Posts Tagged ‘Organist’

Melody Without Name Jon Hammond Band jazzkeller

April 14, 2017

#WATCHMOVIE HERE: Melody Without Name Jon Hammond Band jazzkeller

Jon’s archive



Melody Without Name Jon Hammond Band Jazzkeller Frankfurt – Note: Jon’s organ is powered by Markbass Bass Amps house combo bass amp only – Joe Berger guitar, Peter Klohmann tenor saxophone, Giovanni Totò Gulino drums, Jon Hammond Sk1 Hammond organ – this is Jon Hammond and Joe Berger’s 31st consecutive musikmesse traditional warm up party and Jon’s 64th birthday party with many friends in the house in world famous jazzkeller Frankfurt
Jon’s birthday Chocolate Chocolate Cake baked by the best bakery in Frankfurt Saray Pastanesi original composition by Jon Hammond ©JON HAMMOND International

Producer Jon Hammond
Photos by master photographer Elmar Lemes

Di. 04.04.

“The FINGERS…are the SINGERS!”
Musikmesse “Warm Up Party”
Jon Hammond & Band

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

Jon Hammond: The NDR Sessions Projekt

Jon Hammond’s “The NDR Sessions Projekt” brings the soulful jazz organist back to Hamburg to record a collection of standards and originals featuring Lutz Buchner on saxophones, Joe Gallardo on trombone and Heinz Lichius on drums. Recorded in one of Germany’s best studios, the quartet present rich, heartfelt perfomances and infuse the music with a fresh and vibrant sound.

Jon Hammond, ASCAP Composer, Organist, jazzkeller, #Melody #HammondOrgan #Party #Bergermeister

Eddie Money on HammondCast Jon Hammond’s Journal KYOU Radio Dot Org

December 20, 2015

*LISTEN TO THE AUDIO HERE: Eddie Money on HammondCast

Jon’s archive KYOU Radio dot org

My old friend Eddie Money steppin’ up to the mic on Jon Hammond Show – photos: Remembering Eddie Sorensen (center):

On JFK Aircraft Carrier with “Just Jill” Jill Nicolini on PIX TV – Jon Hammond

Jon Hammond and Eddie Money on top of the Empire State Building on very cold day

Eddie Money, Julian Money, Laurie Money in taxi cab on 42nd Street – Jon Hammond

Eddie with Prevost tour bus – Jon Hammond

Eddie Money with his daughter Jesse Money – Jon Hammond

Jon’s Journal

HammondCast 104 for KYOU Radio 1550 AM, with special guest: BERNARD PURDIE at the mic and the drums with Jon, he recounts how he began until now and a live performance in Emeryville CA. Jon Hammond’s old rock band HADES 1971 recording live in Provo Park Berkeley and an exclusive recording with EDDIE MONEY
Jumping over to Hamburg Germany, at ‘Music Club Live’, Funk, Soul and Blues for the Night People! ©2007 *official site: 45 minutes

NO MSG – L to R Stephen Page, Jon Hammond, Jon Russell – KYOU Radio and KYCY 1550 AM #CNNiReport

Showtime! – Penzlin Burginnenhof Landesjugendjazzorchester MV Jon Hammond Jazzorgel – High Definition Movie
*WATCH THE MOVIE HERE: Showtime! – Penzlin Burginnenhof Landesjugendjazzorchester MV Jon Hammond​ Jazzorgel – High Definition Movie Jon’s archive Penzlin, Germany — Showtime!

My 1965 Blackface Fender Band-Master head on the bench, great amp for everything! – Jon Hammond

Good looking Cheesecake at Paris Baguette shop! – Millbrae CA
Jon Hammond

AghaRTA Prague Jazz Festival in AghaRTA Jazz Centrum, Prague – Jon Hammond

It was fun being on-the-air with Jesse Chuy Varela at Kcsm Jazz 91.1 FM – some real nice Sennheiser MD 421 microphones in the studio, one of my favorite mics to broadcast on –

Jon Hammond — with Jesse Chuy Varela at KCSM Jazz 91

Heinz Lichius’ first New York gig – L to R Joe Berger g., Heinz Lichius d. Jon Hammond o. – Cleopatra’s Needle club NYC #CNNiReport

— with Joe Berger and Heinz Lichius at Cleopatra’s Needle

Jazzkeller action shot a few years ago maybe 1992, the cable coming out of my organ on the left was my lucky glow-in-the-dark Whirlwind cable I used for 35 years before it finally disintegrated – my friends at Whirlwind tried to fix it but it couldn’t be fixed, original military plugs – it served me well! –

Jon Hammond — at JazzKeller

Bruno’s – Ron Smith d.
Charles McNeal t.s.
Jon Hammond o.

— at Bruno’s Nightclub

Shoreline Amphitheatre – L to R Barry Finnerty, Larry Schneider, James Preston, Marc the sound man, Jon Hammond front
Jon Hammond and The Late Rent Session Men — with Barry Finnerty, Larry Schneider and James Preston

at Shoreline Amphitheatre At Mountain View

Joe Berger on the dusty trail with John Entwistle a few years ago – Jon Hammond

— with Joe Berger at Slim’s

Special Lunch Show in front of San Francisco City Hall
Jon Hammond organ
James Preston drums
Steve Campos flugelhorn
Harvey Wainapel tenor
Barry Finnerty guitar

— with Steve Campos, Barry Finnerty and James Preston at San Francisco City Hall

Studio 1 NDR Info – Jon Hammond

— at NDR

Thanksgiving with the late great Joe Franklin – Joe fed a lot of folks at the old Show World on 42nd & Eighth, including myself! – Jon Hammond

*some comments:
brought to you by Martin Paints

jjm1965 7 years ago
I saw Joe Franklin at a show at Danbury Municipal Airport in the early 1980s (Tiny Tim was there , too). Very funny guy. What a wealth of knowledge on pop music from the first half of the 20th century. Truly a national tresure.
-Martin Paints: It ain’t just paints.

Good news: The gig comes with dinner!

Jon Hammond et Boris Blanchet, Amaury Blanchard – Paris

Bruno’s Lounge – Jon Hammond

Bruno’s Mission District San Francisco CA

Just about to get on the bus – no Air Conditioning on this one!
Jon Hammond

Regione Marche​ — Great to see my friend Nello Gabrielloni in Italy! King of All Accordions!
Tutto quanto può servire per la fisarmonica !

L’esperienza di quattro generazioni nel mondo della fisarmonica è la testimonianza del nostro amore per questo strumento:
Fisarmoniche Nuove ed Usate
Strumenti Speciali su misura
Accessori e parti di Ricambio
Riparazioni di vecchi strumenti
Modifiche e Ricostruzioni
Jon Hammond​

Jon’s archive

CNN iReport


Facebook Video

by Jon Hammond

Published September 2, 2015
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Jazzbeaux Collins, Al Jazzbo Collins, Jon Hammond, Yoshi’s Oakland, Bennett Friedman, James Preston, Barry Finnerty, #HammondOrgan #AFMLocal6 #MusiciansUnion

On Air with Jazzbo Collins and Yoshi’s Jon Hammond Band Feb. 9, 1994 – Preston pretty much kicked ass on this gig! — Oakland CA — original Yoshi’s Oakland​ Gig Feb. 9th 1994, just after being on-the-air with Al “Jazzbo” Collins​ – watching the film now, sounds real good – Jon Hammond​ / Jon Hammond Band​ (quartet) – thanks Jason Olaine​ for the hit – James Preston​ drums (R.I.P.) Bennett Friedman tenor, Barry Finnerty​ gtr., Jon Hammond Organ Group​ all original music ©JON HAMMOND International Member ASCAP – AFM Local 6​ – Associated Musicians of Greater New York, Local 802 AFM​
Yoshi’s Oakland​ didn’t have any decent lights in those days! Jon Hammond​ – *Note: Broadcasting Legend Al Jazzbeaux Collins opens this film at KCSM 91.1FM, greatly missed!! – Jon Hammond Organ Group​ –
Albert Richard “Jazzbo” Collins (January 4, 1919 – September 30, 1997) was an American disc jockey, radio personality and recording artist who was briefly the host of NBC television’s Tonight show in 1957.
Al “Jazzbo” Collins
Al “Jazzbeaux” Collins
Born Albert Richard Collins
January 4, 1919
Rochester, New York
Died September 30, 1997 (aged 78)
Marin County, California
Born in Rochester, New York in 1919,[1] Collins grew up on Long Island, New York. In 1941, while attending the University of Miami in Florida, he substituted as the announcer on his English teacher’s campus radio program, and decided he wanted to be in radio. Collins began his professional career as the disc jockey at a bluegrass station in Logan, West Virginia; by 1943, he was at WKPA in Pittsburgh, moving in 1945 to WIND in Chicago and in 1946 to Salt Lake City’s KNAK. In 1950, he relocated to New York where he joined the staff of WNEW and became one of the “communicators” on NBC’s Monitor when it began in 1955.

