Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse

Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse

L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser

*WATCH THE FILM HERE: Head Phone Stick with Sennheiser

Jon’s archive

Sennheiser (headphones) Momentum series

with tribute to Lutz Büchner on solo section:
Head Phone stick with Sennheiser (headphones) Jon Hammond’s 20th annual Musikmesse Session in Jazzkeller Hofheim – funky jazz with Giovanni Totò Gulino drums, Peter Klohmann tenor saxo, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ – Jon’s keyboard stand by
Bespeco Professional, Audio: Philipp, Konrad Neupert, Marvin Gans Jazzkeller Hofheim Team – special thanks Jeff Guilford / JJ guitars for operating the camera

Sennheiser HD 25-1

NAMM Oral History Interview Jon Hammond by Dan Del Fiorentino and Tony Arambarri

Jon’s archive




Usage Attribution-NonCommercial-NoDerivs
Topics NAMM Oral History, Musikmesse, Mini-B, NAMM, G37, G27, Leslie Speaker, Onions, Jazz, Blues, Musicians Union, Local 802, ASCAP, KYOU Radio, Anaheim, Frankfurt, B3 Organ, XB-2, Leslie Speaker

Jon Hammond | Oral History Interview Date: January 13, 2011 library/ oral-history/ jon-hammond

Jon Hammond
Interview Date: January 13, 2011
Job Title: President and Founder
Company: Jon Hammond & Associates
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.

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)

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“Interview: Co-CEO Dr Andreas Sennheiser” credit: PSN Europe

“Dr Andreas Sennheiser took over the running of his family business with his brother Daniel in May of 2013. In the three years since, the company has released some notable technology – but there have been some serious changes at the company along the way. In an wide-ranging and candid interview, Dave Robinson discovers what the young co-CEO thinks about the $50k Orpheus headphones, the restructuring of the company, the fiercely competitive marketplace and what gets him out of bed in a morning…

Let’s begin with AMBEO, your 3D, immersive audio concept.

Dr Andreas Sennheiser: At CES, we launched something we’ve been working on for the last 5-7 years: algorithms for ‘immersive audio’. When we started research, we thought it was going to be relevant: it was a gut feeling that what exists wasn’t good enough. While we did research on these algorithms, we didn’t know where it was going to go, but with big content providers such as Universal and Red Bull Media embarking in 360-degree video and immersive audio recordings in the last 12-18 months, suddenly a huge new world has opened up for us. So, we’ve started to compile all the technology into distinct solutions for recording, mixing, processing, playing back. And that’s what we showed with the AMBEO brand at CES [and NAMM and PL+S]. It’s the starting point of something we will develop with our customers.

We really are positioning ourselves to take advantage of whatever 3D format emerges, a format with a higher emotional impact. Many artists have said to us, the only way to really connect with the audience the way they want to is to play live – but if they had a format that captured that, so that users at home could listen to it in a way similar to actually being there, then they would have a higher engagement with the listeners. That’s when we got serious about bringing AMBEO to the market.

At NAMM you demonstrated a surround-style ‘tetra mic’, with its ‘virtual miking technique’ software, which could change the way things are recorded…

The interesting thing about this is that we have to combine different technologies in order to make the immersive experience perfect; to integrate different technologies to make the transition from reality to virtual reality seamless.

With third party involvement?

By presenting it in its initial stage, it’s an invitation to our customers to think ahead, whether that’s a possible approach for them, how they would use it, and to find new applications for it. It’s all software based at the moment – we have a virtualisation algorithm, an upmix algorithm – we don’t really have a hardware decoder at this point, but if we see a stronger need, we can go in that direction, too.

Let’s talk about Orpheus, the HE 1, the ‘world’s most expensive headphone’.

The HE 1 for us is a product, a statement, and an indication of our innovation culture, to a certain extent. We could have said, we still have the Orpheus from 1991, it’s still considered the best headphone in the world, why do something better? But part of our culture is to not be happy with anything that exists now, regardless of whether we invented it or not. About 10 years ago, we decided it was the time for the world to experience the next level. On one hand, it’s beyond common sense. But, on the other, by being so intensively on the limits of physics, we learn so much for other applications.

