folks, last night I went to see the Woody Allen movie “To Rome With Love” with my girlfriend. The entire theater was empty except for the 2 of us. Don’t stay away from the movie theaters folks! Also I highly recommend this film.

*WATCH THE VIDEO HERE: Frank Marocco Plays Cherokee

http://archive.org/details/JonHammondFrankMaroccoPlaysCherokee/

In Memory of Frank Marocco – enjoy this wonderful performance of the late great
accordionist in Solo and Trio approximately 10 years ago – Harold Jones – drums, Cash Killian – bass, Jon Hammond
Harold Jones – drums, Kash Killian – bass
Announcement at end by Peter DiBono
with permission of Frank’s manager – Elke Ahrenholz –
http://www.frankmarocco.com January 2, 1931 — March 3, 2012
http://www.accordionradio.com
Category:
Music
Tags:
Frank Marocco Accordion Cherokee Jazz Documentary Memory Radio TV Movies

Youtube http://youtube.com/watch?v=Cn7cF_ngwu0

Blip TV http://blip.tv/jon-hammond/frank-marocco-plays-cherokee-6277221

Vimeo http://vimeo.com/46437784

Frank Marocco Plays Cherokee from Jon Hammond on Vimeo.

Louisville Kentucky, Get Back In The Groove, Woody Allen, To Rome With Love, Accordion, Frank Marocco, Jon Hammond, Cherokee, Organ, Jazz, Soul, Suzuki, Hamamatsu

Get Back In The Groove Louisville Soundcheck & Journal Jon Hammond July 28, 2012

*WATCH THE VIDEO HERE: Get Back In The Groove Louisville Soundcheck

http://archive.org/details/JonHammondGetBackInTheGrooveLouisvilleSoundcheck/

Blip TV http://blip.tv/jon-hammond/get-back-in-the-groove-louisville-soundcheck-6278298

Youtube http://www.youtube.com/watch?v=PgAdVaR_-K8

Get Back In The Groove by Jon Hammond – at soundcheck in Louisville Kentucky
with John Bishop guitar
Alex Budman tenor saxophone
Ronnie Smith Jr. drums
Jon Hammond organ / bass
from Jon’s album “Hammond’s Bolero” also on “Late Rent” with Jon Hammond playing guitar
http://www.jonhammondband.com
Category:
Music
Tags:
Louisville Kentucky, Soundcheck Get, Back In The Groove, Jon Hammond Band

Vimeo http://vimeo.com/46522256

Get Back In The Groove Louisville Soundcheck from Jon Hammond on Vimeo.

http://www.facebook.com/photo.php?v=10150988267537102

Hamamatsu Japan – Suzuki Hall — I love this photograph, Suzuki World Headquarters Team, everybody is smiling I made announcement “This picture is for my Mother” *Note, my Mom loved to see it! Thank you very much all my friends in Suzuki for this very special time together!
Sincerely, Jon Hammond

*Actual Concert – special thanks for beautiful photograph Shigeyuki Ohtaka – Hamamatsu Japan – Suzuki Hall — First time I play here with the great Suzuki harmonica star Tanaka Koei – aka ‘Suzuki Harmonica Santa’ – I am playing Mr. Manji Suzuki’s personal Hammond B3mk2 Organ with the high-power Leslie model 3300W (W for=WOOD) 300 watts solid state power with tube preamp stage – very nice folks! *listen here Youtube
http://www.youtube.com/watch?v=FHjhlSwRkws
Suzuki Headquarters and factory special concert for President Founder Manji Suzuki with introduction by Master of Ceremonies Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 Hammond organ with Koei Tanaka chromatic Suzuki harmonica Part 2 of 3 parts: “Days of Wine and Roses” in Hamamatsu Japan.
*Koei: Born in Tokyo on April 22, 1971. Koei started playing the 10-hole diatonic harmonica at age 15. Until his 20’s. This young musician was playing blues and R & B around the world. He also had a keenness for learning jazz chromatic harmonica as well. Koei plays transcendental mellow delicate and soulful sounds that are unique, which has attracted the attention of many world harmonica players. He is also the official Endorser for SUZUKI HARMONICA.

In 2007, sound and sound control technology is evaluated to be adopted into the harmonica sound presets that are available in European Yamaha synthesizers.
2008, Harmonica in hand Koie set out to take his talent around the world where he made a guest appearance in concerts with our European premier harmonica players.
In 2009, America’s largest harmonica festival “Harmonica SPAH.2009” saw his perform the first Japanese solo album “sound of the sky (Notes FromThe Air)” presentation.
2010, the Asian Games was held in Singapore, Pacific Ocean Harmonica “Asia Pacific Harmonica Festival” Guest performance were staged by Koei at the closing ceremony.
In 2011, Koei performed at concerts and seminars in Malaysia and Singapore Since 2008, the “harmonica Santa” began operations In Uganda, which encourages the use of harmonicas in children. This young musician began his work in East Africa visiting many schools and orphanages where there were AIDS orphans, street children to name a few. Music Therapy activities he continued to have In 2009, by visiting Cambodia and South Africa in 2010.He was also in Sri Lanka in 2011 at the invitation of the local Gov. Authorities where he visited many schools conducting workshops — at Hamamatsu

‎*Note: Just to right of Koei’s right arm, you can see a set of the famous Suzuki Tone Chimes! I like them very much..incredible pure sound and fun to play solo or ensemble, Jon Hammond

Hamamatsu Japan – Suzuki Hall — First time I play here with the great Suzuki harmonica star Tanaka Koei – aka ‘Suzuki Harmonica Santa’ – I am playing Mr. Manji Suzuki’s personal Hammond B3mk2 Organ with the high-power Leslie model 3300W (W for=WOOD) 300 watts solid state power with tube preamp stage – very nice folks! *listen here Youtube
http://www.youtube.com/watch?v=FHjhlSwRkws
Suzuki Headquarters and factory special concert for President Founder Manji Suzuki with introduction by Master of Ceremonies Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 Hammond organ with Koei Tanaka chromatic Suzuki harmonica Part 2 of 3 parts: “Days of Wine and Roses” in Hamamatsu Japan.
*Koei: Born in Tokyo on April 22, 1971. Koei started playing the 10-hole diatonic harmonica at age 15. Until his 20’s. This young musician was playing blues and R & B around the world. He also had a keenness for learning jazz chromatic harmonica as well. Koei plays transcendental mellow delicate and soulful sounds that are unique, which has attracted the attention of many world harmonica players. He is also the official Endorser for SUZUKI HARMONICA.

Hamamatsu Japan — Jon Hammond with the hammer down on Mr. Manji Suzuki’s personal Hammond B3mk2 organ – special concert – Youtube http://www.youtube.com/watch?v=AF_j3ShpNPk
Suzuki Headquarters and factory concert special for President Founder Manji Suzuki with introduction by Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 organ Part 1 of 3 original composition “Lydia’s Tune” in Hamamatsu Japan. — in Hamamatsu-shi, Shizuoka

Flughafen München/MUC — Air Dolomiti to fly over the Italian Alps – Jon Hammond
http://www.airdolomiti.eu/
http://www.airdolomiti.it/news-press/gallery/atr.html
ATR
La flotta Air dolomiti è composta da 11 aeromobili a turboelica — at Muenchen Airport

*WATCH THE VIDEO HERE: SIX YEAR ITCH by Jon Hammond in Louisville Kentucky

http://archive.org/details/SixYearItchByJonHammond

Youtube http://www.youtube.com/watch?v=TaCYavcSZs8

Jon Hammond original composition “Six Year Itch” from Jon’s album
“Hammond’s Bolero” – here in Louisville Kentucky at soundcheck
with Ronnie Smith Jr. drums
Alex Budman tenor saxophone
John Bishop guitar
Jon Hammond organ
http://www.jonhammondband.com
JH INTL ASCAP

Jon Hammond – organ

Ronnie Smith Jr. drums

Alex Budman tenor sax

John Bishop guitar

Vimeo http://vimeo.com/46233394

SIX YEAR ITCH by Jon Hammond from Jon Hammond on Vimeo.

Jon Hammond Journal July 22, 2012 Report

San Francisco Skyline at dusk as seen from San Francisco-Oakland Bay Bridge – Jon Hammond
http://en.wikipedia.org/wiki/San_francisco_skyline

Folks, last night I went to see the Woody Allen movie “To Rome With Love” with my girlfriend. The entire theater was empty except for the 2 of us. Don’t stay away from the movie theaters folks! Also I highly recommend this film.

*WATCH THE VIDEO HERE: Frank Marocco Plays Cherokee

http://archive.org/details/JonHammondFrankMaroccoPlaysCherokee/

In Memory of Frank Marocco – enjoy this wonderful performance of the late great
accordionist in Solo and Trio approximately 10 years ago – Harold Jones – drums, Cash Killian – bass, Jon Hammond
Harold Jones – drums, Kash Killian – bass
Announcement at end by Peter DiBono
with permission of Frank’s manager – Elke Ahrenholz –
http://www.frankmarocco.com January 2, 1931 — March 3, 2012
http://www.accordionradio.com
Category:
Music
Tags:
Frank Marocco Accordion Cherokee Jazz Documentary Memory Radio TV Movies

Youtube http://youtube.com/watch?v=Cn7cF_ngwu0

Blip TV http://blip.tv/jon-hammond/frank-marocco-plays-cherokee-6277221

Vimeo http://vimeo.com/46437784

Frank Marocco Plays Cherokee from Jon Hammond on Vimeo.

Louisville Kentucky, Get Back In The Groove, Woody Allen, To Rome With Love, Accordion, Frank Marocco, Jon Hammond, Cherokee, Organ, Jazz, Soul, Suzuki, Hamamatsu

Frank Marocco Plays Cherokee and Jon Hammond Journal for July 27, 2012

*WATCH THE VIDEO HERE: Frank Marocco Plays Cherokee

http://archive.org/details/JonHammondFrankMaroccoPlaysCherokee/

In Memory of Frank Marocco – enjoy this wonderful performance of the late great
accordionist in Solo and Trio approximately 10 years ago – Harold Jones – drums, Cash Killian – bass, Jon Hammond
Harold Jones – drums, Kash Killian – bass
Announcement at end by Peter DiBono
with permission of Frank’s manager – Elke Ahrenholz –
http://www.frankmarocco.com January 2, 1931 — March 3, 2012
http://www.accordionradio.com
Category:
Music
Tags:
Frank Marocco Accordion Cherokee Jazz Documentary Memory Radio TV Movies

Youtube http://youtube.com/watch?v=Cn7cF_ngwu0

Blip TV http://blip.tv/jon-hammond/frank-marocco-plays-cherokee-6277221

Vimeo http://vimeo.com/46437784

Frank Marocco Plays Cherokee from Jon Hammond on Vimeo.

Hamamatsu Japan — Jon Hammond with the hammer down on Mr. Manji Suzuki’s personal Hammond B3mk2 organ – special concert – Youtube http://www.youtube.com/watch?v=AF_j3ShpNPk
Suzuki Headquarters and factory concert special for President Founder Manji Suzuki with introduction by Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 organ Part 1 of 3 original composition “Lydia’s Tune” in Hamamatsu Japan.

Flughafen München/MUC — Air Dolomiti to fly over the Italian Alps – Jon Hammond
http://www.airdolomiti.eu/
http://www.airdolomiti.it/news-press/gallery/atr.html
ATR
La flotta Air dolomiti è composta da 11 aeromobili a turboelica — at Muenchen Airport

Highway 101 — Cab 206 got the hammer down!
Jon Hammond

*WATCH THE VIDEO HERE: SIX YEAR ITCH by Jon Hammond in Louisville Kentucky

http://archive.org/details/SixYearItchByJonHammond

Youtube http://www.youtube.com/watch?v=TaCYavcSZs8

Jon Hammond original composition “Six Year Itch” from Jon’s album
“Hammond’s Bolero” – here in Louisville Kentucky at soundcheck
with Ronnie Smith Jr. drums
Alex Budman tenor saxophone
John Bishop guitar
Jon Hammond organ
http://www.jonhammondband.com
JH INTL ASCAP

Jon Hammond – organ

Ronnie Smith Jr. drums

Alex Budman tenor sax

John Bishop guitar

Vimeo http://vimeo.com/46233394

SIX YEAR ITCH by Jon Hammond from Jon Hammond on Vimeo.

Jon Hammond Journal July 22, 2012 Report

San Francisco Skyline at dusk as seen from San Francisco-Oakland Bay Bridge – Jon Hammond
http://en.wikipedia.org/wiki/San_francisco_skyline

The U.S. city of San Francisco, California, is the site of over 410 high-rises, 44 of which stand taller than 400 feet (122 m). The tallest building in the city is the Transamerica Pyramid, which rises 853 ft (260 m) and is currently the 31st-tallest building in the United States. Another famous San Francisco skyscraper is 555 California Street, which is the city’s second tallest building. It is also known as Bank of America Center.
Many of San Francisco’s tallest buildings, particularly its office skyscrapers, were completed in a massive building boom that occurred from the late 1960s until the late 1980s. This boom was dubbed a “Manhattanization wave” by residents of the city, and led to local legislation passed that set in some of the strictest building height limit requirements in the country. This led to a slowdown of skyscraper construction during the 1990s, but construction of taller buildings has resumed recently as the building height requirements have been relaxed and overlooked in light of recent economic activity. The city is currently going through a second boom, with 34 buildings over 400 feet (122 m) proposed, approved, or under construction in the city. San Francisco boasts 21 skyscrapers that rise at least 492 feet (150 m) in height. Overall, San Francisco’s skyline is ranked (based upon existing and under construction buildings over 492 feet (150 m) tall) second in the Pacific coast region (after Los Angeles) and seventh in the United States, after New York City, Chicago, Miami, Los Angeles, Houston, and Dallas.[A]
Due to a housing shortage and the subsequent real estate boom, the city’s strict building height code has been relaxed over the years, and there have been many skyscrapers proposed for construction in the city; some, such as the One Rincon Hill South Tower, have already been completed. Several other taller buildings are proposed in connection with the Transbay Terminal redevelopment project. The San Francisco Transbay development consists of 10 skyscrapers set to rise over 400 feet (122 m) tall, with three of the towers scheduled to rise over 1,000 feet (305 m). If constructed, these towers would be the first buildings in San Francisco to qualify as supertalls, and would be among the tallest in the United States. Many other tall proposals have been submitted as well, including the Sun Tower, which is planned to rise on Treasure Island — at Skyline

San Francisco – Oakland Bay Bridge — Slow down 35 MPH for the curve people! Not 50 or 60 like lots are doing – Jon Hammond
Dead Man’s Curve
http://www.sfgate.com/bayarea/article/Ideas-offered-to-slow-S-curve-motorists-3211750.php

Getting drivers to slow down for the Bay Bridge S-curve might seem like an unusual challenge, but some states have been dealing with troublesome curves on interstate highways for decades, using everything from speed cameras and flashing lights to grooved pavement and unusual lane markings to get drivers to slow down and pay attention.

Some of these tactics will be used on the S-curve after a series of accidents, including a fatality Monday morning, sparked a public outcry for safety improvements at the temporary detour on the Bay Bridge. At least 43 accidents – or an average of five per week – have occurred on the curve since the detour opened to traffic Sept. 8.

“People just don’t want to slow down,” said Russ Rader, a spokesman for the Insurance Institute for Highway Safety, which researches traffic safety. “The question is: How do you make them?”

Many cities have dangerous curves on highways that have earned infamy and nicknames because of the large number of accidents. In Cleveland, the 90-degree curve on Interstate 90 nearing downtown is called “Deadman’s Curve.”

Opened in 1959, the curve quickly became a problem. Like the Bay Bridge, the speed limits on either side of the curve are 50 mph – which drivers usually exceed, said Jocelynn Clemings, a spokeswoman for the Ohio Department of Transportation.

The sharp turn requires drivers to slow to 35 mph. To get drivers to reduce their speeds, the department has, over the years, put in “a lot of flashing signage” along with grooved pavement that makes a loud vibrating sound when drivers pass over it, and extra arrows, or chevrons, on the pavement.

While drivers are more aware, she said, “There are quite often accidents of varying severity,” and the Department of Transportation plans to “flatten” the curve sometime in the next decade, she said.

Kansas City has two troublesome curves that it has tamed with speed sensors and flashing lights that warn drivers on Interstate 70 to slow down. Trucks frequently overturned at the Jackson and Benton curves, prompting the Missouri Department of Transportation to install a special warning system about 20 years ago.

The system uses a sensor planted in each lane to read the speed of vehicles approaching the curves. If they’re speeding, flashing lights over their lane activate and a sign blares: “Driving too fast when lights flashing.”

“We’ve had a pretty noticeable reduction in accidents,” said Jesse Skinner, an interstate corridor engineer with the Missouri Department of Transportation.

Elsewhere, the department also has used radar signs – one for each lane of traffic – that read and display drivers’ speeds next to signs showing the speed limit.

“People drive what (speed) they feel comfortable driving,” Skinner said. “If you want them to slow down, you have to get their attention.”

Caltrans also employed flashing lights and prominent signs to do just that at “the Fishhook,” the sharply curved intersection of highways 1 and 17 in Santa Cruz, and the curve was widened recently to make it easier to navigate. Colin Jones, a Caltrans spokesman, said the devices improved safety at the interchange but noted that drivers changing highways are more likely to slow down than those driving across a bridge and entering a curve.

Anne McCartt, vice president of research at the Insurance Institute for Highway Safety, said the key to slowing drivers is enforcement of speed laws. Speed cameras, which use radar to measure speed and then automatically issue a ticket, can be especially effective in an area like the S-curve, or where it could be difficult for police to pull over speeders.

“The advantage of automated enforcement is that it can happen anytime of the day or night, wherever it is needed,” she said.

McCartt also recommended stricter enforcement of speeds on the entire bridge, saying that it is unrealistic to expect drivers to slow from speeds in excess of 50 mph to 35 mph for the curve.

Caltrans officials already have installed extra signs and flashing lights, and plan more safety improvements to slow motorists, including reflective striping near the top of the bridge’s barrier walls, a large overhead sign warning of the curve and of the reduced speed on the upper deck of the bridge, and radar boards flashing drivers’ speeds. Caltrans spokesman Bart Ney said the agency also is considering installing grooved pavement or rows of pavement markers to warn drivers they are approaching the curve.

Sorry William, you missed the McIntosh model 225, better luck next time! – Jon Hammond

MC225 – *Random Reviews: “Bottom Line:
The 225 matches excelently to My Klipsch Belle’s and My Klipschorns. The 104 db/watt efficiency of these systems is a must for an amplifier of this size. 118 db peak passages are possible without clipping – a must for any realistic reproduction of music. Try to get 118 db peaks from any of the low efficiency speakers ( less than 100 db/watt ) and you end up with an impossible situation.
The 225’s have fixed bias, this should be critically set as I have found that amplifier signatures change with as little as 5ma. differences. The Sovetek 7591A’s (not XYZ) are better sounding tubes than the NOS stuff being sold.”

“Over many years of experimenting with many products -solid state vs tubes I much prefer the tube sound. I recently purchased a 30 year old MAC 225 Amp and was amazed at the quality of the sound.My then current Cary SLA70 did not compare. I was hearing things I had never heard before on some favorite CD’s with the MAC 225.Can I realistically improve the sound of my system by moving up to a MAC 240 or 275? Replies are appreciated. Also to maintain the MAC 225 sound signature should I continue with my Audible Illusions MOD 3 Pre amp(Tube) or move to a Mac 33 pre amp (Solid State). Any comments,suggestions or recommendations are appreciated.”

“I have been using MC-225 for more than 5 years and that is the part I think I will use it for my whole life (I guess my next generation can still use them by replacing some parts). It gave you great and smooth sound especially in the mid to high range. Very impressive for playing songs by female singer. Don’t think that 25 watts is small, it can still gives you very solid bass and sound stage.
Currently I have two sets of MC-225 to drive ProAC Tabelette 50 Sig. Other components include:”

Radio Day By The Bay — Jon Hammond with Celeste Perry Radio/TV Personality and another lady of Radio/TV – annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California

Frank Marocco, Cherokee, Accordion, Jazz, Elke Ahrenholz, Jon Hammond, TV, Radio, Movies, Louisville Kentucky, Air Dolomiti, Italian Alps, Musikmesse, NAMM Show

SIX YEAR ITCH by Jon Hammond in Louisville Kentucky

*WATCH THE VIDEO HERE: SIX YEAR ITCH by Jon Hammond in Louisville Kentucky

http://archive.org/details/SixYearItchByJonHammond

Youtube http://www.youtube.com/watch?v=TaCYavcSZs8

Jon Hammond original composition “Six Year Itch” from Jon’s album
“Hammond’s Bolero” – here in Louisville Kentucky at soundcheck
with Ronnie Smith Jr. drums
Alex Budman tenor saxophone
John Bishop guitar
Jon Hammond organ
http://www.jonhammondband.com
JH INTL ASCAP

Jon Hammond – organ

Ronnie Smith Jr. drums

Alex Budman tenor sax

John Bishop guitar

Vimeo http://vimeo.com/46233394

SIX YEAR ITCH by Jon Hammond from Jon Hammond on Vimeo.

Jon Hammond Journal July 22, 2012 Report

San Francisco Skyline at dusk as seen from San Francisco-Oakland Bay Bridge – Jon Hammond
http://en.wikipedia.org/wiki/San_francisco_skyline

The U.S. city of San Francisco, California, is the site of over 410 high-rises, 44 of which stand taller than 400 feet (122 m). The tallest building in the city is the Transamerica Pyramid, which rises 853 ft (260 m) and is currently the 31st-tallest building in the United States. Another famous San Francisco skyscraper is 555 California Street, which is the city’s second tallest building. It is also known as Bank of America Center.
Many of San Francisco’s tallest buildings, particularly its office skyscrapers, were completed in a massive building boom that occurred from the late 1960s until the late 1980s. This boom was dubbed a “Manhattanization wave” by residents of the city, and led to local legislation passed that set in some of the strictest building height limit requirements in the country. This led to a slowdown of skyscraper construction during the 1990s, but construction of taller buildings has resumed recently as the building height requirements have been relaxed and overlooked in light of recent economic activity. The city is currently going through a second boom, with 34 buildings over 400 feet (122 m) proposed, approved, or under construction in the city. San Francisco boasts 21 skyscrapers that rise at least 492 feet (150 m) in height. Overall, San Francisco’s skyline is ranked (based upon existing and under construction buildings over 492 feet (150 m) tall) second in the Pacific coast region (after Los Angeles) and seventh in the United States, after New York City, Chicago, Miami, Los Angeles, Houston, and Dallas.[A]
Due to a housing shortage and the subsequent real estate boom, the city’s strict building height code has been relaxed over the years, and there have been many skyscrapers proposed for construction in the city; some, such as the One Rincon Hill South Tower, have already been completed. Several other taller buildings are proposed in connection with the Transbay Terminal redevelopment project. The San Francisco Transbay development consists of 10 skyscrapers set to rise over 400 feet (122 m) tall, with three of the towers scheduled to rise over 1,000 feet (305 m). If constructed, these towers would be the first buildings in San Francisco to qualify as supertalls, and would be among the tallest in the United States. Many other tall proposals have been submitted as well, including the Sun Tower, which is planned to rise on Treasure Island — at Skyline

San Francisco – Oakland Bay Bridge — Slow down 35 MPH for the curve people! Not 50 or 60 like lots are doing – Jon Hammond
Dead Man’s Curve
http://www.sfgate.com/bayarea/article/Ideas-offered-to-slow-S-curve-motorists-3211750.php

Getting drivers to slow down for the Bay Bridge S-curve might seem like an unusual challenge, but some states have been dealing with troublesome curves on interstate highways for decades, using everything from speed cameras and flashing lights to grooved pavement and unusual lane markings to get drivers to slow down and pay attention.

Some of these tactics will be used on the S-curve after a series of accidents, including a fatality Monday morning, sparked a public outcry for safety improvements at the temporary detour on the Bay Bridge. At least 43 accidents – or an average of five per week – have occurred on the curve since the detour opened to traffic Sept. 8.

“People just don’t want to slow down,” said Russ Rader, a spokesman for the Insurance Institute for Highway Safety, which researches traffic safety. “The question is: How do you make them?”

Many cities have dangerous curves on highways that have earned infamy and nicknames because of the large number of accidents. In Cleveland, the 90-degree curve on Interstate 90 nearing downtown is called “Deadman’s Curve.”

Opened in 1959, the curve quickly became a problem. Like the Bay Bridge, the speed limits on either side of the curve are 50 mph – which drivers usually exceed, said Jocelynn Clemings, a spokeswoman for the Ohio Department of Transportation.

The sharp turn requires drivers to slow to 35 mph. To get drivers to reduce their speeds, the department has, over the years, put in “a lot of flashing signage” along with grooved pavement that makes a loud vibrating sound when drivers pass over it, and extra arrows, or chevrons, on the pavement.

While drivers are more aware, she said, “There are quite often accidents of varying severity,” and the Department of Transportation plans to “flatten” the curve sometime in the next decade, she said.

Kansas City has two troublesome curves that it has tamed with speed sensors and flashing lights that warn drivers on Interstate 70 to slow down. Trucks frequently overturned at the Jackson and Benton curves, prompting the Missouri Department of Transportation to install a special warning system about 20 years ago.

The system uses a sensor planted in each lane to read the speed of vehicles approaching the curves. If they’re speeding, flashing lights over their lane activate and a sign blares: “Driving too fast when lights flashing.”

“We’ve had a pretty noticeable reduction in accidents,” said Jesse Skinner, an interstate corridor engineer with the Missouri Department of Transportation.

Elsewhere, the department also has used radar signs – one for each lane of traffic – that read and display drivers’ speeds next to signs showing the speed limit.

“People drive what (speed) they feel comfortable driving,” Skinner said. “If you want them to slow down, you have to get their attention.”

Caltrans also employed flashing lights and prominent signs to do just that at “the Fishhook,” the sharply curved intersection of highways 1 and 17 in Santa Cruz, and the curve was widened recently to make it easier to navigate. Colin Jones, a Caltrans spokesman, said the devices improved safety at the interchange but noted that drivers changing highways are more likely to slow down than those driving across a bridge and entering a curve.

Anne McCartt, vice president of research at the Insurance Institute for Highway Safety, said the key to slowing drivers is enforcement of speed laws. Speed cameras, which use radar to measure speed and then automatically issue a ticket, can be especially effective in an area like the S-curve, or where it could be difficult for police to pull over speeders.

“The advantage of automated enforcement is that it can happen anytime of the day or night, wherever it is needed,” she said.

McCartt also recommended stricter enforcement of speeds on the entire bridge, saying that it is unrealistic to expect drivers to slow from speeds in excess of 50 mph to 35 mph for the curve.

Caltrans officials already have installed extra signs and flashing lights, and plan more safety improvements to slow motorists, including reflective striping near the top of the bridge’s barrier walls, a large overhead sign warning of the curve and of the reduced speed on the upper deck of the bridge, and radar boards flashing drivers’ speeds. Caltrans spokesman Bart Ney said the agency also is considering installing grooved pavement or rows of pavement markers to warn drivers they are approaching the curve.