Collins made several appearances on The Tonight Show with Steve Allen in the early 50s (and even briefly took over the show after Allen’s departure; see below). In 1953, Allen adapted several nursery rhymes (including Little Red Riding Hood) into jazz-flavoured recitations, with Collins on vocals and Lou Stein on piano.

The name “Jazzbo” derived from a product Collins had seen, a clip-on bowtie named Jazzbows. Just as Martin Block created the illusion that he was speaking from the Make Believe Ballroom, Collins claimed to be broadcasting from his inner sanctum, a place known as the Purple Grotto, an imaginary setting suggested by radio station WNEW’s interior design, as Collins explained:

I started my broadcast in Studio One which was painted all kinds of tints and shades of purple on huge polycylindricals which were vertically placed around the walls of the room to deflect the sound. It just happened to be that way. And with the turntables and desk and console and the lights turned down low, it had a very cavelike appearance to my imagination. So I got on the air, and the first thing I said was, “Hi, it’s Jazzbo in the Purple Grotto.” You never know where your thoughts are coming from, but the way it came out was that I was in a grotto, in this atmosphere with stalagtites and a lake and no telephones. I was using Nat Cole underneath me with “Easy Listening Blues” playing piano in the background.
The Tonight Show and later work
In 1957, NBC-TV installed him for five weeks as the host of the Tonight show when it was known as Tonight! America After Dark in the period between hosts Steve Allen and Jack Paar.[2]

Also in 1957, Collins starred in (as himself) an episode of NBC radio’s science fiction radio series X Minus One. By 1959, he was with KSFO in San Francisco, hanging out with the beatnik hipsters in North Beach. On-air, Jazzbo would say that he was broadcasting “from the purpleness of the Grotto”, often mentioning his assistant “Harrison, the long-tailed purple Tasmanian owl”. On the TV side, Collins hosted “The Al Collins Show,” that aired mornings on KGO-TV. The format included light talk and guest appearances by local celebrities such as Moe Howard of The Three Stooges. Later in the 1960s, he was the host of Jazz for the Asking (VOA), and he worked with several Los Angeles stations during the late in the decade: KMET (1966), KFI (1967) and KGBS (1968).

He officially changed the spelling of his name to Jazzbeaux when he went to Pittsburgh’s WTAE in 1969. He moved to WIXZ in Pittsburgh (1973) before heading back to the West Coast three years later. While in Pittsburgh, he briefly hosted a late night television show entitled “Jazzbeauxz (with a ‘z’) Rehearsal”, an eclectic sampling of anything that caught Collins’ interest at the time, including a long-running hard-boiled-egg spinning contest. He conducted the program from a barber chair, as he had on a previous TV show.

“Stinking badges”[edit]
A popular segment on his show was the “no stinkin’ badges” routine, a play on the famous exchange in the 1948 film The Treasure of the Sierra Madre. Al would politely request that the main guest for that day don a Mexican bandit costume, complete with ammo belts crossing the chest, six-guns in holsters, a huge sombrero and large fake mustache. The guest then had to pose in front of cameras and for the TV audience. With pistols pointing at the camera lens the guest had to say (with emphasis) “I don’t got to show you no stinkin’ badges.” If the guest did not say it with sufficient sinister tone Collins made him or her repeat it until in Al’s opinion the guest got it right.

1970s and beyond[edit]
In 1976 Al Collins returned to San Francisco, working at KMPX, followed by a three-year all-night run at KGO which drew callers throughout the West Coast; he always opened his program with Count Basie’s “Blues in Hoss Flat”. He also worked a late night shift at KKIS AM (in Pittsburg, California, ironically) in 1980. After a stint in New York and WNEW (1981), Jazzbo was back in San Francisco at KSFO (1983) and KFRC (1986). Then came one more run at WNEW (1986–90), then KAPX (Marin County, California) in 1990, and finally a weekly jazz show at KCSM (College of San Mateo, California) from 1993 to his death.

Al Collins died on September 30, 1997, at the age of 78, from pancreatic cancer.

Producer Jon Hammond
Language English

Jon’s archive

CNN iReport

Facebook video

by Jon Hammond

Published August 25, 2015
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Concert Event, LaJazzO MV, Klostergarten, Michael Leuschner, Bigband, Landesjugendjazzorchester, Jon Hammond, Mecklenburg Vorpommern, #Rostock

Klostergarten LaJazzO MV Concert Film LaJazzO MV unter der Leitung von Michael Leuschner​ CONCERT EVENT – Am 01.08.2015 ist das Landesjugendjazzorchester​ Mecklenburg-Vorpommern (LaJazzO MV) mit seinem diesjährigen Solisten Jon Hammond wieder im Klostergarten​ Rostock zu Gast. – Landesjugendorchester Mecklenburg Vorpommern​ – film from Jon *nice solos from Matthis Rasche and Al Tobias

Producer Jon Hammond
Language German

Jon’s archive

Eddie Money, KYOU Radio, Dot Org, Organist, Jazz, #Blues #TheNAMMShow #HammondOrgan #Money

48 Minute Documentary Jazz Movie Big Band With Organist Jon Hammond

November 7, 2015

*WATCH THE MOVIE HERE: 48 Minute Documentary Jazz Movie Big Band With Organist Jon Hammond

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


these are the names I know at this time – more coming: Mike Campenni drums, Charles Lee a.s., Jim Piela a.s., Bob Rosen t.s., David Zalud trpt., Greg Ruvolo trpt. Todd Anderson t.s., Jon Hammond Hammond Sk1 org., Art Baron trombone, Pat Hall trmb., Alfredo Marques trmb., – entire session documentary ©JON HAMMOND International / Todd Anderson ASCAP / BMI – additional info as seen on Manhattan Neighborhood Network Channel 1 community channel and streaming worldwide, late Fri. nights / early Sat. morning at 1:30 AM Eastern Standard Time – Associated Musicians of Greater New York Local 802, Jon is also a dual member of AFM Local 6 Musicians Union San Francisco – the date of this session was October 20, 2015

Jon’s Journal – Logic Pro X – Apple Logic Recording / Playing workshop at The Beacon School conducted by Mark Via w/spcl. guests Joe Berger and yours’ truly Jon Hammond (behind camera & organ:

Put up a little tent that says “Free Cell Phones” and the people will come flocking! Maybe it’s a good name for a band these days – Jon Hammond

Real nice old car just blew my doors off on the 280 Freeway! He had the hammer down, looking real sharp, Jon Hammond

Hamburg Germany — Route 66 Hamburg Street P.R. Team – Mr. Berger and Mr. Hammond, thanks for the super cool T-Shirts Jens! They’ve been seen on TV and all over the place.

‘Return of The Student’ – 40 years later! Jon Hammond sits down with his piano teacher Tony Germain at Berklee College of Music in Boston MA exactly 40 years to the day that they first sat down at the piano together at 1140 Boylston Street in the Beantown – excellent interview! As seen on The Jon Hammond Show – MNN TV – Manhattan Neighborhood Network Channel 1 – TV Producers of Manhattan Neighborhood Network [MNN]


High Definition Video inside Tony’s Office at 1140 Boylston Street Boston – the old Berklee College of Music building

Classic episode of Jon Hammond Show known as Val Hal Jazz Pub Special – for my friends in Brooklyn by Brooklyn Academy of Music / BAM and Junior’s Restaurant & Cheesecake deli where the notorious Val Hal Jazz Pub used to me – actual audio from Val Hal gig – Jon Hammond


Lazy Larry in the house…one of this century’s most important writers since James Joyce! *as seen on MNN TV Jon Hammond Show
Jon Hammond

Flashback — as seen on The Jon Hammond Show: THE NEGATIVES
Featuring Crazy Barry (everything) and Lazy Larry (nothing)!
MNN Ch. 1 Manhattan Neighborhood Network

Anaheim CA — it was great meeting Rafael Feliciano at end of last NAMM Show…close friend of my friend Raul Rekow, I knew that Raul had been ill lately but I am shocked to hear he just died, this is terrible! Raul was the most healthy cat I ever met, terrible loss! So saddened to hear about, sorry for your loss Rafael and all the people who knew this great great Conguero! rest in peace Raul, Jon Hammond

2nd image – My friend Raul Rekow on the Carlos Santana Band with Carlos onstage there, Alex Ligertwood was on the band then…I shot this in Paris 1981 – Jon Hammond

R.I.P. Eddie Sorenson – Levittown Long Island New York *in middle in this photo, L to R: Jon Hammond, Eddie Sorenson, Eddie Money.