You make it sound like the Space Programme…

Yes, exactly, and this pushes the entire Sennheiser culture into new ways. Think about the effect this has at the company when a group of people bring out a flagship that will be there for another couple of decades. That has a huge motivational impact on the other employees; at the same time, it tells the industry that what exists is not good enough for Sennheiser, so we will push it forward.

I’ve heard the HE 1s. They make sound ‘visceral’, I would suggest.

People have ‘seen’ things, heard things which they haven’t heard before, or been able to describe.

Do you think they are worth $50,000?

[Immediately] Absolutely. No doubt.

What sort of reaction have you had to them?

A product like this is dividing: people who rave about it, others who say, Is it worth the money? But to me, it’s not the point: it’s about buying into an exclusivity which sets you apart, in a positive way, from the masses. It’s connoisseurship. From the feedback we’ve got, most of the customers who are interested in the HE 1 are audiophiles who say, Audio is my life.

The original Orpheus had a run of some 300 units. When HE 1 ships later this year, will that be limited to 300 too?

We are not planning any limitation this time: but it is limited by the price and the capacity – making one per day – and the level of customisation. We have significant requests for customised versions.

You mean I can have them in pink?

Someone wants it in solid jade instead of marble, for instance. The exclusivity includes the concept of a one-off product, as long as the sound properties are not affected.

How many do you think you’ll be making?

We have more than 50 ordered. I don’t believe it’s going to stop at 100 or 200. I personally believe that it’s something that’s going to be with you for life, and we will offer servicing on it so it will be with you as long as you want to enjoy it.

Turning to the other end of the market, consumer headphones: it’s an increasingly aggressive and crowded marketplace. What is Sennheiser doing there?

We’re trying to be more focused on specific target groups. With the Momentum line, for example, we are targeting a specific type of personality, people who have a certain style and way of expressing themselves. We’re not just looking at price points and shelf space, and that will set us apart from just having X metres of headphone hangers.

You put into place a ‘selective distribution’ model a couple of years ago – other makes have done that too…

It ensures that the brand is represented in the appropriate way. If [our models] were at a cash-and-carry checkout for five pounds [six euros], it would just damage the brand. You can’t credibly have a product like that and the HE 1.

Are you worried that brands like Beats are changing the market?

It’s not necessarily a concern – it is, rather, keeping us on our toes. That increasingly competitive environment was beneficial in two ways: one, it grew the market; two, it forced us to think what Sennheiser is all about, what is at our core, what is our heritage. We’re the only ones to have the 1968 invention of the open-back HD 414 headphone; we’re the only one that has the innovation culture and heritage. How can we use that to be more relevant and have a higher value for the customer? So, with the success of the Momentum line, the higher end HD 800 line, the professional headphones – the HD 25 still being an icon – this process has been healthy for us because it gave us a stronger sense of identity which we are able to communicate.

How successful has the D9000 digital wireless system been?

It’s a huge success, especially in the last year where the ‘Digital Dividend’ [spectrum sell-off] in Japan gave us extra demand and business. Digital 9000 is successful beyond our initial imagination for a simple reason: we positioned and developed it as a system to be used on stage for singers and touring, because it was so flexible. But the corporate world has discovered it, because of its high-level encryption and flexibility in use. We saw a lot of companies adopt it, such as a major American retail chain. There’s a huge market there.

Since you and your brother Daniel became joint CEOs three years ago, you’ve restructured the company. I get the impression, some of that has been easy, and some of it has been hard. Is that correct?

We went from a territorial approach to a sales channel approach. In Europe, there’s no borders for commerce. Consumer is one part, professional is another, and so on.

In a reorganisation like that, you always have a working assumption. Sometimes you assume, sometimes you just hope for the best. The reorganisation was a great success, especially with the feedback we got from our customers. Did everything work out like we planned? With a change of that magnitude, we discovered things we had to fine-tune. That was a learning experience. For us it was more important to go in the direction that makes sense for the future rather than stay with something we know but might not be any longer relevant.

Some of your ideas were quite radical: staff had to look at their roles within the company and say, this is what I do, and this is what I want to do…

You are spot on. We had hundreds of people in new roles, so there was an element of change management.

…Which can be difficult.

Absolutely! And I have empathy with people who are uncertain for a period, who have to find their role and it’s not all clear from Day One. But part of our culture is to go through changes with our employees, and that means everyone can design their future and their fate, which brings the downside of uncertainty with it.

