Solo Organ Performance Late Rent Nashville NAMM HD 1080p

*WATCH THE VIDEO HERE: Solo Organ Performance Late Rent Nashville NAMM HD 1080p Jon Hammond at the organ

Jon’s archive http://archive.org/details/SoloOrganPerformanceLateRentNashvilleNAMMHD1080p

This video is about Solo Organ Performance Late Rent Nashville NAMM – Special thanks Rudd Lance for live audio mix in the massive high-ceilinged lobby of the brand new Music City Center in downtown Nashville – Jon Hammond is playing the Hammond Sk1 organ through through direct input boxes to the house sound system.
“Late Rent” is the theme song for The Jon Hammond Show, now in 30th year on cable TV in Manhattan.
Late Rent Story – Behind the Beat
http://behindthebeat.com/2004/12/jon-hammond-late-rent/
Jon Hammond says “the fingers are the singers.'” The latest CD from this exceptional and soulful Hammond organist is the proof. “Late Rent” draws on decades of great recording sessions and top live performances to showcase his own playing and many top jazz and funk artists. It shows why the Hammond organ is one of the most enduring electric instruments and why Hammond is one of its best players.
The Late Rent Story
Jon Hammond waited half his life to make this CD — starting with being an underground TV host.
Swingin’ Funky Jazz & Blues
Jon Hammond describes his style of music and how he learned to play it.
Two Hot Tracks
Jon Hammond recalls one of his first songs — from age 15 — and a great Sunday session.
Sonny’s Advice (Sonny Stitt – R.I.P. – Edward “Sonny” Stitt (born Edward Boatner, Jr., February 2, 1924 — July 22, 1982)
A little advice on melody from a great sax player went a long way.
HammondCast Blog http://laterent.blogspot.com/ — with Jon Hammond Band and Jon Hammond Organ Group at Nashville Music City Center.

The massive lobby of the brand new Music City Center in Downtown Nashville is where the NAMM Stage was during Summer NAMM

Jon Hammond Late Rent Story

Nashville Tennessee — It’s story time with Jon Hammond – Jon tells the famous Late Rent Story on NAMM Stage in Music City Center
*The Late Rent Story behind the beat
http://behindthebeat.com/2004/12/jon-hammond-late-rent/
The Late Rent Story
Jon Hammond waited half his life to make this CD – starting with being an underground TV host.
Swingin’ Funky Jazz & Blues
Jon Hammond describes his style of music and how he learned to play it.
Two Hot Tracks
Jon Hammond recalls one of his first songs – from age 15 – and a great Sunday session.
Sonny’s Advice (Sonny Stitt)
A little advice on melody from a great sax player went a long way.
Sonny’s Wiki http://en.wikipedia.org/wiki/Sonny_Stitt
Edward “Sonny” Stitt (born Edward Boatner, Jr., February 2, 1924 – July 22, 1982) was an American jazz saxophonist of the bebop/hard bop idiom. He was one of the best-documented saxophonists of his generation, recording over 100 albums. He was nicknamed the “Lone Wolf” by jazz critic Dan Morgenstern, in reference to his relentless touring and devotion to jazz.
Edward Boatner, Jr. was born in Boston, Massachusetts,[1] and grew up in Saginaw, Michigan. He had a musical background; his father, Edward Boatner, was a baritone singer, composer and college music professor, his brother was a classically trained pianist, and his mother was a piano teacher.[1] Boatner was soon adopted by another family, the Stitts, who gave him his new surname. He later began calling himself “Sonny”.

In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt’s emulation. Stitt’s improvisations were more melodic and less dissonant than those of Parker. Stitt’s earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also played in some swing bands, though he mainly played in bop bands. Stitt was featured in Tiny Bradshaw’s big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie’s band in 1945.[2]
Stitt played alto saxophone in Billy Eckstine’s big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker imitator. Later on, he played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948–49 for selling narcotics.
Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker’s style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor.[1] He played with other bop musicians Bud Powell and Eddie “Lockjaw” Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as “Autumn Leaves.”
Stitt joined Miles Davis briefly in 1960, and recordings with Davis’ quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson.
He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons’ own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt’s best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie “Lockjaw” Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott’s in London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the albums What’s New in 1966 and Parallel-A-Stitt in 1967.
Later life[edit]

In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. He also recorded another album with Varitone, Just The Way It Was – Live At The Left Bank in 1971 which was released in 2000.
Stitt joined the all-star group Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk, Kai Winding and bassist Al McKibbon) and made albums for Atlantic Records, Concord Records and Emarcy Records. His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22 in Washington, D.C.