I was in a band with the 2 Eddie’s in 1970-’71, Eddie was an excellent guitarist and vocalist. My deepest condolences go out to the Sorenson Family, Eddie Money and all Eddie’s friends. I have just been informed of this very sad news Eddie Sorenson has died.
Sincerely, Jon
*Photo at BB King’s NYC, either on Eddie’s bus or backstage – JH

Still my favorite version Hammond Organ 80th Anniversary Docu Film International projekt directed by main man Tino Pavlis! From Sandweg in Frankfurt to Hamamatsu Japan, Chicago and Anaheim California folks! – Jon Hammond​

Keeping the tradition Tino! and we had a lot of fun, much more coming too! – JH spcl. thanks / dankeschön Joe Berger, Michael Falkenstein, Professor Klaus Maier founder of Hammond Deutschland, musikmesse​, The NAMM Show​, Suzuki Musical Instruments​ Team – International project coming to a theater near you soon! – the sound at the heart of Funk Soul Blues Gospel and don’t forget Classical and Theater Organ – with original music from Jon Hammond Band​ coast to coast and around the world!

Jon Hammond​ Apple iTunes Podcast FEED
Funk Soul Blues and Soft News – thanks Apple Inc.​

Jon’s archive


“Lydia’s Tune” by Jon Hammond – organ trio session at Eastside Sound Studios with Joe Berger guitar, Lou Holtzman drums, Jon Hammond at the Hammond Sk1 organ – Sunday afternoon session, special thanks Lou & Mimi Holtzman, Duff Harris and Marcus assisting ©JON HAMMOND International ASCAP

Joe, Lou, Jon

CNN iReport

Jon Hammond Band Facebook


AFM Local 6:

Jon Hammond is a musician, composer, bandleader, publisher, journalist, TV show host, radio DJ, and multi-media entrepreneur. He currently travels the world, playing gigs and attending trade shows.

“Every time I see a musician walking down the street I say, ‘Hey, where’s the gig?’ Because it doesn’t matter what kind of music you play, if you’re carrying an instrument–going to a rehearsal, or coming back from a repair shop, whatever it is–we all need our gigs. And that’s what the union is all about. Hopefully, we can all keep working and be supportive of everybody’s gigs. There’s room for everybody.”

Jon Hammond was born in Chicago in 1953. His father was a doctor and his mother was a housewife. They both played the piano. In 1957, his parents moved Jon and his four sisters to Berkeley, CA, where his father worked in a hospital as head of the emergency room. When he was nine, Jon started accordion lessons. “In those days, they had studios where parents would drop their kids off after school for tap dancing and accordion lessons. There were accordion bands and they would compete against each other.”

Jon played his first gig at a senior citizens luncheon when he was eleven. Not only did he get a free lunch but he was paid $25 –a lot of money in those days. Jon says his father was supportive, but did not want him to pursue a music career. “He told me that music was a great hobby. He got me a wonderful professional accordion for my Bar Mitzvah, directly from John Molinari, one of the greatest accordionists who ever lived. It was a Guilietti Professional Tone Chamber accordion. That’s the accordion I won Jr. Jazz Champion on in 1966.”

In high school, Jon attended a private boys school in San Francisco. He was a class clown, and when it got to the point where he was going to be expelled, Jon took his accordion and ran away from home. He immersed himself in the San Francisco music scene and started playing organ in several bands. By 1971 he was in a four piece rock group called Hades which shared a rehearsal space with Quicksilver Messenger Service. “I was friends with their manager, Ron Polte, who also managed guitarist John Cipollina. We got to open for his band, Copperhead.”

Jon continued to play gigs in the Bay Area in different configurations, including a few gigs with a young Eddie Money. By this time Jon had become frustrated with the Bay Area scene. One night while playing a biker bar he got into a fight and his band didn’t come to his defense. “That was the last straw. I was angry and I said I wasn’t coming back.”

Jon moved to Boston in 1973 to attend the Berklee School of Music. He also got a gig playing in Boston’s Combat Zone backing up burlesque shows. When Jon saw one of his idols, pianist Keith Jarrett play in New York he told him he was going to Berklee and asked him for advice. “Keith looked me right in the eye and said ‘Berklee can be very dangerous for your music.’ It was like he popped this huge bubble. Years later I came to understand what he was talking about. You have to learn the fundamentals, but the music itself comes from a much deeper place. They can’t teach that, you have to find it yourself.”

When Jon’s teachers began sitting in on his gigs in Boston, he questioned why he was in school if the teachers were coming to play with him. He quit school, moved to Cape Cod and started playing with bandleader Lou Colombo. “He did all the private parties for Tip O’Neill. We played what they used to call the business man’s beat. On the gig it was forbidden to swing. It was like swing cut in half. So if you tried to go with the four, Lou would say, ‘Don’t swing it, don’t swing it.’ He pounded it into my head night after night.”

In 1981 Jon took a trip to Paris where he broke through his writers block and wrote some of his best music. He returned to New York with his new tunes and started a production company with the idea of getting a record deal for a friend that had played on a #1 hit record. After months of pounding the pavement with no results, Jon realized he had better work on his own music before his money ran out. He took the last of his savings, including his upcoming rent money, and went into the studio to record what came to be known as “The Late Rent Sessions”.

The session had Todd Anderson on tenor sax, Barry Finnerty on guitar, Stephen Ferrone on drums, and Jon on B3. They recorded at Intergalactic, the last studio that John Lennon recorded in. Jon had no luck getting a record deal for his new project, but he did get gigs in New York with his band Jon Hammond and the Late Rent Session Men.

In 1982, Jon found out about public access television and the idea that anyone could produce a show and get it on TV. He started broadcasting on Manhattan’s public station in 1984. “I decided I was going to produce a radio show on TV. The first episodes showed just my tapping foot and my voice. It was a gimmick. We had graphics that were synchronized to go with the music. It worked out well. People dug it.” Within a few weeks, Jon was interviewed and featured in Billboard Magazine. The Jon Hammond Show was considered an alternative to the clips on Cable TV. “MTV was still in its infancy. We had a concept that was revolutionary. My phone started ringing and we were the hot kids on the block.”

Jon continued to play gigs in New York and produce his TV show. In 1987, he went to his first trade show (NAMM) where he was introduced to Mr. Julio Guilietti, the man who built his accordion. He then began traveling to trade shows and making contacts with musicians and companies around the world, including Hammond Suzuki. “They gave me the Hammond XB-2, the first really powerful portable Hammond organ. Glenn Derringer, one of my all-time heroes, presented it to me. I got one of the first. Paul Shaffer from the Letterman Show got the other. At the time there was only one EXP-100 expression pedal–we had to share the pedal. I used the pedal for my gigs and when Paul needed it I would bring it over to him at 30 Rockefeller Center on my bicycle.”

In the early 90s, when his New York gigs began drying up, Jon was encouraged to go to Germany. “It was a hard time. My father had just died and there were very few gigs. I got the XB-2 organ right when I needed it, so I decided to take a chance. I bought a roundtrip ticket to Frankfurt with an open return. I went with 50 bucks and stayed for a year. When I came back, I had 100 bucks.”

Jon stayed at a friend’s house and played a borrowed accordion on the street until he could get a band together. “I played on the street until my fingers turned blue and would collect enough money to get some fish soup. After about two weeks I got a call—I had put a band together and had 3 gigs coming up. A TV show had heard my story and wanted to do a story on me. At the first gig 19 people came; the second only 15 people came. Then I got the little spot on TV. When I came to the third gig people were lined up down the street. When I walked up I thought they were having an art exhibit. When they said, ‘No, they’re waiting for you.’ I choked up, I couldn’t even talk. So I’ve been playing there every year since. The people in Germany really saved my musical career at a time when very few things were happening for me in New York or San Francisco. I have a really good following in Europe. I keep busy as a musician in the States, playing hospitals and assisted living places, but my band dates I pretty much play overseas.”