But some people don’t want to do that.

Yes, but it’s part of our nature to involve people in their own destiny rather than giving them 100% certainty but no influence.

The impression I got from the staff video, made for the company’s 70th anniversary last year, is that your employees are pleased to be a part of the Sennheiser phenomenon. The smiles from the people in the factory were natural, not forced.

The passion and commitment, the joy of what we do is everywhere at Sennheiser. And that’s really part of my personal motivation. Seeing people committed to that extent gives me a reason to go forward.

Do you ever feel the burden of the family legacy, though? When you wake up, do you ever think, [in panicked voice] ‘Oh God, I’m running Sennheiser!’…?

[Smiling broadly] With great responsibility comes a certain weight. You have to think about what is good for the company, the customers, the employees. There are moments of doubt and pressure, but all-in-all, what makes me so confident of getting up in the morning is that I’m not alone here, there are 2,700 people who are highly committed and enjoy what they do. It’s not on my shoulders, it’s on 2,700 pairs of shoulders making their own destiny. With that in my mind, it’s easy to get up and assume that responsibility.

Good answer! What do you think you still need to do at the company?

Become quicker, more nimble to reacting to customer feedback.

Sennheiser seems to think about what it’s going to do, thinks some more, and then makes its move. It took you ages to adopt Dante, for instance. That approach can be positive – but negative too.

If 80% of our decisions are well-thought through and strategically directed, that’s exactly what we need. In hindsight, we could have taken some decisions earlier. On the other hand, ‘German engineering and thinking’ takes time. What our next challenge will be, is to preserve the thoroughness of where we want to go, but add an element of ‘start-up’ activity. A start-up culture with 70 years of experience, if you will. If we can do that, then we will be even quicker when supplying the customers with what they want.

Last question: the factory is on fire – you run in and grab three items. What are they?

First, the photo of my grandfather [Fritz Sennheiser, who started the company]. Second, the Emmy Award. [In 2013, Sennheiser was awarded the Philo T. Farnsworth Award, presented to a company whose “contributions over time have significantly impacted television technology and engineering”.] Third, my trolley, which holds all the stuff I use for daily work…

But which one product do you put on that trolley?

The D9000.

Not a classic microphone or headphone?

D9000 is a statement of innovation, and is ‘classic’ at the same time. It’s one of a kind. It’s an icon. It shows all the competency that’s in this company.

Sennheiser Wiki

Sennheiser electronic GmbH & Co. KG (/ˈsɛnhaɪzər/; branded Sennheiser) is a private German audio company specializing in the design and production of a wide range of both consumer and high fidelity products, including microphones, headphones, telephony accessories, and avionics headsets for consumer, professional, and business applications.

ndustry Audio electronics
Founded 1945 (as Labor W)
Headquarters Wedemark, Hanover, Lower Saxony, Germany
Key people
Fritz Sennheiser, founder
Daniel Sennheiser, CEO and Chairman of the Board
Products Audio electronics for consumer, professional, and business uses
Owner Sennheiser family
Number of employees
2,183 as of 2011

The company was founded in 1945, just a few weeks after the end of World War II, by Fritz Sennheiser (1912–2010)[2][3] and seven fellow engineers of the University of Hannover in a laboratory called Laboratorium Wennebostel (shortened, “Lab W”). The laboratory was named after the village of Wennebostel in the municipality of Wedemark to where it had been moved due to the war. Its first product was a voltmeter.[1] Lab W began building microphones in 1946 with the DM1, and began developing them in 1947 with the DM2. By 1955, the company had 250 employees, and had begun production of many products including but not limited to: geophysical equipment, the Noise-Compensated microphone (DM4), microphone transformers, mixers, and miniature magnetic headphones. Labor W was renamed ‘Sennheiser electronic’ in 1958.[citation needed]

In 1968, Sennheiser released the world’s first open headphones.[4] The introduction of open headphones affected the headphone market as they were able to produce a more natural sound that many users preferred.[5]

Sennheiser was transformed into a limited partnership (KG) in 1973. In 1980, the company entered the aviation market, supplying Lufthansa with headsets.[6][7]

The company began producing modern wireless microphones in 1982, the same year when founder Fritz Sennheiser handed the management of the company over to his son, Jörg Sennheiser. In 1987, Sennheiser was awarded at the 59th Academy Awards for its MKH 816 shotgun microphone.

