Posts Tagged ‘Paris France’

Jon Hammond in Paris concert on Radio France Inter

November 15, 2015

*WATCH THE FILM HERE: Jon Hammond in Paris concert on Radio France Inter

Jon’s archive https://archive.org/details/RadioFranceInterConcertFinaleJonHammondTrio

by Jon Hammond
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Jazz vivant producteur Andre Francis, radio france inter, jon hammond, paris

Paris France — Onstage camera of Jon Hammond captures this live radio concert Maison de Radio France Studio Charles Trenet Jazz vivant producteur: Andre Francis
circa 28th March 1996
Jon Hammond orgue / Hammond organ & bass
George Brown drums (the late great jazz drummer from Wes Montgomery records)
Barry Finnerty guitar
Francoise Pujol piano
special thanks merci beaucoup to M. Andre Francis, the Mr. Jazz of French radio from 1946 to 1997 who also presented Miles Davis Quintet when Tony Williams and Ron Carter were on Miles’ band in July 1964
Jon Hammond International – http://www.HammondCast.com

Jazz vivant producteur ©Andre Francis radio france inter jon hammond paris

Run time 13 minutes 25 seconds
Producer Jon Hammond
Audio/Visual sound, color

Jon’s archive http://ia801502.us.archive.org/8/items/6842261003/684226_1003.mp4

CNN iReport http://ireport.cnn.com/docs/DOC-1273397

Vimeo https://vimeo.com/140682109

Youtube https://youtu.be/2rM_x3kZBG8

Preview of Public Access TV Show Jon Hammond Show air time 10/03 – Jon Hammond Band with special guest Lee Oskar in jazzkeller Frankfurt, Tony Lakatos tenor saxophone, Joe Berger guitar, Giovanni Totó Gulino drums, Jon Hammond at the Sk1 Hammond organ – Jon Hammond Band in The Savoy Lounge, “Pocket Funk” with Barry Finnerty guitar, Todd Anderson tenor saxophone, Joris Dudli drums, Jon Hammond at the B3 organ ©JON HAMMOND International http://www.HammondCast.com

Photo by Joachim Hildebrand

Photos by Joachim Hildebrand

by Jon Hammond

Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Jazz, Blues, Public Access TV, tenor sax, harmonica, guitar, #HammondOrgan

Jon’s archive https://archive.org/details/JonHammondINDIEPOOLKYOURadioSpecialJonRussellHostingJonHammondofHammondCastShow

Jon Russell Indie Pool KYOU Radio Jazz Blues Radio CBS Network Chicago San Francisco

Attribution-NonCommercial-NoDerivs

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 ©JON HAMMOND International

Jon’s special archive http://archive.org/details/HammondCast_22

Al Jazzbo Collins

Chris Cortez and Jon Hammond

This episode of HammondCast on KYOU 1550 AM Radio features some historic recordings of Jon Hammond with radio & tv legend AL “JAZZBEAUX” COLLINS, this will blow your socks off! Al does a complete recitation of his Hipster version of “Little Red Ridinghood” accompanied by Jon on the Hammond organ live. Also radio host CHRIS CORTEZ talking about how Jon and Jazzbeaux almost blew up the transmitter for the radio station by plugging the Hammond organ directly in as a late-night experiment on the Bay Area station…wooops! All worked out ok, but the Chief Engineer and Station Manager were a little bit upset the next day.
Going back even a few more years, Al Jazzbeaux breaks Jon’s recording of “Sidewinder” on the now defunct but legendary and most powerful station of New York City-WNEW 1130 AM. For Al Jazzbeaux Collins freaks, this HammondCast episode is a MUST.
Jon Hammond is a member of Local 802 & Local 6 Musicians Unions and an ASCAP Composer/Publisher-JON HAMMOND International, Inc.
No singers on Mr. Hammond’s band…”The FINGERS…are the SINGERS!”
http://www.HammondCast.com

Anaheim California — This was a great P.Mauriat Party! at Winter NAMM a years ago – here with Alejandro Chiabrando and Alex Mingmann Hsieh – Jon Hammond — with Alejandro Chiabrando and Alex Mingmann Hsieh at Clarion Hotel Anaheim.

It’s not Simon and Garfunkle..Tino Pavlis and Joe Berger!
Jon Hammond — with Tino Pavlis and Joe Berger at musikmesse

From my first CD booklet – first release of “Late Rent” on Hotwire Records – collector edition! Jon Hammond

Paris France, Radio France Inter, Jazz Vivant, Jon Hammond, Andre Francis, Hammond orgue, George Brown, See you in a minute

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Jon Hammond’s Special Guests in Concert at Brotfabrik and Journal July 1 2013 HammondCast

July 1, 2013

LISTEN TO THE AUDIO HERE: Jon Hammond’s Special Guests in Concert at Brotfabrik and Journal July 1 2013 HammondCast

Jon’s archive http://archive.org/details/JonHammondHammondCast36

Frankfurt Hausen — March 1993 concert and live recording session presented by Jon Hammond – first time in Germany – direct from Paris, Jon’s special guest pianist Françoise Pujol in Trio with Francis Lassus drums/batterie http://fr.wikipedia.org/wiki/Francis_Lassus and bassist Richard Bona – Jon Hammond is at the mic / MC and played opening set with his band http://en.wikipedia.org/wiki/Richard_Bona (Richard Bona (born October 28, 1967 in Minta, Cameroon) is a jazz bassist a…See More — with Francis Lassus and 4 others at Brotfabrik

HammondCast 36
Jon Hammond in New York City just back from Germany music tour and 20th year at Musikmesse Frankfurt trade show…digging deep in to the archives to present a special show put together by Jon in 1993 in Frankfurt Hausen-BROTFABRIK (the old Bread Factory) Jon Hammond presenting French Pianist FRANCOISE PUJOL first time in Germany along with RICHARD BONA on bass from Cameroon & Paris, now living in NY and FRANCIS LASSUS – drums/batterie. A crazy story about how Jon convinced Bösendorfer Piano Company to bring their most expensive Imperial concert grand piano for Francoise to play there. The musicians got in to an argument at sound check and Jon Hammond almost had to play the famous piano himself, but thankfully it worked out and the tension made for some great playing! Never before heard (I wonder why?!) Also a new track from Hungarian saxophonist TONY LAKATOS’ brand-new album “Gypsy Colours” on the SKIP RECORDS label. Tony’s original composition “Mr. Fried” played and recorded with his brothers in Budapest Hungary. Thank you Tony and Lakatos Family! Jon’s trio live at Bruno’s in San Francisco featuring drummer RONNIE SMITH Jr. from Oakland CA and dedicated to United Airlines: “No Excess Baggage Blues” from Jon Hammond’s new album “NDR SESSIONS Projekt” for KYOU and KYCY 1550 AM, home of the Oakland A’s! Jon Hammond’s official website is: http://www.HammondCast.com

Frankfurt Germany — I played 207 gigs here in the good old Jazz Kneipe, many with Giovanni Totó Giovanni Gulino) ! also some nights solo – duo, trio and during Musikmesse quartet

– Berlinerstr. 70, there’s a restaurant there nowadays – we played from 10PM / 22UHR until 3 in the morning and then hung out until 5 in the morning. The place was small but mighty! Regina Snilovič was the boss, thanks Regina! good times in Jazz Kneipe, Jon Hammond
http://youtu.be/slC9yIBJ6m4
Attila Cornelius Zoller (June 13, 1927 Hungary – January 25 1998 Vermont) famous Hungarian Gypsy Jazz Guitarist with Jon Hammond Band at Jazz Kneipe Frankfurt — with Giovanni Totò Gulino at Berlinerstr. 70 Frankfurt am Main

I played this gig in Regina Niteclub on Große Freiheit Nr. 7 – a famous Adult Entertainment Club – also it was a movie – “Große Freiheit Nr. 7” (original title) *translated “Port of Freedom” – one is a photo of me at the organ and the other is a painting by the great German artist Michael August aka ILLUSTRATORP

– Jon Hammond *Note: The place was packed every night, thanks to the article in Morgen Post / MoPo, dankeschön! – JH
Große Freiheit Nr. 7 Wiki http://en.wikipedia.org/wiki/Große_Freiheit_Nr._7
Große Freiheit Nr. 7 (Great Freedom No. 7) is a 1944 German musical drama film directed by Helmut Käutner. It was named after Große Freiheit (grand freedom), a street next to Hamburg’s Reeperbahn road in the St. Pauli red light district.
The film is also known as Port of Freedom in the United Kingdom.
The film tells the story of the blond “singing sailor” Hannes Kröger (played by Hans Albers) who works in a Reeperbahn club and falls in love with a girl played by Ilse Werner.
Hans Albers as Hannes Kroeger
Ilse Werner as Gisa Häuptlein
Hans Söhnker as Willem
Hilde Hildebrand as Anita
Gustav Knuth as Fiete
Günther Lüders as Jens
Ilse Fürstenberg as Gisa’s mother
Ethel Reschke as Margot
Erna Sellmer as Frau Kaasbohm
Kurt Wieschala as Jan
Helmut Käutner as Karl
Richard Nicolas as Admiral
Maria Besendahl as Frau Boergel
Justus Ott as Herr Wellenkamp
Gottlieb Reeck as Herr Puhlmann
Thea Thiele as Consul’s wife
Alfred Braun as Rundfunkreporter
Rudolf Koch-Riehl as Master of ceremonies
Karl-Heinz Peters as Postman
Erwin Loraino as Sailor
Hans Albers – “Auf der Reeperbahn”
Hilde Hildebrand – “Beim ersten Mal, da tut’s noch weh”
Hans Albers – “La Paloma”
Hans Albers – “Nein, ich kann Dich nicht vergessen”
Hans Albers – “Schön ist die Liebe im Hafen”
Hans Albers – “Was kann es denn schöneres geben”
Hans Albers – “Wenn ein Seemann mal nach Hamburg kommt”
Due to the threat of Allied bombing raids to Hamburg Harbour and to the Ufa studios in Berlin’s Neubabelsberg and Tempelhof when it was made in 1943 (May to November), most of the movie was shot in Prague’s Barrandov Studios by Helmut Käutner, as the first Agfa colorfilm by Terra. For a scene with a boat trip in Hamburg harbour warships had to be covered up.

Nazi propaganda minister Joseph Goebbels was dissatisfied, and demanded many changes to make the film more “German”, for instance by renaming the lead role from Jonny (as in Albers’ earlier hit song “Good bye, Jonny”) to Hannes. After a year of editing, the movie was banned anyway in Nazi Germany on 12 December 1944,[1][2] and was only shown outside of the Großdeutsches Reich proper, with the premiere on 15 December 1944 in Prague (then a Reichsprotektorat). It remained banned in Nazi Germany, opening on 6 September 1945 in Berlin’s Filmbühne Wien after the Allied victory. — at Große Freiheit Nr. 7

Anaheim California — This was a great P.Mauriat Party! at Winter NAMM a few years ago – here with Alejandro Chiabrando and Alex Mingmann Hsieh – Jon Hammond

Mr. Kim Myung Hyun, Eldon T Jones… — with Eldon T Jones, Pmauriat Albest, P Mauriat HQ, PMauriat Saxophones, Alejandro Chiabrando, Ming-mann Hsieh, Alex Mingmann Hsieh and Kim Myung Hyun at Clarion Hotel Anaheim

here with Alejandro Chiabrando and Alex Mingmann Hsieh – Jon Hammond — with Alejandro Chiabrando and Alex Mingmann Hsieh

at Clarion Hotel Anaheim

Poor Man’s Horn Section!

I took this photo in Hamamatsu Musical Instrument Museum 浜松市楽器博物館/はままつしがっきはくぶつかん
http://www.inhamamatsu.com/art/hamamatsu-musical-instrument-museum.php
Jon Hammond — at 浜松市楽器博物館

iTunes HammondCast FEED Jon Hammond
https://itunes.apple.com/us/podcast/jon-hammond-band-official/id352184978

*WATCH THE VIDEO HERE: 802 Early Birds Monday Night Jazz Session HD 1080p

Jon’s Archive http://archive.org/details/JonHammond802EarlyBirdsMondayNightJazzSessionHD1080p

This video takes place in the Local 802 Musicians Union New York City with organist Jon Hammond and Richard Clements at the piano. Later joined on drums by Rudy Lawless. Traditional Monday night Jazz session, early birds warming up the bandstand in 802 Club Room. Early bird gets the worm…and the second mouse gets the cheese!
http://www.HammondCast.com/ — at Associated Musicians of Greater New York, Local 802 AFM

Blip TV http://blip.tv/jon-hammond/802-early-birds-monday-night-jazz-session-hd-6603712

Youtube http://www.youtube.com/watch?v=XXpkFBd2pSc

802 Early Birds Monday Night Jazz Session HD 1080p

iReport CNN http://ireport.cnn.com/docs/DOC-988807

DailyMotion Motionmaker http://www.dailymotion.com/video/x10xkta_802-early-birds-monday-night-jazz-session-hd_music#.UbzgqOsd7EI

organ, piano, early birds, standards, jazz session, local 802, musicians union, sk1, jon hammond, richard clements, rudy lawless

*WATCH THE VIDEO HERE: One Nighter in Louisville Kentucky Jon Hammond Band Plays Original Composition Six Year Itch

Jon’s Archive http://archive.org/details/JonHammondSixYearItchJonHammondBandinLouisvilleKentucky

Written by Jon Hammond “Six Year Itch” after 6 years of being on the air with The Jon Hammond Show TV Show now in 28th year. 
One night only in Louisville Kentucky Live In The Jazz Factory Featuring

Alex Budman tenor sax

Ronnie Smith Jr. drums 

John Bishop guitar

Jon Hammond organ


Thanks to all the folks who came out and packed the club for our one night in Louisville!

Sincerely,

Jon Hammond 


ASCAP Publishing JON HAMMOND International

Blip TV http://blip.tv/jon-hammond/six-year-itch-jon-hammond-band-in-louisville-kentucky-6307759

ENCORES: Louisville Kentucky Jazz Factory – JON HAMMOND Band Jazzin By Martin Z. Kasdan Jr. Last year San Francisco-based organist Jon Hammond joined his buddy, Louisville guitarist John Bishop, for a night at the Jazz Factory. Hammond has just released Late Rent, on Ham-Berger-Friz Records, available at http://www.cityhallrecords.com/artist/HAMMOND,%20JON.htm if you can’t find it locally. In an e-mail to me, Hammond described this as “a record that took me 25 years to put together. The disc opens with “Late Rent,” a loping swinger and is followed by “Pocket Funk,” with a slightly Latin feel. “Late Rent” is reprised in a live take at the end of the CD. Lee Morgan’s funky “The Sidewinder” is the only cover tune on the album, although, as Hammond acknowledges in his liner notes, “White Onions” is “a bluesy Hammond/Finnerty composition reminiscent of `Green Onions.'” In closing, happy holidaze to one and all. You can send greetings to me at mzkjr@yahoo.com

Musikmesse 2013 Jon Hammond Celebrates 27 years Musikmesse Warm Up Party April 9 Dienstag Tuesday Night Jazzkeller Frankfurt and 60th
Birthday

Special Thanks Dankeschön Saray Pastanesi Bäckerei & Konditorei makes Jon Hammond’s custom Chocolate Chocolate Cake
Happy 60th Birthday Jon Hammond in Jazzkeller Frankfurt Musikmesse Warm Up Party !

Di. 09.04.

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

Jon Hammond (aus New York City) – organ
Joe Berger – guitar
Tony Lakatos – 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 jonhammondband.com/music

More Jon Hammond, klick: http://behindthebeat

These great black and white photos of Jon Hammond Band were shot by the great photographer Joachim Hildebrand Musikmesse Warm Up Party – on the band: Tony Lakatos tenor sax,

Giovanni Gulino drums,

Joe Berger guitar,

Jon Hammond organ

Youtube http://youtu.be/hozrJpHvV-4

Chocolate on Chocolate Cake 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

Special Thanks to Thomas Eich TecAmp Fine Sounding 2 x 12 Neodymium Rig Powering Hammond Organ:

Jon Hammond onstage at Jazzkeller Frankfurt

*WATCH THE VIDEO HERE: James Wes Blues Jazzkeller Party Jon Hammond Band with special guest Lee Oskar

http://archive.org/details/JamesWesBlues2012JazzkellerPartyJonHammondBandWithSpecialGuestLee

Blip TV: http://blip.tv/jon-hammond/james-wes-blues-2012-jazzkeller-party-jon-hammond-band-with-special-guest-lee-oskar-6066210

Jon Hammond’s annual Musikmesse Warm Up Party in Jazzkeller Frankfurt the night before Musikmesse kicks off

The Tradition Continues! 18th Year Musikmesse-Session – Wir Sehen Uns, ab 12 April Freitag Abend – Jon Hammond Band

21:00UHR
– Jazzkeller-Hofheim –
Joe Berger guitar
Peter Klohmann tenor sax
Totó Giovanni Gulino schlagzeug
Jon Hammond orgel
Youtube http://youtu.be/4JtoWjSFow0

WATCH THE VIDEO HERE: Jazzkeller Hofheim Jon Hammond Band Little Wing

http://archive.org/details/JazzkellerHofheimJonHammondBandLittleWing

Jon Hammond’s annual Musikmesse-Session in Jazzkeller Hofheim, here paying tribute to Jimi Hendrix covering Little Wing
with Joe Berger guitar, Giovanni Gulino drums, Peter Klohmann tenor sax, Jon Hammond on Sk1 Hammond organ
*Note: When Jon Hammond was younger playing electric accordion he was known as The Jimi Hendrix of The Accordion,
see image 1971 age 18 http://www.accordionradio.com

*WATCH THE VIDEO HERE: Jon Hammond unveiling Sk1

Downloaded 252 times

http://archive.org/details/JonHammondJonHammondFirstRoadTestSk1PocketFunk

Jon Hammond – Arriving for gig Jazzkeller Hofheim
Youtube http://youtu.be/vp7pNTp6seo
Jon Hammond Band Unveling and First Road Test of Sk1 combo organ Pocket Funk 1,759
Jon Hammond Band playing original composition “POCKET FUNK”
Joe Berger – guitar
Peter Klohmann – tenor sax
Giovanni Gulino – drums
Jon Hammond – Sk1 Hammond Suzuki stage keyboard weighs only 15 lbs. as opposed to 425 lbs.= B3 Organ
— at Jazzkeller Hofheim

Brotfabrik, Jon Hammond’s guests, Paris France, Brotfabrik, Pianist, Richard Bona, Bassist, Sk1, Hammond Organ, Jon Hammond, Jazz, Blues, Local 802, Musicians Union

HammondCast 36 Jon’s Journal December 10 2012

December 10, 2012

*LISTEN TO THE AUDIO HERE: HammondCast 36

Downloaded 701 times

http://archive.org/details/JonHammondHammondCast36

HammondCast 36
Jon Hammond in New York City just back from Germany music tour and 20th year at Musikmesse Frankfurt trade show…digging deep in to the archives to present a special show put together by Jon in 1993 in Frankfurt Hausen-BROTFABRIK (the old Bread Factory) Jon Hammond presenting French Pianist FRANCOISE PUJOL first time in Germany along with RICHARD BONA on bass from Cameroon & Paris, now living in NY and FRANCIS LASSOUS – drums/batterie. A crazy story about how Jon convinced Bonsedorfer Piano Company to bring their most expensive concert-grand piano for Francoise to play there. The musicians got in to an argument at sound check and Jon almost had to play the famous piano, but thankfully it worked out and the tension made for some great playing! ..