Jon’s Late Rent Sessions was eventually released on a German label and received modest airplay. During the 90s he travelled back and forth to Europe, spending a year playing gigs in Paris, and eventually settling in Hamburg. Since then he has released two more albums and has played gigs in Moscow, Shanghai, and Australia. With the help of the internet, Jon is able to produce his TV show anywhere.

In the mid-2000s Jon produced Hammondcast, a radio program for CBS that aired in San Francisco at four in the morning and was rebroadcast before Oakland A’s games. “When the baseball games played in the afternoon, my show would play for about 20 minutes and then it was pre-empted. I had a lot of fun with that.” His guests included Danny Glover, Barry Melton from Country Joe & the Fish, and many local people. “It took me awhile to figure out that I had permission to broadcast anything I wanted. I could play the London Philharmonic or Stevie Wonder. My tag line was ‘Hello, Hello, Hello! Wake up or go back to sleep…’”

Today, Jon continues to visit tradeshows and is determined to keep doing everything he does as long as he can. “I made a pact with my longtime co-producer, guitarist Joe Berger, that we are going to go to these trade shows until we are little old men with canes.”

Jon has released four CDs


Organ / Organist Leader
guitar / guitarist
drums / drummer
Tenor Saxophone / Saxophonist
Chromatic Harmonica / Master Chromatic Harmonica Player
Percussion / Percussionist
Endorsed By:
Hammond Suzuki
Artist Bio:
*WATCH THE VIDEO HERE: #TheNAMMShow “White Onions” Jon Hammond Funk Unit NAMM Showcase Jon’s archive Youtube ‪#‎TheNAMMShow‬ “White Onions” Jon Hammond Funk Unit NAMM Showcase lunch set 23rd 2015 reprising 1989 Late Rent Sessions recording ©JON HAMMOND International ASCAP with special guest Bernard Purdie drums, Leslie J. Carter percussion Jon Hammond organ (original members on record) featuring Koei Tanaka chromatic harmonica from Tokyo Japan Suzuki world star, Joe Berger guitar JJ guitars, Alex Budman tenor saxophone Dom Famularo returning to the NAMM Stage – special thanks NAMM President CEO Joe Lamond, KHS Hercules folding stands – congratulations KHS America: Announces Acquisition of Hohner Inc. USA KHS America, Inc. has announced plans to acquire Hohner Inc. from Matth. Hohner GmbH in Trossingen, Germany. Hohner, Inc. is the exclusive North American provider of Hohner branded Harmonicas, Accordians, Melodicas, Guitars and Bluegrass Instruments; SONOR Drums and Orff Instruments, Lanikai and Kohala Ukuleles, H. Jimenez Guitars, Hohner Airboard, as well as Hohner Kids and Greentones children’s instrument brands. Transfer of ownership will take place today, January 12, 2015 – Jupiter Wind Instruments, XO Professional Brass, Mapex Drums, Majestic Concert Percussion, Hercules Stands and Aaltus Professional Flutes, the new KHS America Vimeo CNN iReport Jon Hammond Funk Unit Facebook

FOR IMMEDIATE RELEASE: Hammond Organ NAMM Extravaganza to take place Friday January 23 2015 Center Stage 12 Noon All Star Band Anaheim Convention Center — Hammond Organ NAMM Extravaganza to take place Friday January 23 2015 Center Stage 12 Noon All Star Band Jon Hammond Funk Unit – featuring the incredible Dom Famularo drumming legend, from Tokyo Japan Koei Tanaka aka Suzuki Santa on harmonica, tenor saxophonist Alex Budman, The Wild Man aka Berger-meister Joe Berger guitar, original member of Jon Hammond & The Late Rent Session Men: Leslie J. Carter aka Chuggy Carter on percussion and Leader Jon Hammond at the Hammond Organ for a very special Lunch Set Showcase on the NAMM Center Stage on Center Patio of Anaheim Convention Center by the excellent BBQ – special thanks to Bespeco Accessori (Musical Accessories) from Castelfidardo Italy, JJ Guitars of UK, Suzuki Musical Instruments, Sabian Cymbals, Sennheiser Discover True Sound, P.Mauriat Pmauriat Albest Saxophones, Bernies Music Land, Australian Music Association – as seen on MNN TV Channel 1 The Jon Hammond Show 31st Year Manhattan the Bronx and Streaming World Wide – Swinging Funky Jazz and Blues – member publisher ASCAP, Associated Musicians of Greater New York, Local 802 AFM, Local 6 Musicians Union of San Francisco CA – Excelsior Accordions – HammondCast Radio and TV Performance Info

48 Minute Documentary Movie, Jazz Big Band, Orchestra, Todd Anderson, Arrangements, Friends Seminary, Meetinghouse, Bob Rosen, Jon Hammond, Organist, *HammondOrgan #AFMLocal6

It’s November 1st so don’t get Late Rent folks! Jon Hammond theme song

November 1, 2015

*WATCH THE VIDEO HERE: Late Rent Jon Hammond Band Theme Song

Jon’s archive

Jon Hammond theme song Late Rent on the occasion of 28th annual musikmesse Warm Up Party in the world famous jazzkeller Frankfurt and Jon’s birthday

with Peter Klohmann tenor saxophone, Giovanni Totò Gulino drums, Joe Berger guitar and Jon Hammond at the Sk1 Hammond organ – Late Rent is the theme song for Jon’s long-running cable TV show in New York City The Jon Hammond Show and HammondCast radio program – special thanks to Frank Poehl for operating the camera – Jon Hammond Band

Jon’s archive

Stevie Wonder and Jon Hammond talking – Shuji Suzuki of Suzuki Musical Instruments looking on at The NAMM Show Anaheim CA
*Stevie Wonder and Jon Hammond photo courtesy of Bernie Capicchiano of Bernies Music Land Australia

Jon’s archive

by Jon Hammond

Published October 26, 2015
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Public Access TV Program, Music, Jazz Orchestra, Big Band, Manhattan Neighborhood Network, Community Channel 1, Preview, 10/31/2015, Jon Hammond Show, #HammondOrgan #B3

Jon Hammond Show Preview 10/31 MNN TV Channel 1 Community Channel Public Access TV 28 Minute Program – “Head Phone” was written by organist Jon Hammond and Arranged by Todd Anderson – Podcast of Session with Meetinghouse Jazz Orchestra from the inner sanctum of Friends Seminary, 230 year old school K-12 on Manhattan’s East Side – Bob Rosen presiding over the Music Department. On guitar David Acker, drums Mike Campenni, Greg Ruvolo trumpet, Jim Piela saxophone, Pat Hall, Art Baron, Alfredo Marques trombones, Charles Lee alto, more names coming! ©JON HAMMOND International ASCAP – Associated Musicians of Greater New York, Local 802 AFM – AFM Local 6 – TV Producers of Manhattan Neighborhood Network [MNN] Manhattan Neighborhood Network

David Acker (guitar) in the string section

It was really great to see both of my good friends, the Brothers – Andreas Sennheiser and Daniel Sennheiser recently, taking serious care of Sennheiser business at The NAMM Show…looking real good guys! We are very proud of you! Moving Sennheiser electronics GmbH & Co. KG (and Neumann microphones) in to the Future – Jon Hammond — at The NAMM Show.
Neumann microphones and Sennheiser microphones, wireless systems and headphones

— with Mike Campenni, Todd Anderson, Bob Rosen, Alfredo Marques, David Acker, Greg Ruvolo and Art Baron at Friends Seminary. – next segment “Pocket Funk” by Jon Hammond” The Meetinghouse Jazz Orchestra plays POCKET FUNK by Jon Hammond (organ) – Arrangement by Todd Anderson (tenor saxophone) Bob Rosen (t.s.) Presiding over the Music Program Friends Seminary School – New York NY USA – David Acker guitar, Pat Hall trombone, Alfredo Marques trombone, Jim Piela saxophone, Charles Lee saxophone, Mike Campenni drums, Greg Ruvolo trumpet, Art Baron trombone – more names coming –

Jon’s archive

by Jon Hammond

Published August 8, 2015
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics LaJazzO MV, Organ Meets Bigband, Klostergarten, Rostock, Jazz Orchestra, Jimmy Smith, Steve Gray, Michael Leuschner, Landesjugendorchester Mecklenburg-Vorpommern, #HammondOrgan #Jazz #Blues