Sorry William, you missed the McIntosh model 225, better luck next time! – Jon Hammond

MC225 – *Random Reviews: “Bottom Line:
The 225 matches excelently to My Klipsch Belle’s and My Klipschorns. The 104 db/watt efficiency of these systems is a must for an amplifier of this size. 118 db peak passages are possible without clipping – a must for any realistic reproduction of music. Try to get 118 db peaks from any of the low efficiency speakers ( less than 100 db/watt ) and you end up with an impossible situation.
The 225’s have fixed bias, this should be critically set as I have found that amplifier signatures change with as little as 5ma. differences. The Sovetek 7591A’s (not XYZ) are better sounding tubes than the NOS stuff being sold.”

“Over many years of experimenting with many products -solid state vs tubes I much prefer the tube sound. I recently purchased a 30 year old MAC 225 Amp and was amazed at the quality of the sound.My then current Cary SLA70 did not compare. I was hearing things I had never heard before on some favorite CD’s with the MAC 225.Can I realistically improve the sound of my system by moving up to a MAC 240 or 275? Replies are appreciated. Also to maintain the MAC 225 sound signature should I continue with my Audible Illusions MOD 3 Pre amp(Tube) or move to a Mac 33 pre amp (Solid State). Any comments,suggestions or recommendations are appreciated.”

“I have been using MC-225 for more than 5 years and that is the part I think I will use it for my whole life (I guess my next generation can still use them by replacing some parts). It gave you great and smooth sound especially in the mid to high range. Very impressive for playing songs by female singer. Don’t think that 25 watts is small, it can still gives you very solid bass and sound stage.
Currently I have two sets of MC-225 to drive ProAC Tabelette 50 Sig. Other components include:”

Radio Day By The Bay — Jon Hammond with Celeste Perry Radio/TV Personality and another lady of Radio/TV – annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California

Radio Day By The Bay — Cheryl Jennings and Stan Bunger annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California – Jon Hammond

Radio Day By The Bay — He’s got ‘The Fever’…Radio Fever!
Jon Hammond

Radio Day By The Bay — A lucky buyer got this beautiful classic radio for only 50 bucks at the annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California – Jon Hammond

Jon Hammond’s new little SONY TFM-6060W 2 Band Radio will be going on a trip around the world – Travel Radio just got acquired by a traveler! – Radio Day By The Bay – KRE Radio Berkeley California annual fundraiser for California Historical Radio Society

Classic Motorola AM Radio in Turquoise Blue- this one went for big bucks at the Auction at annual fundraiser for California Historical Radio Society – RADIO KRE Berkeley – Jon Hammond

Cheryl Jennings of KGO-TV conducting Oral History Interviews in control room of KRE Radio — at Radio Day By The Bay annual fundraiser for California Historical Radio Society – Jon Hammond

NAMM Oral History Session Jon Hammond recorded January 13th 2011 Anaheim CA

Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011 Full Version

*WATCH Full Version Video Here: Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011 Full Version

http://a10.video2.blip.tv/9530007958507/JonHammond-JonHammondNAMMorgOralHistoryInterviewDateJanuary132011558.m4v?brs=1461&bri=44.3

http://blip.tv/file/4837335

http://vimeo.com/20619835

Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011

http://www.namm.org/library/oral-history/jon-hammond

Jon Hammond

Interview Date: January 13, 2011

Job Title: President and Founder

Company: Jon Hammond & Associates

Tags:

• accordions

 

• electric organs
• Hammond B-3

 

• Hammond Organs
• Jazz

 

• Music Manufacturing

 

• Musicians

Jon Hammond

Jon Hammond has successfully created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Digital B3 Organ.

Jon Hammond

Subject Info Jon Hammond Interview Date:  January 13, 2011 Job Title:  President and Founder Jon Hammond & Associates Jon Hammond has successfully created a … of his career, the Excelsior Accordion and the Digital B3Organ.   (accordions, electric organs, Hammond B-3, Hammond Organs, …

Oral History – tonya – 03/02/2011 – 4:41pm

Jon Hammond

Jon Hammond

Interview Date: January 13, 2011

Job Title: President and Founder

Company: Jon Hammond & Associates

Tags:

• accordions

 

• electric organs
• Hammond B-3

 

• Hammond Organs
• Jazz

 

• Music Manufacturing

 

• Musicians

Jon Hammond has successfully created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Digital B3 Organ.

Special Thanks: Joe Lamond president and chief executive officer of NAMM

Hiromitsu Ono Suzuki Musical Instrument Chief Engineer

Waichiro Tachi Tachikawa Suzuki Musical Instrument Corporation, 鈴木楽器製作所 Suzuki Gakki

Betty Heywood, director of international affairs at NAMM

Manji Suzuki President and Founder of Suzuki Musical Instruments Hammond Suzuki here with Jon Hammond at the New B3mk2 Organ in Suzuki Hall Hamamatsu World Headquarters

Six Year Itch, Louisville Kentucky, Jon Hammond Band, Organ, Soul Jazz, Local 802, Musicians Union

Jon Hammond Journal July 22, 2012 Report

Jon Hammond Journal July 22, 2012 Report

San Francisco Skyline at dusk as seen from San Francisco-Oakland Bay Bridge – Jon Hammond
http://en.wikipedia.org/wiki/San_francisco_skyline

The U.S. city of San Francisco, California, is the site of over 410 high-rises, 44 of which stand taller than 400 feet (122 m). The tallest building in the city is the Transamerica Pyramid, which rises 853 ft (260 m) and is currently the 31st-tallest building in the United States. Another famous San Francisco skyscraper is 555 California Street, which is the city’s second tallest building. It is also known as Bank of America Center.
Many of San Francisco’s tallest buildings, particularly its office skyscrapers, were completed in a massive building boom that occurred from the late 1960s until the late 1980s. This boom was dubbed a “Manhattanization wave” by residents of the city, and led to local legislation passed that set in some of the strictest building height limit requirements in the country. This led to a slowdown of skyscraper construction during the 1990s, but construction of taller buildings has resumed recently as the building height requirements have been relaxed and overlooked in light of recent economic activity. The city is currently going through a second boom, with 34 buildings over 400 feet (122 m) proposed, approved, or under construction in the city. San Francisco boasts 21 skyscrapers that rise at least 492 feet (150 m) in height. Overall, San Francisco’s skyline is ranked (based upon existing and under construction buildings over 492 feet (150 m) tall) second in the Pacific coast region (after Los Angeles) and seventh in the United States, after New York City, Chicago, Miami, Los Angeles, Houston, and Dallas.[A]
Due to a housing shortage and the subsequent real estate boom, the city’s strict building height code has been relaxed over the years, and there have been many skyscrapers proposed for construction in the city; some, such as the One Rincon Hill South Tower, have already been completed. Several other taller buildings are proposed in connection with the Transbay Terminal redevelopment project. The San Francisco Transbay development consists of 10 skyscrapers set to rise over 400 feet (122 m) tall, with three of the towers scheduled to rise over 1,000 feet (305 m). If constructed, these towers would be the first buildings in San Francisco to qualify as supertalls, and would be among the tallest in the United States. Many other tall proposals have been submitted as well, including the Sun Tower, which is planned to rise on Treasure Island — at Skyline

San Francisco – Oakland Bay Bridge — Slow down 35 MPH for the curve people! Not 50 or 60 like lots are doing – Jon Hammond
Dead Man’s Curve
http://www.sfgate.com/bayarea/article/Ideas-offered-to-slow-S-curve-motorists-3211750.php

Getting drivers to slow down for the Bay Bridge S-curve might seem like an unusual challenge, but some states have been dealing with troublesome curves on interstate highways for decades, using everything from speed cameras and flashing lights to grooved pavement and unusual lane markings to get drivers to slow down and pay attention.

Some of these tactics will be used on the S-curve after a series of accidents, including a fatality Monday morning, sparked a public outcry for safety improvements at the temporary detour on the Bay Bridge. At least 43 accidents – or an average of five per week – have occurred on the curve since the detour opened to traffic Sept. 8.

“People just don’t want to slow down,” said Russ Rader, a spokesman for the Insurance Institute for Highway Safety, which researches traffic safety. “The question is: How do you make them?”

Many cities have dangerous curves on highways that have earned infamy and nicknames because of the large number of accidents. In Cleveland, the 90-degree curve on Interstate 90 nearing downtown is called “Deadman’s Curve.”

Opened in 1959, the curve quickly became a problem. Like the Bay Bridge, the speed limits on either side of the curve are 50 mph – which drivers usually exceed, said Jocelynn Clemings, a spokeswoman for the Ohio Department of Transportation.

The sharp turn requires drivers to slow to 35 mph. To get drivers to reduce their speeds, the department has, over the years, put in “a lot of flashing signage” along with grooved pavement that makes a loud vibrating sound when drivers pass over it, and extra arrows, or chevrons, on the pavement.

While drivers are more aware, she said, “There are quite often accidents of varying severity,” and the Department of Transportation plans to “flatten” the curve sometime in the next decade, she said.

Kansas City has two troublesome curves that it has tamed with speed sensors and flashing lights that warn drivers on Interstate 70 to slow down. Trucks frequently overturned at the Jackson and Benton curves, prompting the Missouri Department of Transportation to install a special warning system about 20 years ago.

The system uses a sensor planted in each lane to read the speed of vehicles approaching the curves. If they’re speeding, flashing lights over their lane activate and a sign blares: “Driving too fast when lights flashing.”

“We’ve had a pretty noticeable reduction in accidents,” said Jesse Skinner, an interstate corridor engineer with the Missouri Department of Transportation.

Elsewhere, the department also has used radar signs – one for each lane of traffic – that read and display drivers’ speeds next to signs showing the speed limit.

“People drive what (speed) they feel comfortable driving,” Skinner said. “If you want them to slow down, you have to get their attention.”

Caltrans also employed flashing lights and prominent signs to do just that at “the Fishhook,” the sharply curved intersection of highways 1 and 17 in Santa Cruz, and the curve was widened recently to make it easier to navigate. Colin Jones, a Caltrans spokesman, said the devices improved safety at the interchange but noted that drivers changing highways are more likely to slow down than those driving across a bridge and entering a curve.

Anne McCartt, vice president of research at the Insurance Institute for Highway Safety, said the key to slowing drivers is enforcement of speed laws. Speed cameras, which use radar to measure speed and then automatically issue a ticket, can be especially effective in an area like the S-curve, or where it could be difficult for police to pull over speeders.

“The advantage of automated enforcement is that it can happen anytime of the day or night, wherever it is needed,” she said.

McCartt also recommended stricter enforcement of speeds on the entire bridge, saying that it is unrealistic to expect drivers to slow from speeds in excess of 50 mph to 35 mph for the curve.

Caltrans officials already have installed extra signs and flashing lights, and plan more safety improvements to slow motorists, including reflective striping near the top of the bridge’s barrier walls, a large overhead sign warning of the curve and of the reduced speed on the upper deck of the bridge, and radar boards flashing drivers’ speeds. Caltrans spokesman Bart Ney said the agency also is considering installing grooved pavement or rows of pavement markers to warn drivers they are approaching the curve.

Sorry William, you missed the McIntosh model 225, better luck next time! – Jon Hammond

MC225 – *Random Reviews: “Bottom Line:
The 225 matches excelently to My Klipsch Belle’s and My Klipschorns. The 104 db/watt efficiency of these systems is a must for an amplifier of this size. 118 db peak passages are possible without clipping – a must for any realistic reproduction of music. Try to get 118 db peaks from any of the low efficiency speakers ( less than 100 db/watt ) and you end up with an impossible situation.
The 225’s have fixed bias, this should be critically set as I have found that amplifier signatures change with as little as 5ma. differences. The Sovetek 7591A’s (not XYZ) are better sounding tubes than the NOS stuff being sold.”

“Over many years of experimenting with many products -solid state vs tubes I much prefer the tube sound. I recently purchased a 30 year old MAC 225 Amp and was amazed at the quality of the sound.My then current Cary SLA70 did not compare. I was hearing things I had never heard before on some favorite CD’s with the MAC 225.Can I realistically improve the sound of my system by moving up to a MAC 240 or 275? Replies are appreciated. Also to maintain the MAC 225 sound signature should I continue with my Audible Illusions MOD 3 Pre amp(Tube) or move to a Mac 33 pre amp (Solid State). Any comments,suggestions or recommendations are appreciated.”

“I have been using MC-225 for more than 5 years and that is the part I think I will use it for my whole life (I guess my next generation can still use them by replacing some parts). It gave you great and smooth sound especially in the mid to high range. Very impressive for playing songs by female singer. Don’t think that 25 watts is small, it can still gives you very solid bass and sound stage.
Currently I have two sets of MC-225 to drive ProAC Tabelette 50 Sig. Other components include:”

Radio Day By The Bay — Jon Hammond with Celeste Perry Radio/TV Personality and another lady of Radio/TV – annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California

Radio Day By The Bay — Cheryl Jennings and Stan Bunger annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California – Jon Hammond

Radio Day By The Bay — He’s got ‘The Fever’…Radio Fever!
Jon Hammond

Radio Day By The Bay — A lucky buyer got this beautiful classic radio for only 50 bucks at the annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California – Jon Hammond

Jon Hammond’s new little SONY TFM-6060W 2 Band Radio will be going on a trip around the world – Travel Radio just got acquired by a traveler! – Radio Day By The Bay – KRE Radio Berkeley California annual fundraiser for California Historical Radio Society

Classic Motorola AM Radio in Turquoise Blue- this one went for big bucks at the Auction at annual fundraiser for California Historical Radio Society – RADIO KRE Berkeley – Jon Hammond

Cheryl Jennings of KGO-TV conducting Oral History Interviews in control room of KRE Radio — at Radio Day By The Bay annual fundraiser for California Historical Radio Society – Jon Hammond

NAMM Oral History Session Jon Hammond recorded January 13th 2011 Anaheim CA

Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011 Full Version

*WATCH Full Version Video Here: Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011 Full Version

http://a10.video2.blip.tv/9530007958507/JonHammond-JonHammondNAMMorgOralHistoryInterviewDateJanuary132011558.m4v?brs=1461&bri=44.3

http://blip.tv/file/4837335

http://vimeo.com/20619835

Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011

http://www.namm.org/library/oral-history/jon-hammond

Jon Hammond

Interview Date: January 13, 2011

Job Title: President and Founder

Company: Jon Hammond & Associates

Tags:

• accordions

 

• electric organs
• Hammond B-3

 

• Hammond Organs
• Jazz

 

• Music Manufacturing

 

• Musicians

Jon Hammond

Jon Hammond has successfully created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Digital B3 Organ.

Jon Hammond

Subject Info Jon Hammond Interview Date:  January 13, 2011 Job Title:  President and Founder Jon Hammond & Associates Jon Hammond has successfully created a … of his career, the Excelsior Accordion and the Digital B3Organ.   (accordions, electric organs, Hammond B-3, Hammond Organs, …

Oral History – tonya – 03/02/2011 – 4:41pm

Jon Hammond

Jon Hammond

Interview Date: January 13, 2011

Job Title: President and Founder

Company: Jon Hammond & Associates

Tags:

• accordions

 

• electric organs
• Hammond B-3

 

• Hammond Organs
• Jazz

 

• Music Manufacturing

 

• Musicians

Jon Hammond has successfully created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Digital B3 Organ.

Special Thanks: Joe Lamond president and chief executive officer of NAMM

Hiromitsu Ono Suzuki Musical Instrument Chief Engineer

Waichiro Tachi Tachikawa Suzuki Musical Instrument Corporation, 鈴木楽器製作所 Suzuki Gakki

Betty Heywood, director of international affairs at NAMM

Manji Suzuki President and Founder of Suzuki Musical Instruments Hammond Suzuki here with Jon Hammond at the New B3mk2 Organ in Suzuki Hall Hamamatsu World Headquarters

Actual NBC Chimes – This is how it was actually done On-The-Air Kids! – Jon Hammond
http://en.wikipedia.org/wiki/NBC_Chimes

The NBC chimes, named for the radio and television network on which they have been used, consists of a succession of three distinct pitches: G3, E4, and C4 (middle C), sounded in that order, creating an arpeggiated C-major chord in the second inversion, within about two seconds time, and reverberating for another two or three seconds. The intervals of this progression are up a major 6th from G3 to E4 and down a major third from E4 to C4. The chimes were the first ever audio trademark to be accepted by the U.S. Patent and Trademark Office. Contrary to widespread belief, the “G-E-C” sequence is not a reference to the General Electric Company (now a minority shareholder in NBC’s current parent company), which did not acquire NBC until 1986; however, GE’s radio station WGY in Schenectady, New York was an early NBC affiliate, and GE was an early shareholder in RCA, which founded NBC by creating it as a subsidiary.
The chimes were originally used as a cue for radio stations across the network to begin broadcasting their station identifications or local feeds. After their use as a formal network communications signal ended around the 1970s as the result of automation, the chimes has been used ever since as an audio logo or signature for NBC.
An elegant solution: the station break

The chimes were originally conceived to help solve a problem inherent in early network radio broadcasting: the vast majority of which was live, rather than pre-recorded. At the top of each hour, any individual broadcaster (on radio, TV or other broadcast band) must identify itself by callsign and the name of the community where its broadcast license has been issued, in compliance with Federal Communications Commission (FCC) regulations. For example: “This is WHYY, Philadelphia.” Therefore it might seem efficient for a small radio network (three to seven stations, for instance) to accomplish this chore by having a single announcer “on the network”, whose voice is transmitted to all the local stations, read the short list of local callsigns and corresponding communities for about ten seconds each hour, during an extended broadcast period. However, this practice becomes quite inefficient as a network grows, consuming valuable commercial airtime.[1] Hence it was determined in early big-network radio days that this job, among others, had to be done locally, on a pre-determined cue from the network itself.
The simplest way to accomplish this is with a spoken announcement (sometimes called an outcue), and its special format has a familiar ring. For instance: “We pause now for ten seconds for station identification: this is the NBC Television Network”. This phrasing alerts a local announcer to put him/herself on the air and formally identify the local station. The Today Show, broadcast for four hours live every weekday on NBC, uses a special spoken outcue for station breaks: “This is Today on NBC.” Indeed, as a public relations technique, this task is often offered to a member of the live audience assembled in Rockefeller Plaza outside the Today studio. For the network pioneers at NBC in the late 1920s, a more simple, elegant and consistent solution than an announcer’s voice, with its individual distinctiveness, was sought.
It was decided by a three-person committee (consisting of Oscar Hanson, a former engineer of AT&T, Earnest la Prada, an NBC orchestra leader, and the NBC announcer Philip Carlin) that the simplest way to do this would be to create a musical cue which would sound to signal the end of programs. Essentially, NBC wished to brand itself in sound, a sound that any listener would immediately recognize.
[edit]History

The chimes came to their familiar configuration and sound after several years of on-air development. They were first broadcast over NBC’s Red and Blue networks on November 29, 1929. However, there are disagreements about the original source of the idea. One story is that they came from WSB in Atlanta which allegedly used it for its own purposes until one day someone at NBC headquarters in New York City heard the WSB version of the notes during a networked broadcast of a Georgia Tech football game and asked permission to use it on the national network. The NBC chimes were invented by Robert Blanchard.
The company tested the chimes during 1927 and 1928 when it experimented with several possible combinations of notes. The first sequence consisted of the seven notes G-C-F-E-G-F-E. However, since the original NBC chime machine was an actual set of chimes which the announcer would play 30 seconds before the end of every half-hour to signal the end of a program, it was left to the announcers to play this trademark sequence without error, which was unavoidable with such a lengthy cue. The chime sequence was shortened to G-C-F-E and then, on November 29, 1929, the cue was shortened for the final time, and the three well-known notes G-E-C were heard on NBC radio for the first time.
Despite the relative simplicity and efficiency of the new, shorter chime sequence, problems still existed in other musical aspects of the sequence, such as the tempo, rhythm, and volume at which it was played, as well as the musical tone of the set chimes. Therefore the NBC chimes were mechanized in 1932 with a unit that could play the sequence perfectly and consistently. Richard H. Ranger, a former Radio Corporation of America (RCA) engineer who also invented an early form of the modern fax machine, invented the NBC chime machine that generated the notes by means of finely tuned metal reeds that were plucked by fingers on a revolving drum, much like a musical box.
NBC had several of these chime machines made which they set up at major network locations across the country, including Los Angeles, New York, Chicago, and San Francisco (which actually had two machines, a main one and a backup.) It is estimated that no more than a dozen of these machines were ever made, and even fewer are currently in existence.
The technical purpose of the mechanical chimes was to send a low level audio signal of constant amplitude that would be heard by the various switching stations manned by NBC and AT&T engineers, but not disturb the listening audience. This would serve as the system cue for switching the myriad local stations between the NBC Red Network and NBC Blue Network feeds as scheduled, as well as signalling the pause for local station identification immediately thereafter. In essence, it was the audio equivalent of a traffic signal. Because of fears of offending commercial sponsors by cutting their live network programs off in mid-sentence, the mechanized chimes were always rung by an announcer pushing a button in conjunction with the program’s conclusion; they were never set to an automatic timer, although heavy discussions on the subject were held between the Engineering and Programming departments throughout the 1930s and 1940s.
On November 20, 1947, NBC filed with the U.S. Patent and Trademark Office to make the chimes a registered service mark for identification of radio broadcasting services, the first such audible service mark to be filed with that office. Registration was granted on April 4, 1950; the registration number was 0523616, serial number 71541873. This registration expired on November 3, 1992, as NBC Radio became part of broadcasting history. However a separate service mark registration was made in 1971 for identification of television broadcasting services (serial 72349496, registration 0916522). While this registration is still active, the chime was heard for the final time on the NBC television channel in 1976, the 50-year anniversary of the chime; the chime is now used only for various smaller purposes on the channel.[2]
The chimes go modern

Their use as a formal network communications signal ended around 1971, the result of automation. Television flagship WNBC in New York kept the sound of the chimes alive, though. In 1974, it incorporated the sequence into the opening of its synthesized theme music for NewsCenter 4 (sharpening the pitch by a half-step). The stinger was heard at the opens to the newscasts’ 5, 6 and 11 p.m. hours. Eventually, NBC Radio adopted WNBC-TV’s NewsCenter 4 stinger as its top-of-the-hour news sounder. With alterations (and a brief interruption in the early 1990s), WNBC has used a form of the chimes on its newscasts ever since.
The music used on NewsCenter 4, NBC Radio-TV Newspulse by Fred Weinberg, was later used for NBC Nightly News in the 1970s and NBC News bulletins/special reports in the 1970s and 1980s. The usage of the NBC chimes continues in local newscasts on NBC stations to this day, in fact many NBC stations play the NBC Chimes at the end of the weather segment of the newscast, when the extended forecast is shown.
In 1976, the chimes were revived nationally in celebration of the 50th anniversary of the network. Modern musical versions of the three-note chimes are still in popular use on the NBC radio and television networks (and are the opening and closing notes of the current edition of the NBC Nightly News theme song), as well as in the closing logo of NBC Universal Television Studio, the TV production arm of NBC’s current immediate parent, NBC Universal.
From 1982 to the early 1990s, most NBC voiceover promos at the end of network shows would begin with the chimes. From 1982 to 1987, the chimes would blend into an instrumental version of the promo slogan that NBC would be using at the time.
The Today Show made the chimes the centerpiece of its theme in 1978, resolving a legal dispute between the network and the composers of the musical Godspell. The musical composers felt that the Ray Ellis-penned closing theme Today used since 1971 (which was also the show’s opening theme since 1976) was lifted from the classic Godspell song “Day by Day.” Using the chimes as his template, Ellis composed a new theme song, which stuck.
Although Today has used a segment from John Williams’ NBC News music package The Mission since 1985, Ellis’s revised composition has been used on and off during portions of Today ever since.
NBC News uses a version of the original chimes for special breaking news reports that interrupt regular programming on the network and/or its stations.
NBC’s on-air promotions for the fall 2008 television season featured the chimes prominently alongside the new slogan “Chime In”. Several used alternate versions tied to specific shows’ themes: for example, ringing telephones for The Office; the ringing of cash registers for Deal or No Deal; and objects striking metal for America’s Toughest Jobs.
The use of chimes as an audio logo is not unique, as other broadcasters, including Britain’s ATV and Mexico’s Televisa Canal de las Estrellas have used similar chimes. The Canal de las Estrellas chimes, for example, consist of eight musical notes.
[edit]The chimes quoted in music

Many composers have used the NBC chimes as their signature for their news packages, many of which were made exclusively for NBC stations. Some songwriters have quoted the sequence as well, and NBC-owned radio stations such as WNBC (AM) incorporated the melody into their station ID jingle packages. A few examples include:
NBC Stations by Edd Kalehoff
The Tower by 615 Music
The Rock by Stephen Arnold
The NBC Collection by Frank Gari
L.A. Groove by Groove Addicts
Nothing But Class and The Only One by JAM Creative Productions
“Let’s Go” by Ray Charles on his 1961 album Genius+Soul=Jazz
“Do Your Thing” by Isaac Hayes
“Here’s Love” from the Meredith Willson musical Here’s Love. It plays during the lyric “from CBS to NBC.”
[edit]The “Fourth Chime”

The variant sequence B – D + G = G, based on a G-major arpeggio in second inversion, was known as “the fourth chime”. According to an NBC Interdepartment Correspondence memo, dated April 7, 1933 documents the conception and initial purpose of the fourth chime. The memo states “In anticipation of the Spring and Summer months, when many in key positions will not always be available at home telephones, the following Emergency Call System will go into effect on Monday morning, April 16.” The memo goes on to say that whenever a fourth tone is heard on the network chimes rung at fifteen minute intervals, it will indicate that someone on an attached list is wanted. Upon hearing this fourth chime, all personnel on the list are instructed to call in to the PBX operator to ascertain whether or not the Emergency Call is for them. The chime would continue at fifteen minute intervals over stations WEAF and WJZ until the wanted person communicated with the PBX operator. The list contained the names of the following NBC executives:
John F. Royal
John W. Elwood
Frank Mason
J de Jara Almonte
The list also included names of personnel from Engineering, Press, Programming, Traffic, and Service departments.
The “fourth chime” was also used to notify affiliates and their employees of pending urgent programming. This variant saw such use during wartime (especially in the wake of the attack on Pearl Harbor) and other disasters, most notably the Hindenburg disaster in 1937. According to NBC historians, the last official use of the “fourth chime” was in 1945, shortly after the end of World War II. However, according to a handwritten note appended to an NBC internal memo originally dated 1964 on the history and usage of the standard chime, this chime variant was used one final time in 1985 to symbolize the merger with GE. This recording of this variant exists

Frankfurt Germany — Bandstand shot from Jon Hammond of Chuck Plaisance, Bobby Kimball and Tommy Denander at 2012 Musikmesse Frankfurt on the Agora Stage
Youtube http://www.youtube.com/watch?v=AR-tVxndAKE
The “Jam of the Year Band”
http://www.youtube.com/watch?v=Wcy1arOJrRQ

2012 Frankfurt Musikmesse backstage at the big Agora Stage just seconds before going on the bandstand in concert with Tommy Denander’s Allstar band, with footage from the concert of Hendrix tribute playing Little Wing with these great musicians:
“The legendary Jam-of-the Year Band” with Bobby Kimball (TOTO), Tommy Denander (guitar player, e.g. for Michael Jackson), Bruce Gaitsch (guitar player, e.g. for Richard Marx), Chuck Plaisance vocals, Curt Bisquera (drummer, e.g. for Tina Turner) und Jekko S. Jon Hammond at the Sk1 Hammond organ, Zlatko Jimmy Kresic keys, Pi TTi Hecht percussion
*(Curt Bisquera – Drums (Tina Turner, Seal, Elton John) Tommy Denander – Guitar (Michael Jackson, Alice Cooper, Paul Stanley) Bruce Gaitsch – Guitar (Madonna, Richard Marx, Celine Dion) Jekko S. – Bass feat. Bobby Kimball, and some others…) on Agora Stage @Music Fair in Frankfurt March

Frankfurt Germany — Jon Hammond Band – Jazzkeller Frankfurt
Youtube http://www.youtube.com/watch?v=AJT522j_nPQ
2012 Annual Musikmesse Warm Up Party hosted by Jon Hammond Band in Jazzkeller Frankfurt “Get Back In The Groove” / Tribute to 9/11 by Jon Hammond

with Tony Lakatos tenor sax, Joe Berger guitar, Giovanni Gulino drums,
Jon Hammond at the Hammond Sk1 organ,
special guest Lee Oskar harmonica.
This performance marks 26 years consecutive attending Musikmesse Frankfurt and
it was also on the birthday of Jon Hammond March 20th, 2012 with a big chocolate on chocolate cake baked by Saray Pastanesi Baeckerei & Konditorei bakery on Mainzer Landstrasse 131. 60327 Frankfurt am Main
http://www.jonhammondband.com/

New York NY — 2 serious Cello Players with Cellos crossing at W.44th and Eighth Avenue, yield to the Celloists folks! Jon Hammond

Radio Day By The Bay — Jon Hammond in the Holy Grail of Radios folks!
http://www.californiahistoricalradio.com/event/live-at-kre-radio-day-by-the-bay-2012/
Live at KRE – “RADIO DAY BY THE BAY 2012″

Radio Day By The Bay — This KLH Radio is one of my favorite radios, sounds fantastic folks! Jon Hammond KLH Model Eight FM table radio – designed by Henry Kloss
http://en.wikipedia.org/wiki/Henry_Kloss

Kloss began his custom of eponymous products by lending his last name’s initial to KLH as a founder in 1957, along with Malcolm Low and J. Anton Hofmann (son of pianist Józef Hofmann) who had also been investors in AR. At Cambridge-based KLH, Kloss continued to build speakers such as the classic KLH Model Five and Six, and produced one of the first small FM radios with high selectivity, the Model Eight. Though KLH was sold to the Singer Corporation in 1964, Kloss remained at the firm for a short time to assist in the development of additional speakers and electronic music products, and the firm continued to attract design and engineering talent. Kloss created the first solid state record player, the KLH Model Eleven. In 1962, he collaborated with Ray Dolby of Dolby Laboratories to develop the B version of the Dolby noise reduction system to reduce tape hiss. This resulted in the KLH Model Forty reel-to-reel tape recorder, Dolby’s first foray into the consumer product market. By 1967, Kloss had left KLH. KLH was eventually sold to Kyocera, and production was shifted overseas. By 1979, nearly all of the original design and engineering team had left the company.