Citizen Watches – *the choice of Jon Hammond – mine is not pictured here, I wear a Citizen Eco Drive model
http://en.wikipedia.org/wiki/Eco-Drive
Eco-Drive is the series name of a line of mainly solar powered watches (marketed as “light powered”) manufactured by the Citizen Watch Co., Ltd. In 1995 Citizen introduced the Eco-Drive line to Asia, Latin America and Europe. In the United States the first Eco-Drive watches were sold in April 1996.[1]
The Eco-Drive concept introduced several major technical refinements over previous solar powered watches. The combination of these refinements for the first time gave watch designers the opportunity to design light powered watches without the need to incorporate conspicuous solar cells on the watch dial.

Eco-Drive concept:
The technical platform that made the Eco-Drive concept possible was the Eco-Drive caliber 7878 movement. This movement was the first light powered movement where the solar panel could be mounted under the round dial. Previous light powered watches from Citizen and other manufacturers had the solar cell(s) mounted directly on the dial. This innovation was possible due to the introduction of the amorphous silicon solar cell in a watch movement. These thin film solar cells had just prior to the mid-1990s become more efficient compared to their 1980s performance. As long as the dial material was sufficiently translucent, enough light would get through to the cell to generate sufficient energy. This opened up the design possibility to make a light powered watch look like a primary battery powered watch. Besides that, the first Eco-Drive watches used a lithium-ion rechargeable or secondary battery. The Eco-Drive 7878 caliber movement was able to run for 180 days on its secondary power cell before it needed light exposure for recharging. This was a significant increase in the ability to store energy compared to previous light powered watches. Further the movement had an insufficient recharging warning feature.[2]
Commercial history[edit]
Besides the first 3 Eco-Drive models Citizen introduced in 1995 the company produced dozens other Eco-Drive models during the 1990s. Amongst these models was the 6.05 mm (0.238 in) thick Eco-Drive Slim of 1996.[3] The first fairly uncomplicated (hours, minutes, seconds and date only) analog Eco-Drive movements technically evolved to more complex analog and digital/analog Eco-Drive movements featuring complications that Citizen applied in various specialized Promaster Eco-Drive watches like chronographs, flyback chronographs and diving watches.
In the early 2000s the sale of wristwatches declined due to the ubiquity of items like cell phones with built in clocks. Demand for Citizen watches in North America, however, remained robust as the Eco-Drive models were particularly well received and were generating ⅓ of Citizens North American revenues by 2000. During the mid-2000s wristwatch sales improved for Citizen thanks to further developing the Eco-Drive line and integrating radio-controlled timing in 2002 into the Eco-Drive line.[1]
Eco-Drive Concept Models[edit]
Since 2009 Citizen also develops Eco-Drive Concept Models as technology demonstration and marketing projects. These Eco-Drive Concept Models are generally shown at exhibitions and produced in limited editions.[4][5][6] The Concept Model 2011 was the Eco-Drive SATELLITE WAVE that has a movement that can receive time synchronization signals from GPS satellites. This makes radio-controlled timing possible in remote areas that are not serviced by land based radio time signal stations.[7] In 2012 Citizen announced the Eco-Drive RING Concept Model. This watch features a ring-shaped solar cell surrounding the watch case sidewall.[8][9]
Recent history[edit]
According to Citizen in 2011 80% of their wristwatches were equipped with Eco-Drive and the company sees Eco-Drive type watches as the heart of new generations of watches.[10]
In 2012 Citizen offered over 320 Eco-Drive watch models in various types, styles and price ranges.[11]
Eco-Drive technology[edit]