„Organ meets Bigband“ das LaJJazzO M-V LandesJugendJazzOrchester Mecklenburg-Vorpommern Am 01.08.2015 ist das Landesjugendjazzorchester Mecklenburg-Vorpommern (LaJazzO MV) mit seinem diesjährigen Solisten Jon Hammond wieder im Klostergarten Rostock zu Gast. Covering Jimmy Smith’s Back at The Chicken Shack and The Sermon – Nachdem sich in den vergangenen Jahren das LaJazzO MV mit den in der Big Band vorkommenden Instrumenten musikalisch auseinandersetzte, wird in 2015 die Jazzorgel musikalisch thematisiert werden. Unter dem Titel “Organ meets Big Band” wird dieses sehr traditionsreiche Instrument der Jazzgeschichte in den Mittelpunkt der Konzertreihe im folgenden Jahr gestellt. Als Jazzinstrument wurde es von Fats Waller in den 30er Jahren eingeführt und hatte seine Hochzeit in den 50er Jahren durch seine Vertreter wie Jimmy Smith. Der international renommierte New Yorker Jazzorganist Jon Hammond wird zusammen mit dem LaJazzO MV unter der Leitung von Michael Leuschner den besonderen Charme dieses Instrumentes wieder zum Leben erwecken. Im Programm sind unter anderem Titel von Jimmy Smith, arrangiert von Steve Gray – eine Leihgabe aus dem Archiv der NDR-Bigband.

Jon Hammond studierte in den siebziger Jahren am Berklee College of Music und am City College San Francisco. Konzertreisen führten ihn quer durch die Vereinigten Staaten und Kanada. In seiner eigenen ‘Jon Hammond Show’ spielte er mit Musikern wie Dizzy Gillespie, Paul Butterfield, Jaco Pastorius, John Entwistle, Sammy Davis Jr., Percy Sledge und vielen anderen. Auch in Europa fand und findet seine Musik unverändert viele Anhänger. Die Medien berichten wiederholt von einem unverwechselbaren und prägenden Sound. Jon Hammond hat u.a. auf der 20. Frankfurter Musikmesse mitgewirkt und tritt vornehmlich in Hamburg auf. “The Jon Hammond Show” is a funky, swinging Jazz instrumental revue, featuring notable international soloists and reflecting the influences of Miles Davis, The Crusaders and Jimmy Smith.
Programm: “Organ meets Bigband”
Leitung: Michael Leuschner
Samstag, d. 01.08.2015, 20:30 Klostergarten Rostock

Producer Jon Hammond
Language English

Facebook video



CNN iReport

Leader Michael Leuschner and Jon Hammond with the famous poster for “Organ Meets Bigband” – NDR Jazz archives special arrangements of Steve Gray come back to life here:

November 1st, Late Rent, Podcast, Organist, Jazz Group, Hammond Organ, Cable TV Program, ASCAP Composer, #Suzuki #Sk1

Kenny Burrell NEA Jazz Masters Award film by Jon Hammond

December 20, 2014

*WATCH THE VIDEO HERE: Kenny Burrell NEA Jazz Masters Award Film By Jon Hammond

Jon’s archive

CNN iReport



Jon Hammond Band Facebook

Kenny Burrell 2005 NEA Jazz Masters Award Recipient Film by Jon Hammond – Nancy Wilson presenting – Guitarist, Composer, Educator
2005 NEA Jazz Master

Born on July 31, 1931 in Detroit, MI – “Receiving this prestigious award from the National Endowment for the Arts is one of the high points of my career. I am delighted and honored to have been considered among the great musicians both past and present who have been given this recognition. I am most grateful to all concerned. Thank you.” – Kenny Burrell – Verve Records –

“Kenny Burrell pioneered the guitar-led trio with bass and drums in the late 1950s. Known for his harmonic creativity, lush tones, and lyricism on the guitar, he is also a prolific and highly regarded composer. Born in Detroit in 1931, he found musical colleagues at an early age among Paul Chambers, Tommy Flanagan, Frank Foster, Yusef Lateef, and the brothers Thad, Hank, and Elvin Jones. While still a student at Wayne State University, he made his first major recording in 1951 with Dizzy Gillespie, John Coltrane, Percy Heath, and Milt Jackson.

After graduation, he toured for six months with the Oscar Peterson Trio and then moved to New York, where he performed in Broadway pit bands, on pop and R&B studio sessions (with Lena Horne, Tony Bennett, and James Brown), in jazz venues, and on jazz recordings. He went on to work and/or record with such artists as Nat King Cole, Billie Holiday, Stan Getz, Gene Ammons, Kenny Dorham, Benny Goodman, Coleman Hawkins, and Jimmy Smith. As a leader, he has recorded more than 90 albums and is a featured guitarist on more than 200 jazz recordings, including ones with Art Blakey, Herbie Hancock, and Quincy Jones.

Burrell’s compositions have been recorded by artists including Ray Brown, June Christy, Grover Washington, Jr., Frank Wess, and Stevie Ray Vaughan. His extended composition for the Boys Choir of Harlem was premiered at New York’s Lincoln Center, and his “Dear Ella,” performed by Dee Dee Bridgewater, won a 1998 Grammy Award.

In addition to performing and recording, he is a professor of music and ethnomusicology at the University of California at Los Angeles. A recognized authority on the music of Duke Ellington, he developed the first regular college course ever taught in the United States on Ellington in 1978. In 1997, he was appointed director of the jazz studies program at UCLA, where he has enlisted such faculty members as George Bohanon, Billy Childs, Billy Higgins, Harold Land, Bobby Rodriguez, and Gerald Wilson.

Burrell is the author of two books, Jazz Guitar and Jazz Guitar Solos. In 2004, he received a Jazz Educator of the Year Award from DownBeat. He is a founder of the Jazz Heritage Foundation and the Friends of Jazz at UCLA and is recognized as an international ambassador for jazz and its promotion as an art form.

Selected Discography

Kenny Burrell & John Coltrane, Prestige/OJC, 1958
Midnight Blue, Blue Note, 1963
Guitar Forms, Verve, 1964
Kenny Burre ll & the Boys Choir of Harlem , Love is the Answer, Concord Jazz, 1997
75th Birthday Bash Live!, Blue Note, 2006″ — with Jon Hammond, Nancy Wilson and Kenny Burrell – Verve Records at Long Beach Convention and Entertainment Center. — with Kenny Burrell – Verve Records and 2 others at Long Beach Convention and Entertainment Center.

Jon’s archive


CNN iReport



Jon Hammond Band Facebook

Frankfurt Bockenheim — Jon Hammond Flashback Gig for Hans Romanov in the Café KLEMM now called Café Crumble Kiesstraße 41 60486 Frankfurt am Main, Germany – Jon Hammond Band featuring some fine tenor saxophone playing by Harry Petersen, Heiko Himmighoffen drums / schlagzeug – Jon Hammond at the organ & bass through a Marshall Amp courtesy of a friend of Hans – special thanks dankeschön Stefan Klemm and Hans Romanov – Jon Hammond Band — with Jon Hammond, Harry Petersen, Heiko Himmighoffen and Hans Romanov at Café Crumble.

Flashback: Jam with Hary Lin & Joe Berger!

Jon Hammond at Frankfurt musikmesse — with Joe Berger and Hary Lin

Jon’s archive


Jon Hammond and Friends drop in to Taipei night spot JAZZ SPOT SWING organ lounge,

Jon at Mr. Nobuki Kuwahara’s Hammond Sk2 organ with house musicians – Kenichi Toyoda piano

– special thanks to Nico, Shannon, Letitia – Superlux Taiwan,

P. Mauriat Europe Pmauriat Albest Team! – Jazz Spot Swing


CNN iReport

Jon Hammond Band Facebook

Jon’s archive

Jon Hammond theme song Late Rent on the occasion of 28th annual musikmesse Warm Up Party in the world famous jazzkeller Frankfurt and Jon’s birthday

with Peter Klohmann tenor saxophone, Giovanni Totò Gulino drums, Joe Berger guitar and Jon Hammond at the Sk1 Hammond organ – Late Rent is the theme song for Jon’s long-running cable TV show in New York City The Jon Hammond Show and HammondCast radio program – special thanks to Frank Poehl for operating the camera – Jon Hammond Band

Jon’s archive

Jon Hammond theme song Late Rent on the occasion of 28th annual musikmesse Warm Up Party in the world famous jazzkeller Frankfurt and Jon’s birthday

with Peter Klohmann tenor saxophone, Giovanni Totò Gulino drums, Joe Berger guitar and Jon Hammond at the Sk1 Hammond organ – Late Rent is the theme song for Jon’s long-running cable TV show in New York City The Jon Hammond Show and HammondCast radio program – special thanks to Frank Poehl for operating the camera – Jon Hammond Band