Midnight Cake with James Brown Godfather of Soul – visiting his Godson of Soul Michael Falkenstein and Michael’s Family in Setzingen, after a long drive with his entourage in 2 white limousines – that’s the manager Judge Bradley on Michael’s right – it’s good to have a Judge for your personal manager when you are James Brown folks! Jon Hammond Youtube http://youtu.be/VjiDnJM0bd0
Congratulations 30th year Hammond Organ Germany Studio pictorial James Brown Visiting his God Son Michael Falkenstein – incredible must see and hear:

James Brown the Godfather of Soul and his God Son Michael Falkenstein at the Hammond organ with original music soundtrack from Jon Hammond radio program HammondCast – musical selections:
Time With You
Six Year Itch
Get Back In The Groove
Watermelon Man
Late Rent / HammondCast Outro
R.I.P. Godfather of Soul James Brown – here in Hammond Organ Germany Studios with his actual God Son Michael Falkenstein, amazing but true. enjoy, Jon Hammond
http://en.wikipedia.org/wiki/James_Brown
James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, songwriter, musician, and recording artist. He is one of the founding fathers of funk music and is a major figure of 20th century popular music and dance. In a career that spanned six decades, Brown profoundly influenced the development of many different musical genres.[7] Brown moved on a continuum of blues and gospel-based forms and styles to a profoundly “Africanized” approach to music making.[8] First coming to national public attention in the mid 1950’s as a member of the R&B singing group The Famous Flames[9][10], Brown performed in concerts, first making his rounds across the Chitlin’ Circuit, and then across the country and later around the world, along with appearing in shows on television and in movies. Although he contributed much to the music world through his hitmaking, Brown holds the record as the artist who charted the most singles on the Billboard Hot 100 without ever hitting number one on that chart.[11][12]
For many years, Brown’s touring show was one of the most extravagant productions in American popular music. At the time of Brown’s death, his band included three guitarists, two bass guitar players, two drummers, three horns and a percussionist.[13] The bands that he maintained during the late 1960s and 1970s were of comparable size, and the bands also included a three-piece amplified string section that played during ballads.[14] Brown employed between 40 and 50 people for the James Brown Revue, and members of the revue traveled with him in a bus to cities and towns all over the country, performing upwards of 330 shows a year with almost all of the shows as one-nighters.[15][16] In 1986, he was inducted into the Rock and Roll Hall of Fame and in 2000 into the Songwriters Hall of Fame.[17] Brown died on Christmas Day 2006 from heart failure after becoming ill two days earlier and being hospitalized for hours. He is buried in Beech Island, South Carolina.
Background information
Birth name James Joseph Brown, Jr.[1]
Also known as “The Godfather of Soul”[2][3][4]
Born May 3, 1933
Barnwell, South Carolina, United States
Origin Toccoa, Georgia
Died December 25, 2006 (aged 73)
Atlanta, Georgia[5]
Genres R&B, soul, funk, doo-wop, rock ‘n’ roll, blues, jazz
Occupations Musician, songwriter, dancer, bandleader, record producer, actor
Instruments Vocals, drums, percussion, piano, keyboards, organ
Years active 1945[6]–2006
Labels Federal, King, Dade, Try Me, Smash, People, Polydor, Scotti Bros.
Associated acts The Famous Flames, The J.B.’s, Bobby Byrd, The Soul Generals, Lyn Collins, Bobby Bennett, Bootsy Collins
Early life

James Brown was born in Barnwell, South Carolina on May 3, 1933, to Susie (née Behlings) Brown (August 8, 1916 – February 26, 2004)[18] and Joseph (“Joe”) Gardner (March 29, 1911 – July 10, 1993) (who changed his surname to Brown after Mattie Brown who raised him).[18] Although Brown was to be named after his father Joseph, his first and middle names were mistakenly reversed on his birth certificate. He therefore became James Joseph Brown, Jr.[1] As a young child, Brown was called Junior. When he later lived with his aunt and cousin, he was called Little Junior since his cousin’s nickname was also Junior.[1] Later as an adult, Brown legally changed his name to remove the “Jr.” designation. Brown claimed to have African, Chinese and Native American ancestry.[19][20]
As a young child, Brown and his family lived in extreme poverty[11] in nearby Elko, South Carolina, which at the time was an impoverished town in Barnwell County. When Brown was two years old, his parents separated after his mother left his father for another man.[21] After his mother abandoned the family, Brown continued to live with his father and his father’s live-in girlfriends until he was six years old. His father then sent him to live with an aunt, who ran a house of prostitution.[22] Even though Brown lived with relatives, he spent long stretches of time on his own, hanging out on the streets and hustling to get by.[11] Brown managed to stay in school until he dropped out in the seventh grade.[23] During his childhood, Brown earned money shining shoes, sweeping out stores, selling and trading in old stamps, washing cars and dishes and singing in talent contests.[11] Brown also performed buck dances for change to entertain troops from Camp Gordon at the start of World War II as their convoys traveled over a canal bridge near his aunt’s home.[21][22] Between earning money from these adventures, Brown taught himself to play a harmonica given to him by his father.[21] He learned to play some guitar from Tampa Red, in addition to learning to play piano and drums from others he met during this time.[21] Brown was inspired to become an entertainer after watching Louis Jordan, a popular jazz and R&B performer during the 1940s, and Jordan’s Tympany Five performing “Caldonia” in a short film.[24]
Brown began his performing career at the age of 12, forming his first vocal group, the Cremona Trio in 1945, where they won local talent shows at Augusta concert halls such as the Lenox and Harlem theaters.[6] As a result of this success, the group would later gig at several high schools and local army bases.[6] At the age of sixteen, he was convicted of armed robbery and sent to a juvenile detention center upstate in Toccoa in 1949.[8] While in prison, he formed a gospel quartet with fellow cell mates Johnny Terry, “Hucklebuck” Davis and a person named “Shag”, and made homemade instruments – a comb and paper, a washtub bass, a drum kit made from lard tubs and for Brown, what he called “a sort of mandolin [made] out of a wooden box.”[6] Due to the latter instrument, Brown was given his first nickname, “Music Box”. In 1952, while still in reform school, Brown met future R&B legend Bobby Byrd, who was there playing baseball against the reform school team. Byrd saw Brown perform there and admired his singing and performing talent.[21] As a result of this friendship, Byrd’s family helped Brown secure an early release on June 14, 1952 after serving three years of his sentence. The authorities agreed to release Brown on the condition that he would get a job and not return to Augusta or Richmond County and also under the condition he find a decent job and sing for the Lord as he had promised in his parole letter. After stints as a boxer[25] and baseball pitcher in semi-professional baseball (a career move ended by a leg injury), Brown turned his energy toward music.[26]
[edit]Career

[edit]1954–1960: The Famous Flames
Main article: The Famous Flames
By 1954, Brown had tried to get a deal with his gospel group, the Ever Ready Gospel Singers after recording a version of “His Eye Is on the Sparrow”, but returned to Toccoa when they failed to get a deal.[6] Returning, his friend Bobby Byrd asked Brown to join his R&B group, the Avons, who had previously gone under the name the Gospel Starlighters to avoid controversy with church leaders. Brown replaced another vocalist, Troy Collins, who died in a car crash.[6] The group, which included alongside Byrd and Brown; Sylvester Keels, Doyle Oglesby, Fred Pulliam and Johnny Terry, modeled themselves after the R&B groups of the day including The Orioles, The Five Keys, and Billy Ward and His Dominoes.[6] Gigging through Georgia and South Carolina, they again changed their name to the Toccoa Band to avoid confusion with two other groups who shared the Avons moniker.[6] Under this name, Brown recruited guitarist Nafloyd Scott and, under their manager Barry Tremier, added assorted percussion.[6]
While performing in Macon, Georgia, having now changed their name to The Flames, a club promoter, Clint Brantley (then agent of Brown’s idol, Little Richard[27]), suggested the band add “Famous” in front of their name to draw more people to his club.[6] The group began composing and performing their own songs during this time including a Brown composition called “Goin’ Back to Rome” and a ballad Brown co-wrote with Terry titled “Please, Please, Please”. After Little Richard left Macon for Los Angeles after the release of “Tutti Frutti”, Brantley included the band at every venue Richard had performed, leading to the growth of the group’s success. Before Christmas 1955, Brantley had the group record a demo of “Please, Please, Please” for a local Macon radio station.[6] Based on two accounts, “Please, Please, Please” was inspired in the following manner: Etta James stated that during her first meeting with Brown in Macon, Brown “used to carry around an old tattered napkin with him, because Little Richard had written the words, ‘please, please, please’ on it and James was determined to make a song out of it…”;[28] the remainder of the song came together after the group heard The Orioles’ rock ‘n’ roll version of Big Joe Williams’ hit, “Baby Please Don’t Go”, taking its melody from the song.[6]
Federal Records president Ralph Bass signed the Famous Flames to his label in February 1956 and had them record the song in Cincinnati’s King Studios. Released the following March, the song became the Famous Flames’ first R&B hit, selling over a million copies.[29] Despite the song’s success, other songs such as “I Don’t Know”, “No No No”, “Just Won’t Do Right”, and “Chonnie-On-Chon” failed to chart.[6]
By March 1957, a full year after the release of “Please, Please, Please”, most members of the Famous Flames had left the group after the group’s new manager, Universal Attractions Agency Chief Ben Bart, insisted that the group’s billing be “James Brown and The Famous Flames”.[6] After Little Richard left show business for the ministry, Brown was asked to fill in leftover dates leading to an increase in his concert success and the eventual recruitment of members of the vocal group, the Dominions, to replace the Famous Flames. The first single under this new lineup, “That Dood It”, failed to chart. In late 1958, Brown financed the demo of the ballad, “Try Me”. Released that October, it returned the Famous Flames to the charts and reached No. 1 on the R&B chart in February 1959 becoming the first of 17 chart-topping hits on the R&B chart which were credited to Brown over the next 15 years with six of them credited to the Famous Flames.[30]
Bolstered by this success, Brown recruited a new band that consisted of saxophonist J. C. Davis, guitarist Bobby Roach, bassist Bernard Odum, trumpeter Roscoe Patrick, saxophonist Albert Corley, drummer Nat Kendrick and his old band mate Bobby Byrd, who had rejoined Brown’s band on organ. This resulted in the next Brown hit, “I Want You So Bad”, which peaked in the Top 20 on the Billboard R&B chart.[6] The newly hailed “James Brown Band” debuted at the Apollo Theater on April 24, 1959, opening for Little Willie John.[6] Following his dismissal of the 1957–58 Famous Flames lineup, he hired “Baby” Lloyd Stallworth and Bobby Bennett as replacements with Byrd and Johnny Terry returning as members.[6] The lineup of Brown,Byrd,Bennett,Stallworth, and Terry proved to be the permanent and definitive Famous Flames lineup. The confusion concerning the Famous Flames singing group in the eyes of the public was that, for years, the Famous Flames were often mistaken for, and confused with, Brown’s backing band; fellow Famous Flame Byrd was also a member of the backing band at one point. Initially a vocal and instrumental group, the Famous Flames, after signing with Federal, developed into a straight vocal group, a separate entity from the James Brown Band. In early 1960, Brown’s band recorded the top ten R&B hit, “(Do the) Mashed Potatoes” on Dade Records, owned by Henry Stone, under the pseudonym “Nat Kendrick & The Swans” because Brown’s label refused to release it.[31] As a result of this, Syd Nathan decided to shift Brown’s contract from Federal to Federal’s parent label, King Records.[6]
[edit]1960–1966: Commercial breakthrough
By 1960, having been influenced more by jazz music than blues, Brown began incorporating jazz styled arrangements in his music, with Brown naming the Famous Flames hits “I’ll Go Crazy” and “Think” as examples of his changing style away from more traditional forms of R&B and rock ‘n’ roll.[6] Following the two “albums”, Please, Please, Please and Try Me under the name James Brown and The Famous Flames, Think! was Brown’s first full-length ‘solo’ album, .[6] Brown’s next albums displayed a range from vocal performances to instrumentals. Brown’s band recorded the instrumental hit, “Night Train”, which was among the first to credit Brown as composer, and which became a Top 5 R&B hit and even briefly crossed over into the Top 40 of the Billboard Hot 100. The ballad “Lost Someone” became, along with “Please, Please, Please”, an early show-stopper during Brown’s performances, while the recording of the Joe Tex composition, “Baby You’re Right” (which Brown altered substantially), increased his reputation with R&B audiences.
On October 24, 1962, Brown financed a live recording of a midnight performance at the Apollo and convinced Syd Nathan to release the album. Nathan felt that, because everyone had already brought the singles Brown performed live on this recording, no one would be interested in an album that contained no new material, and he warned Brown that live albums usually were bad sellers. Brown refused to listen, and thus the album, Live at the Apollo was released. The album was a great success, reaching No. 2 on the pop chart and selling a million copies; it stayed on the charts for fourteen months.[32] Influenced by the crossover success of Ray Charles, Brown began to perform pop standards and succeeded with his first Top 20 single, “Prisoner of Love”. That year, Brown also launched Try Me Records, releasing records by Tammy Montgomery and Johnny & Bill (Famous Flame Johnny Terry and former Flame Bill Hollings) and the Poets (the latter composed of members of Brown’s backing band).
In 1964, figuring his deal with King was at an end, Brown and fellow Famous Flame Bobby Byrd formed the production company, Fair Deal, linking the operation to a new label, Mercury imprint Smash Records.[6][33] However, King Records fought Brown’s departure and was granted an injunction preventing Brown from releasing any vocal recordings for his new label. Prior to this injunction, Brown had already released three vocal singles, including a cover of Louis Jordan’s “Caldonia”, and the 12-bar blues rock and roll number, “Out of Sight”, which further indicated the direction his sound was going to take.[34] Touring throughout 1964, Brown and The Flames soon grabbed more national attention when they performed a explosive performance in the live concert film The T.A.M.I. Show, where Brown’s energetic dance moves together with the polished choreography and timing of the Famous Flames let them upstage the show’s closing act, The Rolling Stones. In June 1965, King and Brown signed a new recording contract and released “Papa’s Got a Brand New Bag”, which became his first Top 10 hit single, winning Brown his first Grammy.[35] Later in 1965, King released the uptempo rock ‘n’ roll song, “I Got You (I Feel Good)”, which, in late 1965, reached No. 1 on the R&B charts and, in early 1966, reached the mainstream Top 10, peaking at No. 3. Later in 1966, Brown’s reputation as a hit maker was confirmed with the release of the blues-inspired soul ballad, “It’s a Man’s Man’s Man’s World”.[35]
[edit]1967–1969: Soul Brother No. 1
Brown’s success on the charts continued vastly in 1967. His No. 1 R&B hit that year, “Cold Sweat”, sometimes cited as the first true funk song, was the first of his recordings to contain a drum break and the first that featured a harmony that was reduced to a single chord.[36][37] The instrumental arrangements on tracks such as “Give It Up Or Turnit A Loose” and “Licking Stick-Licking Stick” (both recorded in 1968) and “Funky Drummer” (recorded in 1969) featured a more developed version of Brown’s mid-1960s style, with the horn section, guitars, bass and drums meshed together in intricate rhythmic patterns based on multiple interlocking riffs.
Changes in Brown’s style that started with “Cold Sweat” also established the musical foundation for Brown’s later hits, such as “I Got the Feelin'” (1968) and “Mother Popcorn” (1969). By this time Brown’s vocals frequently took the form of a kind of rhythmic declamation, not quite sung but not quite spoken, that only intermittently featured traces of pitch or melody. This would become a major influence on the techniques of rapping, which would come to maturity along with hip hop music in the coming decades.
Brown’s style of funk in the late 1960s was based on interlocking syncopated parts: funky bass lines, drum patterns, and iconic guitar riffs.[38] The main guitar ostinatos for “Ain’t it Funky” (c. late 1960s), and “Give it Up or Turn it Lose” (1969), are examples of Brown’s refinement of New Orleans funk; irresistibly danceable riffs, stripped down to their rhythmic essence. On “Ain’t it Funky” (c. late 1960s), and “Give it Up or Turn it Lose” (1969), the tonal structure is bare bones. The pattern of attack-points is the emphasis, not the pattern of pitches. It’s as if the guitar is an African drum, or idiophone. Alexander Stewart states that this popular feel was passed along from “New Orleans—through James Brown’s music, to the popular music of the 1970s.”[39] Those same tracks were later resurrected by countless hip-hop musicians from the 1970s onward. As a result, James Brown remains to this day the world’s most sampled recording artist,[40] with “Funky Drummer” itself becoming the most sampled individual piece of music
“Bring it Up” has an Afro-Cuban guajeo-like structure. In fact, on a 1976 version, Cuban bongos are used. All three of these guitar riffs are based on an onbeat/offbeat structure. Stewart states: “This model, it should be noted, is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle.”
It was around this time as the musician’s popularity increased that he acquired the nickname, “Soul Brother No. 1”, after failing to win the title “King of Soul” from Solomon Burke during a Chicago gig two years prior.[43] Brown’s recordings during this period influenced musicians across the industry, most notably groups such as Sly and the Family Stone, Funkadelic, Charles Wright & the Watts 103rd Street Rhythm Band, Booker T. & the M.G.’s as well as vocalists such as Edwin Starr, David Ruffin and Dennis Edwards from The Temptations, and Michael Jackson, who, throughout his career, cited Brown as his ultimate idol.[44]
Brown’s band during this period employed musicians and arrangers who had come up through the jazz tradition. He was noted for his ability as a bandleader and songwriter to blend the simplicity and drive of R&B with the rhythmic complexity and precision of jazz. Trumpeter Lewis Hamlin and saxophonist/keyboardist Alfred “Pee Wee” Ellis (the successor to previous bandleader Nat Jones) led the band. Guitarist Jimmy Nolen provided percussive, deceptively simple riffs for each song, and Maceo Parker’s prominent saxophone solos provided a focal point for many performances. Other members of Brown’s band included stalwart Famous Flames singer and sideman Bobby Byrd, drummers John “Jabo” Starks, Clyde Stubblefield and Melvin Parker, saxophonist St. Clair Pinckney, trombonist Fred Wesley, guitarist Alphonso “Country” Kellum and bassist Bernard Odum.
During this period, Brown’s music empire also expanded along with his influence on the music scene. As Brown’s music empire grew, his desire for financial and artistic independence grew as well. Brown bought radio stations during the late 1960s, including WRDW in his native Augusta, where he shined shoes as a boy.[35] In November 1967, James Brown purchased radio station WGYW in Knoxville, Tennessee for a reported $75,000, according to the January 20, 1968 Record World magazine. The call letters were changed to WJBE reflecting his initials. WJBE began on January 15, 1968 and broadcast a Rhythm & Blues format. The station slogan was “WJBE 1430 Raw Soul”. Brown also bought WEBB in Baltimore in 1970. At the time it was mentioned “Brown has also branched out into real estate and music publishing in recent months”. Brown also branched out to make several recordings with musicians outside his own band. In an attempt to appeal to the older, more affluent, and predominantly white adult contemporary audience, Brown recorded Gettin’ Down To It (1969) and Soul on Top (1970)–two albums consisting mostly of romantic ballads, jazz standards, and homologous reinterpretations of his earlier hits—with the Dee Felice Trio and the Louie Bellson Orchestra. In 1968, he recorded a number of funk-oriented tracks with The Dapps, a white Cincinnati bar band, including the hit “I Can’t Stand Myself (When You Touch Me)”. He also released three albums of Christmas music with his own band.
[edit]1970–1976: Godfather of Soul
In March 1970, most of the members of Brown’s mid-to-late 1960s road band walked out on him due to money disputes. Additionally, The Famous Flames singing group disbanded for the same reason, with only original and founding member Bobby Byrd electing to remain with Brown. Brown and Byrd subsequently recruited several members of the Cincinnati-based The Pacemakers, which included Bootsy Collins and his brother Phelps “Catfish” Collins; augmented by the remaining members of the 1960s road band (including Fred Wesley, who rejoined Brown’s outfit in December 1970) and other newer musicians, they would form the nucleus of The J.B.’s, Brown’s new backing ensemble. Shortly following their first performance together, the band entered the studio to record the Brown-Byrd composition, “Get Up (I Feel Like Being a) Sex Machine”; the song and other contemporaneous singles would further concretize Brown’s influence in the nascent genre of funk music. This iteration of The J.B.’s dissolved after a March 1971 European tour (documented on the 1991 archival release Love Power Peace) due to additional money disputes and Bootsy Collins’ use of LSD; the Collins brothers would soon become integral members of Parliament-Funkadelic, while a new lineup of The J.B.’s coalesced around Wesley, St. Clair Pinckney, and drummer John Starks.
In 1971, Brown began recording for Polydor Records which also took over distribution of Brown’s King Records catalog. Many of his sidemen and supporting players, including Fred Wesley & The J.B.’s, Bobby Byrd, Lyn Collins, Vicki Anderson and former rival Hank Ballard, released records on the People label, an imprint founded by Brown that was purchased by Polydor as part of Brown’s new contract. The recordings on the People label, almost all of which were produced by Brown himself, exemplified his “house style”. Songs such as “I Know You Got Soul” by Bobby Byrd, “Think (About It)” by Lyn Collins and “Doing It to Death” by Fred Wesley & The J.B.’s are considered as much a part of Brown’s recorded legacy as the recordings released under his own name. That year, he also began touring African countries and was received well by audiences there. During the 1972 presidential election, James Brown openly proclaimed his support of Richard Nixon for reelection of the presidency over Democrat candidate George McGovern.[45] The decision led to a boycott of his records being played on radio and concert ticket drops. As a result Brown’s record sales and concerts in the United States reached a lull in 1973 as he failed to land a number-one R&B single that year. Brown relied more on touring outside the United States where he continued to perform for sold-out crowds in cities such as London, Paris and Lausanne. That year, Brown also faced problems with the IRS for failure to pay back taxes, charging he hadn’t paid upwards of $4.5 million, five years earlier, the IRS claimed he owed nearly $2 million.[46]
In 1973, Brown provided the score for the blaxploitation film Black Caesar. He also recorded another soundtrack for the film, Slaughter’s Big Rip-Off. Following the release of these soundtracks, Brown acquired a self-styled nickname, “The Godfather of Soul”, which remains his most popular nickname. In 1974, he returned to the No. 1 spot on the R&B charts with “The Payback”, with the parent album reaching the same spot on the album charts; he would reach No. 1 two more times in 1974 including “My Thang” and “Papa Don’t Take No Mess”. Later that year, he returned to Africa and performed in Kinshasa as part of the buildup to The Rumble in the Jungle fight between Muhammad Ali and George Foreman. Admirers of Brown’s music, including Miles Davis and other jazz musicians, began to cite Brown as a major influence on their own styles. However, Brown, like others who were influenced by his music, also “borrowed” from other musicians. His 1976 single “Hot (I Need To Be Loved, Loved, Loved, Loved)” (R&B #31) used the main riff from “Fame” by David Bowie, not the other way around as was often believed. The riff was provided to “Fame” co-writers John Lennon and Bowie by guitarist Carlos Alomar, who had briefly been a member of Brown’s band in the late 1960s.[47]
Brown’s “Papa Don’t Take No Mess” would be his final single to reach the No. 1 spot on the R&B charts and his final Top 40 pop single of the 1970s, though Brown continued to occasionally have Top 10 R&B recordings. Among his top ten R&B hits during this latter period included “Funky President (People It’s Bad)” and “Get Up Offa That Thing”, the latter song released in 1976 and aimed at musical rivals such as Barry White, The Ohio Players and K.C. and the Sunshine Band. Brown credited his then-second wife and two of their children as writers of the song to avoid concurrent tax problems with the IRS.
[edit]1977–1988: Decline and resurgence