Light as power source[edit]
Most Eco-Drive type watches are equipped with a special titanium lithium ion secondary battery that is charged by an amorphous silicon solar cell located behind the dial.[12] Light passes through the covering crystal and dial before it reaches the solar cell.[13]
Depending on the electronic movement model, a fully charged secondary power cell could run with no further charging anywhere from 30 days to 3,175 days (8.7 years), though most Eco-Drive men’s watch models offer a six-month power reserve.[14] If kept in the dark for too long, some Eco-Drive movement models engage a hibernate mode, where the hands of the watch stop running but the internal quartz movement still keeps track of time. If an ample supply of light is given, the hands move to the proper positions and resume regular timekeeping.[12]
Temperature difference as power source[edit]
Citizen Eco-Drive Thermo watches were introduced in 1999 and use the temperature difference between the wearer’s arm and the surrounding environment as a power source. The rare Eco-Drive Thermo watches use the Seebeck effect to generate thermo electricity that powers the electronic movement and charges the secondary power cell. In the sun or in the tropics the ambient temperature can come close to or exceed the temperature of the wearer’s wrist causing the watch to stop generating thermo electricity. In case no power is generated, an Eco-Drive Thermo movement will save power by moving the second hand in ten second increments until the production of thermo electricity is resumed.[15] Citizen has stopped making Eco-Drive Thermo watches.
Hybrid Eco-Drive movements[edit]
Citizen also built an automatic quartz powered watch, the Citizen Promaster Eco-Duo Drive (released in December 1998).[16] Novel to this watch was the use of both mechanical power as well as a solar cell to power the electronic movement and charge the secondary power cell. This model was an attempt to enter higher-priced markets (at a cost of around $1,000 USD). The Eco-Duo Drive technology failed to attract consumer interest and Citizen has since stopped making use of the unique movement.
Solar cell and secondary battery life expectancy[edit]
According to Citizen, experimental data showed the solar cell and secondary battery will last for more than 10 years.[17] According to Citizen Europe, laboratory tests showed that after 20 years the secondary battery retains a power storage capacity of 80% of its initial capacity

The Rockefeller Center Guards digging the Golden Art Deco Piece on Fifth Avenue – Jon Hammond – “This subsequently became the primary location of the U.S. operations of British Intelligence, British Security Coordination (BSC) during the War, with Room 3603 becoming the principal operations center for Allied intelligence, organized by William Stephenson, as well as the office of the future head of what was later to become the Central Intelligence Agency, Allen Welsh Dulles.[12]

The Center is a combination of two building complexes: the older and original 14 Art Deco office buildings from the 1930s, and a set of four International-style towers built along the west side of Avenue of the Americas during the 1960s and 1970s (plus the Lehman Brothers Building). (The Time-Life Building, McGraw-Hill and News Corporation/Fox News Channel headquarters are part of the Rockefeller Center extension now owned/managed by the major private real estate firm, Rockefeller Group.)” — at Michael Kors Rockefeller Center

Youtube http://youtu.be/9sE00b3qRz4

Blip TV http://blip.tv/jon-hammond/solo-organ-performance-late-rent-nashville-namm-hd-720p-6620606

[blip.tv http://blip.tv/play/AYOUjCIC.x?p=1 width=”720″ height=”433″]

Vimeo http://vimeo.com/70965384

Solo Organ Performance Late Rent Nashville NAMM HD from Jon Hammond on Vimeo.

I’d like to live inside this Caboose if I was small enough!
“Cabooses were once used on nearly every freight train. Until the 1980s, laws in the United States and Canada required all freight trains to have a caboose and a full crew, for safety.”
Riding the rails on the Redwood Valley Steam Trains *est. 1952 – Jon Hammond

https://hammondcast.wordpress.com/2012/11/25/hammondcast-number-1-jons-journal-november-24-2012/
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

Jon Hammond warming up the organ on the bandstand at 802 Musicians Union Club Room
Previous session with Richard Clements and Rudy Lawless
http://youtu.be/XXpkFBd2pSc