Also in 1991, Georg Neumann GmbH, Berlin, which builds studio microphones, became a part of Sennheiser.[8][9]

In 1996, Sennheiser received an Emmy Award for its advancements in RF wireless technology.[10] Also in 1996, Sennheiser became a private limited company (GmbH and Co. KG). Since then, Sennheiser has maintained its tradition of high quality audio technology, and still maintains those high standards today. Professor Dr. Fritz Sennheiser died in 2010.

On July 1, 2013, Daniel Sennheiser and Andreas Sennheiser were promoted to the position of CEO responsible for Sennheiser electronic GmbH & Co. KG.[11]

In October 2013, Sennheiser received the prestigious Philo T. Farnsworth Award at the 65th Primetime Emmy®Engineering Awards in Hollywood.[12] In May 2014, Sennheiser founded a new competence center for innovative streaming solutions, Sennheiser Streaming Technology GmbH (SST).

Sennheiser is headquartered in the municipality of Wedemark, Germany (near Hannover). Its United States headquarters is located in Old Lyme, Connecticut. The company has factories in Wennebostel (Wedemark, near Hanover); Tullamore, Ireland (since 1990); and Albuquerque, New Mexico (since 2000). Sennheiser’s R&D facilities are located in Germany, Denmark, Switzerland, Singapore and San Francisco, California.
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2016) (Learn how and when to remove this template message)

Sennheiser is mainly known for its consumer headphones and professional microphones. The most famous microphones by Sennheiser are the MKH 416 short shotgun, which came to be the Hollywood standard shotgun microphone, and the 816, similar in design with longer reach. Its also makes wireless microphones. Subsidiary products include aviation, multimedia and gaming headsets, micro-Hifi systems, conferencing systems, speakers and amplifiers.

Jon’s archive


Joe Berger NAMM Oral History Interview Unedited Long Version Official 55 minutes 4 seconds
by Jon Hammond

Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics concert production, electric guitars, namm show, frankfurt musikmesse, joe berger, oral history, john entwistle, concert tours

Joe Berger
Interview Date: January 20, 2012
Job Title: Musician, Product Endorser – short version here also
Joe Berger knows sound! Joe has been mixing sound for over 30 years and he stopped counting at 35,000 bands! Also a virtuoso guitar player with his own definitive, unique playing style and “ear”, Joe has jammed with the likes of John Entwistle and Jack Bruce. He has also been a fixture at music trade shows for decades as a guitar demonstrator, having set a record for most hours played at a single trade show.
Tony Arambarri, Dan Del Fiorentino – NAMM Historians
concert production
electric guitars
Jon Hammond
mixing consoles
Musik Messe Frankfurt
New York City NY
product endorsers

Run time 55 minutes 4 seconds
Audio/Visual sound

Jon’s archive

Alpha Jon Hammond

Add to Calendar: Tuesday April 5, 2016 in the famous jazzkeller Frankfurt – Jon Hammond Band performs at 9PM

Celebrating 30 Years, As Seen On Cable TV 32 Years Jon Hammond Show MNN TV Channel 1 and Streaming Worldwide

29th Year! Jon Hammond’s musikmesse Warm Up Party jazzkeller – Big Special Thanks to my good friend Saray Pastanesi for absolute Masterpiece Birthday & 29th musikmesse Chocolate Chocolate cake!! It was delicious, every morsel was consumed and enjoyed!

Journal Frankfurt


Jon Hammond zum 27. Mal auf der Musikmesse
Nomen est omen. Der Mann heißt Hammond und spielt eine Hammond. Der Organist aus New York freut sich auf Frankfurt und lädt zur Musikmesse Warm Up Party am 9.4. in den Jazzkeller ein.