By 1977, Brown was no longer a dominant force in R&B. After “Get Up Offa That Thing”, thirteen of Brown’s late 1970s recordings for Polydor, failed to reach the Top 10 of the R&B chart, with only “Body Heat” in 1976 and the disco-oriented “It’s Too Funky in Here” in 1979 reaching the R&B Top 15 and the ballad “Kiss in ’77” reaching the Top 20. After 1976’s “Bodyheat”, he also failed to appear on the Billboard Hot 100. As a result, Brown’s concert attendance began dropping and reported disputes with the IRS caused Brown’s empire to collapse. In addition, Brown’s former band mates, including Fred Wesley, Maceo Parker and the Collins brothers, had found bigger success as members of George Clinton’s Parliament-Funkadelic collective. The emergence of disco also stopped Brown’s success on the R&B charts as its slicker commercial style had superseded his rawer funk productions. Brown recorded disco material on his albums starting with 1975’s Sex Machine Today, producing less than favorable results.
By the release of 1979’s The Original Disco Man, Brown wasn’t providing much production or writing, leading most of it to producer Brad Shapiro, resulting in the song “It’s Too Funky in Here” becoming Brown’s most successful single in this period. After two more albums failed to chart, Brown left Polydor in 1981. It was right along this time that Brown changed the name of his band from The J.B.’s to the Soul Generals (or Soul G’s). This band’s name remained that way until his death. Despite a fallout from record sales, Brown enjoyed something of a resurgence in this period starting with cameo roles in the feature films The Blues Brothers, Doctor Detroit and Rocky IV, as well as guest starring in the Miami Vice episode “Missing Hours” (1988). In 1984, Brown teamed with rap musician Afrika Bambaattaa on the song, “Unity”. A year later he signed with Scotti Brothers Records and issued the moderately successful album, Gravity, in 1986, which included Brown’s final Top 10 pop hit, “Living in America”, marking his first Top 40 entry since 1974 and his first Top 10 pop entry since 1968. Produced and written by Dan Hartman, it was also featured prominently on the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed’s final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas and was credited in the film as “The Godfather of Soul.” In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for “Living in America.”
In 1988, Brown worked with the production team Full Force on the new jack swing-influenced album I’m Real, which spawned his final two Top 10 R&B hits, “I’m Real” and “Static”, which peaked at No. 2 and No. 5, respectively, on the R&B charts. Meanwhile, the drum break from the second version of the original 1969 hit “Give It Up Or Turnit A Loose” (the recording included on the compilation album In the Jungle Groove) became so popular at hip hop dance parties (especially for breakdance) during the late 1970s and early 1980s that hip hop founding father Kurtis Blow called the song “the national anthem of hip hop”.
1991–2006: Final years

James Brown in Belgrade in 1993
After his stint in prison during the late 1980s, Brown returned with the album, Love Overdue, in 1991, which included the single, “(So Tired Of Standing Still We Got To) Move On”, which peaked at No. 48 on the R&B chart. His former record label Polydor also released the four-CD box set, Star Time, featuring nearly all of Brown’s hit recordings. Brown’s release from prison also sparked Brown’s former record labels to reissue the musician’s albums on CD, featuring additional singles and commentary by experts on Brown’s music. That same year, Brown guest appeared on rapper MC Hammer’s video for “Too Legit to Quit”. Hammer had been noted, alongside Big Daddy Kane, for bringing Brown’s unique stage shows and their own energetic dance moves to the hip-hop generation, with both Hammer and Kane listing Brown as their idol. Both musicians also sampled Brown’s work, with Hammer having sampled the rhythms from “Super Bad” for his song, “Here Comes the Hammer”, from his best-selling work, Please Hammer, Don’t Hurt ‘Em. Before the year was over, Brown, who had immediately returned to work with his band following his release, organized a pay-per-view concert following a show at Los Angeles’ Wiltern Theatre, that was well received.
Brown continued releasing recordings: in 1993, he issued the album, Universal James, which included Brown’s final Billboard charted single, “Can’t Get Any Harder”, which peaked at No. 76 on the US R&B chart and No. 59 on the UK chart. Its brief charting in the UK was probably due to the success of a remixed version of “I Feel Good” featuring Dakeyne. Brown also released the singles, “How Long” and “Georgia-Lina”, these songs failed to chart. In 1995, Brown returned to the Apollo, and released the live album, Live at the Apollo 1995, which included a studio track titled “Respect Me”, which was released as a single; again it failed to chart. He followed that song by releasing the megamix, “Hooked on Brown”, in 1996. Brown’s final studio albums, I’m Back and The Next Step, were released in 1998 and 2002 respectively. I’m Back featured Brown’s final charted single to date, “Funk On Ah Roll”, which peaked at No. 40 in the UK but didn’t chart in his native America. The Next Step issued Brown’s final single, “Killing is Out, School is In”. Both albums were produced by Derrick Monk. Brown’s concert success, however, remained unabated and Brown kept up with a grueling schedule throughout the remainder of his life, living up to his previous nickname, “The Hardest Working Man in Show Business”, in spite of his advanced age. In 2003, Brown participated in the PBS American Masters television documentary James Brown: Soul Survivor, which was directed by Jeremy Marre.
Brown celebrated his status as an icon by appearing in a variety of entertainment and sports events, including an appearance on the WCW pay-per-view event, SuperBrawl X, where he danced alongside wrestler Ernest “The Cat” Miller, who based his character on Brown, during his in-ring skit with The Maestro. Brown was then featured in Tony Scott’s short film, Beat the Devil, in 2001. Brown was featured alongside Clive Owen, Gary Oldman, Danny Trejo and Marilyn Manson.[49] Brown also made a cameo appearance in the 2002 Jackie Chan film The Tuxedo, in which Chan was required to finish Brown’s act after Brown was accidentally knocked out by Chan.[50] In 2002, Brown appeared in Undercover Brother, playing himself.

James Brown performing on October 22, 2003
Brown appeared at Edinburgh 50,000 – The Final Push, the final Live 8 concert on July 6, 2005, where he performed a duet with British pop star Will Young on “Papa’s Got A Brand New Bag”. He also performed a duet with another British pop star, Joss Stone, a week earlier on the United Kingdom chat show Friday Night with Jonathan Ross. Before his death, Brown was scheduled to perform a duet with singer Annie Lennox on the song “Vengeance” for her new album Venus, which was released in 2007. In 2006, Brown continued his “Seven Decades Of Funk World Tour”, his last concert tour where he performed all over the world. His final U.S. performance was in San Francisco on August 20, 2006, as headliner at the Festival of the Golden Gate (Foggfest) on the Great Meadow at Fort Mason. His last shows were greeted with positive reviews, and one of his final concert appearances at the Irish Oxegen festival in Punchestown in 2006 was performed for a record crowd of 80,000 people. Brown’s last televised appearance was at his induction into the UK Music Hall of Fame in November 2006, before his death the following month.
[edit]James Brown Revue

[edit]Concert introduction
Before James Brown appeared on stage, his personal MC gave him an elaborate introduction accompanied by drumrolls, as the MC worked in Brown’s various sobriquets along with the names of many of his hit songs. The introduction by Fats Gonder, captured on Brown’s 1962 album Live at the Apollo album, is a representative example:
So now ladies and gentlemen it is star time, are you ready for star time? Thank you and thank you very kindly. It is indeed a great pleasure to present to you at this particular time, national and international[ly] known as the hardest working man in show business, the man that sings “I’ll Go Crazy” … “Try Me” … “You’ve Got the Power” … “Think” … “If You Want Me” … “I Don’t Mind” … “Bewildered” …the million dollar seller, “Lost Someone” … the very latest release, “Night Train” … let’s everybody “Shout and Shimmy” … Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and The Famous Flames!![51]
Among the MCs who worked with Brown and his revue through the years, Brown’s most famous MC was Danny Ray, who appeared on stage with him for over 30 years.
Concert repertoire and format

Brown and MC Danny Ray during cape routine, BBC Electric Proms ’06 concert
James Brown’s performances were famous for their intensity and length. His own stated goal was to “give people more than what they came for — make them tired, ’cause that’s what they came for.'”[52] Brown’s concert repertoire consisted mostly of his own hits and recent songs, with a few R&B covers mixed in. Brown danced vigorously as he sang, working popular dance steps such as the Mashed Potato into his routine along with dramatic leaps, splits and slides. In addition, his horn players and backup singers (The Famous Flames) typically performed choreographed dance routines, and later incarnations of the Revue included backup dancers. Male performers in the Revue were required to wear tuxedoes and cummerbunds long after more casual concert wear became the norm among the younger musical acts. Brown’s own extravagant outfits and his elaborate processed hairdo completed the visual impression.
A James Brown concert typically included a performance by a featured vocalist, such as Vicki Anderson or Marva Whitney, and an instrumental feature for the band, which sometimes served as the opening act for the show. Although Brown released many live albums, Say It Live & Loud: Live in Dallas August 26, 1968, released by Polydor in 1998, was one of only a few audio recordings that captured a performance of the James Brown Revue from beginning to end.
[edit]Cape routine
A trademark feature of Brown’s stage shows, usually during the song “Please, Please, Please”, involved Brown dropping to his knees while clutching the microphone stand in his hands, prompting the show’s longtime MC, Danny Ray, to come out, drape a cape over Brown’s shoulders and escort him off the stage after he had worked himself to exhaustion during his performance. As Brown was escorted off the stage by the MC, Brown’s vocal group, The Famous Flames, continued singing the background vocals “Please, please don’t go-oh-oh”.[53] Brown would then shake off the cape and stagger back to the microphone to perform an encore. Brown’s routine was inspired by a similar one used by the professional wrestler Gorgeous George.[51][54]
Brown performs a version of the cape routine over the closing credits of the film Blues Brothers 2000.
The best place to view the “cape routine” is in Brown’s performance during the “T.A.M.I. Show” available on DVD.
[edit]As band leader
Brown demanded extreme discipline, perfection and precision from his musicians and dancers — right down to when performers in his Revue showed up for rehearsals all the way to whether members wore the right “uniform” or “costume” for concert performances.[55] During an interview conducted by Terri Gross during the NPR segment “Fresh Air” with Maceo Parker, a former saxophonist in Brown’s band for most of the 1960s and part of the 1970s and 1980s, Parker offered his experience with the discipline that Brown demanded of the band:
You gotta be on time. You gotta have your uniform. Your stuff’s got to be intact. You gotta have the bow tie. You got to have it. You can’t come up without the bow tie. You cannot come up without a cummerbund … [The] patent leather shoes we were wearing at the time gotta be greased. You just gotta have this stuff. This is what [Brown expected] … [Brown] bought the costumes. He bought the shoes. And if for some reason [the band member decided] to leave the group, [Brown told the person to] please leave my uniforms ….
—Maceo Parker[56]
Brown also had a practice of directing, correcting and assessing fines on members of his band who broke his rules, such as wearing unshined shoes, dancing out of sync or showing up late on stage.[26] During some of his concert performances, Brown danced in front of his band with his back to the audience as he slid across the floor, flashing hand signals and splaying his pulsating fingers to the beat of the music. Although audiences thought Brown’s dance routine was part of his act, this practice was actually his way of pointing to the offending member of his troupe who played or sang the wrong note or committed some other infraction. Brown used his splayed fingers and hand signals to alert the offending person of the fine that person must pay to him for breaking his rules.[57]
Brown’s demands of his support acts were, however, quite the reverse. As Fred Wesley recalled of his time as MD of the JBs, if Brown felt intimidated by a support act he would try “To undermine their performances by shortening their sets without notice, demanding that they not do certain showstopping songs, and even insisting on doing the unthinkable, playing drums on some of their songs. A sure set killer.”
Social activism