Early bird gets the worm…and the second mouse gets the cheese!
http://www.HammondCast.com/ — at Associated Musicians of Greater New York — at Associated Musicians of Greater New York, Local 802 AFM

Local 802 Early Bird Session – just about to hit, Jon Hammond’s organ on the bandstand at 802 Musicians Union Club Room

Flight 214 burnt out fuselage of the Boeing 777 – as of yesterday I could see it still there at SFO just beyond Runway 28L – Jon Hammond

*my report when I was on-the-scene when it happened July 6, 2013: http://ireport.cnn.com/docs/DOC-1001238
Boeing 777 Airliner Crash SFO! Breaking News from Jon Hammond on-the-scene:
Airliner Crash SFO! Breaking News from Jon Hammond on-the-scene *Images from Jon Hammond just 30 minutes ago: Airliner Crash SFO! Breaking News from Jon Hammond on-the-scene: Flight 214 Asiana Airlines arriving SFO from SEL has crashed – I shot this photo from West Field of SFO near US Post Office facility and Catering – heavy smoke – aircraft separated at tail – amazing the Captain managed to get it in and on to tarmac as I’m hearing it was in trouble on the way in. Many passengers seen leaving aircraft – information still sketchy, this report just came in 3 minutes ago – I shot this photo 20-30 minutes ago – JH *Note: I first heard 191 passengers onboard – now I just heard from an employee – 291 passengers and crew – JH http://www.usatoday.com/story/travel/news/2013/07/06/airline-crash-san-francisco/2495099/ FAA: Asiana Airlines flight crash lands at San Francisco airport

*WATCH THE VIDEO HERE: Warwick Booth Sessions Summer NAMM Nashville Jon Hammond

Jon’s archive http://archive.org/details/JonHammondWarwickBoothSessionsSummerNAMMNashvilleJonHammond

This video is about Warwick Booth Sessions Summer NAMM Nashville Jon Hammond and Joe Berger
“The Warwick Booth Sessions”
WARWICK GMBH & CO. MUSIC EQUIPMENT KG Booth #1144
with Joe Berger (playing the Jerry Garcia Special model from EKO Guitars) and Jon Hammond (Sk1 combo Hammond Organ) at Nashville Summer NAMM Show smack dab in the middle of the NAMM Exhibits Floor – The Sound Police Love Us – because we rock out at low trade show sound levels and don’t disturb the other nearby booths – that’s the Community Spirit we always adhere to as old NAMM’ers don’t ya’ know – special thanks to Hans-Peter Wilfer, & Bob and the crew at Warwick & Framus – and John the Floor Manager in charge of Sound Control – JH — with Joe Berger at Nashville Music City Center – http://www.HammondCast.com/

Youtube http://youtu.be/pyPG240nlh8

Blip TV http://blip.tv/jon-hammond/warwick-booth-sessions-summer-namm-nashville-jon-hammond-6618608

[blip.tv http://blip.tv/play/AYOT_FQC.x?p=1 width=”720″ height=”433″]

Vimeo http://vimeo.com/70724725

Framus Vintage http://www.framus-vintage.de/

“Hans-Peter Wilfer followed in his fathe´s footsteps and founded Warwick in Eggolsheim in 1982 at the age of 24. After the German reunification he relocated the company”s headquarters to Markneukirchen in the Vogtland region in 1994. He then started an endeavor to bring new life to his father´s lifework – Fred Wilfer had bought back the apparently worthless trademark rights from the liquidator and gave them as a present to his son shortly before his death.

An appreciation for Fred Wilfer´s merits was missing so far. The history and development after the Second World War was fascinating the historian Dr. Christian Hoyer who tried to find out more on the history of the resettlement of the Schoenbach violin-makers.

Meanwhile the public interest in the Framus brand had risen and old Framus instruments, due to their high realizable value and their remarkable sound properties, were partly sold to considerable prices in the vintage market. Reason enough for Hans-Peter Wilfer to support Hoyer´s research. So, historian Dr. Christian Hoyer was engaged to conduct research in relation to the Framus subject.