CNN iReport



Jon Hammond Band Facebook

Blip TV

“The FINGERS…are the SINGERS!”
Musikmesse “Warm Up Party”
Jon Hammond & Band

Jon Hammond (aus New York City) – 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

Jon Hammond in P.Mauriat Pmauriat Albest Pro Shop Taipei Taiwan

Journal Frankfurt article by Detlef Kinsler




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

P.Mauriat Action Blues With Jon Hammond Pmauriat / Albest Music

Jon’s archive

(Higher Quality) P.Mauriat HQ / Pmauriat Albest action with Jon Hammond Blues All Afternoon at The NAMM Show with P.Mauriat Artists and guests Arno Haas, Hailey Niswanger, James Carter, Joshua Quinlan, Juan Alzate, Ryan Montano – Jon Hammond at the Sk1 organ

Kenny Burrell, National Endowment for the Arts, Jazz Masters Award, Film, Jon Hammond, Jazz Guitar, Hammond Organ, Hannover Germany, Organist, NAMM, musikmesse, Local 802, Musicians Union

INDIE POOL Special and Jon’s Journal November 21 2012

November 21, 2012

*LISTEN TO THE AUDIO HERE: The Indie Pool: Jon Russell Hosts Jon Hammond

Downloaded 512 times

The Indie Pool: Jon Russell Hosts Jon Hammond KYOURADIO San Francisco CA–

Not just another interview show with music. More like an audio magazine that digs deeper so you’ll come away with a better understanding of the featured artists and bands and their music. Every couple of weeks the Indie Pool presents a new installment giving you an opportunity to come away with a better understanding of who’s making today’s music and why. The Indie Pool showcases: Jon Hammond
With music from Jon Hammond played live in the studios of KYOU Radio with Host Jon Russell and tracks from Jon’a album NDR SESSIONS Projekt on Ham-Beger-Friz Records

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

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 | Oral History Interview Date: January 13, 2011 Full Version

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

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

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

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
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

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.

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
The “Jam of the Year Band”

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
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

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!
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

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:

Anaheim California — Cats, could you bring a few more cameras next time?!
Jon Hammond – Winter NAMM
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
Pocket Funk Bernard Purdie and Friends NAMM + Flash Back 1989
For Flash Back 1989 Mikell’s Pocket Funk Video:
*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

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
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

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
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
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

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: GoldenPenMan/BLUESINTHEMOSCOW

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


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

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

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

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

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

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

documentary, indie pool, namm oral history, jon hammond, organist, accordionist, broadcaster, san francisco, radio, cable access tv, local 802, musicians union, jazz, funk soul

Jon Hammond Journal For Day July 16, 2012 Report

July 17, 2012

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
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
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.


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
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
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
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
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
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
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 — at Jazzkeller Hofheim.

Berkeley California — EastBay Jazz Workshop action, firing up at The Black Repertory Group Theater – 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

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. — 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
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
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
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
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
Jon Hammond Band Youtube Channel — at Jazzkeller Hofheim.

Hofheim am Taunus — Totó Giovanni Gulino drums on Jon Hammond Band in Jazzkeller-Hofheim
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
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.
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 – — 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’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!
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 — in Hamamatsu-shi, Shizuoka.

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

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

Frankfurt Germany — Jon Hammond getting picked up for the gig – Blip TV — 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

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 Youtube
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

San Francisco CA — Newly renovated famous Golden Gate Park Windmills – Jon Hammond
San Francisco windmill restoration marks milestone


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
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 Hammond Organ UK FaceBook
*Michael Michael Falkenstein takin’ care of biz by the organ Germany — with Michael Falkenstein and Barrie Freeman at Musikmesse Frankfurt

Moscow Russia — Ed Zizak taking a killer solo on my Theme Song “Late Rent”
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 — with Ed Zizak at Verkhnjaja Radishchevskaya St. 21 Moscow Russia

Vadim Eilenkrig
Moscow, Russia

Севастьянов Дмитрий
Moscow, Russia

Алексей Беккер

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
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
By David Holmstrom, Staff writer of The Christian Science Monitor / October 11, 1988

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
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 iTunes Artist Page

September 23, 2010
Jon Hammond iTunes Artist Page

Jon Hammond

View In iTunes

To preview a song, mouse over the title and click Play. Open iTunes to buy and download music.

Top Songs

Name Album Time Price

Payphone Johnny Ndr Sessions Projekt 7:02 $0.99 View In iTunes

The More I See You Ndr Sessions Projekt 5:00 $0.99 View In iTunes

Our Day Will Come Ndr Sessions Projekt 5:19 $0.99 View In iTunes

No X-Cess Baggage Blues Ndr Sessions Projekt 5:14 $0.99 View In iTunes

Easy Living Ndr Sessions Projekt 6:33 $0.99 View In iTunes

Besame Mucho Ndr Sessions Projekt 6:02 $0.99 View In iTunes

Polka Dots and Moonbeams Ndr Sessions Projekt 4:29 $0.99 View In iTunes

Skylark Ndr Sessions Projekt 3:10 $0.99 View In iTunes

Blues in the Night Ndr Sessions Projekt 5:54 $0.99 View In iTunes

Theme from Black Orpheus Ndr Sessions Projekt 7:36 $0.99 View In iTunes

Satin Doll Ndr Sessions Projekt 6:15 $0.99 View In iTunes

My One and Only Love Ndr Sessions Projekt 6:19 $0.99 View In iTunes

Late Rent – Live LATE RENT 9:02 $0.99 View In iTunes

Nu Funk (Hip Hop Chitlins) – Live LATE RENT 4:57 $0.99 View In iTunes

AFN Announcement 1 LATE RENT 0:47 $0.99 View In iTunes

Head Phone – Live LATE RENT 3:08 $0.99 View In iTunes

Get Back In the Groove LATE RENT 2:06 $0.99 View In iTunes

Party Is Forbidden Here LATE RENT 5:27 $0.99 View In iTunes

White Onions LATE RENT 5:23 $0.99 View In iTunes

Head Phone LATE RENT 7:40 $0.99 View In iTunes

Announcement By Al Jazzbeaux Collins LATE RENT 1:03 $0.99 View In iTunes

The Sidewinder LATE RENT 7:22 $0.99 View In iTunes

Lydia’s Tune LATE RENT 4:29 $0.99 View In iTunes

Pocket Funk LATE RENT 6:00 $0.99 View In iTunes

Original Announcement from Jon Hammond Show LATE RENT 0:46 $0.99 View In iTunes

Late Rent LATE RENT 6:04 $0.99 View In iTunes

9/11 Tribute Medley Hammond’s Bolero 6:27 $0.99 View In iTunes

Train Song Hammond’s Bolero 5:47 $0.99 View In iTunes

Czechoslovakian Salsa Song Hammond’s Bolero 6:25 $0.99 View In iTunes

F.P. Blues Hammond’s Bolero 3:18 $0.99 View In iTunes

Six Year Itch Hammond’s Bolero 4:55 $0.99 View In iTunes

Remembering Stanley Hammond’s Bolero 4:39 $0.99 View In iTunes

Cosmo Lane Hammond’s Bolero 5:54 $0.99 View In iTunes

Thing in C Minor Hammond’s Bolero 7:37 $0.99 View In iTunes

Soon I Will Be Free Hammond’s Bolero 5:16 $0.99 View In iTunes

Cannonball ’99 (One More Time!) Hammond’s Bolero 7:10 $0.99 View In iTunes

Jennifer’s Song Hammond’s Bolero 5:55 $0.99 View In iTunes

Hammond’s Bolero Hammond’s Bolero 6:46 $0.99 View In iTunes

White Onions – Live LATE RENT 11:45 Album Only View In iTunes

AFN Announcement 2 LATE RENT 0:42 $0.99 View In iTunes

Apple, iTunes, Artist, Jon Hammond, Steve Jobs, Ron Johnson, Organist, Accordionist, B3 organ, XK-1, XK-3c, Excelsior Accordion, Local 802 Musicians Union, ASCAP, Jazz, Funky, Blues, NDR Radio, HammondCast