Brown shakes the hand of the painter Groover, who gave him a picture during his tour in Guadeloupe in the 1980s
[edit]Education advocacy and humanitarianism
Influenced by his own troubled childhood, which included having to be forced out of seventh grade for wearing “insufficient clothes”, Brown’s main non-musical activism was in preserving the need for education among youths, particularly black youths, who consisted of large school dropout rates in the mid-1960s. As a result of this, Brown was motivated to write the song, “Don’t Be a Drop-Out”, which was released in 1966 under the “James Brown and The Famous Flames” billing though the actual recording featured none of its members with the exception of Brown.
The song’s royalties were later donated to charity used for drop-out prevention programs, which later resulted in Brown meeting up with President Lyndon B. Johnson, who gave him a citation for being a positive role model to the youth. Throughout the remainder of his life, Brown made public speeches in front of dozens of children and continued to advocate the importance of education in school. Upon filing his will in 2002, Brown advised that most of the money in his estate go into creating the I Feel Good, Inc. Trust to benefit disadvantaged children and provide scholarships for his grandchildren. His final single, “Killing Is Out, School Is In”, advocated against murders of young children in the streets.
Brown often went on trips to his childhood neighborhood in Augusta and gave out money and other items to those he felt were in need. A week before his death in December 2006, a gravely ill-looking Brown took time to give out Christmas toys and turkeys to an Atlanta orphanage. Brown had done this several times over the years.
[edit]Civil rights and self-reliance
Brown and his band first participated in benefit concerts for civil rights groups starting in 1965, performing for organizations such as the SCLC. In 1968, Brown recorded two socially conscious songs, “America Is My Home” and “Say It Loud – I’m Black and I’m Proud”.[35] The former song, in which Brown performed a rap, advocated patriotism and went against the majority of some anti-patriotic views of the country, particularly pointing out that America was one of the few countries where “you can start as a shoeshine boy and shake hands with the President” and to “stop pitying yoursel[ves] and get up and fight.” This coincided with Brown’s participation in performing in front of troops during the Vietnam War.
“Say It Loud” was written in response from some black civil rights organizations to take a bigger stance in their movements, an issue that Brown wasn’t much involved in at the time. The song was inspired by television coverage of black on black crime as well as concurrent issues concerning the race riots that occurred following Rev. Martin Luther King, Jr.’s death while Brown was in Los Angeles. Brown wrote the words and asked his bandleader at the time, Alfred “Pee Wee” Ellis, to compose the music. The song’s lyrics helped to make it an anthem to the civil rights movement. Some critics later stated that the song had gotten through to black youths better than some civil rights leaders’ speeches. Throughout the remainder of his career and after his death, Brown was credited by some of his admirers for “destroying the word Negro from the vocabulary and making it cool to call yourself ‘Black’.” Brown was more or so indifferent to the response of the song only performing it sporadically after 1969, later stating in his 1986 autobiography:
The song is obsolete now… But it was necessary to teach pride then, and I think the song did a lot of good for a lot of people… People called “Black and Proud” militant and angry – maybe because of the line about dying on your feet instead of living on your knees. But really, if you listen to it, it sounds like a children’s song. That’s why I had children in it, so children who heard it could grow up feeling pride… The song cost me a lot of my crossover audience. The racial makeup at my concerts was mostly black after that. I don’t regret it, though, even if it was misunderstood.”[59]
He performed in front of a televised audience in Boston the day after Dr. King’s death.[35] Brown has been often given credit for preventing rioting with the performance though that was disputed due to the airing of the PBS/VH-1 special, The Night James Brown Saved Boston.[60] Mayor Kevin White strongly restrained the Boston Police from cracking down on minor violence and protests after the assassination,[60] and Boston religious and community leaders worked to keep tempers from flaring.[60] Also, White arranged to have the Brown performance broadcast multiple times on Boston’s public television station, WGBH, thus keeping many potential rioters off the streets, watching the concert for free. Brown demanded $60,000 for “gate” fees (money he thought would be lost from ticket sales on account of the concert being broadcast for free), and then threatened to go public about the secret arrangement when the city balked at paying up after the concert, news of which would have been a political death-blow to White, and possibly sparked riots on its own.[60] White successfully lobbied the behind-the-scenes power-brokering group known as “The Vault” to come up with money for Brown’s gate fee and other social programs; The Vault contributed $100,000 to such programs, and Brown received $15,000 from them via the city. White persuaded management at the Boston Garden to give up their share of receipts to make up the difference.[60]
Brown was then advised by the then current administration of President Johnson to travel to riot-torn black communities and advise the youth to “cool it, there is another way” of addressing racism and other issues.[61] In 1971, he was made “freeman of the city” in Lagos, Nigeria after performing there by Oba Adeyinka Oyekan, for his “influence on Black people all over the world.”[62] With his company, James Brown Enterprises, Brown helped to provide jobs for blacks in businesses in the communities.[63] Though Brown seemed to show support toward causes to improve the conditions of youths, he was against anything that he felt went against his beliefs, often criticizing militant black leaders in songs such as “Get Up, Get Into It, Get Involved” and “Talkin’ Loud and Sayin’ Nothing”, the latter song in which he was often accused of not doing more for blacks. Brown also recorded songs aiming towards self-reliance including “I Don’t Want Nobody to Give Me Nothing (Open Up the Door, I’ll Get It Myself)”. As the early 1970s continued, he performed songs of other social matters that were troubling the black community including drug abuse in the song, “King Heroin”, in 1972.
[edit]Political views
Though Democrat Lyndon B. Johnson was the one who convinced Brown to go to riot-torn inner cities in the wake of the King assassination, Brown was a staunch Republican.[64] Although he initially spoke at political rallies with Hubert Humphrey, following the riots that engaged during the 1968 Democratic National Convention, Brown switched his endorsement to Richard Nixon and was one of the few Black celebrities who openly admitted it. During the 1972 presidential election, Brown again endorsed Nixon for his second term. Because of a perceived heavily negative view of Nixon by blacks, Brown’s records faced boycott in several radio stations across the country as a result of angry black leaders’ disgust at Brown’s stance. Some of the singer’s concerts during this time were protested. Brown also upset black liberals by agreeing to perform for troops during the Vietnam War despite the public’s growing opposition against the war at the time.
In 1999, when being interviewed by Rolling Stone, the magazine asked him to name a hero in the 20th century, Brown mentioned Republican Senator Strom Thurmond, stating “when the young whippersnappers get out of line, whether Democrat or Republican, an old man can walk up and say ‘Wait a minute, son, it goes this way.’ And that’s great for our country. He’s like a grandfather to me.”[64] Thurmond and his son eventually helped to get Brown be released on parole from his six-year prison sentence in 1991. In 2003, Brown was the featured attraction of a D.C. fundraiser for the National Republican Senatorial Committee.[64] Following the deaths of Ronald Reagan and his friend and fellow Republican Ray Charles, Brown said to CNN, “I’m kind of in an uproar. I love the country and I got – you know I’ve been around a long time, through many presidents and everything. So after losing Mr. Reagan, who I knew very well, then Mr. Ray Charles, who I worked with and lived with like, all our life, we had a show together in Oakland many, many years ago and it’s like you found the placard.”[64]
[edit]Personal life

At the end of his life, James Brown lived in a riverfront home in Beech Island, South Carolina, directly across the Savannah River from Augusta, Georgia. James Brown was diagnosed with diabetes at a very early stage of his life.[citation needed] In 2004 Brown was successfully treated for prostate cancer.[65] Regardless of his health, Brown maintained his reputation as the “hardest working man in show business” by keeping up with his grueling performance schedule.
[edit]Marriages and children
Brown was married three times — Velma Warren (1953–1969, divorced), Deidre “Deedee” Jenkins (October 22, 1970 – January 10, 1981, divorced) and Adrienne Lois Rodriguez (March 9, 1950 – January 6, 1996) (1984–1996, wife’s death). He also had a relationship with Tomi Rae Hynie (2001–2004). From these and other relationships, James Brown had five sons — Teddy Brown (1954–1973), Terry Brown, Larry Brown, Daryl Brown (a member of Brown’s backing band) and James Joseph Brown II, in addition to four daughters — Lisa Brown, Dr. Yamma Noyola Brown Lumar, Deanna Brown Thomas and Venisha Brown.[5][66][67] Brown also had eight grandchildren and four great-grandchildren.[5][66] Brown’s eldest son, Teddy, died in a car crash on June 14, 1973.[68] According to an August 22, 2007 article published in the British newspaper The Daily Telegraph, DNA tests indicate that Brown also fathered at least three extramarital children. The only one of them who has been identified is LaRhonda Pettit (born 1962), a retired air stewardess and teacher who lives in Houston.[69]
[edit]Brown-Hynie marriage controversy
Much controversy surrounds Tomi Rae Hynie’s marriage to James Brown on December 23, 2002, officiated by Rev. Larry Fryer.[70] Brown’s longtime attorney, Albert “Buddy” Dallas, reported that the marriage between Brown and Hynie was not valid because Hynie was married at that time to Javed Ahmed, a Bangladeshi whom Hynie claimed married her for a Green Card in an immigration fraud. Although Hynie stated that her marriage to Javed Ahmed was later annulled, this annulment did not occur until April 2004.[70][71] In an interview on CNN with Larry King, Hynie produced a 2001 marriage certificate as proof of her marriage to James Brown, but she did not provide King with court records pointing to an annulment of her marriage to him or to Ahmed.[72]
According to Dallas, Brown was angry and hurt that Hynie concealed her prior marriage from him, and that Brown moved to file for annulment from Hynie.[73] Dallas added that, although Hynie’s marriage to Javed Ahmed was annulled after she married James Brown, the Brown-Hynie marriage was not valid under South Carolina law because Brown and Hynie did not remarry after the annulment.[72][74] In August 2003, Brown took out a full-page public notice in Variety Magazine featuring Hynie, James II and himself on vacation at Disney World to announce that he and Hynie were going their separate ways.[75][76]
[edit]Paternity of James Brown II
In a separate CNN interview, Debra Opri, another Brown family attorney, revealed to Larry King that Brown wanted a DNA test performed after his death to confirm the paternity of James Brown II — not for Brown’s sake, but for the sake of the other family members.[77] In April 2007, Hynie selected a guardian ad litem whom she wants appointed by the court to represent her son, James Brown II, in the paternity proceedings.[78]
[edit]Drug addiction
Throughout the first 20 years of Brown’s career, Brown was known to carry around a drug-free policy with any member of his entourage, including his band, firing people for disobeying orders, especially those who would use or abuse drugs. Brown’s policy caused some of the “interim members” of Brown’s vocal group The Famous Flames being fired for their usage of drugs and alcohol. Noting of this policy, some of the original members of Brown’s 1970s band, The J.B.’s including the Collins brothers, Catfish and Bootsy, intentionally got high on acid during a 1971 concert gig, causing Brown to fire them after the show because he had expected them to be on drugs all along, according to Bootsy Collins.
Though this policy maintained through the mid-1970s, by the late-1970s, it was alleged that Brown himself had started to use drugs. By the mid-1980s, after meeting and marrying Adrienne Rodriguez, she and Brown began using PCP, or “angel dust”. A PCP-triggered Brown would be later arrested several times in the mid-1980s and early-1990s for domestic violence against Rodriguez. After being arrested in May 1988 for allegedly hitting Rodriguez with a lead pipe and shooting at her in their car during an argument, Brown went on TV with a local Los Angeles reporter via satellite from Atlanta and appeared to be behaving erratically in response to some of the interviewer’s questions, refusing to talk about the domestic issue with Rodriguez but instead wanted to bring more focus on his professional work including an upcoming tour of Brazil; at one point Brown began shouting out his song titles to one of the reporter’s questions. This interview was later satirized by comedian Cedric the Entertainer during an appearance on Comic View. The interview later went viral in the early years of the new millennium and led some assuming that Brown was either drunk or doped up.
One of Brown’s former mistresses recalled in an GQ magazine article on Brown some years after his death that Brown would smoke PCP “until that got hard to find”, and cocaine, mixed with tobacco in Kools cigarettes.[79] In January 1998, he spent a week in rehab to deal with an addiction to prescription painkillers; a week following his release, he was arrested for an unlawful use of a handgun and possession of marijuana.[80]
[edit]Legal issues
Brown’s personal life was marred by several brushes with the law. At the age of 16, he was arrested for theft and served 3 years in prison. In 1978, while in concert at the Apollo, Brown was arrested onstage for failing to comply with a government order not to leave the country during an investigation of his radio stations.[46] In 1988, Brown was arrested twice, first for drugs and weapons charges in May, and later in September of that year following an alleged high-speed car chase on Interstate 20 near the Georgia-South Carolina state border. He was convicted of carrying an unlicensed pistol and assaulting a police officer, along with various drug-related and driving offenses. Although he was sentenced to six years in prison, he was eventually released in 1991 after serving only three years of his sentence. Brown’s FBI file, released to The Washington Post in 2007 under the Freedom of Information Act,[81] related Brown’s claim that the high-speed chase did not occur as claimed by the police, and that local police shot at his car several times during an incident of police harassment and assaulted him after his arrest.[82] Local authorities found no merit to Brown’s accusations.
In another incident, the police were summoned to Brown’s residence on July 3, 2000 after he was accused of charging at an electric company repairman with a steak knife when the repairman visited Brown’s house to investigate a complaint about having no lights at the residence.[83] In 2003, Brown was pardoned by the South Carolina Department of Probation, Parole, and Pardon Services for past crimes that he was convicted of committing in South Carolina.[84]
For the remainder of his life, Brown was repeatedly arrested for domestic violence. Adrienne Rodriguez, his third wife, had him arrested four times between 1987 and 1995 on charges of assault. In January 2004, Brown was arrested in South Carolina on a domestic violence charge after Tomi Rae Hynie accused him of pushing her to the floor during an argument at their home, where she suffered scratches and bruises to her right arm and hip. Later that year in June 2004, Brown pleaded no contest to the domestic violence incident, but served no jail time. Instead, Brown was required to forfeit a US$1,087 bond as punishment.[85]
In January 2005, a woman named Jacque Hollander filed a lawsuit against James Brown, which stemmed from an alleged 1988 forcible rape. When the case was initially heard before a judge in 2002, Hollander’s claims against Brown were dismissed by the court as the limitations period for filing the suit had expired. Hollander claimed that stress from the alleged assault later caused her to contract Graves’ Disease, a thyroid condition. Hollander claimed that the incident took place in South Carolina while she was employed by Brown as a publicist. Hollander alleged that, during her ride in a van with Brown, Brown pulled over to the side of the road and sexually assaulted her while he threatened her with a shotgun. In her case against Brown, Hollander entered as evidence a DNA sample and a polygraph result, but the evidence was not considered due to the limitations defense. Hollander later attempted to bring her case before the Supreme Court but nothing became of her complaint.[86]
[edit]Death and aftermath
Death
On December 23, 2006, James Brown became ill and showed up at his dentist’s office in Atlanta, Georgia several hours later than his appointment for dental implant work. During that visit, Brown’s dentist observed that Brown looked “very bad … weak and dazed.” Instead of performing the dental work, the dentist advised Brown to see a doctor right away about his medical condition.[22]
Brown checked in at the Emory Crawford Long Memorial Hospital the next day for a medical evaluation of his condition, and he was admitted to the hospital for observation and treatment.[87] According to Charles Bobbit, Brown’s longtime personal manager and friend, Brown had been sick and suffering with a noisy cough since he returned from a November trip to Europe.[22] Bobbit also added that it was characteristic of Brown to never complain about being sick, and that he frequently performed during illness.[22] Although Brown had to cancel upcoming shows in Waterbury, Connecticut and Englewood, New Jersey, Brown was confident that the doctor would discharge him from the hospital in time to perform the New Year’s Eve shows. For the New Year’s celebrations, Brown was scheduled to perform at the Count Basie Theatre in New Jersey and at the B. B. King Blues Club in New York, in addition to performing a song live on CNN for the Anderson Cooper New Year’s Eve special.[87] However, Brown remained hospitalized, and his medical condition worsened throughout that day.
On Christmas Day, Brown died at approximately 1:45 am EST (06:45 UTC) from congestive heart failure resulting from complications of pneumonia, with his personal manager and longtime friend Charles Bobbit at his bedside.[88] According to Mr. Bobbit, Brown stuttered “I’m going away tonight”, and then Brown took three long, quiet breaths and fell asleep before dying.[89]
[edit]Memorial services