My Dad’s 1967 Lincoln Continental Convertible – ‘Suicide Doors’ *similar to the car President John F. Kennedy had his last ride in

– has massive 464 cu. inches engine:
http://hammondcast.tumblr.com/

Anaheim California — Cats, could you bring a few more cameras next time?!
Jon Hammond – Winter NAMM

http://thedrumnetwork.ning.com/profiles/blogs/breaking-news-namm-president-ceo-joe-lamond-says-95-000
Breaking News NAMM President/CEO Joe Lamond Says 95,000 Attendance Broken 3rd Day of 4 Day Winter NAMM 2012 Jon Hammond Reporting
2 years ago I played a midnight showcase show with Bernard Purdie at NAMM in the Hilton Lobby – Pocket Funk
http://www.youtube.com/watch?v=afTagFhYOCo
Pocket Funk Bernard Purdie and Friends NAMM + Flash Back 1989
For Flash Back 1989 Mikell’s Pocket Funk Video:
http://video.google.com/videoplay?docid=-2831189635144040422&hl
Pocket Funk LIVE JON HAMMOND Band w/BERNARD PURDIE at Mikell’s NYC
*Note: Listen to the crowd of mostly musicians actually roar after Joe Berger’s guitar solo! – JH – Hilton Hotel Lobby – JH

Frankfurt Germany — Thank you for the Flowers! – Jon Hammond
presented to Jon from Christine Vogel – Messe Frankfurt Projekt Team there with Peggy Behling in behalf of Musikmesse Frankfurt for 25 years

*Youtube
http://www.youtube.com/watch?v=hozrJpHvV-4
Celebration Cake – Mainzer Landstrasse 131, 60327 Frankfurt am Main, Eugen Hahn Jazzkeller Frankfurt Team Kleine Bockenheimerstr. 18a Frankfurt

Radio Day By The Bay — Type 545A Oscilloscope for bench testing at California Historical Radio Society – Jon Hammond
http://www.thevalvepage.com/testeq/tek/545a/545a.htm
A dual trace oscilloscope utilising plug-in units for the ‘Y’ amplifiers.

Apparently there are 102 valves in this thing ! Hell, there are 14 of ’em in just the power supply ! Yet its still lighter than the Cossor. Lined up in rows, hanging upside-down, valves everywhere ! And a ruddy great fan at the back trying to keep it all cool.

The scope was manufactured for a number of years, as illustrated by the April 1961 advert [138K] shown opposite. But check out the £600 price tag ! To put this into perspective, this represented half the yearly salery for a typical design engineer.

Whilst a manufacturing plant was set up in Guernsey (off the souther coast of Great Britain), I wonder just how much of the scope was manufactured there and how much was “simply” assembling modules built in the state…

R.I.P. Jon Lord L to R: Joe Berger, Jon Lord, Michael Falkenstein – at Release of Hammond SK-1 and SK-2 Stage Keyboards at 2011 Musikmesse Worldwide For Immediate Release http://hammondjazz.wordpress.com/2011/04/01/sk-1-and-sk-2-hammond-suzuki-stage-keyboards-hammondcast/

California Historical Radio Society, Journal, July 21, 2012, Jon Hammond, Jazz, Blues, Broadcast, Bay Bridge, NAMM, Musikmesse, Frankfurt, Sk1, Organ, Oral History,
Cheryl Jennings

New York NY — Last night in Dizzy’s Club Coca Cola
Igor Butman & Moscow State Jazz Orchestra played one of the greatest concerts I ever heard in my life folks! I highly recommend to go see and hear them while they are here in New York City from Moscow! – Jon Hammond
http://jalc.org/dccc/details09.asp?EventID=3159
Tue-Sun, Jul 17-22
(Jul 18: 7:30pm Sold Out)
7:30pm & 9:30pm
plus 11:30pm on Fri & Sat

“In his homeland of Russia, Butman is as influential with the cultural and political elite as a certain trumpeter here in America is. So it’s no wonder that he is in the position to bring his state assisted orchestra. The saxophonist is a world-class player, arranger, and no doubt – talent scout, so expect a hyped up energized group of musicians aiming not just to please, but to blow away. A fitting analogy would be as if the Jazz at Lincoln Center Orchestra was playing in Moscow. You know they’d be more than ready. Igor Butman, tenor/soprano saxophone, leader; Alexander Dovgopolyy, saxophones; Illya Morozov, alto saxophone, clarinet; Dimitry Mospan, saxophones; Alexander Sakharov, saxophones; Oleg Borodin, Pavel Ovchinnkikov, Alvetina Polyakova, Nikolay Shevnin, trombones; Pavel Zhulin, Alexander Sakharov, Denis Popov, trumpet; Anton Baronin, piano; Vitaliy Solomonov, bass; Eduard Zizak, drums; plus special guests on trumpet, saxophone, vocals, et al.” special thanks Manager Marat Garipov and Lord Todd Barkan — Vitaly Solomonov, Dmitry Mospan, Konstantin Safyanov, Alevtina Polyakova, Alexander Dovgopoly and Pavel Ovchinnikov at Dizzy’s Club Coca-Cola

New York NY — Folks, my good friends from Igor Butman Moscow State Jazz Orchestra played one of the greatest concerts I ever heard in my life last night! Even after playing
2 x 2 hour sets, they are going down to the Village after hours to play more in Smalls! Thank you for the great great music! – Jon Hammond *here after show in front of Jazz at Lincoln Center – make sure to hear the entire orchestra in Dizzy’s Club Coca Cola, there are still a few more nights remaining

Iliya Morozov,Konstantin Safyanov, Ed Zizak, Makar Novikovand Evgeny Sivtsov, Alevtina Polyakova at Jazz at Lincoln Center

Dizzy’s Club Coca Cola —
Igor Butman Orchestra rhythm section and part of horn section, Nick Levinovsky piano and arranger, Igor Butman tenor saxophone,Konstantin Safyanov Ed Zizak drums, Vitaly Solomonov bass and the cats sounding fantastic in cola club! – Jon Hammond — withVitaly Solomonov, Dmitry Mospan, Ed Zizak,Konstantin Safyanov and Alevtina Polyakova atDizzy’s Club Coca-Cola

Alexander Dovgopoly doubling on Piccolo – choreography section of show – danger zone if not executed precisely, could get hit in the head by trombone! – JH
Igor Butman & Moscow State Jazz Orchestra – I highly recommend to go see and hear them while they are here in New York City from Moscow! – Jon Hammond
http://jalc.org/dccc/details09.asp?EventID=3159
Tue-Sun, Jul 17-22
(Jul 18: 7:30pm Sold Out)
7:30pm & 9:30pm

Alvetina Polyakova blowing a fantastic solo on trombone last night with Igor Butman & Moscow State Jazz Orchestra – they played one of the greatest concerts I ever heard in my life last night folks! I highly recommend to go see and hear them while they are here in New York City from Moscow! -Jon Hammond

The Saxophones of Igor Butman and the Bass of Vitaly Solomonov ! – Jon Hammond

Front Line Saxophones -Alexander Dovgopoly doubling on Piccolo – Nick Levinovsky Piano and Vitaly SolomonovBass of
Igor Butman & Moscow State Jazz Orchestra – I highly recommend – Jon Hammond

Alexander Dovgopoly blowing a smokin’ solo on baritone saxophone last night with Igor Butman & Moscow State Jazz Orchestra – they played one of the greatest concerts I ever heard in my life last night folks!

New York NY – Fifth Avenue & 57th St. — “You’re looking very chic…Why thank you, you’re looking very chic also! Where do you buy your clothes? The same place you buy yours of course!” – Jon Hammond

Moscow, Igor Butman, Eduard Zizak, JALC, Organ, Sk1, Jon Hammond, Jazz, Blues, Funky, Local 802 Musicians Union, Russia

Jon Hammond 10 Years Before in Moscow Russia with Igor Butman tenor sax and Ed Zizak drums

*WATCH THE VIDEO HERE: Easy Living in Moscow Russia Jon Hammond Trio with Igor Butman and Ed Zizak

http://www.archive.org/details/JonHammondJONHAMMONDTriow_IgorButman_EduardZizak_EasyLiving_

JON HAMMOND Trio w/ Igor Butman & Eduard Zizak “Easy Living”
Organist & CBS/KYCY Radio Host JON HAMMOND playing in Trio with Russian tenor saxophonist IGOR BUTMAN & EDUARD ZIZAK-drums in LE CLUB in THEATRE TAGANKA. The beautiful Ballad “Easy Living” *JENNIFER-Camera *Special Thanks-FAINA COBHAM, HAMMOND SUZUKI, ALEXANDER VERSHBOW *STORY: http://community.webtv.net/ GoldenPenMan/BLUESINTHEMOSCOW

http://www.youtube.com/watch?v=ufJ1zC1hthY

*WATCH THE VIDEO HERE: Joe Franklin Thanksgiving at The Laugh Factory

http://www.youtube.com/watch?v=b_-mYcrxtTo

8,702

Jon Hammond on the scene covering Joe Franklin’s annual Thanksgiving show and free turkey dinner at Laugh Factory NYC, a great tradition, Miracle on 42nd St.! Owner Richard Basciano an icon of Times Square says “By giving this holiday gift we want to give our thanks to the people NYC for making us what we are today .”
No one should be alone on this day of giving thanks and all are invited. Come out for a day of food and fun and share good times with friends. Happy Thanksgiving from Times Square Arts Center and The World Famous Laugh Factory. Enjoy Joe Franklin legend of Radio & TV here! jh http://www.HammondCast.com

*WATCH THE VIDEO HERE: When I Fall In Love in The jazzkeller Frankfurt

http://www.archive.org/details/JonHammondWhenIFallInLoveinThejazzkellerFrankfurt

Musikmesse Warm Up Party in Jazzkeller Frankfurt hosted by Jon Hammond Band
Tony Lakatos tenor sax
Jon Hammond XK-1 organ
Giovanni Gulino drums
When I Fall In Love
special thanks Eugen Hahn Jazzkeller Frankfurt Team, Musikmesse, Waichiro Tachikawa Suzuki Hammond, Michael Maier Falkenstein Hammond Deutschland, Video Camera by Jennifer http://www.jonhammondband.com

http://www.youtube.com/watch?v=5bwqe0YbzSY

http://www.archive.org/search.php?query=hammondcast&page=11

*WATCH VIDEO: Conversations Show Part 1 Harold Channer and Jon Hammond MNN TV

http://www.archive.org/details/JonHammondConversationsShowwithHaroldChannerandJonHammondMNNTV

Excerpt from ‘Conversations Show’, Harold Channer with guest TV/Radio Host & Producer Jon Hammond on MNN TV in New York City. Hear Harold and Jon discuss Public Access Television and play a clip from Jon’s very first broadcast on MCTV Channel C ‘The Jon Hammond Show’ with original music and graphics from BackBeat Productions that aired for first time Feb. 2, 1984. Jon’s TV show is now in it’s 24th year and he is hosting daily radio show ‘HammondCast Early Edition http://www.HammondCast.com

Harold Hudson Channer and Jon Hammond in the studios of MNN TV

The famous envelope containing program labels for The Jon Hammond Show on MNN TV

Jon Hammond Show Still images

Jon Hammond Journal For Day July 20, 2012 Report

Jon Hammond Journal For Day July 20, 2012 Report

New York NY — Last night in Dizzy’s Club Coca Cola
Igor Butman & Moscow State Jazz Orchestra played one of the greatest concerts I ever heard in my life folks! I highly recommend to go see and hear them while they are here in New York City from Moscow! – Jon Hammond
http://jalc.org/dccc/details09.asp?EventID=3159
Tue-Sun, Jul 17-22
(Jul 18: 7:30pm Sold Out)
7:30pm & 9:30pm
plus 11:30pm on Fri & Sat

“In his homeland of Russia, Butman is as influential with the cultural and political elite as a certain trumpeter here in America is. So it’s no wonder that he is in the position to bring his state assisted orchestra. The saxophonist is a world-class player, arranger, and no doubt – talent scout, so expect a hyped up energized group of musicians aiming not just to please, but to blow away. A fitting analogy would be as if the Jazz at Lincoln Center Orchestra was playing in Moscow. You know they’d be more than ready. Igor Butman, tenor/soprano saxophone, leader; Alexander Dovgopolyy, saxophones; Illya Morozov, alto saxophone, clarinet; Dimitry Mospan, saxophones; Alexander Sakharov, saxophones; Oleg Borodin, Pavel Ovchinnkikov, Alvetina Polyakova, Nikolay Shevnin, trombones; Pavel Zhulin, Alexander Sakharov, Denis Popov, trumpet; Anton Baronin, piano; Vitaliy Solomonov, bass; Eduard Zizak, drums; plus special guests on trumpet, saxophone, vocals, et al.” special thanks Manager Marat Garipov and Lord Todd Barkan — Vitaly Solomonov, Dmitry Mospan, Konstantin Safyanov, Alevtina Polyakova, Alexander Dovgopoly and Pavel Ovchinnikov at Dizzy’s Club Coca-Cola

New York NY — Folks, my good friends from Igor Butman Moscow State Jazz Orchestra played one of the greatest concerts I ever heard in my life last night! Even after playing
2 x 2 hour sets, they are going down to the Village after hours to play more in Smalls! Thank you for the great great music! – Jon Hammond *here after show in front of Jazz at Lincoln Center – make sure to hear the entire orchestra in Dizzy’s Club Coca Cola, there are still a few more nights remaining

Iliya Morozov,Konstantin Safyanov, Ed Zizak, Makar Novikovand Evgeny Sivtsov, Alevtina Polyakova at Jazz at Lincoln Center

Dizzy’s Club Coca Cola —
Igor Butman Orchestra rhythm section and part of horn section, Nick Levinovsky piano and arranger, Igor Butman tenor saxophone,Konstantin Safyanov Ed Zizak drums, Vitaly Solomonov bass and the cats sounding fantastic in cola club! – Jon Hammond — withVitaly Solomonov, Dmitry Mospan, Ed Zizak,Konstantin Safyanov and Alevtina Polyakova atDizzy’s Club Coca-Cola

Alexander Dovgopoly doubling on Piccolo – choreography section of show – danger zone if not executed precisely, could get hit in the head by trombone! – JH
Igor Butman & Moscow State Jazz Orchestra – I highly recommend to go see and hear them while they are here in New York City from Moscow! – Jon Hammond
http://jalc.org/dccc/details09.asp?EventID=3159
Tue-Sun, Jul 17-22
(Jul 18: 7:30pm Sold Out)
7:30pm & 9:30pm

Alvetina Polyakova blowing a fantastic solo on trombone last night with Igor Butman & Moscow State Jazz Orchestra – they played one of the greatest concerts I ever heard in my life last night folks! I highly recommend to go see and hear them while they are here in New York City from Moscow! -Jon Hammond

The Saxophones of Igor Butman and the Bass of Vitaly Solomonov ! – Jon Hammond

Front Line Saxophones -Alexander Dovgopoly doubling on Piccolo – Nick Levinovsky Piano and Vitaly SolomonovBass of
Igor Butman & Moscow State Jazz Orchestra – I highly recommend – Jon Hammond

Alexander Dovgopoly blowing a smokin’ solo on baritone saxophone last night with Igor Butman & Moscow State Jazz Orchestra – they played one of the greatest concerts I ever heard in my life last night folks!

New York NY – Fifth Avenue & 57th St. — “You’re looking very chic…Why thank you, you’re looking very chic also! Where do you buy your clothes? The same place you buy yours of course!” – Jon Hammond

Moscow, Igor Butman, Eduard Zizak, JALC, Organ, Sk1, Jon Hammond, Jazz, Blues, Funky, Local 802 Musicians Union, Russia

Jon Hammond 10 Years Before in Moscow Russia with Igor Butman tenor sax and Ed Zizak drums

*WATCH THE VIDEO HERE: Easy Living in Moscow Russia Jon Hammond Trio with Igor Butman and Ed Zizak

http://www.archive.org/details/JonHammondJONHAMMONDTriow_IgorButman_EduardZizak_EasyLiving_

JON HAMMOND Trio w/ Igor Butman & Eduard Zizak “Easy Living”
Organist & CBS/KYCY Radio Host JON HAMMOND playing in Trio with Russian tenor saxophonist IGOR BUTMAN & EDUARD ZIZAK-drums in LE CLUB in THEATRE TAGANKA. The beautiful Ballad “Easy Living” *JENNIFER-Camera *Special Thanks-FAINA COBHAM, HAMMOND SUZUKI, ALEXANDER VERSHBOW *STORY: http://community.webtv.net/ GoldenPenMan/BLUESINTHEMOSCOW

http://www.youtube.com/watch?v=ufJ1zC1hthY

*WATCH THE VIDEO HERE: Joe Franklin Thanksgiving at The Laugh Factory

http://www.youtube.com/watch?v=b_-mYcrxtTo

8,702

Jon Hammond on the scene covering Joe Franklin’s annual Thanksgiving show and free turkey dinner at Laugh Factory NYC, a great tradition, Miracle on 42nd St.! Owner Richard Basciano an icon of Times Square says “By giving this holiday gift we want to give our thanks to the people NYC for making us what we are today .”
No one should be alone on this day of giving thanks and all are invited. Come out for a day of food and fun and share good times with friends. Happy Thanksgiving from Times Square Arts Center and The World Famous Laugh Factory. Enjoy Joe Franklin legend of Radio & TV here! jh http://www.HammondCast.com

*WATCH THE VIDEO HERE: When I Fall In Love in The jazzkeller Frankfurt

http://www.archive.org/details/JonHammondWhenIFallInLoveinThejazzkellerFrankfurt

Musikmesse Warm Up Party in Jazzkeller Frankfurt hosted by Jon Hammond Band
Tony Lakatos tenor sax
Jon Hammond XK-1 organ
Giovanni Gulino drums
When I Fall In Love
special thanks Eugen Hahn Jazzkeller Frankfurt Team, Musikmesse, Waichiro Tachikawa Suzuki Hammond, Michael Maier Falkenstein Hammond Deutschland, Video Camera by Jennifer http://www.jonhammondband.com

http://www.youtube.com/watch?v=5bwqe0YbzSY

http://www.archive.org/search.php?query=hammondcast&page=11

*WATCH VIDEO: Conversations Show Part 1 Harold Channer and Jon Hammond MNN TV

http://www.archive.org/details/JonHammondConversationsShowwithHaroldChannerandJonHammondMNNTV

Excerpt from ‘Conversations Show’, Harold Channer with guest TV/Radio Host & Producer Jon Hammond on MNN TV in New York City. Hear Harold and Jon discuss Public Access Television and play a clip from Jon’s very first broadcast on MCTV Channel C ‘The Jon Hammond Show’ with original music and graphics from BackBeat Productions that aired for first time Feb. 2, 1984. Jon’s TV show is now in it’s 24th year and he is hosting daily radio show ‘HammondCast Early Edition http://www.HammondCast.com

Harold Hudson Channer and Jon Hammond in the studios of MNN TV

The famous envelope containing program labels for The Jon Hammond Show on MNN TV

Jon Hammond Show Still images

http://www.youtube.com/watch?v=5dIOlsv6a4E

Conversations Part 2 Harold Channer and Jon Hammond MNN TV

http://www.youtube.com/watch?v=BNpxGW8PPQg

Part 2 of Conversations with Harold Channer and Jon Hammond “The Global Village”…music as the Universal Language, music without words is the best way to effect global change, Jon’s theory in action with a clip from Moscow Russia concert together with Russian tenor sax star Igor Butman, drummer Eduard Zizak and Jon at the organ doing the classic Jazz Ballad “My One And Only Love” from the John Coltrane and Johnny Hartman ‘Ballads’ album. And wrap up conversation with Broadcaster, Philosopher Producer and World Traveler Harold Hudson Channer http://channer.tv on Manhattan Neighborhood Network

http://channer.tv

http://www.HammondCast.com

Jon tries on a Russian hat in Moscow

JH Show Title MNN TV MCTV

Moscow Red Square picture from Jon’s room on 10th floor of Rossiya Hotel “Blues In The Moscow White Nights”

JON HAMMOND Trio w/ Igor Butman & Eduard Zizak “Easy Living”
Organist & CBS/KYCY Radio Host JON HAMMOND playing in Trio with Russian tenor saxophonist IGOR BUTMAN & EDUARD ZIZAK-drums in LE CLUB in THEATRE TAGANKA. The beautiful Ballad “Easy Living” *JENNIFER-Camera *Special Thanks-FAINA ANTONOVA, HAMMOND SUZUKI, ALEXANDER VERSHBOW *STORY: http://community.webtv.net/ GoldenPenMan/BLUESINTHEMOSCOW

The View from our hotel room on the 10th floor of the famous Hotel Rossiya in Moscow across from Red Square, I took this photo at Midnight late in June when there is light in the sky very late, magic!

Igor Butman tenor sax, Ed Zizak drums, Jon Hammond organ / bass

Jon Hammond with Russian poster outside gig in Moscow

http://www.youtube.com/watch?v=mvWY8rG163E

Jon Hammond on Russian TV with Igor Butman translating

Jon Hammond Band News, Catch Jon daily on KYOU Radio HammondCast

Jon Hammond Band on MySpace

Jon Hammond is now on FaceBook

ASCAP Network

NDR SESSIONS Projekt Story ASCAP Network

Lydia’s Tune

*WATCH THE VIDEO HERE Lydia’s Tune in Jazzkeller Frankfurt JON HAMMOND Band

http://ia700402.us.archive.org/1/items/JonHammondydia_sTuneinJazzkellerFrankfurtJONHAMMONDBand/LydiasTuneinJazzkellerFrankfurt.m4v

JonHammondBand | January 06, 2011 | 0 likes, 0 dislikes

Lydia’s Tune by Jon Hammond in Jazzkeller Frankfurt annual Musikmesse Party hosted by Jon Hammond Band
Tony Lakatos tenor saxophone
Heinz Lichius drums
Joe Berger guitar
Jon Hammond at XB-2 Hammond organ
Lydia’s Tune is a bossa nova from Jon’s album LATE RENT on Ham-Berger-Friz Records © ASCAPhttp://www.jonhammondband.com

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http://www.youtube.com/watch?v=I_gPc5fKyeI

http://www.ourmedia.org/media/lydias-tune-jazzkeller-frankfurt-jon-hammond-band

http://www.archive.org/details/JonHammondydia_sTuneinJazzkellerFrankfurtJONHAMMONDBand&reCache=1

XB-2, Tony Lakatos, Heinz Lichius, Joe Berger, Lydia, Accordion, Apple Computers, B3 Organ, B3mk2, Blues, Hamamatsu, HammondCast, Inc., iPad, iPod, iTunes, Jazz, Jon Hammond, Manji, Ron Johnson, Steve Jobs, Suzuki Musical Instruments, XK-1, XK-3c

Lydia’s Tune Hammond Sk1 World’s First Road Test

*WATCH THE VIDEO: Lydia’s Tune Hammond Sk1 World’s First Road Test

http://www.archive.org/details/JonHammondLydia_sTuneHammondSk1World_sFirstRoadTest/

http://www.ourmedia.org/media/lydias-tune-hammond-sk1-worlds-first-road-test

http://www.youtube.com/watch?v=oWnc7QPL1xk

LYDIA’S TUNE by Jon Hammond on Hammond Sk1 (bossa nova) World’s First Road Test of ultra-portable Hammond Sk1 with Jon Hammond Band in Germany at Jon’s annual Musikmesse-Session in Jazzkeller Hofheim April 8, 2011 Special Thanks Suzuki Musical Instruments, Ken Atsumi, Waichiro ‘Tachi’ Tachikawa, Hiromitsu Ono, Yu Beniya, Shigeyuki Ohtaka, Shuji Suzuki, Bernie Capicchiano, Malc Deakin Hammond Suzuki UK Europe, Michael Falkenstein Hammond Suzuki Germany, camera: Jennifer
Joe Berger guitar, Giovanni Gulino drums, Peter Klohmann tenor sax, Jon Hammond Sk1 Hammond Stage Keyboard http://www.jonhammondband.com
Sk1 Sk2 Hammond Suzuki Musikmesse Blues Organ Hofheim Hamamatsu Japan

http://vimeo.com/24983443

WATCH THE VIDEO: http://ia700609.us.archive.org/13/items/JonHammondNoX-CessBaggageSk1Blues/NoXCessBaggageSk1Blues.m4v

http://www.archive.org/details/JonHammondNoX-CessBaggageSk1Blues&reCache=1

No X-Cess Baggage Sk1 Blues – Sk1 Theme Song – World’s First Road Test of ultra-portable Hammond Sk1 with Jon Hammond Band in Germany at Jon’s annual Musikmesse-Session in Jazzkeller Hofheim April 8, 2011 Special Thanks Suzuki Musical Instruments, Bernie Capicchiano, Malc Deakin Hammond Suzuki UK Europe, Michael Falkenstein Hammond Suzuki Germany, camera: Jennifer
Joe Berger guitar, Giovanni Gulino drums, Peter Klohmann tenor sax, Jon Hammond Sk1 Hammond Stage Keyboard http://www.jonhammondband.com
Sk1 Sk2 Hammond Suzuki Musikmesse Blues Organ Hofheim Hamamatsu Japan

http://www.youtube.com/watch?v=Z4IuCV7L1yM

http://vimeo.com/24951125

No X-Cess Baggage Sk1 Blues from Jon Hammond on Vimeo.