SLOW BLUES POWER in INDRA Home of The BEATLES Grosse Freiheit Hamburg

August 23, 2010



NDR SESSIONS Projekt ASCAP Network Feature


Jon Hammond MySpace

Hammond Artist Jon Hammond

JON HAMMOND Band laying down a nice slow blues dedicated to BB & Albert King in INDRA, Home of The Beatles in Hamburg St. Pauli Grosse Freiheit: Lutz Buechner – sax, Heinz Lichius – drums, Joe Berger – guitar, Jon Hammond – XB-2 Organ © JON HAMMOND Intl. tune in 7 days a week on KYOU Radio 1550 AM for the best in FSB = Funk Soul Blues

A380, Albert King, BB King, The Beatles, Blues Power, Hamburg St. Pauli, HammondCast, Indra, Jon Hammond, KYOU KYCY, NDR Radio, XB-2, XK-3c, Lufthansa, Pico, Local 802 Musicians Union, Organist


August 14, 2010


*cover article from Manhattan Plaza News June 2003

by Maria Ciaccia
photos by Teddy Fung

Jon Hammond’s story is one of survival. Survival as a jazz musician, survival as a Manhattanite. The organist-accordionist has survived because of perseverance, love of his art, tremendous humor, and gratitude. His new independently produced and marketed CD, HAMMOND’S BOLERO, which contains only music written by Hammond, is both a statement and a tribute. As his CD notes begin, “This record marks a new beginning for me, and I would like to dedicate it to all those who, like myself, are striking out on their own and going it alone. Don’t be afraid to follow your dreams. I did and now this record is for you!” Following his dream at times has not been easy.

Take his living situation. Hammond is fairly new to Manhattan Plaza—a resident for just two years—and like everything else involving this multitalented man, there’s an interesting story attached. “I’m living under a lucky star after years of putting up with all kinds of adverse conditions. Manhattan Plaza has been a great, great help for me.” Living in the Clinton area, Hammond survived six ceiling collapses in his apartment and was finally driven out by sick building syndrome, i.e. poisonous mold in the walls. He realized it only after watching an epsode of 60 MINUTES. Did he sue? “No,” he says. “Put it this way—the title song for my TV show is called ‘Late Rent.’ I used to pay my landlord partial payments, etc. so I never sued.”

As a further testament to his Manhattan survival, Hammond is a nineteen-year-veteran of cable access with his own television show, aptly titled THE JON HAMMOND SHOW. Manhattan Plaza residents Todd Anderson (tenor sax) and Bill Warfield (trumpet) have been featured as part of the band. the show airs on Monday at 9:30 p.m. on channels 56 and 108 and various times on other channels. For more information, viewers can check Hammond’s website,

Jon Hammond Band

But before the glamour of Manhattan, CD’s, opening for Bonnie Raitt, and some other high-class gigs, Hammond paid his dues. Attending the Berklee college of Music in Boston in 1973, he earned money on the wild side. “I used to play in these Mafia striptease clubs seven nights a week. Boy, that was the end of an era. I was working for the Venus brothers, notorious gangsters, and I was the house organist at the infamous 2 O’Clock Lounge, the Mousetrap Lounge, The Hungry I—all these clubs that were in what was known as the Combat Zone in Boston.”

And how did he get to New York? “Well, I knew a stripper named Didi Bangbang, a really nice girl. She knew I had a van. When you have a van, you get some interesting calls. She had a show at this burlesque club in New York so she said, ‘Drive me and I’ll introduce you to New York.’ This was in 1975. She had wild props, like a plexiglass round platform with disco lights inside of it. We loaded everything in this army green van and drove to New York.”

From New York, Hammond went on the road with a show band called Easy Living “It was one of the top show bands—this was before disco—and you’d get on the different circuits. We were in the $10,000-a-week bracket.”

Just one problem. “I get the call for a really great gig, but it’s always at the end. When you see me show up, it’s a doomsday situation. The band toured for six months. We were in Toronto working at the Four Seasons Inn on the Park, one of the nicest hotels I’ve ever been in in my life. I was living like a king. I thought I’d died and gone to heaven. Well, they had installed a DJ booth—the first place we ever played with one installed. He played on our breaks. They would cross-fade, meaning we would re-enter playing the music he had been playing. But I could see the handwriting on the wall. The disco thing had not really come in and taken over yet—the very first tune that was a big disco hit was “The Hustle.” “We had to do it with the band. That tune was like the death knell. Disco came in and the bands went out.”

A musician’s life involves a lot of travel, and that Hammond has done—back and forth throughout North America, from New York, Boston, Los Angeles, Cape Cod, and Toronto. “Around 1977, I ended up in Boston again. There I heard through the grapevine that Lou Colombo, the trumpet player, was looking for an organist for a private harbor club in Harwichport, Massachussets. Another great job. One of the members was Tip O’Neil, who became Speaker of the House, and I played all of his private parties. He was always very nice. That lasted for two years and then they reduced the nights.”

In September 1981, Hammond fulfilled his dream of a lifetime—traveling to Paris on the Concorde. “I lived it out exactly as I saw it in my dream.” Hammond recalls. “I had a haircut. I bought a dark blue suit. I bought a case that I still travel with today. Every man was wearing the same suit I was. As soon as the plane took off, I realized I was leaving the continent for the first time and I got very emotional.”

Hammond stayed in Paris “as long as I could. I wrote music there. It was more than I hoped it would be. I swore I’d come back to live. I ended up in Europe for six years, actually in Frankfurt, going back and forth to the States, from 1991 to 1997.” For being a consultant on the design, Suzuki gave him an XB-2 Hammond organ, which was a big help to him.

A career change occurred when he and his band were hired to play at the Jazzkeller in Frankfurt. “I went on a TV show to promote it,” he recalls, “Later on, I took a cab to the club and there was a huge commotion outside. I thought it was due to a group playing an earlier set. I said to the cab driver, ‘Gee, I hope they finish soon.’ the driver said, “They’re waiting for you.;” Though Hammond did very well in Europe, including a concert on Radio France, a trade war soon found american jazz musicians being cut out of European work. “I came home on Pakistan Airlines” the former Concorde passenger remembers. Hammond is used to the roller coaster ride of the musician—one day on tour with Percy Sledge, the next day coming home from France with $50.

Hammond recently returned from successful concerts in Germany at the International Trade show “Musikmesse” for the seventeenth consecutive year with his co-producer Joe Berger, of Ham-Berger-Friz Records, the producer of the CD. You got it. Hamburger/fries. Hammond’s CD is currently getting radio play in Germany and National Public Radio stations in the U.S. Several manhattan Plaza residents are involved in the CD. On April 28, he had a launch party at Le Bar Bat.

Though only occasionally veering outside of the music world, Hammond did something unusual in 2001. “My mother called me and said, ‘Jon, they’re hiring at United Airlines.’ I thought, what can it hurt to please my mother, I”ll apply. I did get an offer but I was unable to take it because it involved transporting luggage, and I couldn’t do it because of my bad back. However, they then found out that I speak German. I was offered a better job in International. Now guess when I was supposed to start training? October 2001. Well, you know what happened to the airlines after 9/11, and you know what I said about getting a gig at the death knell. So this told me one thing, I’m supposed to be a musician.” He’s right.

*Update: Hammond in Moscow! *story: with pictures:


Tenor saxophonist IGOR BUTMAN & organist JON HAMMOND

Backstage at Le Club jazz club in Moscow with Igor and Jon beaming after first successful concerts in Russia together!

Note: See’s Candy *in box, is a major sponsor of jazz events & concerts in San Francisco Bay Area thanks to Charles N. Huggins and company. 

Jazz Quad article: “Blues In The Moscow White Nights”

The story of my first concerts in Russia with Igor Butman (sax), Eduard Zizak (drums) by organist Jon Hammond (USA) for Jazz Quad

Coming to Russia to play in concert together with Igor Butman and Eduard Zizak recently, was one of the greatest experiences in my life/career! I was highly anticipating this journey for many reasons. First of all since my family originally came from Russia and Latvia many years ago, I had heard so many stories as a young child about the land and people I was about to visit. My grandparents were never able to return to Russia but when I arrived it felt like I was coming home.