Public memorial at the Apollo Theater in Harlem

Private funeral in Augusta, Georgia, with Michael Jackson attending
After Brown’s death on Christmas Day, Brown’s relatives and friends, a host of celebrities and thousands of fans attended public memorial services at the Apollo Theater in New York on December 28, 2006 and at the James Brown Arena on December 30, 2006 in Augusta, Georgia.[66] A separate, private memorial service was also held in North Augusta, South Carolina on December 29, 2006,[5] which was attended by Brown’s family and close friends. Celebrities who attended Brown’s public and/or private memorial services included Michael Jackson, Jimmy Cliff, Joe Frazier, Buddy Guy, Ice Cube, Ludacris, Dr. Dre, Little Richard, Dick Gregory, MC Hammer, Prince, Jesse Jackson, Ice-T, Jerry Lee Lewis, Bootsy Collins, LL Cool J, Li’l Wayne, Lenny Kravitz, 50 Cent, Stevie Wonder, and Don King, among others.[90][91][92][93] All of the public and private memorial services were officiated by Rev. Al Sharpton.[94][95]
Brown’s public and private memorial ceremonies were elaborate, complete with costume changes for Brown and videos featuring him in concert performances. Brown’s body, which was placed in a Promethean casket, which is bronze polished to a golden shine, was driven through the streets of New York to the Apollo Theater in a white, glass-encased horse-drawn carriage.[96][97] In Augusta, Georgia, the procession for Brown’s public memorial visited Brown’s statue as the procession made its way to the James Brown Arena. During the public memorial at the James Brown Arena, nachos and pretzels were served to mourners, as a video showed Brown’s last performance in Augusta, Georgia and the Ray Charles version of “Georgia on My Mind” played soulfully in the background.[98][99][100] Brown’s last backup band, The Soul Generals, also played the music of Brown’s hits during the memorial service at the James Brown Arena. The group was joined by Bootsy Collins on bass, with MC Hammer performing a dance in James Brown style.[101] Former Temptations lead singer Ali-Ollie Woodson performed “Walk Around Heaven All Day” at the memorial services.[102]
[edit]Last will and testament
James Brown signed his last will and testament on August 1, 2000, before Strom Thurmond, Jr., an attorney for Brown’s estate.[103] The irrevocable trust, separate and apart from Brown’s will, was created on Brown’s behalf in 2000 by his attorney, Albert “Buddy” Dallas, who was named as one of three personal representatives of Brown’s estate. Brown’s will covered the disposition of his personal assets, such as clothing, cars and jewelry, while Brown’s irrevocable trust covered the disposition of music rights, business assets of James Brown Enterprises and Brown’s Beech Island estate in South Carolina.[104]
During the reading of Brown’s will on January 11, 2007, Thurmond revealed that Brown’s six adult living children (Terry Brown, Larry Brown, Daryl Brown, Yamma Brown Lumar, Deanna Brown Thomas and Venisha Brown) were named in the will. Hynie and James II were not mentioned in the will as parties who could inherit Brown’s property.[103][105] Brown’s will was signed ten months before James II was born and more than a year before Brown’s marriage to Tomi Rae Hynie. Like Brown’s will, his irrevocable trust also did not mention Hynie and James II as recipients of Brown’s property. The irrevocable trust was established before, and had not been amended since, the birth of James II.[106]
On January 24, 2007, Brown’s children filed a lawsuit against the personal representatives of Brown’s estate. In their petition, Brown’s children asked the court to remove the personal representatives of Brown’s estate (including Brown’s attorney and estate’s trustee, Albert “Buddy” Dallas) and appoint a special administrator because of perceived impropriety and alleged mismanagement of Brown’s assets.[107][108] To challenge the validity of the will and irrevocable trust, Hynie also filed a lawsuit against Brown’s estate on January 31, 2007. In her lawsuit against Brown’s estate, Hynie asked the court to recognize her as Brown’s widow, and she also asked the court to appoint a special administrator for the estate.[109]
[edit]Burial at temporary site
After the public and private memorial services in late December 2006, James Brown’s body remained in his casket for a time in a temperature-controlled room at his estate. Brown’s casket was later moved to an undisclosed location, while his children and Tomi Rae Hynie became embroiled in disputes about Brown’s final resting place and matters related to probating his will.[110] More than ten weeks after Brown’s death and the public and private memorial services, Brown’s children and Hynie decided on a temporary burial site for James Brown. Brown was buried on March 10, 2007 in a crypt at the home of Deanna Brown Thomas, one of Brown’s daughters who also held a private ceremony for the temporary burial.[111]
— with Michael Falkenstein, Klaus Maier and James Brown

1966 November 17 — Taxpayers Against War
Brought To You By Jon Hammond was there: TAXPAYERS AGAINST WAR NOV. 17 A PUBLIC MEETING GLIDE METHODIST CHURCH ELLIS AND TAYLOR, S.F. 8PM Speakers FRANCIS HEISLER JOAN BAEZ “REFUNDS FROM 1965 TAXES”
http://ireport.cnn.com/docs/DOC-519533
Meeting Glide Methodist Church Ellis and Taylor, S.F. 8PM

FRANCIS HEISLER
http://www.nytimes.com/1984/07/07/obituaries/francis-heisler.html
Published: July 7, 1984
CARMEL, Calif., July 6— Francis Heisler, a decorated veteran of World War I who became a lawyer and defended hundreds of conscientious objectors in three wars, died Thursday.

He was 88 years old.

Richard Criley, a longtime friend who is vice chairman of the Northern California chapter of the American Civil Liberties Union, said Mr.. Heisler had defended more than 2,000 conscientious objectors in World War II, the Korean War and the Vietnam War.

Mr. Heisler was born in Hungary and served as a lieutenant in World War I, and was decorated for bravery under fire. He came to the United States after the war and became a lawyer. He is survived by his wife, Friedy, and two grandchildren.

Joan Baez
http://en.wikipedia.org/wiki/Joan_Baez
Joan Baez ( /ˈbaɪ.ɛz/) (born January 9, 1941 as Joan Chandos Báez) is an American folk singer, songwriter, musician, and a prominent activist in the fields of human rights, peace, and environmental justice.
Baez has a distinctive vocal style, with a strong vibrato.[1] Her recordings include many topical songs and material dealing with social issues.
Baez began her career performing in coffeehouses in Boston and Cambridge, and rose to fame as an unbilled performer at the 1959 Newport Folk Festival. She began her recording career in 1960, and achieved immediate success. Her first three albums, Joan Baez, Joan Baez, Vol. 2, and Joan Baez in Concert all achieved gold record status, and stayed on the charts of hit albums for two years.[2]
Baez has had a popular hit song with “Diamonds & Rust” and hit covers of Phil Ochs’s “There but for Fortune” and The Band’s “The Night They Drove Old Dixie Down”. Other songs associated with Baez include “Farewell, Angelina”, “Love Is Just a Four-Letter Word”, “Joe Hill”, “Sweet Sir Galahad” and “We Shall Overcome”. She performed three of the songs at the 1969 Woodstock Festival, helped to bring the songs of Bob Dylan to national prominence, and has displayed a lifelong commitment to political and social activism in the fields of nonviolence, civil rights, human rights and the environment.[3]
Baez has performed publicly for over 53 years, releasing over 30 albums. Fluent in Spanish as well as in English, she has also recorded songs in at least six other languages. She is regarded as a folk singer, although her music has diversified since the 1960s, encompassing everything from folk rock and pop to country and gospel music. Although a songwriter herself, Baez is generally regarded as an interpreter of other people’s work, having recorded songs by The Allman Brothers Band, The Beatles, Jackson Browne, Bob Dylan, Violeta Parra, Woody Guthrie, The Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder, Leonard Cohen, and many others. In recent years, she has found success interpreting songs of modern songwriters such as Ryan Adams, Josh Ritter, Steve Earle and Natalie Merchant.
Joan Baez ( /ˈbaɪ.ɛz/) (born January 9, 1941 as Joan Chandos Báez) is an American folk singer, songwriter, musician, and a prominent activist in the fields of human rights, peace, and environmental justice.
Baez has a distinctive vocal style, with a strong vibrato.[1] Her recordings include many topical songs and material dealing with social issues.
Baez began her career performing in coffeehouses in Boston and Cambridge, and rose to fame as an unbilled performer at the 1959 Newport Folk Festival. She began her recording career in 1960, and achieved immediate success. Her first three albums, Joan Baez, Joan Baez, Vol. 2, and Joan Baez in Concert all achieved gold record status, and stayed on the charts of hit albums for two years.[2]
Baez has had a popular hit song with “Diamonds & Rust” and hit covers of Phil Ochs’s “There but for Fortune” and The Band’s “The Night They Drove Old Dixie Down”. Other songs associated with Baez include “Farewell, Angelina”, “Love Is Just a Four-Letter Word”, “Joe Hill”, “Sweet Sir Galahad” and “We Shall Overcome”. She performed three of the songs at the 1969 Woodstock Festival, helped to bring the songs of Bob Dylan to national prominence, and has displayed a lifelong commitment to political and social activism in the fields of nonviolence, civil rights, human rights and the environment.[3]
Baez has performed publicly for over 53 years, releasing over 30 albums. Fluent in Spanish as well as in English, she has also recorded songs in at least six other languages. She is regarded as a folk singer, although her music has diversified since the 1960s, encompassing everything from folk rock and pop to country and gospel music. Although a songwriter herself, Baez is generally regarded as an interpreter of other people’s work, having recorded songs by The Allman Brothers Band, The Beatles, Jackson Browne, Bob Dylan, Violeta Parra, Woody Guthrie, The Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder, Leonard Cohen, and many others. In recent years, she has found success interpreting songs of modern songwriters such as Ryan Adams, Josh Ritter, Steve Earle and Natalie Merchant.
Early life

Baez was born on Staten Island, New York in 1941.[4] Her father, Albert Baez, was born in 1912 in Puebla, Puebla, Mexico, and died March 20, 2007.[5] His father, Joan’s grandfather, the Reverend Alberto Baez, left Catholicism to become a Methodist minister and moved to the U.S. when Albert was two years old. Albert grew up in Brooklyn, New York, where his father preached to—and advocated for—a Spanish-speaking congregation.[6] Albert first considered becoming a minister but instead he turned to the study of mathematics and physics, where he later became a co-inventor of the x-ray microscope[7][8][9] and author of one of the most widely used physics textbooks[10] in the U.S. The Baez family converted to Quakerism during Joan’s early childhood, and she has continued to identify with the tradition, particularly in her commitment to pacifism and social issues.[citation needed]
Her mother, Joan (Bridge) Baez, referred to as Joan Senior or “Big Joan”, was born in Edinburgh, Scotland, the second daughter of an English Anglican priest descended from the Dukes of Chandos.[11] Joan Senior and Albert met at a high-school dance in Madison, New Jersey, and quickly fell in love. After their marriage, the newlyweds moved to California.[citation needed]
Baez had two sisters — the elder, Pauline, and the younger, Mimi Fariña. Mimi, also a musician and activist, died of cancer in California in 2001.[12]
Because of her father’s work in health care and with UNESCO, the family moved many times, living in towns across the U.S, as well as in England, France, Switzerland, Spain, Canada, and the Middle East, including Iraq, where they were in 1951. Joan became involved with a variety of social causes early in her career, including civil rights and non-violence.[13] ‘Social justice, she stated in the PBS series American Masters, is the true core of [her] life, looming larger than music.'[14]
[edit]Music career

[edit]Early years
A friend of Joan’s father gave her a ukulele. She learned four chords, which enabled her to play rhythm and blues, the music she was listening to at the time. Her parents, however, were fearful that the music would lead her into a life of drug addiction.[15] When she was 8, at her aunt’s behest, Baez attended a concert by folk musician Pete Seeger, and found herself strongly moved by his music.[15] She soon began practicing the songs of his repertoire and performing them publicly. One of her very earliest public performances was at a retreat in Saratoga, California, for a youth group from Temple Beth Jacob, a Redwood City, California, congregation. In 1957, Baez bought her first Gibson acoustic guitar.
[edit]College music scene in Massachusetts
In 1958, her father accepted a faculty position at MIT, and moved his family to Massachusetts. At that time, it was within the center of the up-and-coming folk-music scene, and Baez began performing near home in Boston and nearby Cambridge. She also performed in clubs, and attended Boston University for about six weeks.[14] In 1958, at the Club 47 in Cambridge, she gave her first concert. When designing the poster for the performance, Baez considered changing her performing name to either Rachel Sandperl, the surname of her long-time mentor, Ira Sandperl or Maria from the song “They Call the Wind Maria”. She later opted against doing so, fearing that people would accuse her of changing her last name because it was Spanish. The audience consisted of her parents, her sister Mimi, her boyfriend, and a small group of friends, resulting in a total of eight patrons. She was paid ten dollars. Baez was later asked back and began performing twice a week for $25 per show.[16]
A few months later, Baez and two other folk enthusiasts made plans to record an album in the cellar of a friend’s house. The three sang solos and duets, a family friend designed the album cover, and it was released on Veritas Records that same year as Folksingers ‘Round Harvard Square. Baez later met Bob Gibson and Odetta, who were at the time two of the most prominent vocalists singing folk and gospel music. Baez cites Odetta as a primary influence along with Marian Anderson and Seeger.[17] Gibson invited Baez to perform with him at the 1959 Newport Folk Festival, where the two sang two duets, “Virgin Mary Had One Son” and “We Are Crossing Jordan River”. The performance generated substantial praise for the “barefoot Madonna” with the otherworldly voice, and it was this appearance that led to Baez signing with Vanguard Records the following year[18] although Columbia Records tried to sign her first.[19] Baez later claimed that she felt she would be given more artistic license at a more “low key” label.[20]
[edit]First albums and 1960s breakthrough

Baez playing at the March on Washington in August 1963.
Her true professional career began at that 1959 Newport Folk Festival; following that appearance, she recorded her first album for Vanguard, Joan Baez (1960), produced by Fred Hellerman of The Weavers, who produced many albums by folk artists. The collection of traditional folk ballads, blues and laments sung to her own guitar accompaniment sold moderately well. It featured many popular Child Ballads of the day, such as “Mary Hamilton” and was recorded in only four days in the ballroom of New York City’s Manhattan Towers Hotel. The album also included “El Preso Numero Nueve”, a song sung entirely in Spanish. (She would rerecord the later song in 1974 for inclusion on her Spanish-language album, Gracias a la Vida)
Her second release, Joan Baez, Vol. 2 (1961) went “gold”, as did Joan Baez in Concert, Part 1 (1962) and Joan Baez in Concert, Part 2 (1963). Like its immediate predecessor, Joan Baez, Vol. 2 contained strictly traditional material. Her two albums of live material, Joan Baez in Concert, Part 1 and its second counterpart, were unique in that, unlike most live albums, they contained only new songs, rather than established favorites. It was Joan Baez in Concert, Part 2 that featured Baez’s first-ever Dylan cover. From the early-to-mid-1960s, Baez emerged at the forefront of the American roots revival, where she introduced her audiences to the then-unknown Bob Dylan (the two became romantically involved in late 1962, remaining together through early 1965), and was emulated by artists such as Judy Collins, Emmylou Harris, Joni Mitchell and Bonnie Raitt.
Though primarily an albums artist, several of Baez’ singles have charted and the first being her 1965 cover of Phil Ochs’ “There but for Fortune”, which became a mid-level chart hit in the U.S. and a top-ten single in the United Kingdom. Baez added other instruments to her recordings on Farewell, Angelina (1965), which features several Dylan songs interspersed with more traditional fare. Deciding to experiment after having exhausted the folksinger-with-guitar format, Baez turned to Peter Schickele, a classical music composer, who provided classical orchestration for her next three albums: Noël (1966), Joan (1967) and Baptism: A Journey Through Our Time (1968). Noël was a Christmas album of traditional material, while Baptism was akin to a concept album, featuring Baez reading and singing poems written by celebrated poets such as James Joyce, Federico García Lorca and Walt Whitman.
In 1968, Baez traveled to Nashville, Tennessee, where a marathon recording session resulted in two albums. The first, Any Day Now (1968), consists exclusively of Dylan covers. The other, the country-music-infused David’s Album (1969) was recorded for husband David Harris, a prominent anti-Vietnam War protester eventually imprisoned for draft resistance. Harris, a country-music fan, turned Baez toward more complex country-rock influences beginning with David’s Album. Later in 1968, she published her first memoir, Daybreak (by Dial Press). In 1969, her appearance at Woodstock in upstate New York afforded her an international musical and political podium, particularly upon the successful release of the documentary film Woodstock (1970). Beginning in the late 1960s, Baez began writing many of her own songs, beginning with “Sweet Sir Galahad” and “A Song For David”, both songs appearing on her 1970 (I Live) One Day at a Time album; the former song was written about her sister Mimi’s second marriage, while the later was a tribute to Harris.
Baez’s distinctive vocal style and political activism had a significant impact on popular music. She was one of the first musicians to use her popularity as a vehicle for social protest, singing and marching for human rights and peace. Baez came to be considered the “most accomplished interpretive folksinger/songwriter of the 1960s.”[21] Her appeal extended far beyond the folk-music audience.[21] Of her fourteen Vanguard albums, thirteen made the top 100 of Billboard’s mainstream pop chart, eleven made the top forty, eight made the top twenty, and four made the top ten.[22]
[edit]1970s and the end of Vanguard years

Baez playing in a Hamburg TV studio, 1973
After eleven years with Vanguard, Baez decided in 1971 to cut ties with the label that had released her albums since 1960. She delivered them one last success with the gold-selling album Blessed Are… (1971) which spawned a top-ten hit in Robbie Robertson’s “The Night They Drove Old Dixie Down”, her cover of The Band’s signature song. With Come from the Shadows (1972), Baez switched to A&M Records, where she remained for four years and six albums. Cont…

Radio France Inter Program from Jon Hammond Trio Concert

Vimeo http://vimeo.com/49070840

Paris France — “Lydia’s Tune” – Onstage camera of Jon Hammond captures this live radio concert in Maison de Radio France Studio Charles Trenet Jazz vivant producteur délégué : André Francis
circa 28th March 1996

Lydia’s Tune in Radio France Inter Concert Jon Hammond Trio from Jon Hammond on Vimeo.

This song was written by Jon Hammond in Hotel de Seine 1981 –
Jon Hammond orgue / Hammond organ

James Brown, Michael Falkenstein, Joan Baez, Andre Francis, Radio France Inter, Jon Hammond, Lydia’s Tune, Paris France, Jazz, Funky, Blues, Local 802 Musicians Union

HammondCast 26 and Jon Hammond Journal August 7, 2012

August 8, 2012

*LISTEN TO THE AUDIO HERE: HammondCast 26
Downloaded 1,191 times
http://archive.org/details/JonHammondHammondCast26

HammondCast 26 from New York based Organist/Accordionist JON HAMMOND, this show’s special guests: EDDIE MONEY, Jon’s friend for many years debuting the new Breakout Single “You Don’t Know Me” from Eddie’s new album “WANNA GO BACK” on the Big Deal Productions label, available on CD Baby.com and Apple iTunes. Also exclusive interview with BARRY MELTON original founding member of COUNTRY JOE and the FISH, guitarist and practicing Attorney of Law in Yolo County CA now. And a track from Barry’s album “THE SALOON YEARS”: “HARLEM NOCTURNE” along with the late JOHN CIPOLLINA on guitar. Jon plays new tracks from his forthcoming album NDR SESSIONS PROJEKT: “MY ONE and ONLY LOVE”, “EASY LIVING” and “LATE RENT” and news about upcoming Russia Tour and Germany Tour. HammondCast is heard weekdays on San Francisco’s KYOU Radio 1550 AM. Jon Hammond is a Member of Local 802 & Local 6 Musician Union and ASCAP Composer/Publisher. Visit Jon’s official sites: http://www.HammondCast.com and WebTV: http://community.webtv.net/laterent/JONHAMMOND

Eddie Money Family in a Taxi Cab on 42nd St.