Wilfer and Hoyer had a meeting in 2001. As a consequence Warwick has endorsed Hoyer´s search for evidence about the past manufacturing in Bubenreuth, something that has taken him already all around the world. Definitely not an easy undertaking, because the company´s archives don´t exist anymore since the liquidation. This endeavor turned into a bigger challenge: ads were placed that stated the need for information and witnesses of that time. Warwick then allocated the necessary funds to buy up old and interesting instrument in order to gain an overview of the company´s manufacturing. But many people helped in the process of filling in the gaps: former co-workers, musicians and endorsers involved with the company, music-loving collectors and many others. This labored and intense phase also included looking in the archives of states, courts, associations and organizations. Even guitarist and former endorser Billy Lorento, who nowadays works as a consultant – under the name Bill Lawrence – for the Fender® Corporation and enjoys his high profile as “King Of Pickups”, contributed his part to the story.

When a collection of instruments and documents was finally achieved, it was too hard to deny this knowledge to the public: It was decided that a book be made about Fred Wilfer and the Framus company and that the aforementioned collection was to be displayed and open to the public in a museum dedicated to the history of the Framus factory. The history project of the Warwick company that Hans-Peter Wilfer started in order to revive the Framus brand now reaches the culmination of all the efforts with the opening of the Framus Museum and the publication of a book on the history of Framus in the summer of 2007. ”

Great to see KSAN Radio Broadcasting Alums including Bonnie Simmons today at CHRS’ annual fundraiser event “Radio Day by The Bay” from the ultra-hip FM station founded by the late great Big Daddy Tom Donahue http://en.wikipedia.org/wiki/KSAN_(FM)
Jon Hammond

*Excerpt from Wikipedia: “On May 21, 1968, the call letters changed from KSFR to KSAN and the format switched to album-oriented rock music. Metromedia transferred call sign KSAN from its TV station, which it renamed KNEW-TV. (Today there is a National Public Radio station in Santa Fe, New Mexico using the KSFR call letters.)[1]
The timing of the change from KSFR to KSAN was triggered by an event at another station. On March 18, 1968 KMPX program director Tom Donahue turned in his resignation after a series of conflicts with station management. This led directly to a strike by many Donahue-loyal KMPX staff members. They began picketing outside the station’s offices, and were soon supported in their efforts by popular bands such as the Grateful Dead and Blue Cheer, as well as the station’s devoted listeners. The staff at sister station KPPC-FM in Pasadena walked out the next day.
KMPX and KPPC owner Leon Crosby refused to cave in to his striking staff, and brought in replacements at both stations to continue the progressive rock format. Several popular rock bands — including The Rolling Stones and the Grateful Dead — insisted that the station not play their music, in a show of support to the picketers. The eight-week strike ended on May 13, with no resolution between the former staffers and Crosby. (And with some claiming it was all just an elaborate publicity stunt.) KMPX continued with the same format, but the controversy opened the eyes of larger broadcasting companies to the potential for rock and roll on FM.
Seeing an opportunity to jump into a hot new radio format against a smaller company, Metromedia decided to switch the format of KSAN from classical music to freeform rock, and hired Donahue and most of the displaced KMPX staffers, who started at the station on May 21. Metromedia also hired the former KPPC staffers to work at KMET in Los Angeles, which made a similar format switch. Donahue eventually became general manager of KSAN, while also programming consulting for sister station KMET.[2]
KSAN became a groundbreaking and legendary rock station, influencing other stations across the country.
On December 7, 1969, KSAN broadcast a show discussing what had just happened the night before at the free Rolling Stones performance at Altamont Raceway. Hosted by Stefan Ponek, the four-hour show fielded calls from a range of people who attended the event and a few who helped organize it, including Rolling Stones personnel and members of the Hells Angels. This broadcast is extensively documented in the 2000 Criterion DVD release of Gimme Shelter, the result of a restoration effort that included the filmmakers.
In the early 1970s, the station rose to number one in the 18-34 demographic,[3] developing a devoted cult following that lasted for many years.[4] During its heyday, KSAN had maintained a strong counterculture reputation. News reports often contained political commentary, with stories about the Vietnam War, the Nixon Administration, growing marijuana and drugs.[5] When the Symbionese Liberation Army kidnapped heiress Patty Hearst, they used KSAN to communicate their message and demands, via cassette tapes.[6] The station enlisted the assistance of the Federal Bureau of Investigation during this ordeal, as they became an unwilling go-between in the Hearst kidnapping.
On April 28, 1975, Tom Donahue died from a heart attack. A sampling of Tom Donahue on KSAN during the late 1960s can be heard on “The Golden Age Of Underground Radio” compilation.” — with The Bonnie Simmons Show