Blues, Funk, Hamamatsu, Jazz, Jon Hammond Band, Local 802, Manhattan Neighborhood Network, Musicians Union, Musikmesse, NAMM, Session, Sk1, SK2, Soul, Suzuki Musical Instruments, special thank Manager Marat Garipov, Todd Barkan

*WATCH VIDEO HERE:

http://ia700406.us.archive.org/20/items/JonHammondToddBarkanonHammondCastKYOURADIO/ToddBarkanonHammondCast.m4v

Todd Barkan’s wife Ilene Glick “A CAR GOING 100MPH HIT AND RAN TODD OFF THE ROAD SAT NIGHT 5AM HIT A TREE. CAR TOTALED MY LOVE IS WITH BROKEN LEG AND SHOULDER at st lukes .. driver ran off…..”

JonHammondBand |

Jon Hammond here…wishing Todd Barkan a speedy recovery from terrible auto accident, just a few days ago…forced off the road by a speeding reckless driver who sped away, get better soon Todd!
Special guest Todd Barkan on HammondCast Show KYOURADIO, Jon Hammond interview with Todd Barkan, who ran Keystone Korner in North Beach. When Keystone closed in 1983, it was one of the last San Francisco clubs to regularly book national and international touring jazz groups. Barkan is now the artistic director of Dizzy’s Club Coca-Cola, the jazz club operated by Jazz at Lincoln Center in New York, and he’s also a highly regarded producer who works with numerous domestic and European jazz labels.
http://www.jonhammondband.com/music-1…
HammondCast 146 KYOURADIO with special guest TODD BARKAN interview with Jon and music produced by Todd: ONE FOR ALL “Skylark” & “Corcovado” JON HAMMOND “Six Year Itch” & “Cannonball ’99 (One More Time)” spcl. guest CHICO HAMILTON + i.d.
AUDIO: http://www.kyouradio.com/media/mpeg-2… KYOU Radio HammondCast Show

http://www.archive.org/details/JonHammondMNNTVTheJonHammondShow

MNNTV The Jon Hammond Show as seen on Jon Hammond’s long running cable access TV show now on MNNTV Manhattan Neighborhood Network in New York City 27th year. This episode is a classic with Jon Hammond and band in Moscow Russia playing jazz ballad Easy Living with Igor Butman sax and Eduard Zizak drums, Jon Hammond at the organ. Tim Cain “Shadow Walk” with visuals by Eduardo Gutekunst. Jon Hammond with his studio band of Steve Ferrone, Todd Anderson, Barry Finnerty “Lydia’s Tune” by Jon Hammond at the B3 organ. Jon Hammond in Frankfurt Germany with Tony Lakatos tenor sax, Giovanni Guilino drum, Joe Berger guitar “Melody Without Name” Jon Hammond’ theme song is entitled LATE RENT with Video By LORI © Jon Hammond Intl. http://www.HammondCast.com

http://www.youtube.com/watch?v=aYxSjD8jxus

Wynton Marsalis with Legion of Honor Medal photo by Jon Hammond

Wynton Marsalis at French Embassy wearing France’s insignia of chevalier of the Legion of Honor medal which was presented to him by French Ambassador Pierre Vimont photo by Jon Hammond 

Jon Hammond solo piano at French Embassy

Jon Hammond playing solo piano at French Embassy photo by Anthony Behar special thanks Amaury Laporte www.jonhammondband.com/news.html

Bill and Faina Cobham at Yoshi’s Oakland CA

Bill and Faina Cobham at Yoshi’s Oakland CA, on Billy Cobham Band that night – Patrice Rushen, Lew Soloff, Essiet Essiet, Donald Harrison www.billycobham.com/ Billy on HammondCast video.yahoo.com/watch/114590/1672894 photo by Jennifer

Jon Hammond and Gregory Bridges of KCSM at Billy Cobham Yoshi’s gig

Jon Hammond and Greg Bridges of KCSM Jazz Oasis Show at Bill Cobham Yoshi’s Oakland Show Oct. 24th 2009 www.HammondCast.com on Billy Cobham Band that night – Patrice Rushen, Lew Soloff, Essiet Essiet, Donald Harrison www.billycobham.com/ photo by Jennifer Billy on HammondCast video.yahoo.com/watch/114590/1672894

Junior Mance and Jon Hammond at Cafe Loup NYC

Junior Mance jazz pianist and Jon Hammond at Cafe Loup NYC interview on HammondCast Show KYOU 

Jon Hammond at B3 organ with Lou Colombo trumpet and Jack Pena guitar

Jon Hammond at B3 organ with Lou Colombo trumpet and Jack Pena guitar Frank Shea drums House Band of Wychmere Harbor Club and Thompson’s Clam Bar in Harwichport MA Cape Codwww.jonhammondband.com/news.html *Note: Band for all Tip O’Neill private parties, daughter Susan O’Neill Wedding, Mr. & Mrs. Lee Berk danced to this band regularly when still alive

Cont…

Jon Hammond *Member AFM Local 802 and Local 6 Musicians Union ASCAP Publisher

ASCAP Audio Portrait Late Rent album on Apple iTunes, Amazon etc.:

http://ascap.com/network/audioportraits/Jon_Hammond_Rent/

http://itunes.apple.com/us/album/late-rent/id30945539

View In iTunes

View In iTunes

View In iTunes

Late Rent, Hammond’s Bolero, Suzuki Instruments, B3mk2, XK-1, XK-3c, Organ, Jon Hammond, Bernard Purdie, Jazz, Funky Blues, AFM Local 802, Musicians Union, ASCAP, Musikmesse, Winter NAMM Show

Todd Barkan, Max Roach photo, Odeon Pope, Keystone, car wreck, Wynton Marsalis, Jazz at Lincoln Center, Dizzy’s Club Coca Cola, Jon Hammond, B3 organ, CBS Radio Network, Mike Kappus, Booking agent

Jon Hammond Journal For Day July 17, 2012 Report

Jon Hammond Journal For Day July 17, 2012 Report

New York NY — 2 of my very best special friends here all the way from Moscow Russia – Vitaly Solomonov and Alexander Dovgopoly, my favorite musicians / people from Igor Butman Big Band, opening up tonight at Jazz At Lincoln Center Dizzy’s Club Coca Cola Tue-Sun, Jul 17-22. 7:30pm & 9:30pm plus 11:30pm on Fri & Sat – go to their show if you can folks! Welcome back to NYC USA Vitaly & Alexander! – Jon Hammond *thank you very much / Большое спасибо Tatiana for the photo! – JH

New York NY — My good friends from Moscow Russia – here live in Lincoln Center! Vitaly Solomonov, Alexander Dovgopoly and Tatiana is teaching music here in New York now! Jon Hammond
Here they are by the famous Starbucks!

New York NY — Sound Check in Dizzy’s Club Coca Cola with Igor Butman (saxophone) Orchestra – Nick Levinovsky piano and arranger, with Kathy Jenkins excellent vocalist and manager for Igor Butman music USA – here she sings “I Can’t Give You Anything But Love…Baby!” Vitaly Solomonov bass and the cats sounding real good folks!

New York NY — here we are in the wonderful horn section from Igor Butman Orchestra with my good friend Ed Zizak drums, he has the new glasses looking like Professor Zizak!
Alexander Dovgopoly – Baritone Saxophone – fantastic sound folks!

New York NY Dizzy’s Club Coca Cola — my friend Marat Garipov manager of Igor Butman Orchestra taking some fantastic pictures at sound check in the cola club – the cats are back in town from Moscow! Alexander Dovgopoly far right – baritone saxophone excellent! – Jon Hammond

New York NY Dizzy’s Club Coca Cola — Igor Butman Orchestra rhythm section and part of horn section, Nick Levinovsky piano and arranger, Igor Butman tenor saxophone, Konstantin Safyanov Ed Zizak drums, Vitaly Solomonov bass and the cats sounding fantastic in cola club! – Jon Hammond

New York NY — Duck! – Jon Hammond — at Doris C. Freedman Plaza

New York NY — Louis Vuitton window du jour – really weird! Jon Hammond — YAYOI KUSAMA

And here’s Yayoi Kusama on the bus stop – Jon Hammond

New York NY — They found each other!
Corner of 57th and Fifth Avenue – Jon Hammond
*Note, you might see this stunning couple shot by Bill Cunningham, he was slinking around me getting shots and trying to stay out of view of my camera but I got him – *Bill Cunningham who shoots almost daily on corner of Fifth Avenue and 57th St. This is a guy who shoots people candidly, yet he has an aversion to being on-camera himself. He is quite adept at slinking away and moving in back of you anytime your lens levels off in his direction. I’ve seen the man for years and he has always done that, my first shots of him date back to 1985. Here I got him on-camera just this morning – Bill Cunningham shot by Jon Hammond
http://en.wikipedia.org/wiki/Bill_Cunningham_(photographer)
William J. Cunningham (born March 13, 1929) is a fashion photographer for The New York Times, known for his candid and street photography.

Cunningham dropped out of Harvard University in 1948 and moved to New York, where he initially worked in advertising. Not long after, he quit his job and struck out on his own, making hats under the name “William J.” After being drafted (causing his business to fold) and serving a tour in the U.S. Army, he returned to New York and got a job writing for the Chicago Tribune.
During his years as a writer, he contributed significantly to fashion journalism, introducing American audiences to Azzedine Alaïa and Jean-Paul Gaultier. While working at the Tribune and at Women’s Wear Daily, he began taking photographs of fashion on the streets of New York. As the result of a chance photograph of Greta Garbo, he published a group of his impromptu pictures in the Times in December 1978, which soon became a regular series.His editor, Arthur Gelb, has called these photographs “a turning point for the Times, because it was the first time the paper had run pictures of well-known people without getting their permission.”
Cunningham photographs people and the passing scene in the streets of Manhattan every day. Most of his pictures, he has said, are never published. Designer Oscar de la Renta has said, “More than anyone else in the city, he has the whole visual history of the last 40 or 50 years of New York. It’s the total scope of fashion in the life of New York.”Though he has made a career out of unexpected photographs of celebrities, socialites, and fashion personalities, many in those categories value his company. According to David Rockefeller, Brooke Astor asked he be invited to her 100th birthday party, the only member of the media so honored.[3]
In 2008 he was awarded the title Officier de l’ordre des Arts et des Lettres by the French Ministry of Culture.
In 2010, filmmaker Richard Press and Philip Gefter of The Times produced Bill Cunningham New York a documentary about Cunningham, including his trademark bicycle and camera,.The film was released on March 16, 2011. It reveals various of Cunningham’s eccentricities: he was living in a tiny, apparently one-room, apartment in the Carnegie Hall building, filled with filing cabinets and boxes of his photographs. He does not have a wardrobe, a kitchen or even his own bathroom. Despite his interest in fashion, his clothes are few and purely utilitarian.
He was featured on The Culture Show in March 2012.
On the Street, Cunningham’s weekly slideshow for the Times online
“Capturing the Elusive Bill Cunningham”, New York Times story about Bill Cunningham New York
The movie “Bill Cunningham New York”
Facebook: Bill Cunningham — at Tiffany & Co

New York NY — Famous People Photograper Bill Cunningham who shoots almost daily on corner of Fifth Avenue and 57th St. This is a guy who shoots people candidly, yet he has an aversion to being on-camera himself. He is quite adept at slinking away and moving in back of you anytime your lens levels off in his direction. I’ve seen the man for years and he has always done that, my first shots of him date back to 1985. Here I got him on-camera just this morning – Bill Cunningham shot by Jon Hammond
http://en.wikipedia.org/wiki/Bill_Cunningham_(photographer)
William J. Cunningham (born March 13, 1929) is a fashion photographer for The New York Times, known for his candid and street photography.

Cunningham dropped out of Harvard University in 1948 and moved to New York, where he initially worked in advertising. Not long after, he quit his job and struck out on his own, making hats under the name “William J.” After being drafted (causing his business to fold) and serving a tour in the U.S. Army, he returned to New York and got a job writing for the Chicago Tribune.

New York NY — Local 802 Monday Night Jazz Session
Serious Jazz’ers seen here either before or after playing with Jon Hammond’s organ in foreground (already played) – 07/16/2012
*seated far end in chair – Buddy Henry (drums), standing white pants – Gabriel Romance (vocals & flute)
standing in yellow shirt – Rudy Sheriff Lawless (drums) *one of my trusted spiritual gudes – JH
Bill (drums)
Michael Guilford (bass and he’s left-handed!)
Joe Cangelosi Sr. (drums)
Arlington Houston (bass) —

Hamamatsu Japan — special concert in Suzuki Hall for President Mr. Manji Suzuki and Suzuki Company at the World Headquarters and Factory
Suzuki Artists Koei Tanaka and Jon Hammond
Youtube http://www.youtube.com/watch?v=E0f_cH1U5jc

Jon Hammond shedding on his Excelsior Accordion
http://www.radioaccordion.com/

North Beach San Francisco — Bernard Purdie and Jon Hammond playing at the now defunct Cocodrie nightclub
Youtube www.youtube.com/watch?v=_oSk9gXkF2c
Jon Hammond brought legendary studio drummer Bernard Purdie ‘The Hit Maker’ back to San Francisco to play for the first time since the Live Aretha Franklin at Fillmore recordings in March of 1971. The concert went down in North Beach San Francisco at COCODRIE Club. Here they are playing a Jon Hammond Band original ‘Hip Hop Chitlins’ with an explosive and impromptu drum solo from Bernard that is pure Funk. On the band: Bennett Friedman tenor sax, Barry Finnerty guitar, Bernard Purdie drums, Jon Hammond organ & bass *Special thanks: Scott Rootenberg — at 1024 Kearny St., San Francisco, CA

Times Square NYC — I won’t be doing this today…it’s hot as hell in the 90’s here folks! Jon Hammond
http://www.accordionradio.com/
*Photo by Elmar Lemes

Garden City Long Island NY — The greatest, Angelo DiPippo here! Angelo met me at the train station and we had a fantastic day hanging out – “Eddie Fisher’s last released album was recorded around 1984, arranged by Angelo DiPippo. DiPippo worked with Eddie countless hours to better his vocals but it became useless. His final recordings (never released) were made in 1995 with the London Philharmonic Orchestra. ”
Carmine D’amico: ” live out of the Ed Sullivan Theater in NYC. Angelo DiPippo, arranger and accordianist, called me to play mandolin and guitar in the movie (the wedding scene) and for the soundtrack of “The Godfather,” along with albums for Rodney Dangerfield..”
incredible Angelo, yeah man! Jon Hammond http://www.angelodipippo.com/

New York NY 156 W.48th St. old Manny’s/ now Sam Ash — Old Yellow !
“Old Yellow? . That’s the nickname for the gnarled Danolectro guitar at the shop — never for sale — that has been called the Blarney Stone of the rock world. It has been played by the likes of Clapton, Hendrix and Lennon.” Jon Hammond — at Sam Ash Music Store

New York NY 322 W.48th St. — The front of Local 802 Headquarters and awning looking good! Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM

Get Back In The Groove…back in Hamburg jimdo!
http://hammondcast.jimdo.com/2012/06/28/newessbar-hamburg-get-back-in-the-groove-tribute-to-9-11/
*WATCH THE VIDEO HERE: Newessbar Hamburg Get Back In The Groove Tribute to 9/11 http://archive.org/details/NewessbarHamburgGetBackInTheGrooveTributeTo911 – Jon Hammond thanks Olaf & Roman!

New York NY — Jon Hammond standing in front of Local 802 AFM Musicians Union Headquarters with brand-spankin’ new Hammond Sk1 organ still in the box, stopped by to say hi to fellow 802 musicians – ready for action..and that is coming soon folks! *That’s me in the Bernard Purdie T-Shirt –
Youtube: http://www.youtube.com/watch?v=sEKdzmlhvXI
Jon Hammond Band playing Jon’s composition Late Rent the theme song of his long-running cable TV show The Jon Hammond Show live at The Bitter End club in Greenwich Village New York. Special late show with some of the original musicians from the recording which happened in 1983 in Intergalactic Studios the same studio where John Lennon did his last recordings. On tenor saxophone Todd Anderson who was Jon’s Arranging and Composition teacher in 1973 at Berklee College of Music, Ray Grappone drums who played on the Sidewinder track from Late Rent album first release as heard on WNEW AM 1130 Al Jazzbo Collins radio program, Joe Berger guitar, long-time co-producer engineer guitarist and Jon Hammond playing the incredible New Hammond Sk1 organ designed by Jon’s friends at Suzuki Musical Instruments in Hamamatsu Japan. Swinging Funky Jazz and Blues. All 4 members of The Jon Hammond Band are members of Local 802 Musicians Union American Federation of Musicians New York City, congratulations 802 on 90th Birthday! *Note: This performance was streamed live on the world wide web, special thanks to John Acer and Clifford Schwartz of NuMuBu in Montreal Canada for the broadcast report. — at Associated Musicians of Greater New York, Local 802 AFM

Igor Butman Orchestra, Marat Garipov, Alexander Dovgopoly, Vitaly Solomonov, Ed Zizak, Jon Hammond, Sk1, Organ, Suzuki,

Jon Hammond Journal For Day July 16, 2012 Report – First very sad news, Jon Lord the
great Hammond organist of Deep Purple fame has died
Folks, Very Sad Announcement: Jon Lord has died.

Jon Lord of Deep Purple Speaking about Hammond Sk1 and Sk2 with Jon Hammond in Frankfurt at Musikmesse

Rest In Peace Jon – Jon Hammond
http://www.youtube.com/watch?v=Q4AbLZZ0380
Jonathan Douglas Lord, rock and classical musician and composer, born 9 June 1941; died 16 July 2012
He is survived by his wife, Vicky, and their daughter, Amy; and a daughter, Sara, by his first wife, Judith, from whom he was divorced.
Jon’s Obit from The Guardian
http://www.guardian.co.uk/music/2012/jul/16/jon-lord?newsfeed=true
Jon Lord
“Organist who infused Deep Purple with classical influences, helping make them one of the world’s biggest rock bands”
‘We’re as valid as anything by Beethoven,” declared Jon Lord of his band, Deep Purple, in an interview with the New Musical Express in 1973. Lord, who has died aged 71 after suffering from pancreatic cancer, was not merely adopting a rebellious stance. An accomplished classical composer as well as rock musician, he believed with some justification that his group’s music was as profound in structure and as significant in cultural impact as any work from the symphonic canon. At the time, Deep Purple were among the world’s biggest rock bands, having built an enormous fanbase on the strength of their classically influenced songs, which lent further weight to Lord’s statement.

Born in Leicester, Lord studied classical piano from the age of five. In his teens, the then-new rock’n’roll and R&B movements made a deep impression on him, in particular the music recorded by blues pianists and organists such as Jimmy McGriff and Jerry Lee Lewis. The contemporary combination of Hammond B3 and C3 organs with Leslie speakers appealed to him, and this became an instrumental setup that remained integral to Lord’s signature keyboard style for the rest of his career.

In 1959, he moved to London to pursue acting, which he studied at the Central School of Speech and Drama. He played the piano and Hammond organ in clubs to pay the bills, initially with a jazz band called the Bill Ashton Combo and then with Red Bludd’s Bluesicians, featuring the vocalist Art Wood. While recording occasional sessions (he contributed keyboards to the Kinks’ 1964 hit You Really Got Me), Lord pursued pop success in the Art Wood Combo, who later renamed themselves the Artwoods and appeared on TV. I Take What I Want was the group’s only charting single.

Lord discovered his trademark sound when he formed Santa Barbara Machine Head, which also featured Wood’s brother and future Rolling Stone, Ronnie Wood. The key to this group’s success was its powerful, organ- and guitar-driven formula, which pointed at the future musical recipe of Deep Purple, and also the meeting of Lord and the bassist Nick Simper. The duo were the backbone of Deep Purple, who formed when the businessman and manager Tony Edwards invested in the new group and auditioned the cream of London’s young talent – the guitarist Ritchie Blackmore, the singer Rod Evans and the drummer Ian Paice among them. This quintet formed Purple’s first lineup in 1968.

Deep Purple spent the following eight years on a path that took them around the world on several occasions (in later years, they had a private jet), playing the world’s largest stadiums and issuing a series of classic LPs – In Rock (1970), Fireball (1971), Machine Head (1972) and Burn (1974) among them. Personnel came and went, but Lord and Paice remained constant members until the group’s dissolution amid a haze of drug addiction and exhaustion in 1976.

Of the great British rock bands of the 70s, only Led Zeppelin, Black Sabbath and the Stones were able to operate on as grand a scale: unlike any of those groups, Deep Purple took regular time out to indulge in classical projects initiated and directed by Lord. The most notable of these was the live Concerto for Group and Orchestra, recorded at the Royal Albert Hall in 1969.

It was this equal passion for rock bombast and classical finesse that made Lord such an unusual musician. During Deep Purple’s glory days, he often infused the songs with classical influences, as in the song April from the group’s eponymous album in 1969. His organ playing, which often counterpointed Blackmore’s virtuoso lead guitar, was unique and often copied.

After the split, Lord formed a group with the rock singer Tony Ashton and Deep Purple’s ex-drummer Paice entitled Paice, Ashton & Lord. They released one album, Malice in Wonderland, in 1977. He then joined Whitesnake, the band formed by Deep Purple’s last lead singer, David Coverdale. This group, not to be confused with the 1980s reincarnation that played stadium rock and met with huge success, was an earthy, blues-rock band in which Lord’s organ playing was an essential element. His stint in Whitesnake ended when he rejoined a reformed lineup of Deep Purple in 1984 alongside Blackmore, Paice, the singer Ian Gillan and the bassist Roger Glover.

Many solo projects and collaborations came during and between Lord’s membership of these bands, including Before I Forget (1982), which featured classical piano music; a commission to compose the soundtrack of Central Television’s 1984 series The Country Diary of an Edwardian Lady; and guest spots on albums by rock luminaries such as Lord’s Oxfordshire neighbour George Harrison and Pink Floyd’s David Gilmour.

Eight more years of recording and tours followed before Lord felt he had had enough of life on the road. In a letter to his bandmates in 2002, he requested that Deep Purple take a year off. When this request was declined, he amicably left the group. Solo projects followed, including a collaboration in 2004 with sometime Abba singer Anni-Frid Lyngstad, and the formation of a blues band, Hoochie Coochie Men, three years later. In 2010, Lord was made an honorary fellow of Stevenson College, Edinburgh, and the following year he was awarded an honorary doctorate of music by the University of Leicester.

Report http://hammondcast.over-blog.com/article-report-jon-hammond-and-koei-tanaka-concert-for-president-manji-suzuki-and-company-hamamatsu-japan-77330862.html

Bicycles are In these days, but make sure to wear a helmut folks! Jon Hammond
2 friends of mine seriously injured recently, one with helmut (busted femur) and the other one, busted collar bone

New York NY — The Russians are back in town!
Welcome back to USA cats!! Jon Hammond

Welcome back to USA cats!! Jon Hammond — with Alexander Dovgopoly, Anton Baronin, Vitaly Solomonov, Pavel Ovchinnikov and Ed Zizak

Jon Hammond in Leo’s Pro Audio trying out Bag End speakers with 1965 Fender Band-Master head and XK-1 Hammond organ – this organ and flight case are available to the right person by the way – JH — at Leo’s PRO Audio

San Francisco CA Golden Gate Park Speedway Meadows — Wavy Gravy hangin’ backstage at 40th Anniversary of Woodstock free concert – Jon Hammond
Youtube http://www.youtube.com/watch?v=kgEqSQtD7v4
with appearances by
Sandi Freddie Herrera, Zero Nylin, Narada Michael Walden, Annie Sampson, Dr. Eugene L. Schoenfeld special thanks Boots Hughston, Terence Hallinan – JH – Speedway Meadows Golden Gate Par…See More — with Wavy Gravy at Golden Gate Park, Speedway Meadows.

New York NY — 4 serious Jazzers – Billy Kaye, Rudy Sheriff Lawless (yes that’s his real name including middle name) Jackie Williams, Stepko Gut – Jon Hammond on 42nd Street — at Duane Reade Doctor on Premises – 42nd Street & 8th Avenue.

Sea Cliff San Francisco California — The Art Gates of Robin Williams’ house – Jon Hammond

Times Square — Hey, where’d everybody go ? !

Jon Hammond — at Times Square NYC.

Wishing a Big Happy Healthy Birthday to Main Man Glenn Derringer! Glenn is one of my All-Time Super Heroes!!
Have a fantastic one Glenn and many more!!!
Jon Hammond — with Glenn Derringer

New York NY Town Hall 43rd Street — Alex Foster and Stephen Ferrone at Memorial for Michael Brecker R.I.P. *note, Joe Berger is also there but for some reason the camera barely registers him, go figure! Jon Hammond — at The Town Hall.

Frankfurt am Main — Yes I wear white socks and my pants are too short today folks! – Jon Hammond on the strassenbahn gleis — at Platz-der-Republik.

Frankfurt am Main — Main Man Totó Giovanni Gulino drums hanging with Main Man Joe Lamond – President of NAMM on the break at my annual Musikmesse Frankfurt Warm Up Party – the Chocolate on Chocolate Cake was GOOD! – Jon Hammond
Youtube http://www.youtube.com/watch?v=hozrJpHvV-4
Chocolate on Chocolate Cake at Musikmesse Warm Up Party in Jazzkeller Frankfurt with Jon Hammond Band and special guest…See More — at Jazzkeller.