New York NY W.42nd St. — There goes Eddie Money with his youngest son Julian *excellent drummer and wife Laurie in a taxi cab after a great show at BB King’s – Jon Hammond
Youtube http://www.youtube.com/watch?v=ndMNfc_0j8Y
Introducing Julian Money drums (Son of Eddie Money) on Eddie Money Band encore Shakin’ last night in New York City at BB King’s covered by Jon Hammond
HammondCast http://www.HammondCast.com/
Julian rocked it! – Jon Hammond
http://eddiemoney.com/

San Francisco California — Donald Duck Bailey and Jon Hammond Youtube
http://www.youtube.com/watch?v=dzLq5VlmxzM

Donald Duck Bailey legendary jazz drummer and harmonica recording artist here, performing on Fathers Day 2011 at The Tunnell Rehabilitation Center in San Francisco and interview with Jon Hammond of HammondCast. Concert sponsored by Jazz Foundation of America, Donald Duck Bailey drums & harmonica, Dewayne Oakley bs, Christopher L. Clarke tpt., Wayne Anderson gtr., camera: Jennifer and Jon Hammond – Special Thanks Stuart Cohen Director of Activities The Tunnell Center for Rehabilitation and Healthcare SF CA, Marianne Pillsbury Jazz Foundation of America
http://en.wikipedia.org/wiki/Donald_Bailey_(musician)
He is probably best known[citation needed] as the drummer in the trio of jazz organist Jimmy Smith from 1956 to 1964 and also for his work with The Three Sounds on Blue Note Records. Bailey also worked as a sideman for some of the most famous musicians in jazz including Sarah Vaughan, Carmen McRae, Hampton Hawes, Sonny Rollins, and Red Mitchell. He also played with John Coltrane in their early Philadelphia years. Bailey is also known as “The King of Organ Trio Drummers”. In 1978, Bailey released a harmonica album called “So In Love” (Trio Records) in Japan which received rave reviews. His latest project “Blueprints of Jazz Vol.3 featuring Donald Bailey” was issued on the Talking House record label in 2009. Bailey continues to perform around the San Francisco Bay Area in the United States
As Sideman
With George Braith
Two Souls in One (Blue Note, 1963)
With Jimmy Smith
The Incredible Jimmy Smith at the Organ (Blue Note, 1956)
At Club Baby Grand (Blue Note, 1956)
The Sounds of Jimmy Smith (Blue Note, 1956)
Plays Pretty Just for You (Blue Note, 1957)
Jimmy Smith Trio + LD (Blue Note, 1957)
Groovin’ at Small’s Paradise (Blue Note, 1957)
House Party (Blue Note, 1957)
The Sermon! (Blue Note, 1958)
Softly as a Summer Breeze (Blue Note, 1958)
Cool Blues (Blue Note, 1958)
Six Views of the Blues (Blue Note, 1958)
Home Cookin’ (Blue Note, 1958–59)
Crazy! Baby (Blue Note, 1960)
Open House (Blue Note, 1960)
Plain Talk (Blue Note, 1960)
Straight Life (Blue Note, 1961)
Plays Fats Waller (Blue Note, 1962)
I’m Movin’ On (Blue Note, 1963)
Bucket! (Blue Note, 1963)
Rockin’ the Boat (Blue Note, 1963)
Prayer Meetin’ (Blue Note, 1963)
With The Three Sounds
Live at the Lighthouse (Blue Note, 1967)
Coldwater Flat (Blue Note, 1968)
With Jack Wilson
Song for My Daughter (Blue Note, 1969) — at The Tunnell Center For Rehabilitation And Healthcare

Frankfurt Germany — Jon Lord R.I.P. and Jon Hammond
Youtube http://www.youtube.com/watch?v=Q4AbLZZ0380

Jon Lord organist of Deep Purple at the worldwide debut of the new Hammond Sk1 and Sk2 Stage Keyboards at Musikmesse Frankfurt Special thanks Malc Deakin and Barrie Freeman of Hammond UK who brought
Jon to Germany from UK for this historic occasion http://www.HammondCast.com/ — with Jon Lord at Musikmesse Frankfurt

Hofheim am Taunus — Jon Hammond Trio
Youtube http://www.youtube.com/watch?v=55fZnuCyoZo

Jon Hammond original ‘Song Without Name’ played by JON HAMMOND Band in Jazzkeller Hofheim in Hofheim-Taunus Germany with guitarist Joe Berger and drummer Heinz Lichius aka Ham-Berger-Heinz. http://www.jonhammondband.com/ — with Jon Hammond Organ Group and Jon Hammond Band at Jazzkeller Hofheim

New York NY — Organ gig in the rain – Dr. Lonnie Smith playing plastic covered B3 in Madison Square Park

Jon Hammond — with Lonnie Smith at Madison Square Park

Long Beach California — Jon Hammond photo of L to R Jimmy Smith, Kenny Burrell, Slide Hampton, Paquito D’rivera, George Wein – Youtube
http://www.youtube.com/watch?v=HYHNxdXCny4

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*Note from Jon Hammond: For best results put on headphones and crank up to hear Jimmy clearly, he was absolutely hilarious! R.I.P. Jimmy Smith –
Jimmy Smith NEA Jazz Master Award Recipient Hammond Organist telling last jokes just one month before he passed away on February 8 2005. Filmed by Jon Hammond on NEA Panel including Kenny Burrell, Slide Hampton, Paquito D’Rivera, A.B. Spellman.
Jimmy tells the story about his adventures driving his Hammond B3 Organ and musicians in a Hearse and story of (like the commercial) “Got go gotta’ go gotta go right now…almost made it” while on the gig on bandstand. Hilarious must see..!
Long Beach CA at IAJE convention © JH INTL. http://www.HammondCast.com/ spcl. thanks Dana Gioia, Brad Riesau as seen on Jon Hammond Show MNN TV — with Jimmy Smith, Kenny Burrell, Slide Hampton, Paquito D’Rivera and George Wein at Long Beach Convention and Entertainment Center

Hamburg St. Pauli Grosse Freiheit 4 — Painting of actual Jon Hammond Band gig in the notorious Regina Niteclub #4 –
http://de.wikipedia.org/wiki/Große_Freiheit

“Einen guten Teil ihrer Bekanntheit verdankt sie den in früheren Jahren dort zahlreich anzutreffenden Nachtclubs, wie dem Salambo, Safari, Colibri, Regina und anderen, die sich dadurch auszeichneten, dass sie nicht nur Striptease boten, sondern darüber hinaus auch den Geschlechtsakt teilweise in Kostümen auf der Bühne zeigten. Die meisten dieser Clubs sind inzwischen geschlossen.” painting by my good friend the great artist Michael August aka ILLUSTRATORP – JH — at Injection

Paris France — The 28 year old Jon Hammond circa 1981 staying in L’Hotel – 13 Rue des Beaux Arts 75006 Paris
http://en.wikipedia.org/wiki/L%27Hotel

“L’Hôtel is a 4-star luxury hotel in Saint-Germain-des-Prés, Paris.
When previously known as the Hôtel d’Alsace, Oscar Wilde spent his last days there in room 16, famously remarking “I am dying beyond my means”. Other former residents include Marlon Brando, actress and singer Mistinguett, and writer Jorge Luis Borges, who said it seemed to have been “sculpted by a cabinet maker”.[1] The hosting of Borges in this hotel was not by chance: when he was nine, he translated Wilde’s “The Happy Prince” into Spanish and since then he had become a big fan of his work; Borges wanted to die where the writer of his childhood had also died.” — at Hotel L Hotel Rue Des Beaux Arts

Bordenau Germany — Rock n’ Roll 5 Day Seminare with my good friends Knut Benzner – NDR Radio and Union Werkers Volkswagen Quality Control Team,

‘Metal Union, workers from VW in the city of Wolfsburg’ / Metall-Union, Arbeitnehmer von VW in der Stadt Wolfsburg – these are the hardest Rockers!
They work hard and play hard.
Jon Hammond — at Zu Hause in Bordenau

Moscow Russia — Igor Butman tenor sax, Ed Zizak drums, Jon Hammond organ – Youtube
http://youtube.com/watch?v=mvWY8rG163E

4,970
beautiful ballad Easy Living with Igor Butman and Eduard Zizak in Le Club – Moscow Russia — at ул. Земляной Вал, 76/21, г. Москва

Osaka Japan Rug Time Club — Jon Hammond at the B3 organ with Hidefumi Nose and Kengo Komae – great jazz musicians!
Youtube http://www.youtube.com/watch?v=k-iRPQ3JOPs

11,980
Bossa Nova “Shadow of Your Smile” in famous Rug Time – JH — with Hidefumi Nose at Rug Time.

Osaka Japan Rug Time Club — Jon Hammond at the B3 organ with Midori Ono, Hidefumi Nose and Kengo Komae – great jazz musicians!

Shanghai China — Swingin’ the house with Danny Woody drums / music director Portman Ritz-Carlton Hotel, Jon Hammond organ,

Donald Jackson bass *note unusual bass ‘foot contraption’ designed by Donald for his stand up bass – one of a kind, like the Mars Rover Lander on the stage of Jazz Bar on Mezzanine Level of the Ritz – JH — with Danny Woody at The Portman Ritz Carlton Shanghai China

Frankfurt Germany — Here at Musikmesse with my good friends Mr. M. Terada and Mr. Hiromitsu Ono from Suzuki Musical Instruments Corp. LTD., Jon Hammond
http://www.suzuki-music.co.jp/

各地区のハモンド音楽教室講師とハモンドオルガンコンクール入賞者によるコンサートを全4開場で開催!B-3mk2、A-405SP、ハモンド最新機種の誇るドローバーサウンドとハモンドオルガンの妙技をお届けします。
東京地区、名古屋地区におきましてはメロディオンフェスティバルを共催し、哀愁のあるリードサウンドとダイナミックな演奏でメロディオンの新境地を拓きます。 — with Hiromitsu Ono at Musikmesse Frankfurt.

Ringwood Victoria Australia — Jon Hammond Keynote Presentation “Classic Hammond Sound…In A Suitcase!”™
at Bernies Music Land – Biggest Hammond Dealer in Australia
Youtube http://www.youtube.com/watch?v=cntOk1K4oGI

Jon Hammond on Digital New B3 Organ performing at Bernie’s Place with Michael Jordan drums, Bernies Music Land in Ringwood Melbourne Victoria Australia swinging version of Days of Wine and Roses special thanks Bernie and Michelle Capicchiano and Team Bernie, Hammond SUZUKI MUSICAL INSTRUMENT MFG. CO., LTD. — at Bernies Music School

San Francisco Golden Gate Park — *note: powered with 12 volt Marine Battery through a DC to AC inverter – Gig with Don Pender in the rain, you can actually see the rain coming down – Jon Hammond Youtube
http://www.youtube.com/watch?v=InWvpftTt7I

Fall River Massachusetts — EASY LIVIN’ – Jon Hammond Showband circa 1976 — in Fall River, MA

Kevin Barrett Did the band cover Uriah Heep’s “Easy Living”?

Jon Hammond Hi Kevin, hah…I never thought of that to tell you the truth, good one! Jon

Ulrich Vormehr is that you on the right side ??

Jon Hammond Hi Ulrich, yep that’s me…this was a smokin’ band! 2 horns, Tommy Costa drums next to me there, one of the best funky dance drummers in the business, Jon

Frankfurt Germany — 25 years Musikmesse! (and now 26)
special thanks Hiromitsu Ono Chief Engineer Suzuki Musical Instruments designed my instrument which took me all around the world many times
Youtube http://www.youtube.com/watch?v=OKsX8XgVh94

Pocket Funk by Jon Hammond Band
Annual Musikmesse Warm Up Party 2011 in Jazzkeller Frankfurt
Tony Lakatos – tenor saxophone
Giovanni Gulino – drums
Joe Berger – guitar
Jon Hammond – organ

Oakland California —
Saxophonist/World-Traveler/Entrepreneur Pete Jeffryes and Jon Hammond at CommonWealth Cafe & Pub

New York NY — my neighbor bassist Hide Tanaka and Jackie Williams drums on a Junior Mance gig at Local 802 annual Holiday / Christmas Party – Jon Hammond

Anaheim California — Love this photo! Dan Del Fiorentino, Jay Valle, Jon Hammond – Winter NAMM Show, lots of years of music history between the 3 of us folks! – JH

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.

http://www.youtube.com/watch?v=AJT522j_nPQ

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

Frankfurt Germany — Alex Mingmann Hsieh Taiwan and Jon Hammond – All I need is a mouthpiece and some saxophone lessons to “Go For The Sound” PMauriat Saxophones at Musikmesse Frankfurt
Youtube with a cat who can really play it, Tony!
http://www.youtube.com/watch?v=AJT522j_nPQ

Hofheim am Taunus — Jon Hammond Band – Jazzkeller-Hofheim Youtube
http://www.youtube.com/watch?v=4JtoWjSFow0

Jon Hammond’s annual Musikmesse-Session in Jazzkeller Hofheim, here featuring funky Giovanni Gulino breaking it down on Jon Hammond original funk composition “Head Phone” – Jon Hammond Band – Peter Klohmann tenor sax,
Giovanni Gulino drums, Joe Berger guitar, Jon Hammond Sk1 Hammond organ
*Note: Congratulations to Jazzkeller Hofheim 53 plus years of history, check out the book, I am honored to be on page 68. Keep the tradition going in Hofheim am Taunus, dankeschoen Jazzkeller Hofheim Team! sincerely, Jon Hammond — with Jon Hammond Band and Jon Hammond Organ Group at Jazzkeller Hofheim

Hamburg Germany — Midnight Showcase Set at New Ess Bar in Hamburg Altona – Youtube
http://www.youtube.com/watch?v=NSPaISJlqEA
Jon Hammond Band first time in Newessbar performing original funky composition
Pocket Funk

Lutz Buechner tenor saxophone, Heinz Lichius drums, Joe Berger guitar, Jon Hammond Sk1 Hammond organ
http://www.jonhammondband.com/
special thanks Olaf Gödecke and Roman Kumutat
Newessbar Hamischa — with Jon Hammond Band and Jon Hammond Organ Group at Newessbar

Hamburg Germany — Jon Hammond Band kickin’ it at Auster Jazz Bar on the Henriettenweg Youtube
http://www.youtube.com/watch?v=4ZLDW5E7k8c

Auster Bar Jazz Bar Michael Leuschner Presents Jon Hammond Band
One Night Only on the Henriettenweg Hamburg, very cool scene!
Classic Mercy Mercy with Michael Leuschner trumpet, Heinz Lichius drums,
Joe Berger guitar, Jon Hammond at Sk1 Hammond organ and special guest
Jonas Schoen alto saxophone reprising the great Cannonball Adderley smash crossover hit:
Mercy Mercy – R.I.P. Julian Edwin “Cannonball” Adderley (September 15, 1928 — August 8, 1975) http://en.wikipedia.org/wiki/Cannonball_Adderley
Jon saw Cannon do it with his quintet Feb. 24, 1968 at Winterland in San Francisco on a show with The Vagrants and The Who. Keeping the Spirit alive here in Auster Bar Hamburg! Special thanks / dankeschoen to Frank at Auster Bar, Knut Benzner NDR Radio, Heinz Lichius, Michael Leuschner wonderful musicians! http://www.jonhammondband.com/ — with Jon Hammond Band and Jon Hammond Organ Group at Auster Bar

Hamburg Germany — Behind the wheel of Jens’ Classic Ford T-Bird – Jon Hammond
http://en.wikipedia.org/wiki/Ford_Thunderbird
The Thunderbird (“T-Bird”), is an automobile manufactured by the Ford Motor Company in the United States over eleven model generations from 1955 through 2005.