Great to see my long-time friend Dr. Eugene L. Schoenfeld aka Dear Dr. Hippocrates / Dr. Hip today at annual “Radio Day by The Bay” fundraiser for CHRS – California Historical Radio Society – 2 rows back from Ben Fong-Torres

– San Francisco radio heavyweights in the house! – Jon Hammond – at Radio KRE / KVTO — with Ben Fong-Torres and Eugene L. Schoenfeld

KLH Model Eight vacuum tube FM radio with matched dual-driver external speaker

– designed by Henry Kloss – Jon Hammond

(rear view)

I picked up a nice Sears Silvertone AM FM table radio

at Radio Day by The Bay annual fundraiser for CHRS / California Historical Radio Society – Jon Hammond

Radio Day by The Bay (on now) Radio Platoon on the scene with some serious Military radio hardware for field broadcasting – Jon Hammond

– annual fundraising event for CHRS – California Historical Radio Society

Cheryl Jennings ABC7/KGO TV SF News Anchor with Ben Fong-Torres in the original studio control room of KRE Radio, restored just as it appeared in the George Lucas classic movie American Graffiti (1973) – Wolfman Jack appeared there in the movie starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith – interview for CHRS

– California Historical Radio Society happening now – Jon Hammond — with Cheryl Jennings, Ben Fong-Torres and Wolfman Jack

*WATCH THE VIDEO HERE: Summer NAMM Show Nashville The Booth Sessions at Hammond Suzuki USA Stand 1012

Jon’s archive http://archive.org/details/JonHammondSummerNAMMShowNashvilleTheBoothSessionsatHammondSuzukiUSAStand1012/

L to R: Joe Berger guitar, Jon Hammond Sk1 organ, Roland Barber trombone – at Hammond Suzuki USA booth #1012 – Summer NAMM Show

This video is at the Summer NAMM Show in Nashville Tennessee – The Booth Sessions in Hammond Suzuki USA Booth #1012 “Lydia’s Tune” by Jon Hammond (at the Sk1 Hammond organ) with Joe Berger guitar, special guest Roland Barber (trombone), thanks for sitting in with us Roland!
http://www.HammondCast.com/ — with Roland Barber and Joe Berger at Nashville Music City Center

Youtube http://youtu.be/ESA-E3_yFtA

Welcoming remarks at grand opening party were made by Joe Lamond President CEO of NAMM

Summer NAMM Nashville Wrap Up Jon Hammond’s first blast after returning to Summer NAMM Show in the brand-new Music City Center convention facility Downtown Nashville. A taste from the grand opening party presented by NAMM President CEO Joe Lamond the night before July 10th with very special guest Billy Cox and The Band of Gypsys Tribute to Jimi Hendrix. On Day 1 of 3 day show, Jon Hammond solo organ performance on the NAMM Stage in the massive lobby of Music City Center Jon’s song “Get Back in The Groove” with pictures of artist friends during intro of America The Beautiful, many great players attended and jammed including studio drummer Bernard Purdie reuniting with long time friends The Delgado Brothers jamming first thing 2nd morning on lobby stage on Delgados’ song “Man Without A Plan” – images throughout this clip group shots with Delgado Family, Jon Hammond played first time with one of the great Barber Brothers – Roland Barber trombone along with Joe Berger guitar

Solo Organ, NAMM Show, Nashville, Sk1, XK-1c, Jon Hammond, Asiana Flight 214, SFO Airport, Music City Center, Jazz, Soul Music, Blues, Funky, Local 802, Musicians Union

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