From the beginning of my preparations I could see that this was not going to be any ordinary music tour! From obtaining visas it was apparent that the procedure was slightly different. I traveled with my girlfriend Jennifer on British Airways departing JFK to London and then from there we changed planes to Moscow. Upon arriving at Moscow SVO airport we quickly found ourselves among 20 persons who arrived with no baggage. There was nobody there to speak in English with from BA, so we had an interesting conversation and procedure with the official Lost and Found desk there and filled out the Baggage Irregularity Report papers. Leaving the customs area without our baggage we were very happy when we stepped out and saw a nice man holding a big Jon Hammond poster. We knew this was our man!
Luckily we came 2 days before the concerts and our bags were finally found and delivered to our hotel the next day.
Marat Garipov, the gentleman who came to pick us up, is one of Igor Butman’s managers. Very nice guy and we had a great time speaking with him on the drive in to Moscow about his daughters and many shared interests. The traffic was very heavy coming in and it took about 1 1/2 hours to come in to Moscow, but we got a great first look at beautiful Moscow! What an incredible city…to me it looks like the Magic Kingdom that Walt Disney tried to recreate, only many of the buildings were built hundreds of years ago! Fantastic architecture.
When we checked in to the hotel, first we had to surrender our passports for some sort of official process. When we came up to our room on the 10th floor we found that we had a spectacular view of Red Square right outside our windows! The view was absolutely magnificent. Because it was the 3rd week of June, the days are the longest of the year and known as the White Nights. 10 at night looked like bright daylight! My first night I spent making many calls to trace our baggage and see about getting our passports back while my girlfriend slept. Finally back in posesssion of my instruments and our passports I was then very relieved and could really start enjoying the fact that I was really in Moscow!

The night before my first concert at Le Club, we were guests to attend the concert of bassist Alex Rostotsky and his fine group. We had a very enjoyable time dining and listening to Alex’s music and got to meet him and his musicians later in the evening. We also had the pleasure of meeting Faina Antonova who is Igor’s manager and also managing Le Club. She is very nice and took great care in arranging every detail of our stay in Moscow. I knew right away that we were in care of special angels. After a wonderful dinner/show and cappucinos at Le Club, Faina personally drove us back to our hotel, the famous Rossiya by Red Square. I was very tired by this point so I slept like a rock.

The next day was the big Friday of our first show. Most of the day I stayed in the room practicing my instrument and looking out at Red Square. Jennifer and I wanted to get to the club early so that we could get a sound check and settle in. Faina picked us up and we stuffed my organ and all our equipment in her compact car and off we went to Le Club in the Taganka Theatre Building.
When we arrived the big friendly doormen picked up my heavy cases like they were toothpicks and brought them up the stairs for me! Vladimir the sound engineer for the club was very smooth and professional, and a very nice guy. We got a good sound on the organ and then came Eduard Zizak the great drummer! I had already met Eduard in New York the week before when he was there performing with Igor’s quartet at Birdland. Eduard is an incredible drummer and also a very nice guy. We made a little soundcheck and right away I could tell that he had listened to my music and we would lock up with some very tight grooves…no problem!
But where was Igor? I was hoping for a little mini-rehearsel with Igor but when I saw the public coming in to have dinner I knew it was too late for that! Igor arrived with his entourage and it was great to see him…he told me not to worry and apologised for not coming earlier. Igor is in big demand with a very busy schedule, so I am very lucky and honored that he could take the time to perform with me together even as his new cd album “Prophecy” was just released on the Universal Label.
We had time only for a 5 minute soundcheck and I showed Igor my book. This was going to be a very spontaneous performance, no doubt about it!
We decided to record it, and Vladimir did a fantastic job on the recording on their new digital recording console that they had just brought back from New York.
From the first notes I knew that this would be one of those magic nights I would never forget. The response from the audience was wonderful. I could only say in Russsian, “Ya LuBlu Vas”…which means, I love you all. And when I said the words to the people I got a great feeling back from them. First set was just fine and then on the break I was introduced to many press people and some fantastic local musicians. I was very honored that they all came to greet me. And then Igor proudly introduced me to 2 of the legendary jazz musicians of Moscow-accordionist Vladimir Danilin and guitarist Alexei Kuznezov. They said they had their instruments in the car and so yes we decided right away to make a live session together.
It was incredible from the first song on the 2nd set, playing together with these fantastic Moscow musicians! It felt like we had been playing together for 20 years. These musicians are some of the greatest I have ever heard and played together with. The audience was loving every bit of it, just as much as I! I was so happy that Vladimir was getting it all on tape and Jennifer was also running the video machine and taking pictures also. By the end of the night I was very satisfied with how everything went. Igor personally drove Jennifer and I back to the hotel in his nice car with fantastic sound system.
Great night!

The next day we got a nice tour from our friends Eva Steiner and her nice husband Leo from the Austrian Embassy. We ended the afternoon by having lunch in the Rossiya and I got to have my first excellent bowl of Borscht!
I excused myself afterwards to take a nap as I was quite tired and knew it would be another big night at Le Club. I had a refreshing sleep and then I must say that the shower at the Rossiya is the best shower I have ever had in my life! The shower head resembles a little Sputnick! The water comes out full force…no water saving there at the Rossiya. Wonderful.
This time when Faina picked us up we didn’t have the organ with us. For the first time I left my instrument in the club because I could see the security there is excellent, 24 hours.
Already there were journalists at the club to meet. I was very happy to meet Cyril Moshkow. We had many e mails before coming and he is a very nice guy also and very serious jazz journalist. He is the president of the Russian Jazz Journalist organization. We had a nice conversation and Cyril took some pictures of the concert for his website. Also we met Igor Moskvichev from Russian “Hit Parade” magazine and Mr. Kumalo from the South African Embassy.

Jon Hammond with South African Minister-Counsellor Mpendulo Kumalo

foto by Jennifer Frizzell 

Igor Butman, Eduard Zizak, Jon Hammond

Igor, Eduard and Jon in concert at Le Club jazz club, Moscow June 22, 2003
foto courtesy of Igor Moskvichev 

The Journey Home to USA from Moscow

After the 2nd successful night playing in trio with Igor and Eduard, we sadly said our goodbyes. But we are very excited about Igor coming to New York with his entire 18 piece bigband to perform in concert with Wynton Marsalis and Lincoln Center Jazz Orchestra in September!
Igor sent us back to the hotel in care of one of his professional security men. We were very happy and relaxed with no fears in the Moscow night as we sped through the streets in a taxicab back to the Rossiya.
The following day we had a chance to do a little more shopping for souveniers and pack all the bags for our trip back to New York JFK.
Checking out from the hotel the reception people were very friendly and asked me to autograph my new cd “Hammond’s Bolero” for them *link: they called me Jazz Man. We enjoyed our stay there very much!

It was a wonderful experience from beginning to end. I am happy that we have professional recordings of the concerts with Igor, Eduard and our special guest musicians Vladimir Danilin and Alexei Kuznezov. We are talking about creating a live cd release from the concerts at Le Club.
As they say, we came to “Celebrate the diplomatic power of jazz” with ™ “Blues In The Moscow White Nights”!

Jon Hammond
™ “The FINGERS…are the SINGERS!”
*Member Local 802, Local 6/ASCAP Artist

*special thanks to Igor Butman and Faina Antonova and Le Club team Moscow.

Jon Hammond tries on a Russian hat at GUM

We went shopping in the famous GUM department store complex. Here I tried on a typical Russian fur hat. It is very warm in the summer! But good for winter I am sure. 

Jon Hammond standing at the Le Club marquis

We were very happy to find Le Club by Metro on our first full day in Moscow, and there I am standing by the poster for my concerts there with Igor and Eduard! 


Moscow White Nights…view outside our hotel window

This stunning view of Red Square from our hotel room window gave me the inspiration for the title “Blues In The Moscow White Nights” (like Blues in the Night) we played the song live on the Le Club sessions! 

Igor Butman & Gary Walker at WBGO

Very early on morning of Fri. March 5th, 2004 Igor and I met at Port Authority Bus Station and took the bus out to WBGO radio in Newark NJ. I was assigned to the task by Gary to bring Igor in time for a broadcast interview that morning. Gary was my initial connection to Igor so they are old buddies as you can see in this photo I shot outside of WBGO at 54 Park Place in Newark. I’ll be returning to Moscow to play with Igor again this coming July. 

Jon Hammond and Igor Butman on Russian TV

Igor translates for Jon on Russian television as he speaks about how it is to be in Russia performing with Igor Butman. The power of the universal language of music has brought it all together, and Jon is explaining his wish to dedicate original composition “Soon I Will Be Free” to the peoples of Russia and the former USSR. 

Jazz Man, Ed Zizak, Igor Butman, Moscow Russia, Hammond Artist, XB-2, XK-1, XK-3c, B3, Organist, Blues, White Nights, Manhattan Cable, TV, KYOU Radio, HammondCast, Local 802 Musicians Union