When introduced, it created the market niche eventually known as the personal luxury car.
The Ford Thunderbird began life in February 1953 in direct response to Chevrolet’s new sports car, the Corvette, which was publicly unveiled in prototype form just a month before. Under rapid development, the Thunderbird went from idea to prototype in about a year, being unveiled to the public at the Detroit Auto Show on February 20, 1954. Like the Corvette, the Thunderbird had a two-seat coupe/convertible layout. Production of the Thunderbird began later on in 1954 on September 9 with the car beginning sales as a 1955 model on October 22, 1954. Though sharing some design characteristics with other Fords of the time, such as single, circular headlamps and tail lamps and modest tailfins, the Thunderbird was sleeker and more athletic in shape, and had features like a faux hood scoop and a 150 mph (240 km/h) speedometer hinting a higher performance nature that other Fords didn’t possess. Mechanically though, the Thunderbird could trace its roots to other mainstream Fords. The Thunderbird’s 102.0 inches (2,591 mm) wheelbase frame was mostly a shortened version of that used in other Fords while the car’s standard 292 cu in (4.8 L) Y-block V8 came from Ford’s Mercury division.[4]
Though inspired by, and positioned directly against, the Corvette, Ford billed the Thunderbird as a personal luxury car, putting a greater emphasis on the car’s comfort and convenience features rather than its inherent sportiness.[4] Designations aside, the Thunderbird sold exceptionally well in its first year. In fact, the Thunderbird outsold the Corvette by more than 23-to-one for 1955 with 16,155 Thunderbirds sold against 700 Corvettes.[5] With the Thunderbird considered a success, few changes were made to the car for 1956. The most notable change was moving the spare tire to a continental-style rear bumper in order to make more storage room in the trunk, and an optional porthole in the removable roof was offered and often selected by buyers. However, the addition of the weight at the rear caused steering issues. The spare was moved back to the trunk in 1957 when the trunk was restyled and made slightly larger. Among the few other changes were new paint colors, the addition of circular porthole windows as standard in the fiberglass roof to improve rearward visibility, and a 312 cu in (5.1 L) Y-block V8 making 215 horsepower (160 kW) when mated to a 3-speed manual transmission or 225 horsepower (168 kW) when mated to a Ford-O-Matic 2-speed automatic transmission; this transmission featured a “low gear”, which was accessible only via the gear selector. When in “Drive”, it was a 2-speed automatic transmission (similar to Chevrolet’s Powerglide).
The Thunderbird was revised for 1957 with a reshaped front bumper, a larger grille and tailfins, and larger tail lamps. The 312 cu in (5.1 L) V8 became the Thunderbird’s standard engine, and now produced 245 horsepower (183 kW). Other, even more powerful versions of the 312 cu in (5.1 L) V8 were available including one with two four-barrel Holley carburetors and another with a Paxton supercharger delivering 300 horsepower (220 kW). Though Ford was pleased to see sales of the Thunderbird rise to a record-breaking 21,380 units for 1957, company executives felt the car could do even better, leading to a substantial redesign of the car for 1958. — at Kieler Straße 271, D-22525 Hamburg

Hamburg Germany — Classic T-Bird! at Route 66 Hamburg
http://www.route66-hh.de/main.htm

Jon Hammond — at Kieler Straße 271, D-22525 Hamburg

Hamburg Germany — Some of the Primo cars in Jens’ showroom – Route 66 Hamburg – Jon Hammond

Oakland California — Victor “Big Daddy” Zaraogza from KBLX 102.9 FM MC’ing on the main stage at Oakland Art & Soul Festival August 5, 2012

Hollywood California — Kenny Burrell on the microphone with Jon Hammond at ASCAP Expo
http://en.wikipedia.org/wiki/Kenny_Burrell
Kenneth Earl “Kenny” Burrell (born July 31, 1931)[1] is an American jazz guitarist. His playing is grounded in bebop and blues; he has performed and recorded with a wide range of jazz musicians

Oakland California — Jon Hammond at annual Oakland Art & Soul Festival chillin’ by the main stage checking out Oleta Adams and Lalah Hathaway’s sets – excellent! JH

Eddie Money, Jon Lord, Paris France, L’Hotel, HammondCast, CBS Radio, B3 organ, Jazz, Blues, Local 802, Musicians Union, Frankfurt, Musikmesse, NAMM, Suzuki Instruments

Merci Beaucoup George Whitman Shakespeare and Company bookstore in Paris December 12, 1913 – December 14, 2011

December 16, 2011

Merci Beaucoup George Whitman Shakespeare and Company bookstore in Paris December 12, 1913 – December 14, 2011 from Jon Hammond

12/15/2011 New York, NY — R.I.P. George Whitman founder of Shakespeare & Co. Book Shop in Paris, I shot this photo of George’s best friend Lawrence Ferlinghetti the Poet in front of George’s shop when I met him and Lawrence on my first journey to Paris 1981. The child is George’s daughter Sylvia, she is grown up now and runs the shop, she will carry on for George there in St. Michel Paris – Jon Hammond *note: thanks / merci beaucoup for all the great Sunday teas 4PM-6PM I attended at your apartment when I was living in Paris George! JH

Photo by Jon Hammond – Lawrence Ferlinghetti and young Sylvia Whitman in front of Shakespeare & Company book shop in St. Michel Paris with umbrella, photo by Jon Hammond circa 1981:

http://en.wikipedia.org/wiki/George_Whitman

Whitman founded his bookstore in 1951 and named it Le Mistral, then later named it after Sylvia Beach’s earlier Paris bookstore “Shakespeare and Company”.[3] His shop, located at 37 rue de la Bûcherie in Paris, was opened in August 1951 (two years before a sister bookshop City Lights was opened in San Francisco by Lawrence Ferlinghetti) by George Whitman with an inheritance from his aunt. He called the shop “Le Mistral” after his first French girlfriend. From the very first night he allowed travellers, young writers, poets and artists to lodge in exchange for a hand in cleaning the shop, building shelves and selling books. Sylvia Beach, whose famous shop was on 12, rue de l’Odéon, was still in Paris and came to Le Mistral to see the writers of the new generation, whom Anaïs Nin called Xerox artists,[citation needed] read aloud their new work. Whitman modeled his shop after Sylvia Beach’s. As it was the only free English-language lending library in Paris, the Beats who arrived at the Beat Hotel on rue Git-le-Coeur quickly found their way to the small bookshop and made a place for themselves there. In 1962, Sylvia Beach died, willing to Whitman a good deal of her private books and the rights to the name Shakespeare and Company. In 1964, Le Mistral was renamed Shakespeare and Company. Whitman named his daughter, born in 1981, after his bibliophilic predecessor; Sylvia Whitman took over the running of the shop in 2003 at age 22.[4]
Whitman allowed young travellers to stay in the residential quarters of his rue de la Bûcherie premises (specifically published writers); and one was also encouraged to read a book a day during your stay and were asked for two hours work as contribution to the running of the shop. All Whitman asked of his guests is to provide a short “biography” and photograph and work a short period in the shop. On Sunday mornings he traditionally cooked his guests a pancake breakfast, brewing up a thin ersatz “syrup” out of some burnt sugar and water.
Whitman began to receive international notice when a documentary titled Portrait of a Bookstore as an Old Man, by Gonzague Pichelin and Benjamin Sutherland, ran on The Sundance Channel in fall 2005. At the end of the film, Whitman trimmed his hair using the flame of a candle, set his hair on fire, and then doused it.
On Wednesday, September 26, 2007, journalist Gerry Hadden’s story on George Whitman, his daughter Sylvia, and Shakespeare & Company aired on NPR’s The World (a co-production of the BBC, Public Radio International (PRI), and the Boston radio station WGBH).[5][6]
[edit]Death

Whitman died on December 14, 2011, at age 98, at home in the apartment above his bookshop, Shakespeare and Company, in Paris. He will be buried in the Père Lachaise cemetery in the east of Paris.


*WATCH THE VIDEO OF OLIVER HERE:

http://ia600406.us.archive.org/11/items/JonHammondOliverJohnsonbatterie-Finale/OliverJohnsonLastSong.m4v

http://www.archive.org/details/JonHammondOliverJohnsonbatterie-Finale

http://www.youtube.com/watch?v=W0Tc_9BI3mM

1988 Jazz Concert musé d’art moderne in paris: Francois Chassagnite trp., Oliver Johnson drms, Jean Bardy bs, Arnaud Mattei pno as seen on The Jon Hammond Show TV Show and HammondCast ©2009 Oliver Johnson Finale

© www.HammondCast.com

Bob Cunningham, Bass, Bernard Purdie, Jon Hammond, Local 802, Musicians Union, NDR Jazz, Late Rent, Mikell’s, Jazz Foundation of America, Elmar Lemes, ASCAP Network, B3 organ, XK-3c, Blues, Funky, Rhonda Hamilton, WBGO


ASCAP Network Behind The Beat with Jon Hammond “LATE RENT”


Elmar Lemes photo of Jon Hammond playing XK-3 organ at Local 802 Monday Night Jazz Session sponsored by Jazz Foundation of America


Jon Hammond MySpace

HammondCast

ASCAP Network Behind The Beat “NDR SESSIONS Projekt”

*Note, regrettfully, sadly and tragically Oliver Johnson was murdered in Paris 2004 by a homeless man who is now in prison: *From Jazzhouse.org : Oliver Johnson was a noted participant in the free jazz movement of the 1960s, but was a versatile and adaptable performer in many settings. He settled in Paris in the late-60s. He worked with a number of major figures from the free and experimental scene, including Anthony Braxton, Dewey Redman, Sam Rivers, Archie Shepp, the Art Ensemble of Chicago and David Murray, as well as more mainstream players, including Hampton Hawes, Bobby Hutcherson, Maynard Ferguson, Yusef Lateef, Atilla Zoller and Johnny Griffin. He worked regularly with saxophonist Steve Lacy between 1978-89. He co-led the trio TOK with Takashi Kako and Kent Carter. His body was discovered on a bench near Les Halles. In memory of Oliver Johnson, Jon Hammond NYC

Batterie, Drummer, Finale, Francois Chassagnite, HammondCast, Jack Lang, Jean Bardy, Jon Hammond, KYOURADIO, M. Andre Francis, Oliver Johnson, Paris France, Radio, B3, XK-3c

*WATCH THE VIDEO: Birdland Lydia’s Tune Jon Hammond Band

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

http://www.youtube.com/watch?v=xclUaEIvbx4

Jon Hammond Band in Birdland Jazz Club Hamburg Germany performing original composition by Jon Hammond – Lydia’s Tunes
Lutz Buechner tenor saxophone
Heinz Lichius drums
Joe Berger guitar
Jon Hammond organ
funky soul jazz blues instrumental spirited performance, return engagement here at Birdland with many friends in the house. Special thanks Dieter Reichert, Ralph Reichert, NDR Radio
http://www.jonhammondband.com ASCAP Camera: Jennifer
Category:
Music

Birdland Hamburg Lydia’s Tune NDR Radio Soul Blues Jazz Workshop Instrumental ASCAP Organ

http://vimeo.com/31529839

Birdland Lydia’s Tune Jon Hammond Band from Jon Hammond on Vimeo.

http://www.facebook.com/v/10150336716797102

http://blip.tv/jon-hammond/birdland-lydia-s-tune-jon-hammond-band-5702795

*WATCH THE VIDEO: Birdland Hamburg to Jazzkeller Frankfurt Late Rent Jon Hammond Theme Song

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

http://www.youtube.com/watch?v=fwcKDK5fvQ8

jon Hammond Band theme song LATE RENT performed first half in Birdland Hamburg with tenor saxophonists Lutz Buechner of NDR Big Band radio band and Gabriel Coburger. Jon Hammond is playing his XB-2 Hammond organ he went around the world with many times. At Jazzkeller Frankfurt Jon is playing his XK-1 Hammond organ. The famous Jazzkeller Frankfurt is the place for Jon’s annual “Musikmesse Warm Up Party” with Tony Lakatos tenor saxophone from hr-Bigband on guitar Joe Berger aka “The Berger-meister” and long time Jon Hammond Band drummer Heinz Lichius kicking off the Musikmesse. April 5th 2010 Jon Hammond will celebrate 25 years Musikmesse at Jazzkeller Frankfurt and special guests. Swingin’ Funky Jazz and Blues http://www.jonhammondband.com

*WATCH THE VIDEO: Czechoslovakian Salsa Song Birdland Jon Hammond Band

http://ia600608.us.archive.org/9/items/JonHammondCzechoslovakianSalsaSongBirdlandJonHammondBand/CzechSalsaSongBirdland.m4v

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

http://www.ourmedia.org/media/czechoslovakian-salsa-song-birdland-jon-hammond-band

http://www.youtube.com/watch?v=-zSe141I7bA

Uploaded by  on Apr 14, 2011
Czechoslovakian Salsa Song Jon Hammond (US) Band 13 April Birdland Hamburg
http://www.jazzclub-birdland.de/prog_apr.pdf
Jon Hammond (US) Band – 13 April
Jon Hammond org, Joe Berger g, Lutz Buechner sax, Heinz Lichius dr. Zu Gast aus USA: Jon Hammond und Gitarrist Joe Berger treffen auf lokal Jazz-Groessen: Funky Organ Jazz http://www.jonhammondband.com

Category:

Jon Hammond Band in Birdland Hamburg

Czechoslovakian, Birdland, jazz, organ, jon hammond, ndr radio, hamburg, suzuki, musical instruments, saxophone, lutz buechner, prague, saul, salskovitch, KYOURADIO

Michael Naura with Wolfgang Schlüter playing Four-Hand Piano at NDR Jazz Redaktion Christmas Weihnachten Büro Partei by Jon Hammond in Hamburg Germany

Norddeutscher Rundfunk Rothenbaumchaussee 132 20149 Hamburg

photo by Jon Hammond

L to R: Wolfgang Schlüter Michael Naura NDR Jazzredaktion

Michael: http://de.wikipedia.org/wiki/Michael_Naura

Wolfgang: http://de.wikipedia.org/wiki/Wolfgang_Schlüter_(Musiker)

Michael and Wolfgang at the piano photos by Jon Hammond

Knut Benzner in the broadcasting booth at NDR Radio

Knut Benzner with his famous White Sennheiser 421 Microphone from many interviews with good friend Norbert Hilbich at Sennheiser Headquarters Wedemark

Tobias Hartmann and Knut Benzner NDR Jazz Redaktion photo by Jon Hammond

Jon Hammond at his white artist model Yamaha C3 Grand Piano he acquired from Peter Frampton

CD Cover Artwork Jon Hammond CD’s by Michael August ILLUSTRATORP FSB Jazz Funk Soul Blues

NDR SESSIONS Projekt recorded in NDR Studio 1 Hamburg

*LISTEN TO THE STORY OF NDR SESSIONS PROJEKT HERE:

http://www.ascap.com/network/audioportraits/Jon_Hammond_NDR/

On ASCAP Network, recorded in Norddeutscher Rundfunk (NDR) North German Broadcasting
NDR studios: Studios in Hamburg are split into two locations: Television studios are located in the suburb of Lokstedt as the radio studios are located in the suburb of Rotherbaum, close to the city centre. In addition to these, there are further regional studios, also comprising both television and radio studios.
Studio 1: Jimi Hendrix – 1967-03-18: Studio 1, NDR Funkhaus, Hamburg, Germany

THE NDR SESSIONS PROJEKT

HAMMOND, JON
HAM-BERGER-FRIZ RECORDS



Artists Name: HAMMOND, JON
Title: THE NDR SESSIONS PROJEKT
Format: CD
Label: HAM-BERGER-FRIZ RECORDS
City Hall Catalog Number:  106
UPC Product Code: 634479270000
Musical Category:  JAZZ
Release Date:  9/19/2006
Additional Musical Category Notes:

This new release from Jon Hammond marks his move into mainstream jazz. Utilizing the famous NDR Orchestra and Studios in Hamburg, Germany, Jon has crafted an excellent organ jazz record utilizing drums, sax and trombone. Outstanding support from saxophone soloist Lutz Buchner adds a lyrical modern jazz sound to the recordings. Excellent drumming by Heinz Lichius and the soulful sound of Joe Gallardo on trombone round out the disc. Great classic tunes are covered, along with some originals, including “My One and Only Love,” “Skylark,” “Besame Mucho,” “Blues In The Night” and “No X-Cess Baggage Blues.”
L to R: Joe (Jo) Gallardo trombone, Heinz Lichius drums, Jon Hammond organ producer, Lutz Buechner saxophone, Rudy Grosser engineer
Studio 1 Control Room NDR Hamburg

Jon Hammond at SSL Console Studio 1

In Studio 1 Live Room L to R: Lutz Buechner, Rudy Grosser, Jo Gallardo photo by Jon Hammond

special thanks Axel Dürr NDR Jazz Redaktion

LATE RENT – JON HAMMOND
Jon Hammonds Greatest Hits – Swingin’ Funky Jazz and Blues music of the Jon Hammond Show MCTV
http://illustratorp.de/hammond/blues2/

LATE RENT – JON HAMMOND
Jon Hammonds Greatest Hits – Swingin’ Funky Jazz and Blues music of the Jon Hammond Show MCTV
Made in USA 2005 – manufactured by Joe Aloia Digital Authoring Solutions – NYC
Coverdesign by Michael August – Hamburg/Germany
Video Art by LORI – NYC

Recreating LATE RENT CD Product
Some notes about the LATE RENT product you are holding in your hand: They say history repeats itself. In the case of LATE RENT it is partially true, but now in 2005 I have taken the opportunity to take control of my music and visuals bringing them to you in the absolute highest quality thanks to my outstanding team of specialists. It has been a long road with many detours along the way but thankfully all the master recordings are intact and I was able to locate the photos which artist Michael August has shaped in to a creation that conveys the look of my tv show and tells you many things about this music before you even open the box. Hammond B3 freaks will not be disappointed. Joe Berger preserved the master recordings well. 25 years have passed from the start of this project with the first recordings. I am happy to say that now today my Rent is NOT Late! And the music of LATE RENT is available for the Ring Tones on your Phones. We appreciate your feedback by phone, email or good old fashioned snail-mail. Jon & Late Rent Team

» contact Jon Hammond: jonhammond [at] jonhammondband.com

About JON HAMMOND:

In 1983 Jon formed Backbeat Productions. Assisted by Lori
Friedman. With completely format original music and visuals – in a
radio adapted to television, Hammond´s innovative show quickly
became a Manhattan cable TV favorite. The show has been a
vehicle for new music and art for over 20 years. Many of today´s
new shows have been directly influenced by the Jon Hammond
Show – but the J.H. Show is known as the original show of it´s
type, and stands as the “Flagship” of public television.

About LORI

Known as New York´s #1 Editor and Video artist.
Her work has evolved from the top advertising agencies, to form a
collaboration known as: Backbeat Productions. Under the direction
of Jon Hammond, her work has been seen by millions of people
every week on The Jon Hammond Show. Called by Billboard
Magazine: The alternative to MTV. Lori´s visuals are inspired in the
studio – by the music. Hundrets of hours were spent synchronizing
the music and the visuals, to create a hybrid. A synergy of visual
and musical improvisation. A modern “Fantasia”…the television of the future… with overtones of the vintage 60´s – 70´s psychedelic movement.