Frankfurt am Main — Happy 25 years Musikmesse Frankfurt to me! – here on the buhne / bandstand of the legendary Jazzkeller Frankfurt – *now 26 years my custom-made chocolate on chocolate cake to share with all my friends in the good old Jazzkeller Frankfurt – Youtube http://www.youtube.com/watch?v=hozrJpHvV-4
Chocolate on Chocolate Cake at Musikmesse Warm Up Party in Jazzkeller Frankfurt with Jon Hammond Band and special guests for this special occasion celebrating 25 years in Musikmesse. Special acknowledgement of Wilhelm P. “Charly” Hosenseidl R.I.P. who was the Director of Musikmesse years 1989-2008 now Directed by Wolfgang Luecke, special thanks to Musikmesse Frankfurt Projekt and Presse Team!
Jon Hammond Band:
Joe Berger guitar
Tony Lakatos tenor saxophone
Giovanni Gulino drums
Jon Hammond – XB-2 Hammond Organ – special thanks Hiromitsu Ono Chief Engineer Suzuki Musical Instruments designed my instrument which took me all around the world many times
“Late Rent” Jon Hammond theme song for Jon Hammond Show MNNTV and HammondCast Show KYOU Radio San Francisco CBS Radio Network
Thanks Joe Lamond President CEO NAMM, TecAmp Jürgen Kunze and Thomas Eich – Puma Combo bass amp powering Jon Hammond’s organ
Dankeschoen to Yücel Atiker, Tino Pavlis, Poehl, Bernie Capicchiano, Michael Falkenstein Hammond Suzuki Deutschland, Peggy Behling, Christine Vogel Messe Frankfurt,
Saray Pastanesi Baeckerei & Konditorei for Chocolate on Chocolate
25 Years Musikmesse Celebration Cake — at Jazzkeller.

Frankfurt am Main — Happy 25 years Musikmesse Frankfurt to me! *now 26 my custom-made chocolate on chocolate cake to share with all my friends in the good old Jazzkeller Frankfurt – Youtube http://www.youtube.com/watch?v=hozrJpHvV-4
Chocolate on Chocolate Cake at Musikmesse Warm Up Party in Jazzkeller Frankfurt with Jon Hammond Band and special guests for this special occasion celebrating 25 years in Musikmesse. Special acknowledgement of Wilhelm P. “Charly” Hosenseidl R.I.P. who was the Director of Musikmesse years 1989-2008 now Directed by Wolfgang Luecke, special thanks to Messe Frankfurt Projekt and Presse Team!
Jon Hammond Band:
Joe Berger guitar
Tony Lakatos tenor saxophone
Giovanni Gulino drums
Jon Hammond – XB-2 Hammond Organ – special thanks Hiromitsu Ono Chief Engineer Suzuki Musical Instruments designed my instrument which took me all around the world many times
“Late Rent” Jon Hammond theme song for Jon Hammond Show MNNTV and HammondCast Show KYOU Radio San Francisco CBS Radio Network
Thanks Joe Lamond President CEO NAMM, TecAmp Jürgen Kunze and Thomas Eich – Puma Combo bass amp powering Jon Hammond’s organ
Dankeschoen to Yücel Atiker, Tino Pavlis, Poehl, Bernie Capicchiano, Michael Falkenstein Hammond Suzuki Deutschland, Peggy Behling, Christine Vogel Messe Frankfurt,
Saray Pastanesi Baeckerei & Konditorei for Chocolate on Chocolate
25 Years Musikmesse Celebration Cake — at Jazzkeller.

Frankfurt am Main — Hallo Erna Klobučar !
Jon Hammond

Frankfurt am Main — This is where I stayed at my very first Musikmesse Frankfurt in 1987 – Hotel Prinz Otto – rub-a-dub-dub…3 men in a tub! The only 2 star hotel in Frankfurt, but it did the job – 3 of us in one little room, Joe Berger, Bruno Engl and myself Jon Hammond right by the Frankfurt Hauptbahnhof, and it had a little bar kneipe. Many a traveler has stayed there folks! – JH
http://www.tripadvisor.de/ShowUserReviews-g187337-d230354-r10041805-Hotel_Prinz_Otto-Frankfurt_Hesse.html
One happy camper “Die Zimmer waren schmutzig, die Handtücher und Bettwäsche war dünn und löchrig. Die Heizungskörper waren voller Staub und die Teppiche waren voller Flecken und fadendünn. In der Dusche lagen Haarbüschel und das Wasser war entweder heiß oder kalt, die Toilettenspülung hat nicht funktioniert, ebenso wenig der Fernseher und vom Frühstück konnte einem schlecht werden und so hat keiner von uns etwas gegessen. Die Fließen im Badezimmer waren voller Silikon-Abdichtungsmittel. Außerdem glaube ich nicht, dass es Feuerausgänge in den Zimmer gab. Unterster Standard. Ich wünschte mir nur, dass ich es mir vorher angesehen hätte.” — at Hotel Prinz Otto.

Frankfurt am Main — They know me well in this Deutsche Bundespost by the Frankfurt Bahnhof! – Jon Hammond
http://en.wikipedia.org/wiki/Deutsche_Bundespost
The Deutsche Bundespost (German federal post office) was created in 1947 as a successor to the Reichspost (German imperial post office). Between 1947 and 1950 the enterprise was called Deutsche Post (German post office). Until 1989 the Deutsche Bundespost was a state-owned company.
The Bundespost was developed according to a three-stage principle common in public administration in the Federal Republic of Germany (FRG). The upper stage consisted of the federal ministry for the post office and telecommunication system. The middle stage consisted of regional directorates and national post office management in West Berlin, with certain central bureaucracies (post office technical central office, telecommunication engineering central office, postal administration social office, and post offices) on an equal footing. Finally, the lower stage consisted of the actual post offices, postal giro (akin to a checking account)and savings bank offices, and telecommunication offices.
The legal basis for the administrative activity of the Bundespost was the postal administration law (Postverwaltungsgesetz, abbreviated PostVwG). A central goal of public administrative policy after 1924 was financial self-sufficiency. Political goals, however, often superseded this goal. According to the PostVwG, the federal postal system was to be administered “according to the principles of the policy of the FRG, in particular trade, economic, financial and social policies” and “the interests of the German national economy.”
The Deutsche Bundespost was the largest employer in the Federal Republic. In 1985 it employed 543,200 people.
In the first post office reform (July 1, 1989), the Bundespost was divided into three divisions (also called public enterprises):
Deutsche Bundespost Postdienst – postal service
Deutsche Bundespost Telekom – communications service
Deutsche Bundespost Postbank – postal bank
The central authorities remained as described above. The divisions were later privatized in the second post office reform (January 1, 1995), resulting in the creation of the following:
Deutsche Post AG from the postal service
Deutsche Telekom AG from the communications service
Deutsche Postbank AG from the postal bank
The federal ministry for post office and telecommunications (Bundesministerium für Post und Telekommunikation) retained oversight responsibility for postal services and telecommunications. After the dissolution of that ministry on 1 January 1998, those tasks were taken over by a new federal network regulatory agency (Bundesnetzagentur, formerly RegTP) under the federal ministry for economics and technology. Other functions (such as the issuance of postage stamps) were taken over by the federal ministry of finance. Some telecommunications functions (including BOS radio) were turned over to the federal ministry of the interior.
For certain official and legal purposes (including certain financial, medical and other services for former postal civil servants), a “federal institution for post and telecommunication” (Bundesanstalt für Post und Telekommunikation) was created. — at Deutsche Post FFM.

Hofheim am Taunus Germany — Congratulations 53 years Jazzkeller Hofheim and dankeschoen for putting me in the book on Page 68 – from show I did circa 1996 in Trio with Tony Lakatos tenor sax, Uwe Petersen on drums – myself at the XB-2 Hammond organ / bass – Jon Hammond http://www.jonhammondband.com/ — at Jazzkeller Hofheim.

Berkeley California — EastBay Jazz Workshop action, firing up at The Black Repertory Group Theater
http://www.blackrepertorygroup.com/ – Jon Hammond — at Black Repertory Group Inc.

Time to come back on solid land! Jon Hammond

Once in a Blue Moon folks! Jon Hammond

Berkeley California — Duo session piano / trumpet with my man Tom Carroll at EastBay Jazz Workshop private clubhouse – Jon Hammond
http://hammondcast.jimdo.com/

Emeryville California — Pixar Studios doesn’t mess around, right over my head with the Zeppelin UP ad, good idea Pixar’oids! Jon Hammond — at Pixar Inc.

Hollywood CA — Narada Michael Walden at the cans – ASCAP Expo – only drummer on the panel getting real funky. Next time keep that Ampeg amp warmed up and I’ll plug in my Hammond organ, play some organ drums serious fat-back funk grooves Narada! – Jon Hammond
Pocket Funk fat-back Bernard Purdie & David Fathead Newman R.I.P. http://www.facebook.com/photo.php?v=10150421203462102 — at Grand Ballroom Renaissance Hollywood Hotel.

If the car had a slightly bigger trunk it would be good!
Jon Hammond — at Radisson blu Hamburg Dammtor.

Jon Hammond : “Open House, Beware of The Dog, No Loitering, No Trespassing, Reserved Parking, No Smoking, House for Sale, Danger, For Rent, No Parking, Employees Only, No Soliciting, Shoplifters Will Be Prosecuted! etc., etc.! – JH and No Dumping!

New York NY — Jazz heavyweight FRANK OWENS at the piano – singers showcase with Cobi Tanaka – Local 802 Musicians Union – Jon Hammond *interesting story about Frank, his name was originally Owen, but so many people called “Frank Owens” that he eventually just added the s.
For seven years, Frank Owens was music director for NBC TV’s Showtime at the Apollo. He was also host of Portrait of the Arts. Mr. Owens performed in the Hartford CT Theatreworks production of Paul Robeson, playing the part of Lawrence Brown. Recently he accompanied Hal David in his tribute at the Friars Club and Freda Payne at the High Mount Jazz Festival, and is co-author and arranger of Shades of Harlem.

Mr. Owens has played and conducted abroad, including the conducting A Fourth of July Celebration of American Jazz, Pop and Broadway in Moscow. Frank Owens was resident pianist at Mortimer’s for over six years, and appeared several times a year at the Hotel Carlyle’s Bemelman’s Bar. He appeared at the Blue Note with Ruth Brown of Broadway’s Black and Blue, having arranged and conducted her album, Fine and Mellow.

Frank Owens was musical director/conductor/pianist for many performers including Johnny Mathis, Chubby Checker, John Denver, Melba Moore, Aretha Franklin, Connie Francis, and Lena Horne.

Frank was musical director for the first David Letterman Show in 1980. Other TV credits include the Jack Paar Show, Geraldo Rivera’s Goodnight America, and Eubie Blake’s, A Century of Music. He did dance arrangements for the film the Wiz, contributed to many records and albums in the top ten, and won the National Academy of Recording Arts and Sciences sponsored MVP Award for Acoustic Piano for several years. — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 – 2 heavyweights in Jazz:
Cobi Narita of ‘Cobi’s Place’ and pianist Frank Owens conducting singers showcase in the Club Room of Local 802 Musicians Union Hall – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM.

Hofheim am Taunus Germany — Jon Hammond Band Youtube Channel
http://www.youtube.com/jonhammondband
17th consecutive year Jazzkeller-Hofheim Musikmesse-Session — at Jazzkeller Hofheim.

Long Beach CA — James Moody R.I.P. – Jon Hammond *I shot this photo Jan. 2005
http://en.wikipedia.org/wiki/James_Moody_(saxophonist)
James Moody (March 26, 1925 – December 9, 2010) was an American jazz saxophone and flute player. He was best known for his hit “Moody’s Mood for Love,” an improvisation based on “I’m in the Mood for Love”; in performance, he often sang Eddie Jefferson’s vocalese lyr…See More — at Long Beach Convention and Entertainment Center.

New York NY — I caught this stunning art installation today while passing by on the bus, flipping airplane (real!) at the entrance to Central Park at 58th & Fifth Avenue across from the big 24 hour Apple Store Fifth Avenue and the Plaza Hotel, nice! Jon Hammond
http://en.wikipedia.org/wiki/Plaza_Hotel
The Plaza Hotel in New York City is a landmark 20-story luxury hotel with a height of 250 ft (76 m) and length of 400 ft (120 m) that occupies the west side of Grand Army Plaza, from which it derives its name, and extends along Central Park South in Manhattan. Fifth Avenue extends along the east side of Grand Army Plaza. It is owned by El-Ad Properties and managed and operated by Fairmont Hotels and Resorts. — at The Plaza Hotel.

New York NY — Guggenheim Museum on a nice summer day – Jon Hammond
http://en.wikipedia.org/wiki/Solomon_R._Guggenheim_Museum
The Solomon R. Guggenheim Museum (often referred to as “The Guggenheim”) is a well-known art museum located on the Upper East Side of Manhattan in New York City. It is the permanent home of a renowned and continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, the artist Hilla von Rebay. It adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952.
Designed by Frank Lloyd Wright, the cylindrical museum building, wider at the top than the bottom, was conceived as a “temple of the spirit” and is one of the 20th century’s most important architectural landmarks. The building opened on October 21, 1959, replacing rented spaces used by the museum since its founding. Its unique ramp gallery extends from just under the skylight in the ceiling in a long, continuous spiral along the outer edges of the building until it reaches the ground level. The building underwent extensive expansion and renovations from 1992 to 1993 (when an adjoining tower was built) and from 2005 to 2008. The museum’s collection has grown organically, over eight decades, and is founded upon several important private collections, beginning with Solomon R. Guggenheim’s original collection. The collection is shared with the museum’s sister museums in Bilbao, Spain, and elsewhere.
Early years
Solomon Guggenheim, guided by his art adviser, German painter Hilla Rebay, began to collect works by nonobjective artists in 1929. Guggenheim first began to show his collection in his apartment, and as the collection grew, he established the Solomon R. Guggenheim Foundation in 1937. The foundation’s goal was the “promotion and encouragement and education in art and the enlightenment of the public.” It was endowed to operate one or more museums; Solomon Guggenheim was elected its first President and Rebay its Director.

Museum under construction in photo taken on Nov. 12, 1957
In 1939, the Guggenheim Foundation’s first museum, “The Museum of Non-Objective Painting”, opened in rented quarters at 24 East 54th Street in New York City and showcased art by early modernists such as Rudolf Bauer, Rebay, Wassily Kandinsky, Paul Klee and Piet Mondrian. During the life of Guggenheim’s first museum, Guggenheim continued to add to his collection, acquiring paintings by Marc Chagall, Robert Delaunay, Fernand Léger, Amedeo Modigliani and Pablo Picasso. The collection quickly outgrew its original space, and so in 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a permanent structure for the collection. It took Wright 15 years, 700 sketches, and six sets of working drawings to create the museum. From 1943 to early 1944, Wright produced four different sketches for the initial design. One of the plans (scheme C) was a hexagonal shape as opposed to the other three circular sketches. It was the only design of the four to have level floors for the galleries without the use of one ramp continuing around the building. At the same time, Rebay was searching for sites for the museum. She selected the museum’s site at the corner of 89th Street and Fifth Avenue, overlooking Central Park.

A 1966 U.S. postage stamp honoring Frank Lloyd Wright, with the Guggenheim visible in the background.
In 1953, the foundation’s collecting criteria expanded under its new director, James Johnson Sweeney. Sweeney rejected Rebay’s dismissal of “objective” painting and sculpture, and he soon acquired Constantin Brâncuşi’s Adam and Eve (1921), followed by works of other modernist sculptors, including Jean Arp, Alexander Calder, Alberto Giacometti and David Smith.[2] Sweeney reached beyond the 20th century to acquire Paul Cézanne’s Man with Crossed Arms (c. 1899).[2] In that year, the foundation also received a gift of 28 important works from the Estate of Katherine S. Dreier, a founder of America’s first collection to be called a modern art museum, the Société Anonyme. Dreier had been a colleague of Rebay’s. The works included Little French Girl (1914–18) by Brâncuşi, an untitled still life (1916) by Juan Gris, a bronze sculpture (1919) by Alexander Archipenko and three collages (1919–21) by German Hanoverian Dadaist Schwitters. It also included works by Calder, Marcel Duchamp, El Lissitzky and Mondrian.[3] Among others, Sweeney also acquired the works of Alberto Giacometti, David Hayes, Willem de Kooning and Jackson Pollock.[4]
Sweeney oversaw the last half dozen years of the construction of the museum building, during which time he had an antagonistic relationship with Frank Lloyd Wright, especially regarding the building’s lighting issues.[5][6] The distinctive cylindrical building, turned out to be Wright’s last major work, as the architect died six months before its opening. From the street, the building looks like a white ribbon curled into a cylindrical stack, wider at the top than the bottom, displaying nearly all curved surfaces. Its appearance is in sharp contrast to the typically rectangular Manhattan buildings that surround it, a fact relished by Wright, who claimed that his museum would make the nearby Metropolitan Museum of Art “look like a Protestant barn.” Internally, the viewing gallery forms a helical spiral ramp climbing gently from ground level to the skylight at the top.
On October 21, 1959, ten years after the death of Solomon Guggenheim and six months after the death of Frank Lloyd Wright, the Museum first opened its doors to large crowds. The building instantly polarized architecture critics, though today it is widely praised. Some of the criticism focused on the idea that the building overshadows the artworks displayed inside, and that it is difficult to properly hang paintings in the shallow, windowless, concave exhibition niches that surround the central spiral. Prior to its opening, twenty-one artists signed a letter protesting the display of their work in such a space.
Thomas M. Messer succeeded Sweeney as director of the museum (but not the foundation) in 1961 and stayed for 27 years, the longest tenure of any of the city’s major arts institutions’ directors. When Messer took over, the museum’s ability to present art at all was still in doubt due to the challenges presented by continuous spiral ramp gallery that is both tilted and has non-vertical curved walls. It is difficult to properly hang paintings in the shallow, windowless exhibition niches that surround the central spiral. Canvasses must be mounted raised from the wall’s surface. Paintings hung slanted back would appear “as on the artist’s easel”. There is limited space within the niches for sculpture.

The skylight in the center of the museum
Almost immediately, in 1962, Messer took a risk putting on a large exhibition that combined the Guggenheim’s paintings with sculptures on loan from the Hirshhorn Museum.Three dimensional sculpture, in particular, raised “the problem of installing such a show in a museum bearing so close a resemblance to the circular geography of hell”, where any vertical object appears tilted in a “drunken lurch” because the slope of the floor and the curvature of the walls could combine to produce vexing optical illusions. It turned out that the combination could work well in the Guggenheim’s space, but, Messer recalled that at the time, “I was scared. I half felt that this would be my last exhibition.” Messer had the foresight to prepare by staging a smaller sculpture exhibition the previous year, in which he discovered how to compensate for the space’s weird geometry by constructing special plinths at a particular angle, so the pieces were not at a true vertical yet appeared to be so. In the earlier sculpture show, this trick proved impossible for one piece, an Alexander Calder mobile whose wire inevitably hung at a true plumb vertical, “suggesting hallucination” in the disorienting context of the tilted floor.
The next year, Messer acquired a private collection from art dealer Justin K. Thannhauser for the museum’s permanent collection. These 73 works include Impressionist, Post-Impressionist and French modern masterpieces, including important works by Paul Gauguin, Edouard Manet, Camille Pissarro, Vincent van Gogh and 32 works by Pablo Picasso.
In 1992, the building was supplemented by an adjoining rectangular tower, taller than the original spiral, designed by the architectural firm of Gwathmey Siegel & Associates Architects.[18] By that point, the building had become iconic enough that this augmentation of Wright’s original design was itself controversial.
In October 2005, Lisa Dennison, a longtime Guggenheim curator, was appointed director of the Solomon R. Guggenheim Museum in New York. Dennison resigned in July 2007 to work at the auction house Sotheby’s.
From October 2005 to February 2008, Thomas Krens remained director of the Solomon R. Guggenheim Foundation, having won a decisive victory over billionaire philanthropist and board member Peter Lewis. A significant contributor to the Guggenheim Foundation, Lewis resigned in 2005 in a dispute with the board over the direction and leadership of the Foundation. Despite this, Krens and Lewis nevertheless continue to agree in describing the building itself as “the most important piece of art in the collection.”
In February 2008, Krens stepped down as the Director of the Guggenheim Foundation, but remains an advisor to the Guggenheim’s international expansion projects. The search for a new Director, who will head both the New York museum and the Foundation was recently completed with the Board’s appointment of Richard Armstrong—formerly director of Pittsburgh’s Carnegie Museum of Art—as its fifth director.
Exterior restoration

Guggenheim Museum exterior after the 3-year renovation
Between September 2005 and July 2008, the Guggenheim Museum underwent a significant exterior restoration.
In the first phase of this project, a team of restoration architects, structural engineers, and architectural conservators worked together to create a comprehensive assessment of the building’s current condition that determined the structure to be fundamentally sound. This initial condition assessment included:
the removal of 11 coats of paint from the original surface, revealing hundreds of cracks caused over the years, primarily from seasonal temperature fluctuations
detailed monitoring of the movement of selected cracks over 17 months
impact-echo technology, in which sound waves are sent into the concrete and the rebound is measured in order to locate voids within the walls
extensive laser surveys of the exterior and interior surfaces, believed to be the largest laser model ever compiled
core drilling to gather samples of the original concrete and other construction materials
testing of potential repair materials.
Much of the interior of the building was restored during the 1992 renovation and addition by Gwathmey Siegel and Associates Architects. The 2005–2008 restoration primarily addresses the exterior of the original building and the infrastructure. This includes the skylights, windows, doors, concrete and gunite facades and exterior sidewalk, as well as the climate-control. The goal will be to preserve as much significant historical fabric of the Solomon R. Guggenheim Museum as possible, while accomplishing necessary repairs and attaining a suitable environment for the building’s continuing use as a museum.[24]On September 22, 2008, friends and supporters of the Guggenheim gathered in New York to mark the completion of the 3-year renovation of the Frank Lloyd Wright-designed Museum. New York City Mayor Michael R. Bloomberg officiated at the celebration that culminated, just after sunset, with the premiere of artist Jenny Holzer’s tribute For the Guggenheim, a work commissioned in honor of Peter B. Lewis, who was a major benefactor in the Museum restoration project. Other supporters of the $29 million dollar restoration included the Board of Trustees of the Solomon R. Guggenheim Foundation, and the Department of Cultural Affairs of the City of New York. Additional support was provided by the State of New York and MAPEI Corporation.The museum was registered as a National Historic Landmark on October 6, 2008.
Significance in popular culture

The Guggenheim interior
The building has become a cultural icon and can be seen widely throughout popular culture. It is featured in Matthew Barney’s The Cremaster Cycle, Bye Bye Birdie, Men in Black, When in Rome, Downtown 81, Ugly Betty and prominently in The International, where a major shootout occurs in the museum. (In fact, a life-size replica of the museum was built for this scene.. The film, Mr. Popper’s Penguins has a sequence where the penguins cause a disturbance entering the museum, wander to the top of the gallery structure and slide down the entire spiral structure to the ground floor. The New Yorker has included the museum multiple times on its cover and cartoons.
The Marvel Comics Guide to New York City (2007) by Peter Sanderson points out that the Guggenheim museum played a part in Daredevil (Marvel Comics), vol. 1, #61 (1970), What If (comics) (featuring Conan the Barbarian), vol. 1, #13 (1979), and Thor (Marvel Comics) #447-48 (1992).
[edit]Works and Process

Works and Process is a series of performances at the Guggenheim begun in 1984 The first season consisted of Philip Glass with Christopher Keene on Akhnaten and Steve Reich and Michael Tilson Thomas on The Desert Music. — at Solomon R. Guggenheim Museum.

Hofheim am Taunus Germany — Jon Hammond 17th consecutive year Musikmesse-Session Jazzkeller Hofheim
http://jazzkeller-hofheim.de/e107_plugins/sgallery/gallery.php?view.109.1.1
Jon Hammond Band Youtube Channel
http://www.youtube.com/jonhammondband — at Jazzkeller Hofheim.

Hofheim am Taunus — Totó Giovanni Gulino drums on Jon Hammond Band in Jazzkeller-Hofheim
Youtube http://www.youtube.com/watch?v=4JtoWjSFow0
Jon Hammond’s annual Musikmesse-Session in Jazzkeller Hofheim, here featuring funky Giovanni Gulino breaking it down on Jon Hammond original funk composition “Head Phone” – Jon Hammond Band – Peter Klohmann tenor sax,
Giovanni Gulino drums, Joe Berger guitar, Jon Hammond Sk1 Hammond organ
*Note: Congratulations to Jazzkeller Hofheim 53 plus years of history, check out the book, I am honored to be on page 68. Keep the tradition going in Hofheim am Taunus, dankeschoen Jazzkeller Hofheim Team! sincerely, Jon Hammond

Tilden Park Berkeley California — Happy 60th Anniversary to my friends at Redwood Valley Railway! (Real Steam Trains!) – A 5 inch scale, 15 inch gauge steam railway based on narrow gauge railroads of the late 1800s located in Berkeley, California. – Jon Hammond
http://en.wikipedia.org/wiki/Redwood_Valley_Railway
The Redwood Valley Railway is a ridable miniature railroad in Tilden Regional Park near Berkeley, California. It was established in 1952 by Erich Thomsen, and has expanded to 1.25 miles of track and over 160,000 passengers a year.
The railroad uses 5″ scale model live steam locomotives on a 15 in (381 mm) narrow gauge track.
Locomotives
The Number 2- An 0-4-0 Gasoline-Hydraulic locomotive “Juniper”
The Number 4- A 2-4-2 Columbia “Laurel”
The Number 5- A 4-4-0 American “Fern”
The Number 7- A 2-6-2 Prairie “Oak”
The Number 11- A 4-6-0 Ten-Wheeler “Sequoia”
Rolling stock
The Redwood Valley Railway maintains a dozen or so wooden gondolas, built similar to those found on 36″ narrow-gauge lines in the American West. The gondolas, equipped with seating for up to eight adults, are the mainstay passenger rolling stock for this operation. The RVRY also owns three stock cars which have been specifically built to carry passengers as well. These are often favorites with small children, although a full-sized adult can comfortably fit inside.
Other equipment includes a boxcar, extra convertible gondolas, which can either haul passengers or satisfy M.O.W. needs.
The RVRy. owns numerous four-wheel maintenance-of-way cars known as “jimmies”, which have specialized uses such as welding, tie replacement, or carrying ballast.
The RVRy. also rosters a single flatcar, built as a high school shop project by one of the crew in the 1970s. This rugged flatcar has seen thousands of uses, and is one of the most versatile cars on the railroad.
Unique among the roster of cars is a coal gondola, once used to carry extra coal for the #4. Coal was used up until the mid-1970s when the #4 was converted to fuel oil. The coal gondola, with its higher sides, is infrequently used. It currently carries a few dozen metal folding chairs for the annual meet.
A favorite with both young and old is the caboose. Based on a D&RGW 36″ gauge prototype, this “short” center cupola caboose has graced the end of most revenue trains for over 30 years.
[edit]Future Projects

Parts for a 2-4-4 Forney and a 2-6-0 exist, but currently remain unassembled. Plans for a second caboose and a lavish, scale (down to the furniture, wallpaper, and bar with tiny glasses) business car are in the works.
As of mid-2010 the boiler for the #13, the aforementioned 2-6-0 has been manufactured. Not to be confused with a visiting GSP&P #13 from the Glenwood Southpark and Pacific.
The #9, a brand-new diesel-hydraulic switching locomotive is in the planning and development stages and should look somewhat similar to the temperamental but faithful #2. The #9 will have a diesel engine instead of a gasoline engine, and will be built as a heavier and more powerful two-axle diesel locomotive, similar to <25ton American industrial locomotives like those found on narrow gauge operations around the country.