JOURNAL FRANKFURT: Was war für Sie zuerst da – die Frankfurter Musikmesse oder Auftritte im Jazzkeller?
Jon Hammond: Die Musikmesse. Ich kam 1987 zum ersten Mal nach Frankfurt, zusammen mit Joe Berger, der auf der Messe für Engl Amplifiers spielte. Wir flogen mit der Lufthansa ein und teilten uns ein Zimmer im berühmten Prinz Otto Hotel am Hauptbahnhof. Schon in der ersten Nacht stellte mir Joe den großen John Entwistle, den Bassisten von The Who vor. Es wurde eine lange Nacht, in der wir Cognac tranken und Erdnüsse knabberten in eiern Suite des Marriott Hotels. Ich habe Joe bei einer Session mit John und Ringo Starrs Sohn Zak Starkey im Dorian Grey Club gefilmt bei einer Soundcheck Party. In den ersten paar Jahren spielte ich nicht oft live weil ich noch keine transportierbare Hammond Orgel hatte vor 1991 als ich den Prototyp einer XB-2 Hammond Orgel bekam mit der ich dann um die Welt reiste. Hauptsächliche dokumenierte ich aber die Messe für meine Cable TV Show in New York, die inzwischen im 29. Jahr als The Jon Hammond Show — Music, Travel and Soft News präsentiert. Die harten Nachrichten überlasse ich CNN und den großen Networks (lacht). Vom ersten Jahr an fühlten wir uns der Musikmesse eng verbunden, haben seitdem eine tolle Zeit hier, kommen jedes Jahr wieder bis wir kleine, alte Männer sind.

Das Jazzkeller-Konzert am Vorabend der Musikmesse ist zu einer netten Tradition geworden – wie kam es dazu, was bedeutet es Ihnen und wir werden Sie dieses Jahr diesen Abend im Jazzkeller zelebrieren?
Ab 1991 lernte ich mehr und mehr Musikmesse-Menschen kennen und die mich und auch einiges von meiner Musik. Einige von ihnen ermunterten mich, doch auch für Auftritte nach Deutschland zu kommen weil es hier doch ein Interesse an Hammond-Orgel-Groove-Music gab. Mit der schon erwähnten, kleinen, kompakten aber sehr kraftvollen Orgel war das alles möglich. Zudem machte ich in New York gerade eine schwere Zeit durch, mein Vater war gestorben und ich hatte das Gefühl, einige Veränderungen könnten meinem Leben gut tun. Also kam ich nach Frankfurt mit meiner XB-2, allerdings mit einem Rückflugticket falls etwas schief gehen würde. Ich rief viele Musiker an, ließ sie wissen, ich bin jetzt da, lasst uns zusammen spielen. Das war für mich der Anfang einer langen, sehr speziellen Beziehung, vor allem zum Frankfurter Publikum nach ersten kleinen erfolgen im Jazzkeller und einer kurzen Auftritt im Hessen Report im Fernsehen. Beatrix Rief verdanke ich dieses “lucky light on me”, eine tolle Erfahrung. Seitdem nenne ich Frankfurt “My Good Luck City” und im Jazzkeller begann auch alles für mich als Musiker. Deshalb liegt mir der Club auch so nah am Herzen, deshalb hatte ich auch die Idee, meine “Musikmesse Warm Up Party” dort zu realisieren, immer in der Nacht bevor die Messe startet was zu einer schönen Tradition wurde. Im ersten Jahr, in dem ich dann auch ein wenig Sponsoring von Philip Morris bekam, konnte ich damit einige Flugtickets für befreundete Musik bezahlen. Darüber war ich sehr glücklich. Dabei rauche ich selbst gar nicht.

Wie würden Sie Ihr persönliches Verhältnis zu Deutschland und Frankfurt beschrieben?
Lassen Sie es mich so sagen: ich liebe Frankfurt und die Frankfurter waren immer gut zu mir in all den Jahren. Ich könnte ein ganzes Buch über die Zeit schreiben, in der ich in Bornheim wohnte und Nacht für Nacht in der alten Jazzkneipe in der Berliner Straße auftrat. Das war der Treffpunkt, wo auch die Musiker der HR Bigband hinkamen und es gab eine generöse Chefin in der kleinen Kneipe. Auch Regine Dobberschütz und Eugen Hahn im Jazzkeller waren wahre Jazzengel für mich, die mir so vieles ermöglichten in der Zeit. Wir konnten auch in den Studios von AFN Radio spielen, waren die einzigen Musiker, die das – mit einer Sondergenehmigung des US Militärs – durften. Für ein wenig Promotion für die Musikmesse. Wir nannten das Programm für die AFN “Profile TV “-Show “Sound Police”. Wir hatten viel Spaß. Kein Wunder also, dass ich Frankfurt als my home away from home begreife und ich mich jedes Mal wieder freue zur Musikmesse zu reisen, in diesem Jahr übrigens zum 27. Mal in Folge. Und ich bin diesmal besonders aufgeregt, heim nach Frankfurt zu kommen weil ich gerade 60 Jahre alt geworden bin.