Former Locomotives and Rolling Stock

The Number 1 "Cricket" a 12" gauge steam locomotive along with a few 12" gauge cars were sold to the Folsom Valley Ry. in Folsom Ca. — at Redwood Valley Railroad Steam Trains In Tilden Park.

Hollywood California — Jon Hammond and Tommy Denander at ASCAP Expo – http://www.livinginhd.com/hammondcast/blog/2012/04/22/2012_ascap_expo_highlights_hamburg_to_hollywood_via_frankfurt_by_jon_hammond — at Ascap “I Create Music” EXPO.

It’s going on 8.38 in the morning Wolfman Jack! – Jon Hammond — at California Historical Radio Society.

Sea Cliff San Francisco — Nice view from this house! – Jon Hammond — at Sea Cliff San Francisco.

New York NY — Sam Ash Music Store W.48th Street window,
there’s my Hammond XK-3 Organ on display with factory heavy-duty flight case, for a good deal go see John in the Keyboards Dept. – Jon Hammond *same organ on my album NDR SESSIONS Projekt – Behind The Beat Story:

Jon Hammond: The NDR Sessions Projekt

Jon Hammond’s “The NDR Sessions Projekt” brings the soulful…See More — at Sam Ash Music Store.

New York NY — The Harlem Blues & Jazz Band playing at special evening Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – with Zeke Mullins piano, Joey Morant trumpet / Karate Expert Instructor, Fred Staton living legend tenor saxophonist, Art Baron trombone, Jackie Williams drums, Michael Max Fleming bass – Special Thanks Dr. Albert Vollmer and Gina Reder – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins great jazz pianist – here on Left is Zeke with drummer Buddy Henry on Right, also Buddy’s birthday either on same or one day different – cake lighting happy birthday! – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – Jon Hammond’s organ on the bandstand just finished playing – Greg Bandy drums / MC for this special evening here at the cans – JH — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – 2 of my all-time favorite musicians / people – jazz pianist extraordinaire Roy Meriwether with main man Bernard Purdie aka Pretty Purdie also-aka The Hit Maker – Jon Hammond — with Bernard Purdie and Bernard Purdie at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – here we have the great tenor saxophonist Fred Staton and trombonist Art Baron looking on from The Harlem Blues & Jazz Band – spcl. thanks Dr. Al Vollmer & Gina Reder – Jon Hammond — with Art Baron at Associated Musicians of Greater New York, Local 802 AFM.

Hamamatsu Japan — Suzuki Hall in Suzuki World Headquarters and Factory – Tanaka Koei the great harmonica player and inspirational Suzuki Santa, incredible guy folks! Here with Jon Hammond at the B3mk2 – Mercy Mercy Mercy!
Youtube http://www.youtube.com/watch?v=E0f_cH1U5jc
Mercy Mercy played by Suzuki Artists Koei Tanaka and Jon Hammond for President Founder Manji Suzuki and Company in Suzuki Hall at Suzuki World Headquarters in Hamamatsu Japan. 2 camera shoot by S. Ohtaka and Jennifer
Master of Ceremonies Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 organ and wooden model 3300 high power Leslie Speaker, Koei Tanaka Suzuki harmonica Part 3 of 3 Parts “Mercy Mercy” Funky Blues Style, dynamic duo performance. Special Thanks Mr. H. Ono, Mr. M. Terada, Mr. S. Ohtaka, Mr. Yu Beniya, Tachi Waichiro Tachikawa President M. Suzuki and entire Suzuki Musical Instruments Team, © JH INTL
http://www.HammondCast.com/ — in Hamamatsu-shi, Shizuoka.

Monday Night Local 802 Jazz Session pics from Jon Hammond 07/16

http://www.facebook.com/media/set/?set=a.10150966873892102.400995.558692101

New York NY — Local 802 Monday Night Jazz Session
Serious Jazz’ers seen here either before or after playing with Jon Hammond’s organ in foreground (already played) – 07/16/2012
*seated far end in chair – Buddy Henry (drums), standing white pants – Gabriel Romance (vocals & flute)
standing in yellow shirt – Rudy Sheriff Lawless (drums) *one of my trusted spiritual gudes – JH
Bill (drums)
…See More — with Joe Cangelosi Sr. and Arlington Houston at Associated Musicians of Greater New York, Local 802 AFM.

Summer Concert Jazzkeller Frankfurt Soon I Will Be Free Jon Hammond Band

*WATCH THE VIDEO HERE: Jon Hammond Band Summer Concert Jazzkeller Frankfurt SOON I WILL BE FREE

http://ia700408.us.archive.org/21/items/JonHammondJonHammondBandSummerConcertJazzkellerFrankfurtSOONIWILLBEFREE/JonHammondBandSummerConcertJazzkellerFrankfurt.m4v

http://www.archive.org/details/JonHammondJonHammondBandSummerConcertJazzkellerFrankfurtSOONIWILLBEFREE/

Frankfurt Germany — Jon Hammond getting picked up for the gig – Blip TV http://blip.tv/jon-hammond/jon-hammond-s-59th-birthday-party-musikmesse-warm-up-finale-song-6182466 — at Victoria Hotel Frankfurt

Ulrich Vormehr

Yashko Golembiovsky
Académie Royale des Beaux-Arts de Bruxelles (ACA)

Marco Wriedt

Paul Rachman
Director/Producer at Film DIrector – AMERICAN HARDCORE

Harry Petersen
U. of Colorado

Hamburg Germany — Head Phone
Jon Hammond Band Blip TV
http://blip.tv/jon-hammond/head-phone-newessbar-hamburg-jon-hammond-band-6068555

Jon Hammond Band in concert in Newessbar Hamischa – L to R: Lutz Buechner tenor sax, Joe Berger guitar, Heinz Lichius drums, Jon Hammond at Sk1 Hammond organ
http://www.facebook.com/photo.php?fbid=10150609337502102&set=a.10150603399857102.376340.558692101 Youtube http://www.youtube.com/watch?v=b13jUY8WR_A
Newessbar Hamischa Hamburg Get Back In The Groove Tribute to 9/11 Jon Hammond Band
Lutz Buechner tenor sax
Heinz Lichius drums
Joe Berger guitar
Jon Hammond Sk1 Hammond organ
Original composition by Jon Hammond International ASCAP

Thanks Olaf and Roman Kumutat

It’s almost time for the 4 Amigos World Guitar Show again folks, this time in San Mateo CA July 14-15 in the San Mateo County Event Center – photo Marc Baum at last year’s show – Jon Hammond
http://jonhammondband.blogspot.com/2012/01/jam-session-day-1-california-world.html
http://www.facebook.com/photo.php?fbid=10150908519762102&set=at.61160682101.82732.558692101

San Francisco CA — Newly renovated famous Golden Gate Park Windmills – Jon Hammond
http://www.golden-gate-park.com/windmills.html

http://www.pressdemocrat.com/article/20110913/WIRE/110919869
San Francisco windmill restoration marks milestone

By ASSOCIATED PRESS

SAN FRANCISCO — Crews restoring the Murphy Windmill in San Francisco’s Golden Gate Park are celebrating a milestone.

Crowds watch as workers place a 64-ton dome on the historic landmark Murphy windmill during its repair in Golden Gate Park in San Francisco, Monday, Sept. 12, 2011. The windmill was constructed in 1905 and is one of the largest windmills in the world. It originally served to irrigate the park. The dome was repaired in Holland. The flags below the American and San Francisco flags are the Dutch and Irish flags.

The windmill’s 68-ton copper dome was placed back on top of the structure on Monday after undergoing nearly a decade of restoration.

The work is part of a multi-million dollar project to bring the six-story windmill, which once pumped water to the rest of the park, back online. Built in 1905, the windmill languished for decades until the restoration work began in 2002.

The project is expected to be completed by the middle of 2012, when the windmill’s sails and gears should be back on and the area around it landscaped.

The project is being funded by public and private money. — at Dutch Windmill

San Francisco CA — The entrance to Baker Beach – Jon Hammond
http://en.wikipedia.org/wiki/Baker_Beach
Baker Beach is a public beach on the peninsula of San Francisco, California, U.S.. The beach lies on the shore of the Pacific Ocean to the northwest of the city. It is roughly a half mile (800 m) long, beginning just south of Golden Gate Point (where the Golden Gate Bridge connects with the peninsula), extending southward toward the Seacliff peninsula, the Palace of the Legion of Honor and the Sutro Baths. The northern section of Baker Beach is “frequented by clothing-optional sunbathers”. As such it is considered a nude beach.History
Baker Beach is part of the Presidio, which was a military base from the founding of San Francisco by the Spanish in 1812 until 1997. In 1904, it was fortified with disappearing gun installations known as Battery Chamberlin, which can still be viewed today. When the Presidio was decommissioned as a U.S. Army base, it became part of the Golden Gate National Recreation Area, which is administered by the National Park Service.
From 1986 to 1990, the north end of Baker Beach was the original site of the Burning Man art festival. In 1990, park police allowed participants to raise the traditional large statue but not to set it on fire, since the beach enforces a limit on the size of any campfires. Subsequent Burning Man events have taken place in Black Rock Desert, Nevada.
A fatal shark attack occurred on Baker Beach on May 7, 1959[5] when 18-year old Albert Kogler Jr. was attacked by a great white shark while he was 15 feet deep in water. This was the only shark attack recorded on Baker Beach.
Large outcrops of serpentine cliffs occur along the Pacific coast near Baker Beach. When rising from the land surface, serpentine produces a low-calcium, high-magnesium soil that can allow for rare species of plants to develop in the vicinity. This may explain the presence of Hesperolinon congestum (the Marin Dwarf Flax, a threatened plant) in surrounding areas — at Baker Beach.

Baker Beach – Jon Hammond

Musikmesse Frankfurt — Barrie Freeman of Hammond Suzuki UK & Jon Hammond – I’ve been to 26 Musikmesse’s (consecutively) but Barrie’s got me beat! – JH
http://www.hammondorgan.co.uk/ Hammond Organ UK FaceBook http://www.facebook.com/pages/Hammond-Organ-UK/284971118200473
*Michael Michael Falkenstein takin’ care of biz by the organ http://hammond.de/ Germany
http://www.HammondCast.com/ — with Michael Falkenstein and Barrie Freeman at Musikmesse Frankfurt

Moscow Russia — Ed Zizak taking a killer solo on my Theme Song “Late Rent”
Youtube http://www.youtube.com/watch?v=kOMLzIdc82g
Jon Hammond Trio in Moscow Russia with Igor Butman tenor sax Eduard Zizak drums Jon Hammond organ, full power Late Rent break song with
amazing psychedelic solo from Eduard on James and Wess Blues dedicated to organist Jimmy Smith. Special thanks Faina Cobham, Hammond Suzuki, Camera: Jennifer http://www.jonhammondband.com/ — with Ed Zizak at Verkhnjaja Radishchevskaya St. 21 Moscow Russia

Vadim Eilenkrig
Moscow, Russia

Севастьянов Дмитрий
Moscow, Russia

Алексей Беккер
Гнес

1976 Honda Civic CVCC my very first brand-new car – Jon Hammond *wearing one of my custom Panama Hats from Arthur at Hand The Hatter of Boston Combat Zone
http://www.facebook.com/photo.php?fbid=10150944323417102&set=a.61160682101.82732.558692101
Combat Zone Boston MA — Hand The Hatter, Arthur was one of the greatest hatters of all times. I had all my hats custom made by him when I was playing Hammond organ 7 nights a week in the Zone – at World Famous 2 O’Clock Club, Picadilly, Mouse Trap and some of the other ‘continuous adult entertainment’ clubs back in the 70’s – Jon Hammond
http://www.csmonitor.com/1988/1011/rhat.html
By David Holmstrom, Staff writer of The Christian Science Monitor / October 11, 1988

Boston
IT’S a hot day on LaGrange Street. Across from the gaudy Club New Orleans, on the shady side of this street in Boston’s notorious “combat zone,” Arthur Stephens takes a small paring knife out of his pocket. He carefully cuts through the black threads of time. “Six and seven-eighths,” he says quietly. In his hand is a beige man’s hat. No measuring, no guessing the size. He knows hats, this hat, any hat. The knife cuts the threads holding the old, black hatband. It falls to the floor.

“This is a good beaver hat,” says Mr. Stephens, twirling it over the knuckles of one hand. He will spend the next hour or so in loving restoration of another man’s favorite hat.

For 54 years, inside a narrow LaGrange Street shop darkened by time and steam, and filled with the rakishness of hats on pegs everywhere, Stephens has plied the almost forgotten art of a hatter. Like a poet polishing verbs, Stephens makes, restores, and repairs fine hats. During the half-century he has been motivated by the axiom “A man doesn’t looked dressed unless he wears a hat.”

“My sisters were hat trimmers,” he says proudly, ready to nurture just about any stained, drooping hat into new sheen and bearing. “My father was a hatter, and my brothers were hatters, too. See, I like what I’m doing. You gotta like what you’re doing. I’m 80 going on 81.

Arthur Stephens is the only bona fide, art-for-the-sake-of-art hatter left in Boston. Once there were dozens. Ernesto Marrone has been a customer for 10 years. “You can’t get this kind of service anywhere else,” he says, “not even in New York. I wear hats because I grew up in an old Italian neighborhood where hats were customary.”

Long before Stephens bought the shop on LaGrange, a man named Hand first opened it on a downtown Boston street. The year was 1860, the year Abraham Lincoln was elected President, and Mr. Hand proclaimed his shop “Hand the Hatter.”

The shop thrived down one century to another, satisfying Bostonian gentlemen who wore homburgs, panamas, top hats, trilbies, derbys, westerns, fedoras, and even boaters. And when the young and ambitious Stephens bought the shop in 1934, he kept the name.

Today, above the door, slightly weathered and melancholy, a black-and-white sign still says, “Hand the Hatter.”

The small shop window – protected by a steel grate – is so dusty and gray there is no seeing through it. One step up and through the open door and into the musty shop, and you have entered a time warp sliced from a faded calendar, circa 1930, with hats, hats, and more hats.

“You walk in here and say, `How come all this junk is here?”’ says Stephens, a small man with rounded shoulders and a gruff, sentimental voice. “But everything is ready for any kind of hat. You never know when you’re going to use this stuff.”

“This stuff” lying about is a Noah’s ark of the hatter’s craft. Shelves and tables full of wooden hat blocks, shelves full of wooden flanges to shape brims, a 40-year-old hissing copper boiler (steam for steaming the hats), ancient cans of “luring” grease (to bring out the sheen of hats), an old “ironing” machine that heats and shapes the crown of hat while it spins slowly on a block, and off in one corner a bulbous, heated “sand” machine (a flannel bag filled with heated beach sand) to lower over a hat on a flange to shape or reshape the brim.
“I used to work until 2 in the morning,” says Stephens, recalling the heady, quicker pace of the 1930s. “Saturdays, Sundays. I’d go out to eat, take a shower at a hotel, come back here, and go to work again. I could knock off maybe 40 to 50 hats a day. Today if I do eight or 10 I’m doing a big day’s work.”

Stephens acknowledges that it was probably a hatless President named John Kennedy who helped take the steam out of the men’s hat business. That and all the vets returning from World War II as men who refused to wear hats anymore. Add the long hair of men in the 1960s, and hats had a dim future.

“Kennedy didn’t wear a hat,” says Stephens, “and everybody stopped wearing them. Men are wearing all different kinds of hats now, but still not like they used to. Do I wear hats? Sure. I keep a couple in my car.”

He pauses by the ironing machine, watching the blocked brown hat turning as the hot “iron” moves automatically and slowly around it, squeaking all the way. On a shelf a fan pushes the hot air around.

His voice lowers. “Way back I made hats for Jimmy Durante,” he says. “His valet used to come here and get them. He’d say, `Jimmy needs a couple of hats,’ and I’d know just what he wanted. Basil Rathbone used to buy hats from me, too.”

A new hat from Stephens will cost from $125 to $150. A restoration begins about $20 and often ends there, no matter how long it takes. “I never really check the time, to tell you the truth,” he says. “I like the work, and when it’s done, it’s done.”

In the late afternoon a customer of 35 years comes in: a stocky, older man named Mitch with a straw hat needing the brim smoothed and stiffened. Stephens repairs the hat in minutes, using the sand machine and some deftly applied glue.

“I bought my first custom-made hat here in 1950,” says Mitch, standing at the small counter near an enormous old cash register with a hand crank. “I got one he made me a few years ago, and a couple of others,” says Mitch. He says he would like another, a light gray this time.

He and Stephens strike an accord. A price of $85, with $40 down. Stephens fills out an order. Mitch peels off two $20 bills on the counter. “I don’t want you pushing yourself,” he says to Stephens. They both laugh and agree that three weeks should be long enough to fashion the hat. They shake hands. Mitch says warmly, “I need you. Don’t push yourself on this.”

Minutes later, a young man in a leather vest and tie enters and picks up a custom-made hat, a tan, narrow-brimmed trilby. Stephens packs the hat in a new Stetson hat box and tosses in a cluster of small red and yellow feathers for the hatband. When the young man leaves, Stephens says: “If you’re any kind of a businessman, you throw a man a few feathers.”

Late in the afternoon he sits in one of the four old chairs just inside the front door in a pensive mood. “These are all old customers now,” he says quietly. “They know I won’t sell them a bad hat. If I had said a $100 for the hat, Mitch would have paid it. No arguments.” — at Combat Zone

Combat Zone Boston MA — Hand The Hatter, Arthur was one of the greatest hatters of all times. I had all my hats custom made by him when I was playing Hammond organ 7 nights a week in the Zone – at World Famous 2 O’Clock Club, Picadilly, Mouse Trap and some of the other ‘continuous adult entertainment’ clubs back in the 70’s – Jon Hammond
http://www.csmonitor.com/1988/1011/rhat.html
By David Holmstrom, Staff writer of The Christian Science Monitor / October 11, 1988

Jazz Session, Jon Lord, R.I.P., Hammond Organ, Local 802, Musicians Union, Blues, New York City, Journal, July 16, 2012, Deep Purple, Organist, Musikmesse, Sk1, Sk2, Suzuki

Jon Hammond Journal For Day July 16, 2012 Report

Jon Hammond Journal For Day July 16, 2012 Report – First very sad news, Jon Lord the
great Hammond organist of Deep Purple fame has died
Folks, Very Sad Announcement: Jon Lord has died.

Jon Lord of Deep Purple Speaking about Hammond Sk1 and Sk2 with Jon Hammond in Frankfurt at Musikmesse

Rest In Peace Jon – Jon Hammond
http://www.youtube.com/watch?v=Q4AbLZZ0380
Jonathan Douglas Lord, rock and classical musician and composer, born 9 June 1941; died 16 July 2012
He is survived by his wife, Vicky, and their daughter, Amy; and a daughter, Sara, by his first wife, Judith, from whom he was divorced.
Jon’s Obit from The Guardian
http://www.guardian.co.uk/music/2012/jul/16/jon-lord?newsfeed=true
Jon Lord
“Organist who infused Deep Purple with classical influences, helping make them one of the world’s biggest rock bands”
‘We’re as valid as anything by Beethoven,” declared Jon Lord of his band, Deep Purple, in an interview with the New Musical Express in 1973. Lord, who has died aged 71 after suffering from pancreatic cancer, was not merely adopting a rebellious stance. An accomplished classical composer as well as rock musician, he believed with some justification that his group’s music was as profound in structure and as significant in cultural impact as any work from the symphonic canon. At the time, Deep Purple were among the world’s biggest rock bands, having built an enormous fanbase on the strength of their classically influenced songs, which lent further weight to Lord’s statement.

Born in Leicester, Lord studied classical piano from the age of five. In his teens, the then-new rock’n’roll and R&B movements made a deep impression on him, in particular the music recorded by blues pianists and organists such as Jimmy McGriff and Jerry Lee Lewis. The contemporary combination of Hammond B3 and C3 organs with Leslie speakers appealed to him, and this became an instrumental setup that remained integral to Lord’s signature keyboard style for the rest of his career.

In 1959, he moved to London to pursue acting, which he studied at the Central School of Speech and Drama. He played the piano and Hammond organ in clubs to pay the bills, initially with a jazz band called the Bill Ashton Combo and then with Red Bludd’s Bluesicians, featuring the vocalist Art Wood. While recording occasional sessions (he contributed keyboards to the Kinks’ 1964 hit You Really Got Me), Lord pursued pop success in the Art Wood Combo, who later renamed themselves the Artwoods and appeared on TV. I Take What I Want was the group’s only charting single.

Lord discovered his trademark sound when he formed Santa Barbara Machine Head, which also featured Wood’s brother and future Rolling Stone, Ronnie Wood. The key to this group’s success was its powerful, organ- and guitar-driven formula, which pointed at the future musical recipe of Deep Purple, and also the meeting of Lord and the bassist Nick Simper. The duo were the backbone of Deep Purple, who formed when the businessman and manager Tony Edwards invested in the new group and auditioned the cream of London’s young talent – the guitarist Ritchie Blackmore, the singer Rod Evans and the drummer Ian Paice among them. This quintet formed Purple’s first lineup in 1968.

Deep Purple spent the following eight years on a path that took them around the world on several occasions (in later years, they had a private jet), playing the world’s largest stadiums and issuing a series of classic LPs – In Rock (1970), Fireball (1971), Machine Head (1972) and Burn (1974) among them. Personnel came and went, but Lord and Paice remained constant members until the group’s dissolution amid a haze of drug addiction and exhaustion in 1976.

Of the great British rock bands of the 70s, only Led Zeppelin, Black Sabbath and the Stones were able to operate on as grand a scale: unlike any of those groups, Deep Purple took regular time out to indulge in classical projects initiated and directed by Lord. The most notable of these was the live Concerto for Group and Orchestra, recorded at the Royal Albert Hall in 1969.

It was this equal passion for rock bombast and classical finesse that made Lord such an unusual musician. During Deep Purple’s glory days, he often infused the songs with classical influences, as in the song April from the group’s eponymous album in 1969. His organ playing, which often counterpointed Blackmore’s virtuoso lead guitar, was unique and often copied.

After the split, Lord formed a group with the rock singer Tony Ashton and Deep Purple’s ex-drummer Paice entitled Paice, Ashton & Lord. They released one album, Malice in Wonderland, in 1977. He then joined Whitesnake, the band formed by Deep Purple’s last lead singer, David Coverdale. This group, not to be confused with the 1980s reincarnation that played stadium rock and met with huge success, was an earthy, blues-rock band in which Lord’s organ playing was an essential element. His stint in Whitesnake ended when he rejoined a reformed lineup of Deep Purple in 1984 alongside Blackmore, Paice, the singer Ian Gillan and the bassist Roger Glover.

Many solo projects and collaborations came during and between Lord’s membership of these bands, including Before I Forget (1982), which featured classical piano music; a commission to compose the soundtrack of Central Television’s 1984 series The Country Diary of an Edwardian Lady; and guest spots on albums by rock luminaries such as Lord’s Oxfordshire neighbour George Harrison and Pink Floyd’s David Gilmour.

Eight more years of recording and tours followed before Lord felt he had had enough of life on the road. In a letter to his bandmates in 2002, he requested that Deep Purple take a year off. When this request was declined, he amicably left the group. Solo projects followed, including a collaboration in 2004 with sometime Abba singer Anni-Frid Lyngstad, and the formation of a blues band, Hoochie Coochie Men, three years later. In 2010, Lord was made an honorary fellow of Stevenson College, Edinburgh, and the following year he was awarded an honorary doctorate of music by the University of Leicester.

Report http://hammondcast.over-blog.com/article-report-jon-hammond-and-koei-tanaka-concert-for-president-manji-suzuki-and-company-hamamatsu-japan-77330862.html

Bicycles are In these days, but make sure to wear a helmut folks! Jon Hammond
2 friends of mine seriously injured recently, one with helmut (busted femur) and the other one, busted collar bone

New York NY — The Russians are back in town!
Welcome back to USA cats!! Jon Hammond

Welcome back to USA cats!! Jon Hammond — with Alexander Dovgopoly, Anton Baronin, Vitaly Solomonov, Pavel Ovchinnikov and Ed Zizak

Jon Hammond in Leo’s Pro Audio trying out Bag End speakers with 1965 Fender Band-Master head and XK-1 Hammond organ – this organ and flight case are available to the right person by the way – JH — at Leo’s PRO Audio

San Francisco CA Golden Gate Park Speedway Meadows — Wavy Gravy hangin’ backstage at 40th Anniversary of Woodstock free concert – Jon Hammond
Youtube http://www.youtube.com/watch?v=kgEqSQtD7v4
with appearances by
Sandi Freddie Herrera, Zero Nylin, Narada Michael Walden, Annie Sampson, Dr. Eugene L. Schoenfeld special thanks Boots Hughston, Terence Hallinan – JH – Speedway Meadows Golden Gate Par…See More — with Wavy Gravy at Golden Gate Park, Speedway Meadows.

New York NY — 4 serious Jazzers – Billy Kaye, Rudy Sheriff Lawless (yes that’s his real name including middle name) Jackie Williams, Stepko Gut – Jon Hammond on 42nd Street — at Duane Reade Doctor on Premises – 42nd Street & 8th Avenue.

Sea Cliff San Francisco California — The Art Gates of Robin Williams’ house – Jon Hammond

Times Square — Hey, where’d everybody go ? !

Jon Hammond — at Times Square NYC.

Wishing a Big Happy Healthy Birthday to Main Man Glenn Derringer! Glenn is one of my All-Time Super Heroes!!
Have a fantastic one Glenn and many more!!!
Jon Hammond — with Glenn Derringer

New York NY Town Hall 43rd Street — Alex Foster and Stephen Ferrone at Memorial for Michael Brecker R.I.P. *note, Joe Berger is also there but for some reason the camera barely registers him, go figure! Jon Hammond — at The Town Hall.

Frankfurt am Main — Yes I wear white socks and my pants are too short today folks! – Jon Hammond on the strassenbahn gleis — at Platz-der-Republik.

Frankfurt am Main — Main Man Totó Giovanni Gulino drums hanging with Main Man Joe Lamond – President of NAMM on the break at my annual Musikmesse Frankfurt Warm Up Party – the Chocolate on Chocolate Cake was GOOD! – Jon Hammond
Youtube http://www.youtube.com/watch?v=hozrJpHvV-4
Chocolate on Chocolate Cake at Musikmesse Warm Up Party in Jazzkeller Frankfurt with Jon Hammond Band and special guest…See More — at Jazzkeller.

Frankfurt am Main — Happy 25 years Musikmesse Frankfurt to me! – here on the buhne / bandstand of the legendary Jazzkeller Frankfurt – *now 26 years my custom-made chocolate on chocolate cake to share with all my friends in the good old Jazzkeller Frankfurt – Youtube http://www.youtube.com/watch?v=hozrJpHvV-4
Chocolate on Chocolate Cake at Musikmesse Warm Up Party in Jazzkeller Frankfurt with Jon Hammond Band and special guests for this special occasion celebrating 25 years in Musikmesse. Special acknowledgement of Wilhelm P. “Charly” Hosenseidl R.I.P. who was the Director of Musikmesse years 1989-2008 now Directed by Wolfgang Luecke, special thanks to Musikmesse Frankfurt Projekt and Presse Team!
Jon Hammond Band:
Joe Berger guitar
Tony Lakatos tenor saxophone
Giovanni Gulino drums
Jon Hammond – XB-2 Hammond Organ – special thanks Hiromitsu Ono Chief Engineer Suzuki Musical Instruments designed my instrument which took me all around the world many times
“Late Rent” Jon Hammond theme song for Jon Hammond Show MNNTV and HammondCast Show KYOU Radio San Francisco CBS Radio Network
Thanks Joe Lamond President CEO NAMM, TecAmp Jürgen Kunze and Thomas Eich – Puma Combo bass amp powering Jon Hammond’s organ
Dankeschoen to Yücel Atiker, Tino Pavlis, Poehl, Bernie Capicchiano, Michael Falkenstein Hammond Suzuki Deutschland, Peggy Behling, Christine Vogel Messe Frankfurt,
Saray Pastanesi Baeckerei & Konditorei for Chocolate on Chocolate
25 Years Musikmesse Celebration Cake — at Jazzkeller.

Frankfurt am Main — Happy 25 years Musikmesse Frankfurt to me! *now 26 my custom-made chocolate on chocolate cake to share with all my friends in the good old Jazzkeller Frankfurt – Youtube http://www.youtube.com/watch?v=hozrJpHvV-4
Chocolate on Chocolate Cake at Musikmesse Warm Up Party in Jazzkeller Frankfurt with Jon Hammond Band and special guests for this special occasion celebrating 25 years in Musikmesse. Special acknowledgement of Wilhelm P. “Charly” Hosenseidl R.I.P. who was the Director of Musikmesse years 1989-2008 now Directed by Wolfgang Luecke, special thanks to Messe Frankfurt Projekt and Presse Team!
Jon Hammond Band:
Joe Berger guitar
Tony Lakatos tenor saxophone
Giovanni Gulino drums
Jon Hammond – XB-2 Hammond Organ – special thanks Hiromitsu Ono Chief Engineer Suzuki Musical Instruments designed my instrument which took me all around the world many times
“Late Rent” Jon Hammond theme song for Jon Hammond Show MNNTV and HammondCast Show KYOU Radio San Francisco CBS Radio Network
Thanks Joe Lamond President CEO NAMM, TecAmp Jürgen Kunze and Thomas Eich – Puma Combo bass amp powering Jon Hammond’s organ
Dankeschoen to Yücel Atiker, Tino Pavlis, Poehl, Bernie Capicchiano, Michael Falkenstein Hammond Suzuki Deutschland, Peggy Behling, Christine Vogel Messe Frankfurt,
Saray Pastanesi Baeckerei & Konditorei for Chocolate on Chocolate
25 Years Musikmesse Celebration Cake — at Jazzkeller.

Frankfurt am Main — Hallo Erna Klobučar !
Jon Hammond

Frankfurt am Main — This is where I stayed at my very first Musikmesse Frankfurt in 1987 – Hotel Prinz Otto – rub-a-dub-dub…3 men in a tub! The only 2 star hotel in Frankfurt, but it did the job – 3 of us in one little room, Joe Berger, Bruno Engl and myself Jon Hammond right by the Frankfurt Hauptbahnhof, and it had a little bar kneipe. Many a traveler has stayed there folks! – JH
http://www.tripadvisor.de/ShowUserReviews-g187337-d230354-r10041805-Hotel_Prinz_Otto-Frankfurt_Hesse.html
One happy camper “Die Zimmer waren schmutzig, die Handtücher und Bettwäsche war dünn und löchrig. Die Heizungskörper waren voller Staub und die Teppiche waren voller Flecken und fadendünn. In der Dusche lagen Haarbüschel und das Wasser war entweder heiß oder kalt, die Toilettenspülung hat nicht funktioniert, ebenso wenig der Fernseher und vom Frühstück konnte einem schlecht werden und so hat keiner von uns etwas gegessen. Die Fließen im Badezimmer waren voller Silikon-Abdichtungsmittel. Außerdem glaube ich nicht, dass es Feuerausgänge in den Zimmer gab. Unterster Standard. Ich wünschte mir nur, dass ich es mir vorher angesehen hätte.” — at Hotel Prinz Otto.

Frankfurt am Main — They know me well in this Deutsche Bundespost by the Frankfurt Bahnhof! – Jon Hammond
http://en.wikipedia.org/wiki/Deutsche_Bundespost
The Deutsche Bundespost (German federal post office) was created in 1947 as a successor to the Reichspost (German imperial post office). Between 1947 and 1950 the enterprise was called Deutsche Post (German post office). Until 1989 the Deutsche Bundespost was a state-owned company.
The Bundespost was developed according to a three-stage principle common in public administration in the Federal Republic of Germany (FRG). The upper stage consisted of the federal ministry for the post office and telecommunication system. The middle stage consisted of regional directorates and national post office management in West Berlin, with certain central bureaucracies (post office technical central office, telecommunication engineering central office, postal administration social office, and post offices) on an equal footing. Finally, the lower stage consisted of the actual post offices, postal giro (akin to a checking account)and savings bank offices, and telecommunication offices.
The legal basis for the administrative activity of the Bundespost was the postal administration law (Postverwaltungsgesetz, abbreviated PostVwG). A central goal of public administrative policy after 1924 was financial self-sufficiency. Political goals, however, often superseded this goal. According to the PostVwG, the federal postal system was to be administered “according to the principles of the policy of the FRG, in particular trade, economic, financial and social policies” and “the interests of the German national economy.”
The Deutsche Bundespost was the largest employer in the Federal Republic. In 1985 it employed 543,200 people.
In the first post office reform (July 1, 1989), the Bundespost was divided into three divisions (also called public enterprises):
Deutsche Bundespost Postdienst – postal service
Deutsche Bundespost Telekom – communications service
Deutsche Bundespost Postbank – postal bank
The central authorities remained as described above. The divisions were later privatized in the second post office reform (January 1, 1995), resulting in the creation of the following:
Deutsche Post AG from the postal service
Deutsche Telekom AG from the communications service
Deutsche Postbank AG from the postal bank
The federal ministry for post office and telecommunications (Bundesministerium für Post und Telekommunikation) retained oversight responsibility for postal services and telecommunications. After the dissolution of that ministry on 1 January 1998, those tasks were taken over by a new federal network regulatory agency (Bundesnetzagentur, formerly RegTP) under the federal ministry for economics and technology. Other functions (such as the issuance of postage stamps) were taken over by the federal ministry of finance. Some telecommunications functions (including BOS radio) were turned over to the federal ministry of the interior.
For certain official and legal purposes (including certain financial, medical and other services for former postal civil servants), a “federal institution for post and telecommunication” (Bundesanstalt für Post und Telekommunikation) was created. — at Deutsche Post FFM.

Hofheim am Taunus Germany — Congratulations 53 years Jazzkeller Hofheim and dankeschoen for putting me in the book on Page 68 – from show I did circa 1996 in Trio with Tony Lakatos tenor sax, Uwe Petersen on drums – myself at the XB-2 Hammond organ / bass – Jon Hammond http://www.jonhammondband.com/ — at Jazzkeller Hofheim.

Berkeley California — EastBay Jazz Workshop action, firing up at The Black Repertory Group Theater
http://www.blackrepertorygroup.com/ – Jon Hammond — at Black Repertory Group Inc.

Time to come back on solid land! Jon Hammond

Once in a Blue Moon folks! Jon Hammond

Berkeley California — Duo session piano / trumpet with my man Tom Carroll at EastBay Jazz Workshop private clubhouse – Jon Hammond
http://hammondcast.jimdo.com/

Emeryville California — Pixar Studios doesn’t mess around, right over my head with the Zeppelin UP ad, good idea Pixar’oids! Jon Hammond — at Pixar Inc.

Hollywood CA — Narada Michael Walden at the cans – ASCAP Expo – only drummer on the panel getting real funky. Next time keep that Ampeg amp warmed up and I’ll plug in my Hammond organ, play some organ drums serious fat-back funk grooves Narada! – Jon Hammond
Pocket Funk fat-back Bernard Purdie & David Fathead Newman R.I.P. http://www.facebook.com/photo.php?v=10150421203462102 — at Grand Ballroom Renaissance Hollywood Hotel.

If the car had a slightly bigger trunk it would be good!
Jon Hammond — at Radisson blu Hamburg Dammtor.

Jon Hammond : “Open House, Beware of The Dog, No Loitering, No Trespassing, Reserved Parking, No Smoking, House for Sale, Danger, For Rent, No Parking, Employees Only, No Soliciting, Shoplifters Will Be Prosecuted! etc., etc.! – JH and No Dumping!

New York NY — Jazz heavyweight FRANK OWENS at the piano – singers showcase with Cobi Tanaka – Local 802 Musicians Union – Jon Hammond *interesting story about Frank, his name was originally Owen, but so many people called “Frank Owens” that he eventually just added the s.
For seven years, Frank Owens was music director for NBC TV’s Showtime at the Apollo. He was also host of Portrait of the Arts. Mr. Owens performed in the Hartford CT Theatreworks production of Paul Robeson, playing the part of Lawrence Brown. Recently he accompanied Hal David in his tribute at the Friars Club and Freda Payne at the High Mount Jazz Festival, and is co-author and arranger of Shades of Harlem.

Mr. Owens has played and conducted abroad, including the conducting A Fourth of July Celebration of American Jazz, Pop and Broadway in Moscow. Frank Owens was resident pianist at Mortimer’s for over six years, and appeared several times a year at the Hotel Carlyle’s Bemelman’s Bar. He appeared at the Blue Note with Ruth Brown of Broadway’s Black and Blue, having arranged and conducted her album, Fine and Mellow.

Frank Owens was musical director/conductor/pianist for many performers including Johnny Mathis, Chubby Checker, John Denver, Melba Moore, Aretha Franklin, Connie Francis, and Lena Horne.

Frank was musical director for the first David Letterman Show in 1980. Other TV credits include the Jack Paar Show, Geraldo Rivera’s Goodnight America, and Eubie Blake’s, A Century of Music. He did dance arrangements for the film the Wiz, contributed to many records and albums in the top ten, and won the National Academy of Recording Arts and Sciences sponsored MVP Award for Acoustic Piano for several years. — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 – 2 heavyweights in Jazz:
Cobi Narita of ‘Cobi’s Place’ and pianist Frank Owens conducting singers showcase in the Club Room of Local 802 Musicians Union Hall – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM.

Hofheim am Taunus Germany — Jon Hammond Band Youtube Channel
http://www.youtube.com/jonhammondband
17th consecutive year Jazzkeller-Hofheim Musikmesse-Session — at Jazzkeller Hofheim.

Long Beach CA — James Moody R.I.P. – Jon Hammond *I shot this photo Jan. 2005
http://en.wikipedia.org/wiki/James_Moody_(saxophonist)
James Moody (March 26, 1925 – December 9, 2010) was an American jazz saxophone and flute player. He was best known for his hit “Moody’s Mood for Love,” an improvisation based on “I’m in the Mood for Love”; in performance, he often sang Eddie Jefferson’s vocalese lyr…See More — at Long Beach Convention and Entertainment Center.

New York NY — I caught this stunning art installation today while passing by on the bus, flipping airplane (real!) at the entrance to Central Park at 58th & Fifth Avenue across from the big 24 hour Apple Store Fifth Avenue and the Plaza Hotel, nice! Jon Hammond
http://en.wikipedia.org/wiki/Plaza_Hotel
The Plaza Hotel in New York City is a landmark 20-story luxury hotel with a height of 250 ft (76 m) and length of 400 ft (120 m) that occupies the west side of Grand Army Plaza, from which it derives its name, and extends along Central Park South in Manhattan. Fifth Avenue extends along the east side of Grand Army Plaza. It is owned by El-Ad Properties and managed and operated by Fairmont Hotels and Resorts. — at The Plaza Hotel.

New York NY — Guggenheim Museum on a nice summer day – Jon Hammond
http://en.wikipedia.org/wiki/Solomon_R._Guggenheim_Museum
The Solomon R. Guggenheim Museum (often referred to as “The Guggenheim”) is a well-known art museum located on the Upper East Side of Manhattan in New York City. It is the permanent home of a renowned and continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, the artist Hilla von Rebay. It adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952.
Designed by Frank Lloyd Wright, the cylindrical museum building, wider at the top than the bottom, was conceived as a “temple of the spirit” and is one of the 20th century’s most important architectural landmarks. The building opened on October 21, 1959, replacing rented spaces used by the museum since its founding. Its unique ramp gallery extends from just under the skylight in the ceiling in a long, continuous spiral along the outer edges of the building until it reaches the ground level. The building underwent extensive expansion and renovations from 1992 to 1993 (when an adjoining tower was built) and from 2005 to 2008. The museum’s collection has grown organically, over eight decades, and is founded upon several important private collections, beginning with Solomon R. Guggenheim’s original collection. The collection is shared with the museum’s sister museums in Bilbao, Spain, and elsewhere.
Early years
Solomon Guggenheim, guided by his art adviser, German painter Hilla Rebay, began to collect works by nonobjective artists in 1929. Guggenheim first began to show his collection in his apartment, and as the collection grew, he established the Solomon R. Guggenheim Foundation in 1937. The foundation’s goal was the “promotion and encouragement and education in art and the enlightenment of the public.” It was endowed to operate one or more museums; Solomon Guggenheim was elected its first President and Rebay its Director.

Museum under construction in photo taken on Nov. 12, 1957
In 1939, the Guggenheim Foundation’s first museum, “The Museum of Non-Objective Painting”, opened in rented quarters at 24 East 54th Street in New York City and showcased art by early modernists such as Rudolf Bauer, Rebay, Wassily Kandinsky, Paul Klee and Piet Mondrian. During the life of Guggenheim’s first museum, Guggenheim continued to add to his collection, acquiring paintings by Marc Chagall, Robert Delaunay, Fernand Léger, Amedeo Modigliani and Pablo Picasso. The collection quickly outgrew its original space, and so in 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a permanent structure for the collection. It took Wright 15 years, 700 sketches, and six sets of working drawings to create the museum. From 1943 to early 1944, Wright produced four different sketches for the initial design. One of the plans (scheme C) was a hexagonal shape as opposed to the other three circular sketches. It was the only design of the four to have level floors for the galleries without the use of one ramp continuing around the building. At the same time, Rebay was searching for sites for the museum. She selected the museum’s site at the corner of 89th Street and Fifth Avenue, overlooking Central Park.

A 1966 U.S. postage stamp honoring Frank Lloyd Wright, with the Guggenheim visible in the background.
In 1953, the foundation’s collecting criteria expanded under its new director, James Johnson Sweeney. Sweeney rejected Rebay’s dismissal of “objective” painting and sculpture, and he soon acquired Constantin Brâncuşi’s Adam and Eve (1921), followed by works of other modernist sculptors, including Jean Arp, Alexander Calder, Alberto Giacometti and David Smith.[2] Sweeney reached beyond the 20th century to acquire Paul Cézanne’s Man with Crossed Arms (c. 1899).[2] In that year, the foundation also received a gift of 28 important works from the Estate of Katherine S. Dreier, a founder of America’s first collection to be called a modern art museum, the Société Anonyme. Dreier had been a colleague of Rebay’s. The works included Little French Girl (1914–18) by Brâncuşi, an untitled still life (1916) by Juan Gris, a bronze sculpture (1919) by Alexander Archipenko and three collages (1919–21) by German Hanoverian Dadaist Schwitters. It also included works by Calder, Marcel Duchamp, El Lissitzky and Mondrian.[3] Among others, Sweeney also acquired the works of Alberto Giacometti, David Hayes, Willem de Kooning and Jackson Pollock.[4]
Sweeney oversaw the last half dozen years of the construction of the museum building, during which time he had an antagonistic relationship with Frank Lloyd Wright, especially regarding the building’s lighting issues.[5][6] The distinctive cylindrical building, turned out to be Wright’s last major work, as the architect died six months before its opening. From the street, the building looks like a white ribbon curled into a cylindrical stack, wider at the top than the bottom, displaying nearly all curved surfaces. Its appearance is in sharp contrast to the typically rectangular Manhattan buildings that surround it, a fact relished by Wright, who claimed that his museum would make the nearby Metropolitan Museum of Art “look like a Protestant barn.” Internally, the viewing gallery forms a helical spiral ramp climbing gently from ground level to the skylight at the top.
On October 21, 1959, ten years after the death of Solomon Guggenheim and six months after the death of Frank Lloyd Wright, the Museum first opened its doors to large crowds. The building instantly polarized architecture critics, though today it is widely praised. Some of the criticism focused on the idea that the building overshadows the artworks displayed inside, and that it is difficult to properly hang paintings in the shallow, windowless, concave exhibition niches that surround the central spiral. Prior to its opening, twenty-one artists signed a letter protesting the display of their work in such a space.
Thomas M. Messer succeeded Sweeney as director of the museum (but not the foundation) in 1961 and stayed for 27 years, the longest tenure of any of the city’s major arts institutions’ directors. When Messer took over, the museum’s ability to present art at all was still in doubt due to the challenges presented by continuous spiral ramp gallery that is both tilted and has non-vertical curved walls. It is difficult to properly hang paintings in the shallow, windowless exhibition niches that surround the central spiral. Canvasses must be mounted raised from the wall’s surface. Paintings hung slanted back would appear “as on the artist’s easel”. There is limited space within the niches for sculpture.

The skylight in the center of the museum
Almost immediately, in 1962, Messer took a risk putting on a large exhibition that combined the Guggenheim’s paintings with sculptures on loan from the Hirshhorn Museum.Three dimensional sculpture, in particular, raised “the problem of installing such a show in a museum bearing so close a resemblance to the circular geography of hell”, where any vertical object appears tilted in a “drunken lurch” because the slope of the floor and the curvature of the walls could combine to produce vexing optical illusions. It turned out that the combination could work well in the Guggenheim’s space, but, Messer recalled that at the time, “I was scared. I half felt that this would be my last exhibition.” Messer had the foresight to prepare by staging a smaller sculpture exhibition the previous year, in which he discovered how to compensate for the space’s weird geometry by constructing special plinths at a particular angle, so the pieces were not at a true vertical yet appeared to be so. In the earlier sculpture show, this trick proved impossible for one piece, an Alexander Calder mobile whose wire inevitably hung at a true plumb vertical, “suggesting hallucination” in the disorienting context of the tilted floor.
The next year, Messer acquired a private collection from art dealer Justin K. Thannhauser for the museum’s permanent collection. These 73 works include Impressionist, Post-Impressionist and French modern masterpieces, including important works by Paul Gauguin, Edouard Manet, Camille Pissarro, Vincent van Gogh and 32 works by Pablo Picasso.
In 1992, the building was supplemented by an adjoining rectangular tower, taller than the original spiral, designed by the architectural firm of Gwathmey Siegel & Associates Architects.[18] By that point, the building had become iconic enough that this augmentation of Wright’s original design was itself controversial.
In October 2005, Lisa Dennison, a longtime Guggenheim curator, was appointed director of the Solomon R. Guggenheim Museum in New York. Dennison resigned in July 2007 to work at the auction house Sotheby’s.
From October 2005 to February 2008, Thomas Krens remained director of the Solomon R. Guggenheim Foundation, having won a decisive victory over billionaire philanthropist and board member Peter Lewis. A significant contributor to the Guggenheim Foundation, Lewis resigned in 2005 in a dispute with the board over the direction and leadership of the Foundation. Despite this, Krens and Lewis nevertheless continue to agree in describing the building itself as “the most important piece of art in the collection.”
In February 2008, Krens stepped down as the Director of the Guggenheim Foundation, but remains an advisor to the Guggenheim’s international expansion projects. The search for a new Director, who will head both the New York museum and the Foundation was recently completed with the Board’s appointment of Richard Armstrong—formerly director of Pittsburgh’s Carnegie Museum of Art—as its fifth director.
Exterior restoration

Guggenheim Museum exterior after the 3-year renovation
Between September 2005 and July 2008, the Guggenheim Museum underwent a significant exterior restoration.
In the first phase of this project, a team of restoration architects, structural engineers, and architectural conservators worked together to create a comprehensive assessment of the building’s current condition that determined the structure to be fundamentally sound. This initial condition assessment included:
the removal of 11 coats of paint from the original surface, revealing hundreds of cracks caused over the years, primarily from seasonal temperature fluctuations
detailed monitoring of the movement of selected cracks over 17 months
impact-echo technology, in which sound waves are sent into the concrete and the rebound is measured in order to locate voids within the walls
extensive laser surveys of the exterior and interior surfaces, believed to be the largest laser model ever compiled
core drilling to gather samples of the original concrete and other construction materials
testing of potential repair materials.
Much of the interior of the building was restored during the 1992 renovation and addition by Gwathmey Siegel and Associates Architects. The 2005–2008 restoration primarily addresses the exterior of the original building and the infrastructure. This includes the skylights, windows, doors, concrete and gunite facades and exterior sidewalk, as well as the climate-control. The goal will be to preserve as much significant historical fabric of the Solomon R. Guggenheim Museum as possible, while accomplishing necessary repairs and attaining a suitable environment for the building’s continuing use as a museum.[24]On September 22, 2008, friends and supporters of the Guggenheim gathered in New York to mark the completion of the 3-year renovation of the Frank Lloyd Wright-designed Museum. New York City Mayor Michael R. Bloomberg officiated at the celebration that culminated, just after sunset, with the premiere of artist Jenny Holzer’s tribute For the Guggenheim, a work commissioned in honor of Peter B. Lewis, who was a major benefactor in the Museum restoration project. Other supporters of the $29 million dollar restoration included the Board of Trustees of the Solomon R. Guggenheim Foundation, and the Department of Cultural Affairs of the City of New York. Additional support was provided by the State of New York and MAPEI Corporation.The museum was registered as a National Historic Landmark on October 6, 2008.
Significance in popular culture

The Guggenheim interior
The building has become a cultural icon and can be seen widely throughout popular culture. It is featured in Matthew Barney’s The Cremaster Cycle, Bye Bye Birdie, Men in Black, When in Rome, Downtown 81, Ugly Betty and prominently in The International, where a major shootout occurs in the museum. (In fact, a life-size replica of the museum was built for this scene.. The film, Mr. Popper’s Penguins has a sequence where the penguins cause a disturbance entering the museum, wander to the top of the gallery structure and slide down the entire spiral structure to the ground floor. The New Yorker has included the museum multiple times on its cover and cartoons.
The Marvel Comics Guide to New York City (2007) by Peter Sanderson points out that the Guggenheim museum played a part in Daredevil (Marvel Comics), vol. 1, #61 (1970), What If (comics) (featuring Conan the Barbarian), vol. 1, #13 (1979), and Thor (Marvel Comics) #447-48 (1992).
[edit]Works and Process

Works and Process is a series of performances at the Guggenheim begun in 1984 The first season consisted of Philip Glass with Christopher Keene on Akhnaten and Steve Reich and Michael Tilson Thomas on The Desert Music. — at Solomon R. Guggenheim Museum.

Hofheim am Taunus Germany — Jon Hammond 17th consecutive year Musikmesse-Session Jazzkeller Hofheim
http://jazzkeller-hofheim.de/e107_plugins/sgallery/gallery.php?view.109.1.1
Jon Hammond Band Youtube Channel
http://www.youtube.com/jonhammondband — at Jazzkeller Hofheim.

Hofheim am Taunus — Totó Giovanni Gulino drums on Jon Hammond Band in Jazzkeller-Hofheim
Youtube http://www.youtube.com/watch?v=4JtoWjSFow0
Jon Hammond’s annual Musikmesse-Session in Jazzkeller Hofheim, here featuring funky Giovanni Gulino breaking it down on Jon Hammond original funk composition “Head Phone” – Jon Hammond Band – Peter Klohmann tenor sax,
Giovanni Gulino drums, Joe Berger guitar, Jon Hammond Sk1 Hammond organ
*Note: Congratulations to Jazzkeller Hofheim 53 plus years of history, check out the book, I am honored to be on page 68. Keep the tradition going in Hofheim am Taunus, dankeschoen Jazzkeller Hofheim Team! sincerely, Jon Hammond

Tilden Park Berkeley California — Happy 60th Anniversary to my friends at Redwood Valley Railway! (Real Steam Trains!) – A 5 inch scale, 15 inch gauge steam railway based on narrow gauge railroads of the late 1800s located in Berkeley, California. – Jon Hammond
http://en.wikipedia.org/wiki/Redwood_Valley_Railway
The Redwood Valley Railway is a ridable miniature railroad in Tilden Regional Park near Berkeley, California. It was established in 1952 by Erich Thomsen, and has expanded to 1.25 miles of track and over 160,000 passengers a year.
The railroad uses 5″ scale model live steam locomotives on a 15 in (381 mm) narrow gauge track.
Locomotives
The Number 2- An 0-4-0 Gasoline-Hydraulic locomotive “Juniper”
The Number 4- A 2-4-2 Columbia “Laurel”
The Number 5- A 4-4-0 American “Fern”
The Number 7- A 2-6-2 Prairie “Oak”
The Number 11- A 4-6-0 Ten-Wheeler “Sequoia”
Rolling stock
The Redwood Valley Railway maintains a dozen or so wooden gondolas, built similar to those found on 36″ narrow-gauge lines in the American West. The gondolas, equipped with seating for up to eight adults, are the mainstay passenger rolling stock for this operation. The RVRY also owns three stock cars which have been specifically built to carry passengers as well. These are often favorites with small children, although a full-sized adult can comfortably fit inside.
Other equipment includes a boxcar, extra convertible gondolas, which can either haul passengers or satisfy M.O.W. needs.
The RVRy. owns numerous four-wheel maintenance-of-way cars known as “jimmies”, which have specialized uses such as welding, tie replacement, or carrying ballast.
The RVRy. also rosters a single flatcar, built as a high school shop project by one of the crew in the 1970s. This rugged flatcar has seen thousands of uses, and is one of the most versatile cars on the railroad.
Unique among the roster of cars is a coal gondola, once used to carry extra coal for the #4. Coal was used up until the mid-1970s when the #4 was converted to fuel oil. The coal gondola, with its higher sides, is infrequently used. It currently carries a few dozen metal folding chairs for the annual meet.
A favorite with both young and old is the caboose. Based on a D&RGW 36″ gauge prototype, this “short” center cupola caboose has graced the end of most revenue trains for over 30 years.
[edit]Future Projects

Parts for a 2-4-4 Forney and a 2-6-0 exist, but currently remain unassembled. Plans for a second caboose and a lavish, scale (down to the furniture, wallpaper, and bar with tiny glasses) business car are in the works.
As of mid-2010 the boiler for the #13, the aforementioned 2-6-0 has been manufactured. Not to be confused with a visiting GSP&P #13 from the Glenwood Southpark and Pacific.
The #9, a brand-new diesel-hydraulic switching locomotive is in the planning and development stages and should look somewhat similar to the temperamental but faithful #2. The #9 will have a diesel engine instead of a gasoline engine, and will be built as a heavier and more powerful two-axle diesel locomotive, similar to <25ton American industrial locomotives like those found on narrow gauge operations around the country.

Former Locomotives and Rolling Stock

The Number 1 "Cricket" a 12" gauge steam locomotive along with a few 12" gauge cars were sold to the Folsom Valley Ry. in Folsom Ca. — at Redwood Valley Railroad Steam Trains In Tilden Park.