Wer wird in diesem Jahr zum Gelingen des Konzertes mit teils komponierter, teils improvisierter Musik, so nehme ich an, beitragen und was für einen Sound wird die Band präsentieren?
Ich habe etwa 90% der Kompositionen geschrieben, die wir spielen werden. Es ist die Musik, die man auch in meiner New Yorker TV-Show hören kann und die mich mehrmals um die Welt getragen hat. Meinen Stil nenne ich “Swinging Funky Jazz and Blues” und featurert die ganz wunderbaren Solisten in meine Band: Tony Lakatos, den großen ungarischen Tenorsaxophonisten, der auch Mitglied in der hr Bigband ist, dann meinen alten Freund Giovanni Gulino, diesen tollen Schlagzeuger, der schon für fast alle Großen der Szene getrommelt hat. Ich liebe diese Jungs. Als Gitarrist ist mein alten Freund und Kollege Joe Berger dabei, den man auch als The Berger-Meister kennt. Auf diese Formation bin ich wirklich stolz.

Werden Sie im Jazzkeller wieder eine Hammond Orgel spielen?
Ja, sicher, das neueste Modell, eine Sk1, die exakt so klingt wie die legendäre B3. Ich liebe sie. Und sie wiegt nur noch sieben Kilo (Anm. des Autors: Das Original, ein echtes Möbel mit viel Holz, mussten immer zwei Menschen mit viel Muskelkraft die Treppen rauf und runter hieven), ein deutliches Indiz, dass wir in der Zukunft angekommen sind. Da stecken viele Jahre Forschung und Entwicklung drin, auch Bühnenerprobungen. Ich ziehe den Hut vor den Ingenieuren von Suzuki, ein unverwüstliches Instrument erschaffen zu haben. Und das unterziehe ich jetzt einen echten Härttest (lacht).

Interview: Detlef Kinsler

Jon Hammond – organ Joe Berger – guitar Peter Klohmann – saxophone Giovanni Gulino – drums Mr. Hammond has toured worldwide since 1991 using the incredible Sk1 organ by Hammond Suzuki..™ “Classic Hammond Sound…In A Suitcase!” The Jon Hammond Show is a funky swinging instrumental revue, featuring top international soloists. The show has universal appeal. Big Hammond orgel sound – 100% organic

As seen on MNN TV Cable TV Show The Jon Hammond Show 32nd year — Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Journal Frankfurt, Journalkalendar, Jon Hammond, musikmesse, Warm Up Party, Hammond Organs, Frankfurt, Blues, Jazz, Soft News, MNN TV Channel 1 – Jazz Party of The Year! #JazzParty #CNNiReport

Producer Jon Hammond
Language English

Jon’s archive

by Jon Hammond

48 minute Documentary movie of Tuesday night session at Friends Seminary School in Manhattan, 5 original compositions!
“Head Phone” by Jon Hammond arranged by Todd Anderson
“Lydia’s Tune” by Jon Hammond arranged by Todd Anderson
“Late Rent” by Jon Hammond arranged by Todd Anderson
“Pocket Funk” by Jon Hammond arranged by Todd Anderson
“Have a Nice Day Blues” by Todd Anderson arranged by Todd Anderson
*Note: Tenor Saxophonist Arranger Todd Anderson was Jon Hammond’s teacher for Arranging and Compostion at Berklee College of Music in Boston MA in 1973. 10 years later they recorded this music for TV Show “The Jon Hammond Show” still on TV every week for 32 years, the recording session went down at Intergalactic Recording Studios where John Lennon did some of his last recording dates. The big band here is presided over by Professor Bob Rosen in charge of the music program at Friends Seminary School on Manhattan’s East Side, 230 year old school K – 12th grade. Top sight reading musicians gather weekly – more info: ©JON HAMMOND International ASCAP / BMI

Photographs Courtesy of Elmar Lemes


Interviews, NAMM Oral History, Sennheiser, Headphones, Microphones, Jon Hammond, #Interviews #Music #NAMM #Musikmesse #HammondOrgan

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