Hollywood California — Jon Hammond and Tommy Denander at ASCAP Expo – http://www.livinginhd.com/hammondcast/blog/2012/04/22/2012_ascap_expo_highlights_hamburg_to_hollywood_via_frankfurt_by_jon_hammond — at Ascap “I Create Music” EXPO.

It’s going on 8.38 in the morning Wolfman Jack! – Jon Hammond — at California Historical Radio Society.

Sea Cliff San Francisco — Nice view from this house! – Jon Hammond — at Sea Cliff San Francisco.

New York NY — Sam Ash Music Store W.48th Street window,
there’s my Hammond XK-3 Organ on display with factory heavy-duty flight case, for a good deal go see John in the Keyboards Dept. – Jon Hammond *same organ on my album NDR SESSIONS Projekt – Behind The Beat Story:

Jon Hammond: The NDR Sessions Projekt

Jon Hammond’s “The NDR Sessions Projekt” brings the soulful…See More — at Sam Ash Music Store.

New York NY — The Harlem Blues & Jazz Band playing at special evening Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – with Zeke Mullins piano, Joey Morant trumpet / Karate Expert Instructor, Fred Staton living legend tenor saxophonist, Art Baron trombone, Jackie Williams drums, Michael Max Fleming bass – Special Thanks Dr. Albert Vollmer and Gina Reder – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins great jazz pianist – here on Left is Zeke with drummer Buddy Henry on Right, also Buddy’s birthday either on same or one day different – cake lighting happy birthday! – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – Jon Hammond’s organ on the bandstand just finished playing – Greg Bandy drums / MC for this special evening here at the cans – JH — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – 2 of my all-time favorite musicians / people – jazz pianist extraordinaire Roy Meriwether with main man Bernard Purdie aka Pretty Purdie also-aka The Hit Maker – Jon Hammond — with Bernard Purdie and Bernard Purdie at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – here we have the great tenor saxophonist Fred Staton and trombonist Art Baron looking on from The Harlem Blues & Jazz Band – spcl. thanks Dr. Al Vollmer & Gina Reder – Jon Hammond — with Art Baron at Associated Musicians of Greater New York, Local 802 AFM.

Hamamatsu Japan — Suzuki Hall in Suzuki World Headquarters and Factory – Tanaka Koei the great harmonica player and inspirational Suzuki Santa, incredible guy folks! Here with Jon Hammond at the B3mk2 – Mercy Mercy Mercy!
Youtube http://www.youtube.com/watch?v=E0f_cH1U5jc
Mercy Mercy played by Suzuki Artists Koei Tanaka and Jon Hammond for President Founder Manji Suzuki and Company in Suzuki Hall at Suzuki World Headquarters in Hamamatsu Japan. 2 camera shoot by S. Ohtaka and Jennifer
Master of Ceremonies Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 organ and wooden model 3300 high power Leslie Speaker, Koei Tanaka Suzuki harmonica Part 3 of 3 Parts “Mercy Mercy” Funky Blues Style, dynamic duo performance. Special Thanks Mr. H. Ono, Mr. M. Terada, Mr. S. Ohtaka, Mr. Yu Beniya, Tachi Waichiro Tachikawa President M. Suzuki and entire Suzuki Musical Instruments Team, © JH INTL
http://www.HammondCast.com/ — in Hamamatsu-shi, Shizuoka.

Monday Night Local 802 Jazz Session pics from Jon Hammond 07/16

http://www.facebook.com/media/set/?set=a.10150966873892102.400995.558692101

New York NY — Local 802 Monday Night Jazz Session
Serious Jazz’ers seen here either before or after playing with Jon Hammond’s organ in foreground (already played) – 07/16/2012
*seated far end in chair – Buddy Henry (drums), standing white pants – Gabriel Romance (vocals & flute)
standing in yellow shirt – Rudy Sheriff Lawless (drums) *one of my trusted spiritual gudes – JH
Bill (drums)
…See More — with Joe Cangelosi Sr. and Arlington Houston at Associated Musicians of Greater New York, Local 802 AFM.

Summer Concert Jazzkeller Frankfurt Soon I Will Be Free Jon Hammond Band

*WATCH THE VIDEO HERE: Jon Hammond Band Summer Concert Jazzkeller Frankfurt SOON I WILL BE FREE

http://ia700408.us.archive.org/21/items/JonHammondJonHammondBandSummerConcertJazzkellerFrankfurtSOONIWILLBEFREE/JonHammondBandSummerConcertJazzkellerFrankfurt.m4v

http://www.archive.org/details/JonHammondJonHammondBandSummerConcertJazzkellerFrankfurtSOONIWILLBEFREE/

Frankfurt Germany — Jon Hammond getting picked up for the gig – Blip TV http://blip.tv/jon-hammond/jon-hammond-s-59th-birthday-party-musikmesse-warm-up-finale-song-6182466 — at Victoria Hotel Frankfurt

Ulrich Vormehr

Yashko Golembiovsky
Académie Royale des Beaux-Arts de Bruxelles (ACA)

Marco Wriedt

Paul Rachman
Director/Producer at Film DIrector – AMERICAN HARDCORE

Harry Petersen
U. of Colorado

Hamburg Germany — Head Phone
Jon Hammond Band Blip TV
http://blip.tv/jon-hammond/head-phone-newessbar-hamburg-jon-hammond-band-6068555

Jon Hammond Band in concert in Newessbar Hamischa – L to R: Lutz Buechner tenor sax, Joe Berger guitar, Heinz Lichius drums, Jon Hammond at Sk1 Hammond organ
http://www.facebook.com/photo.php?fbid=10150609337502102&set=a.10150603399857102.376340.558692101 Youtube http://www.youtube.com/watch?v=b13jUY8WR_A
Newessbar Hamischa Hamburg Get Back In The Groove Tribute to 9/11 Jon Hammond Band
Lutz Buechner tenor sax
Heinz Lichius drums
Joe Berger guitar
Jon Hammond Sk1 Hammond organ
Original composition by Jon Hammond International ASCAP

Thanks Olaf and Roman Kumutat

It’s almost time for the 4 Amigos World Guitar Show again folks, this time in San Mateo CA July 14-15 in the San Mateo County Event Center – photo Marc Baum at last year’s show – Jon Hammond
http://jonhammondband.blogspot.com/2012/01/jam-session-day-1-california-world.html
http://www.facebook.com/photo.php?fbid=10150908519762102&set=at.61160682101.82732.558692101

San Francisco CA — Newly renovated famous Golden Gate Park Windmills – Jon Hammond
http://www.golden-gate-park.com/windmills.html

http://www.pressdemocrat.com/article/20110913/WIRE/110919869
San Francisco windmill restoration marks milestone

By ASSOCIATED PRESS

SAN FRANCISCO — Crews restoring the Murphy Windmill in San Francisco’s Golden Gate Park are celebrating a milestone.

Crowds watch as workers place a 64-ton dome on the historic landmark Murphy windmill during its repair in Golden Gate Park in San Francisco, Monday, Sept. 12, 2011. The windmill was constructed in 1905 and is one of the largest windmills in the world. It originally served to irrigate the park. The dome was repaired in Holland. The flags below the American and San Francisco flags are the Dutch and Irish flags.

The windmill’s 68-ton copper dome was placed back on top of the structure on Monday after undergoing nearly a decade of restoration.

The work is part of a multi-million dollar project to bring the six-story windmill, which once pumped water to the rest of the park, back online. Built in 1905, the windmill languished for decades until the restoration work began in 2002.

The project is expected to be completed by the middle of 2012, when the windmill’s sails and gears should be back on and the area around it landscaped.

The project is being funded by public and private money. — at Dutch Windmill

San Francisco CA — The entrance to Baker Beach – Jon Hammond
http://en.wikipedia.org/wiki/Baker_Beach
Baker Beach is a public beach on the peninsula of San Francisco, California, U.S.. The beach lies on the shore of the Pacific Ocean to the northwest of the city. It is roughly a half mile (800 m) long, beginning just south of Golden Gate Point (where the Golden Gate Bridge connects with the peninsula), extending southward toward the Seacliff peninsula, the Palace of the Legion of Honor and the Sutro Baths. The northern section of Baker Beach is “frequented by clothing-optional sunbathers”. As such it is considered a nude beach.History
Baker Beach is part of the Presidio, which was a military base from the founding of San Francisco by the Spanish in 1812 until 1997. In 1904, it was fortified with disappearing gun installations known as Battery Chamberlin, which can still be viewed today. When the Presidio was decommissioned as a U.S. Army base, it became part of the Golden Gate National Recreation Area, which is administered by the National Park Service.
From 1986 to 1990, the north end of Baker Beach was the original site of the Burning Man art festival. In 1990, park police allowed participants to raise the traditional large statue but not to set it on fire, since the beach enforces a limit on the size of any campfires. Subsequent Burning Man events have taken place in Black Rock Desert, Nevada.
A fatal shark attack occurred on Baker Beach on May 7, 1959[5] when 18-year old Albert Kogler Jr. was attacked by a great white shark while he was 15 feet deep in water. This was the only shark attack recorded on Baker Beach.
Large outcrops of serpentine cliffs occur along the Pacific coast near Baker Beach. When rising from the land surface, serpentine produces a low-calcium, high-magnesium soil that can allow for rare species of plants to develop in the vicinity. This may explain the presence of Hesperolinon congestum (the Marin Dwarf Flax, a threatened plant) in surrounding areas — at Baker Beach.

Baker Beach – Jon Hammond

Musikmesse Frankfurt — Barrie Freeman of Hammond Suzuki UK & Jon Hammond – I’ve been to 26 Musikmesse’s (consecutively) but Barrie’s got me beat! – JH
http://www.hammondorgan.co.uk/ Hammond Organ UK FaceBook http://www.facebook.com/pages/Hammond-Organ-UK/284971118200473
*Michael Michael Falkenstein takin’ care of biz by the organ http://hammond.de/ Germany
http://www.HammondCast.com/ — with Michael Falkenstein and Barrie Freeman at Musikmesse Frankfurt

Moscow Russia — Ed Zizak taking a killer solo on my Theme Song “Late Rent”
Youtube http://www.youtube.com/watch?v=kOMLzIdc82g
Jon Hammond Trio in Moscow Russia with Igor Butman tenor sax Eduard Zizak drums Jon Hammond organ, full power Late Rent break song with
amazing psychedelic solo from Eduard on James and Wess Blues dedicated to organist Jimmy Smith. Special thanks Faina Cobham, Hammond Suzuki, Camera: Jennifer http://www.jonhammondband.com/ — with Ed Zizak at Verkhnjaja Radishchevskaya St. 21 Moscow Russia

Vadim Eilenkrig
Moscow, Russia

Севастьянов Дмитрий
Moscow, Russia

Алексей Беккер
Гнес

1976 Honda Civic CVCC my very first brand-new car – Jon Hammond *wearing one of my custom Panama Hats from Arthur at Hand The Hatter of Boston Combat Zone
http://www.facebook.com/photo.php?fbid=10150944323417102&set=a.61160682101.82732.558692101
Combat Zone Boston MA — Hand The Hatter, Arthur was one of the greatest hatters of all times. I had all my hats custom made by him when I was playing Hammond organ 7 nights a week in the Zone – at World Famous 2 O’Clock Club, Picadilly, Mouse Trap and some of the other ‘continuous adult entertainment’ clubs back in the 70’s – Jon Hammond
http://www.csmonitor.com/1988/1011/rhat.html
By David Holmstrom, Staff writer of The Christian Science Monitor / October 11, 1988

Boston
IT’S a hot day on LaGrange Street. Across from the gaudy Club New Orleans, on the shady side of this street in Boston’s notorious “combat zone,” Arthur Stephens takes a small paring knife out of his pocket. He carefully cuts through the black threads of time. “Six and seven-eighths,” he says quietly. In his hand is a beige man’s hat. No measuring, no guessing the size. He knows hats, this hat, any hat. The knife cuts the threads holding the old, black hatband. It falls to the floor.

“This is a good beaver hat,” says Mr. Stephens, twirling it over the knuckles of one hand. He will spend the next hour or so in loving restoration of another man’s favorite hat.

For 54 years, inside a narrow LaGrange Street shop darkened by time and steam, and filled with the rakishness of hats on pegs everywhere, Stephens has plied the almost forgotten art of a hatter. Like a poet polishing verbs, Stephens makes, restores, and repairs fine hats. During the half-century he has been motivated by the axiom “A man doesn’t looked dressed unless he wears a hat.”

“My sisters were hat trimmers,” he says proudly, ready to nurture just about any stained, drooping hat into new sheen and bearing. “My father was a hatter, and my brothers were hatters, too. See, I like what I’m doing. You gotta like what you’re doing. I’m 80 going on 81.

Arthur Stephens is the only bona fide, art-for-the-sake-of-art hatter left in Boston. Once there were dozens. Ernesto Marrone has been a customer for 10 years. “You can’t get this kind of service anywhere else,” he says, “not even in New York. I wear hats because I grew up in an old Italian neighborhood where hats were customary.”

Long before Stephens bought the shop on LaGrange, a man named Hand first opened it on a downtown Boston street. The year was 1860, the year Abraham Lincoln was elected President, and Mr. Hand proclaimed his shop “Hand the Hatter.”

The shop thrived down one century to another, satisfying Bostonian gentlemen who wore homburgs, panamas, top hats, trilbies, derbys, westerns, fedoras, and even boaters. And when the young and ambitious Stephens bought the shop in 1934, he kept the name.

Today, above the door, slightly weathered and melancholy, a black-and-white sign still says, “Hand the Hatter.”

The small shop window – protected by a steel grate – is so dusty and gray there is no seeing through it. One step up and through the open door and into the musty shop, and you have entered a time warp sliced from a faded calendar, circa 1930, with hats, hats, and more hats.

“You walk in here and say, `How come all this junk is here?”’ says Stephens, a small man with rounded shoulders and a gruff, sentimental voice. “But everything is ready for any kind of hat. You never know when you’re going to use this stuff.”

“This stuff” lying about is a Noah’s ark of the hatter’s craft. Shelves and tables full of wooden hat blocks, shelves full of wooden flanges to shape brims, a 40-year-old hissing copper boiler (steam for steaming the hats), ancient cans of “luring” grease (to bring out the sheen of hats), an old “ironing” machine that heats and shapes the crown of hat while it spins slowly on a block, and off in one corner a bulbous, heated “sand” machine (a flannel bag filled with heated beach sand) to lower over a hat on a flange to shape or reshape the brim.
“I used to work until 2 in the morning,” says Stephens, recalling the heady, quicker pace of the 1930s. “Saturdays, Sundays. I’d go out to eat, take a shower at a hotel, come back here, and go to work again. I could knock off maybe 40 to 50 hats a day. Today if I do eight or 10 I’m doing a big day’s work.”

Stephens acknowledges that it was probably a hatless President named John Kennedy who helped take the steam out of the men’s hat business. That and all the vets returning from World War II as men who refused to wear hats anymore. Add the long hair of men in the 1960s, and hats had a dim future.

“Kennedy didn’t wear a hat,” says Stephens, “and everybody stopped wearing them. Men are wearing all different kinds of hats now, but still not like they used to. Do I wear hats? Sure. I keep a couple in my car.”

He pauses by the ironing machine, watching the blocked brown hat turning as the hot “iron” moves automatically and slowly around it, squeaking all the way. On a shelf a fan pushes the hot air around.

His voice lowers. “Way back I made hats for Jimmy Durante,” he says. “His valet used to come here and get them. He’d say, `Jimmy needs a couple of hats,’ and I’d know just what he wanted. Basil Rathbone used to buy hats from me, too.”

A new hat from Stephens will cost from $125 to $150. A restoration begins about $20 and often ends there, no matter how long it takes. “I never really check the time, to tell you the truth,” he says. “I like the work, and when it’s done, it’s done.”

In the late afternoon a customer of 35 years comes in: a stocky, older man named Mitch with a straw hat needing the brim smoothed and stiffened. Stephens repairs the hat in minutes, using the sand machine and some deftly applied glue.

“I bought my first custom-made hat here in 1950,” says Mitch, standing at the small counter near an enormous old cash register with a hand crank. “I got one he made me a few years ago, and a couple of others,” says Mitch. He says he would like another, a light gray this time.

He and Stephens strike an accord. A price of $85, with $40 down. Stephens fills out an order. Mitch peels off two $20 bills on the counter. “I don’t want you pushing yourself,” he says to Stephens. They both laugh and agree that three weeks should be long enough to fashion the hat. They shake hands. Mitch says warmly, “I need you. Don’t push yourself on this.”

Minutes later, a young man in a leather vest and tie enters and picks up a custom-made hat, a tan, narrow-brimmed trilby. Stephens packs the hat in a new Stetson hat box and tosses in a cluster of small red and yellow feathers for the hatband. When the young man leaves, Stephens says: “If you’re any kind of a businessman, you throw a man a few feathers.”

Late in the afternoon he sits in one of the four old chairs just inside the front door in a pensive mood. “These are all old customers now,” he says quietly. “They know I won’t sell them a bad hat. If I had said a $100 for the hat, Mitch would have paid it. No arguments.” — at Combat Zone

Combat Zone Boston MA — Hand The Hatter, Arthur was one of the greatest hatters of all times. I had all my hats custom made by him when I was playing Hammond organ 7 nights a week in the Zone – at World Famous 2 O’Clock Club, Picadilly, Mouse Trap and some of the other ‘continuous adult entertainment’ clubs back in the 70’s – Jon Hammond
http://www.csmonitor.com/1988/1011/rhat.html
By David Holmstrom, Staff writer of The Christian Science Monitor / October 11, 1988

Jazz Session, Jon Lord, R.I.P., Hammond Organ, Local 802, Musicians Union, Blues, New York City, Journal, July 16, 2012, Deep Purple, Organist, Musikmesse, Sk1, Sk2, Suzuki

Local 802 Birthday Party for Reynold “Zeke” Mullins pics from Jon Hammond

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins great jazz pianist – here on Left is Zeke with drummer Buddy Henry on Right, also Buddy’s birthday either on same or one day different – cake lighting happy birthday! Gina Reder next to Buddy got the cake happening, good work Gina! – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM. — at Associated Musicians of Greater New York, Local 802 AFM.

Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins great jazz pianist – here on Left is Zeke with drummer Buddy Henry on Right, also Buddy’s birthday either on same or one day different – cake lighting happy birthday! – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM — at Associated Musicians of Greater New York, Local 802 AFM

Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – Jon Hammond’s organ on the bandstand just finished playing – Greg Bandy drums / MC for this special evening here at the cans – JH — at Associated Musicians of Greater New York, Local 802 AFM — at Associated Musicians of Greater New York, Local 802 AFM.

Jazz great saxophonist George Braith with Jackie Williams and Zeke looking on, Jon Hammond
Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – 07/09/2012 — with George Braith at Associated Musicians of Greater New York, Local 802 AFM.

Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – 2 of my all-time favorite musicians / people – jazz pianist extraordinaire Roy Meriwether with main man Bernard Purdie aka Pretty Purdie also-aka The Hit Maker – Jon Hammond — with Bernard Purdie and Bernard Purdie at Associated Musicians of Greater New York, Local 802 AFM. — at Associated Musicians of Greater New York, Local 802 AFM

New York NY — Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – here we have the great tenor saxophonist Fred Staton and trombonist Art Baron looking on from The Harlem Blues & Jazz Band – spcl. thanks Dr. Al Vollmer & Gina Reder – Jon Hammond — with Art Baron at Associated Musicians of Greater New York, Local 802 AFM.

Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins, this set featuring Richard Clements piano (not shown) Bob Cunningham ‘walking bass’, Greg Bandy drums, Keith Dames vocal, Mike Camoia tenor sax – Jon Hammond — with Bob Cunningham and Keith Dames at Associated Musicians of Greater New York, Local 802 AFM — at Associated Musicians of Greater New York, Local 802 AFM

New York NY — The Harlem Blues & Jazz Band playing at special evening Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins – with Zeke Mullins piano, Joey Morant trumpet / Karate Expert Instructor, Fred Staton living legend tenor saxophonist, Art Baron trombone, Jackie Williams drums, Michael Max Fleming bass – Special Thanks Dr. Albert Vollmer and Gina Reder – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Fred Staton’s Spats – Fred Staton living legend tenor saxophonist on The Harlem Blues & Jazz Band playing at special evening Local 802 Musicians Union Birthday Party for Reynold “Zeke” Mullins (piano not shown this photo) – not shown in photo – Joey Morant trumpet / Karate Expert Instructor, Art Baron trombone, Jackie Williams drums, Michael Max Fleming bass – Special Thanks Dr. Albert Vollmer and Gina Reder – Jon Hammond — at Associated Musicians of Greater New York, Local 802 AFM.

New York NY — Jon Hammond standing in front of Local 802 AFM Musicians Union Headquarters with brand-spankin’ new Hammond Sk1 organ still in the box, stopped by to say hi to fellow 802 musicians – ready for action..and that is coming soon folks! *That’s me in the Bernard Purdie T-Shirt –
Youtube http://www.youtube.com/watch?v=sEKdzmlhvXI
Jon Hammond Band playing Jon’s composition Late Rent the theme song of his long-running cable TV show The Jon Hammond Show live at The Bitter End club in Greenwich Village New York. Special late show with some of the original musicians from the recording which happened in 1983 in Intergalactic Studios the same studio where John Lennon did his last recordings. On tenor saxophone Todd Anderson who was Jon’s Arranging and Composition teacher in 1973 at Berklee College of Music, Ray Grappone drums who played on the Sidewinder track from Late Rent album first release as heard on WNEW AM 1130 Al Jazzbo Collins radio program, Joe Berger guitar, long-time co-producer engineer guitarist and Jon Hammond playing the incredible New Hammond Sk1 organ designed by Jon’s friends at Suzuki Musical Instruments in Hamamatsu Japan. Swinging Funky Jazz and Blues. All 4 members of The Jon Hammond Band are members of Local 802 Musicians Union American Federation of Musicians New York City, congratulations 802 on 90th Birthday! *Note: This performance was streamed live on the world wide web, special thanks to John Acer and Clifford Schwartz of NuMuBu in Montreal Canada for the broadcast report. — at Associated Musicians of Greater New York, Local 802 AFM – 322 W.48th Street New York NY

Congratulations Pete Seeger Honoree at Local 802 90th Birthday Gala Bash Photos by 802 Member Jon Hammond at Roseland Ballroom 12/04/2011

802 President Tino Gagliardi honoring Pete Seeger as John O’Connor Recording Vice President looks on – Bill Keith Banjo, Steve Earle guitar

It looks like Pete Seeger is singing but he’s not – JH

Better lighting! – JH

Jon Hammond, Pete Seeger, Tossed Salad

Joe Berger, Bernard Purdie, Jon Hammond

*WATCH VIDEO HERE: *Here at NAMM Midnight Showcase Hilton Lobby Pocket Funk

http://www.archive.org/details/JonHammondPocketFunkBernardPurdieandFriendsWinterNAMM2010_0

Pocket Funk by Jon Hammond © JH INTL ASCAP
Bernard Purdie drums
Joe Berger guitar
Jon Hammond organ

Bernard and Wilbur Bascomb bass photo by Jon Hammond

Andrew M. “Andy” Schwartz auctions off Fender Banjo signed by all performers on 802 90th Birthday Gala donated by Sam Ash Music with proceeds going to ERF Musicians Emergency Relief Fund

2 Local 802 Hammond organists: Paul Shaffer and Jon Hammond

Local 802’s Annual 2011 Holiday Celebration for Staff and Members December 14th brought to you by 802 member Jon Hammond

*Correction: *Please note that the date printed in the December issue of Allegro was incorrect. We hope to see you at the party! Happy holidays, and we wish you a joyous and prosperous 2012 from all your friends at Local 802.

Bertha Hope Trio playing the Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th
BerthaHope Hope piano, Kim Clarke bass, Lucianna Padmore drums – photo by Jon Hammond

Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th incredible food for music people! *Note: That’s the famous Andrew M. Schwartz amplifier stacked at end of table…I played through it last week Room B, amp kicks ass! – Jon Hammond

ocal 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th incredible food for music people!

Joe Berger and Paul Nowinski at Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th – photo by Jon Hammond

Local 802 President Tino Gagliardi addressing the Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th and introducing John O’Connor Tom Olcott far left – photo by Jon Hammond

John O’Connor speaking at the Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th, Tom Olcott and President Tino Gagliardi on left – photo by Jon Hammond

Tom Olcott speaking at Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th – President Tino Gagliardi on left and on right John O’Connor – photo by Jon Hammond

Bertha Hope Trio playing the Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th
BerthaHope Hope piano, Kim Clarke bass, Lucianna Padmore drums with Keisha St. Joan vocals – photo Jon Hammond

2 great jazz drummers: Lucianna Padmore and Rudy Sheriff Lawless at the Local 802’s 2011 Annual Holiday Celebration for Staff & Members Wed. Dec. 14th – photo Jon Hammond

Jon Hammond leaving for the gig at The Bitter End
12/03/2011 with his
Hammond Sk1 organ in flight case
http://www.jonhammondband.com/
— in New York, New York.

*WATCH THE VIDEO HERE: Sk1 Late Rent Jon Hammond Band Live At The Bitter End

http://www.archive.org/details/Sk1LateRentJonHammondBandLiveAtTheBitterEnd

http://www.youtube.com/watch?v=sEKdzmlhvXI

Jon Hammond Band playing Jon’s composition Late Rent the theme song of his long-running cable TV show The Jon Hammond Show live at The Bitter End club in Greenwich Village New York. Special late show with some of the original musicians from the recording which happened in 1983 in Intergalactic Studios the same studio where John Lennon did his last recordings. On tenor saxophone Todd Anderson who was Jon’s Arranging and Composition teacher in 1973 at Berklee College of Music, Ray Grappone drums who played on the Sidewinder track from Late Rent album first release as heard on WNEW AM 1130 Al Jazzbo Collins radio program, Joe Berger guitar, long-time co-producer engineer guitarist and Jon Hammond playing the incredible New Hammond Sk1 organ designed by Jon’s friends at Suzuki Musical Instruments in Hamamatsu Japan. Swinging Funky Jazz and Blues. All 4 members of The Jon Hammond Band are members of Local 802 Musicians Union American Federation of Musicians New York City, congratulations 802 on 90th Birthday! *Note: This performance was streamed live on the world wide web, special thanks to John Acer and Clifford Schwartz of NuMuBu in Montreal Canada for the broadcast report. http://www.jonhammondband.com
Special thanks Vicki Bell aka Vicki B. in the house! Catch Vicki Bell and Ray Grappone with Alexis P. Suter Band

http://blip.tv/jon-hammond/sk1-late-rent-jon-hammond-band-live-at-the-bitter-end-5799901

Joe Berger guitar

Ray Grappone drums

Todd Anderson tenor saxophone

Jon Hammond Sk1 Hammond organ and bass

http://vimeo.com/33263523

http://ireport.cnn.com/docs/DOC-713516

Jazz Drummer Rudy Sheriff Lawless and organist Jon Hammond at Local 802

One Giant Muppet person talking to another Giant Muppet person at Radio City Music Hall, one says to the other “This is a hell of a way to make a living!”

*WATCH THE VIDEO HERE: James and Wess Bitter End Blues on Blip Dot TV FEED

http://blip.tv/jon-hammond/james-and-wes-bitter-end-blues-jon-hammond-band-5806376