Lori’s Bubbles from The Jon Hammond Show –
Painting by Michael August – 2004.
musicians: Jon Hammond – Bernard “Pretty” Purdie (Aretha Franklin / The Rolling Stones) – Chuggy Carter – Steve Ferrone (Eric Clapton) – Todd Anderson – Alex Foster – Barry Finnerty (Miles Davis / The Crusaders) – Graham Hawthorne (Appeared with Harry Belafonte on the 1998 European Tour) – James Preston – Ray Grappone – Dave Danza

http://community-4.webtv.net/ExcelsiorAccordions/LATERENTAudiophile/index.html

LATE RENT Music of The Jon Hammond Show MCTV
*Audiophile Quality Remasterings of Jon Hammond’s Greatest Hits
Letter To The Listener From JON HAMMOND
Dear Listener: In my life I have been extremely fortunate to have been able to pursue my dream of being a musician, composer, broadcaster/journalist and impressario around the world. The music you will hear on this disc is exactly as I assembled the pieces carefully from over a 14 year period of my best recordings up to the year of 1995. In one late-night/early-morning session with my co-producer/engineer Joe Berger, we put together all the tracks which became my first official release titled Late Rent, the theme song of my tv show The Jon Hammond Show. Since the completion of that project many things have happened or as we say, water under the bridge. Now I am happy to be able to bring forth the record 10 years later in the best quality audio with complete quality control so that for the first time I can present some of my most faithful
compositions to my listeners as I always wanted to. The music is timeless and as Ray Charles once said, “When you’re dead you’re done”, but Jon Hammond says, “The music lives on and it will keep traveling long after I’m gone.” A message sent to all with no guarantee it has been received. I am the eternal optimist, having literally gone to live in other countries with nothing but my music and my instrument. Often I have played with musicians who can not speak English, but the language of music is international & universal. The rhythm of life exists on these tracks and like a musical photograph it has captured the spirit of my travels and life experiences. Late Rent is not just a title, it is a true story of my life struggles to get the rent paid and by many miracles I managed to get it paid every time, often down to a few moments of impending doom (better late than never!)…the music always came first for me and I am proud to present it to you now again better than ever. May this be the soundtrack to your life & travels and help groove you safely to your destinations sure as the sun rises in the morning.
Melody is King, and ™ The FINGERS…are the SINGERS!”
Crank it up kick back and enjoy, this is the music that has taken me around the world.
Sincerely,
Jon Hammond
Ham-Berger-Friz Records
N.Y., NY , USA

Late Rent track list
1. Late Rent 6:01
2. Original Announcement from Jon Hammond Show 0:45
3. Pocket Funk 5:55
4. Lydia’s Tune 4:26
5. The Sidewinder 7:22
6. Announcement by Al “Jazzbeaux” Collins 1:05
7. Head Phone 7:36
8. White Onions 5:19
9. Party Is Forbidden Here 5:23
8. Get Back In The Groove 2:04
9. White Onions – Live 11:44
10. Head Phone – Live 3:10
11. AFN Announcement 1 0:45
12. Nu Funk (Hip Hop Chitlins) – Live 5:39
13. AFN Announcement 2 0:40
14. Nu Funk (Hip Hop Chitlins) – Live 5:39
15. AFN Announcement 2 0:40
16. Late Rent – Live 9:02
Total Playing Time: 76:36
Featuring The Late Rent Session Men: Jon Hammond, Bernard “Pretty” Purdie, Chuggy Carter, Steve Ferrone, Todd Anderson, Alex Foster, Barry Finnerty, Graham Hawthorne, James Preston, Ray Grappone, Dave Danza

The Late Rent Sessions Studio Credits:
LATE RENT (Hammond/Finnerty) ASCAP
*This is the theme song of The Jon Hammond Show, a popular underground New York TV show.
POCKET FUNK (Hammond/Finnerty) ASCAP
*Written in the wash salon..check your pockets!
LYDIA’S TUNE (Jon Hammond) ASCAP
*Composed by Mr. Hammond in Paris, 1981
Recorded at Intergalactic Studios, New York Dec. 1983
Steve Ferrone – drums
Todd Anderson – tenor sax
Barry Finnerty – guitar
Jon Hammond – B3 organ/Leslie
THE SIDEWINDER (Lee Morgan)
*Classic Lee Morgan composition – as broadcast on WNEW radio NYC, recorded at BackBeat Studios March 1987
Ray Grappone – drums
Todd Anderson – tenor sax
Barry Finnerty – guitar
Jon Hammond – 1959 B3 organ/direct signal
HEAD PHONE (Hammond/Finnerty)
*Composed in studio while using headphones that worked only on one side.
WHITE ONIONS (Hammond/Finnerty) ASCAP
*Classic bluesy Hammond/Finnerty composition reminiscent of Green Onions.
PARTY IS FORBIDDEN HERE (Jon Hammond) ASCAP
*Written by Mr. Hammond after his party was forbidden in a well known west coast studio, The Site Recording.
Recorded at Quad Studios, New York Sept. 1989 Joe Berger engineer
Bernard Purdie – drums
Alex Foster – tenor sax
Chuggy Carter – percussion
Barry Finnerty – guitar
Jon Hammond – B3 organ/Leslie
GET BACK IN THE GROOVE (Jon Hammond) ASCAP
*Soulful guitar fingerpicking by Mr. Hammond. Big organ sound.
Recorded at DTI Records Studio, Novato CA June 1981
Derek Tracy – engineer
Bruce Hatch – assistant engineer
Dave Danza – drums
Jon Hammond – guitar
Jon Hammond – B3 organ/Keyboard Products super nuclear Leslie
Jon Hammond is endorsed by: Hammond Suzuki, Excelsior CEMEX Accordions, Sennheiser, Fender, Remin Kart-A-Bag, Superlux Goang-Fann Co., Ltd., CASIO and flies United Airlines whenever possible! *Member Local 802, Local 6 American Federation of Musicians Union, ASCAP Artist

Live Credits:
WHITE ONIONS (Hammond/Finnerty)
*Snappy rendition recorded at NY’s LE BAR BAT on W.57th St.
HEAD PHONE (Hammond/Finnerty)
*Super funky drum groove featuring Chuggy Carter and Graham Hawthorne.
LATE RENT (Hammond/Finnerty)
*Mr. Hammond’s theme song live at Le Bar Bat.
Recorded at Le Bar Bat, New York July 1995
Joe Berger – engineer
Graham Hawthorne – drums
Alex Foster – tenor sax
Chuggy Carter – percussion
Barry Finnerty – guitar
Jon Hammond – XB-2 organ/Keyboard Products super Leslie
NU FUNK (Hip Hop Chitlins) (Hammond/Finnerty)
*Historic live broadcast on AFN Radio Frankfurt for “Powerlite” show on March 17, 1994 – this was first performance of the song heard around the world!
Joe Berger – engineer
James Preston – drums
Barry Finnerty – guitar
Jon Hammond – XB-2 organ
Jon Hammond organ bass on every song.
Sennheiser & Neumann microphones were used on every live recording.
Merci beaucoup and dankeschon to Hammond Suzuki Deutschland & Musikmesse Frankfurt.
*note: Feb. 2nd, 2005 The Jon Hammond Show tv show will begin it’s 22nd consecutive year! Tune us in on channels 56 & 108 http://www.MNN.org
Additional Footnotes:
1. “Ping” – at beginning of cd the special sound, well known to members of elite jet set comes from Mr. Hammond’s S.T. Dupont cigarette lighter. It’s an old broadcasting trick to clear the airwaves before announcement or music.
2. Original announcement from The Jon Hammond Show MCTV.
9. Famous voice of Al “Jazzbeaux” Collins, on WNEW radio NY commenting on Late Rent Session music.
11. Jazzbeaux on California jazz radio station KCSM.
*Special acknowledgement to our friends Bert Gerecht – Hot Wire Records & Ulrich Vormehr – EFA Medien, who in 1996 put out first version of Late Rent in Germany.

CREDITS:
Jon Hammond: Producer/Executive Producer
Joe Berger: Co-producer/engineer/mastering
Jennifer Frizzell – Co-executive producer
Lori Friedman – Video by LORI art
Michael August (Illustratorp) – Cover/disc art
Ute Wachsmuth (Datajump) – Text Art cover/disc
Manufactured by: Joe Aloia – Digital Authoring Solutions New York
Made in USA
All songs (except #8) published by JON HAMMOND International, Inc./ASCAP
“The Sidewinder” published by Conrad Music/BMI
All rights C & P 2005 by JON HAMMOND International, Inc.
POB 754 Times Square Station, New York, NY 10108 USA
Tel. 212.967.1858
laterent@webtv.net
*Jon Hammond plays the incredible Hammond XB-2 keyboard exclusively, which with it’s all-new DRH sampling technology captures the sound and feel of the incomparable Hammond B3 at a fraction of the weight ™ “Hammond sound…in a suitcase!”
Hammond Suzuki Deutschland
Sennheiser

SPECIAL THANKS from JON HAMMOND
Jon Hammond would especially like to thank:
Jennifer Frizzell, Marco Galeazzi, Donatella Milella, Roberto Lucanero, Nello Gabrielloni & family-Excelsior CEMEX Accordions, Glenn Derringer-Kustom, Michael Maier-Falkenstein family, Mario Tettamanti, Rossano Chiaramoni-RCH Cases, Joe Aloia, Superlux Microphones-Goang Fann Co. Ltd.-Jenny Shen, Nico Teng, David Liu, Heda family, Barbara K. Starner-Remin Kart-A-Bag, Richard McDonald-Fender Co., Leo Fender, Benny Golson, Kenny Burrell, Pamela Sylvain-United Airlines Employment, Gary Walker, Brian Delp, Cephas Bowles, Thurston Briscoe, Rhonda Hamilton-WBGO 88.3FM, Chuy Varella, Chris Cortez, Alissa Clancy-KCSM 91.1FM, Fred Noe III-Jim Beam Brands, Eugen Hahn-Jazzkeller Frankfurt, Bobbie Webb, J.J., Noel Hayes, Harrison-KPOO 89.5FM, Keith West-KVMR 89.5FM, Vasja Ivanovski-FM 2 Macedonia, Knut Benzner, Dr. Andrea Hubert, Tobias Hartmann, Lutz & Gide Buchner-NDR Radio, Heinz Lichius, Gabriel Coburger, Gunther & Krystyna Tietze-Polka Bar, Dieter & Ralph Reichert-Birdland Hamburg, Jo-Jo Tucksen-Jazzkeller Hofheim, Tony Lakatos, Harry Petersen, Kevin Mauder, Uli Olshausen, Guenter Hottmann-HR Radio, Igor & Oksana Butman, Eduard Zizak, Faina Antonova, Marat Garipov-Le Club Moscow, Claus Rotthoff-Musikhaus Rotthoff, Gideon Schier, Robert & Otmar Hutya, Bernhard Flieher, Tommy Schneider-Hammond Times Zurich, Ronald ChitTin-Entree GmbH, Francoise Pujol, Andre Thus-Hammond France, Bob Scott, Ronnie Smith Jr., Alex Budman, Larry Schneider, John & Mai Bishop, Marc Baum, Preston family-Sons of Champlin, Bill Vitt, Bob Barsotti, Peter, Bettike, Dharma Barsotti, Mick Brigden, Scott Rootenberg, Kris Hosack, Tim Anderson, Chris Powers, Nigel James, Rita Gentry, Jerry Pompili, David Mayeri, Bill Graham, BGP Productions, Eddie Money, Jim Thorsen aka Jimi James, Steve Wright-Hades, Terri Price, Matthew & Terence Hallinan family, Susan Bernstein, Bruce Harrison, Sharon Levy, Mitchell Redman, Teddy Fung, Maria Ciaccia, Jim Kelly, Jim Leary, Dana Rivers-Heath, Security staff-Manhattan Plaza, Frank Vavosa, Sylvia, Thomas & Simon-Hotel Pacific Hamburg, Karen Newman, Betty Heywood, Judy Cheung-Messe Frankfurt/Hong Kong, Danny Woody-Portman Ritz Carlton Shanghai, Mayor Willie Brown, Maria Tschirgi, Joe & Lori Rodriguez, John Hunt-Local 6 SF, Oscar Meyers, Bill Wurtzel, Erica Brescia-T-Mobile SF, Andy Christo, Christine Adams, Kevin Friedrich, Harley Jones,-Accordions Worldwide, Alex Accordions & Guitar NYC, John & Jonna Godtfredsen-Excelsior Danmark, Clarence “Tootsie” Bean, Maher & Tom-Cleopatra’s Needle NYC, Professor Bruce Lilienthal, James Brown-Tower Records, Erik Hargrove-James Brown Band, Taj Mahal, Bonnie Raitt, Jon Paris, Marc Roth-Roth’s Westside Steakhouse, Rudy Lawless, Lazy Larry Fredsen, Al & Leslie Wilcox and family, Patti, Teal & Al Jazzbeaux Collins, Saul & Goldie Levin family, Olivier Hutman, Lydia Fischer, Dr. Iraj Akhavan, Tilman Erhorn, Dan Marks, Connie McKinley, Matt Dillon, Francis Ford Coppola, Dr. Vartan Ghugasian, Joe Franklin-WOR Radio, Marisa Redanti-MPTA, Antje von Rein, Don Haas, Louie Bellson, Ron Carter, George Burns, Earl Watson, Marie, Iwo, Marty-Original Joe’s SF, President Bill Clinton, Ann Stock, President Vladimir Putin, Ambassador Alexander Vershbow, BB King, Naeemah Hicks, Lindsay Brust, Wynton Marsalis, Todd Barkan-Jazz at Lincoln Center, Lionel Hampton, Lou Colombo, Tom Tuson-Hammond Organ Center, Paul Ellington, Chuck & Alan Colin & family-Colin Publishing, Rich Haupt, Peter Valentyne, Pete Fogel-Le Bar Bat, Bruce & Charlotte Mager-Waves NY, Alan Hall, Tracey Baumler, Ann, Terry, Cortt, Rhett Dunlap, Genevieve Frizzell, Louie Peterson, Eddie Sorenson, Gary Peterson, Dieter Schnapka, Uwe Gehring-(Wesley G), Giovanni Gulino, Sgt. Bill Hickman-AFN Radio, Charly Hosenseidl, Cordelia von Gymnich-Messe Frankfurt, Lynn & Victor-Hotel Charlotte Groveland CA, Deszon X. Claiborne, Steve Campos, Harvey Wainapel, Joachim & Rosi Griebe, Marcy Drexler, Ariane Klaening, Yutaka Hada-CASIO, Sergei Belov, Elke Abate, Ralf Hoffmann, Andreas Mautner, Norbert Hilbich, Andreas Sennheiser, Bobby & Joanne Nathan, Sgt. Al Wittig, Dan & Roberta Mockensturm, Rudy Hurwich family, Matthew Terada, Waichiro Tachikawa, Yu Beniya-Suzuki Corp. Frank Pohl, Tino Pavlis, Yucel Ali Atiker, Bert Gerecht, Wendy & Lauren Roberts-Jazz Foundation of America, Laurence Donahue-Greene AllAboutJazz, Derek Sivers-CD Baby.com, Scott Cooper family, Bryan Tracy, Carl Spencer, Paul Pesco, John & Teresa Nash, Conny Jackel, Khalil-Hammondbeat, Angelo Dipippo, Regina Snilovic, Schnulze Harburg, Jon Herington, John Valente, James, Tarik-Birdland NY, Don Williams, Jimmy McGriff, Barbara FangLin family, Greg Errico, David Kaprilik, Charlene Berger, Osamu Yamamoto, Midori Ono, Marty Napoleon, Igor Flach, Pete Fallico, Jun Takayama, Doug Levine-VOA, Nana Gongadze, Pete Escovedo, Janie Harris, Stefan Klemm, Frank Marocco, Chet Helms, Dana Gioia-National Endowment for the Arts, John Entwistle, Jay Dedman, Wanda Sanchez, Petrof Piano family, Nat Friedman, Sam Wilcox, Pat & Sandy Moriarty family, Steven Eaklor, Mustafa Jammal family, Hans Romanov, Stefan Hantel, Michelle Webb, Jo Mikovic, Cab Calloway, Bill Cosby, Mimi Farina, Dick Mithun-The Site Recording, Suzanne Ciani, Gerald Lubarsky, Elizabeth Chapman, George Greif, Beatrix Rief, Pete Vogt, Greta & Joe Chow-Card Photo SF, Rossa & Moritz Peters, George Brown, David Fathead Newman, Andy Warhol, Bill Beer, Lee Oskar, Dr. John, Terry Haggerty, Bruce Hatch family, Rick Wilhelm, Tommy Costa, Bob Brumbeloe, Buddy Rich, Howard Plotkin, Dennis Finnegan, Louis Nanassy, Jane Dornacker, Steve Smith-AMPEX, Bob Moog, Louis Baldonieri, Victor Owens, George Carlin, Marshall & Krisanne Olson, Leslie Levitas, Teresa Nelson, Rodney Choy, Clayton Smity-SF Sheriff’s Dept., Heinz von Hermann, Wolfram Knauer, Alex Ligertwood, John Lee Hooker, Capt. Paul Bailey-United Airlines, Ana Maria Pena, Lanie Hafer, Barbara Stokes, Yvette Julien, Janet Berka, April Para-UAL, Laurence Cottle, Judit Halmi, Emile van der Zee, Sammy Davis Jr., Herbert Berger, Marie Pragrova, Dale Meyer, Ulrich Tukor, Ray Tubberville, Bernie Fichtner, M. Andre Francis-Radio France Inter, Jane Dong, William & Amy Hu-DG Uniform Tailors, Hal Petcher-Guitronics, Les Paul, Kim Delevett-SWA, John Mader, Christian Munchinger, Art Van Damme, Dick Contino, Joris Dudli, Tyrone Starks, Dennis Hoffman, Randy Allar, Steve Copeman, Boris Blanchet, Dr. Hal & Eva Eisenberg family, Sylvia & Morris Simon family, Howard Johnson, Tim Cain, Don Dean, Don Wehr, Tony Rossell, Daniel McKinnon, Juergen Wolf-IAJO, Charlotte Aphibal-Lufthansa, Amy Curtis, David Haynes, Neil & Vera Witchard, Richard Sharpe, Tip O’Neil, Francois Chassagnite, Tom Plate, Capt. George Apistolas, Dr. Rudi Petroll, Cindy Blackman,Wallace Roney Dr. Jack Adler family, Jack Wilkins, Dieter Lubke, Sourdough Slim, Richard Werthner, Carla Caccavale, Teresa Martinez-Westin Rio Mar Beach, Bill Cosby, Ron Polte, Gary Duncan, Pat Martino, Mic Gilette, Al DiMeola, Capt. Korres, Dean Kamei, Alf Schneider, Jeff Samaha-NBC, Paul Shaffer, Joan Baez, Ken Hayes Jr., Ron Eckstein, Tripp, Nils Gessinger, Uwe Petersen, Sandra Hempel, Robert Doehring, Paul Marx & Lynne Bertrand-KBON, Johannes Koppen, Peter & Sigi Tangermann family, Pat & Randy Klock-Opera Plaza SF, Danny Leventhal, Zak Starkey, Jerry Figone, Raul Rekow, Goersch family, Ulrich Vormehr, Richard Gaule-Soups, Suzie Gagnon, Frederic Charest-Cirque Du Soleil Band, Roman Kaplan-Russian Samovar, Jeanne Moos, Tim & Kevin Curry-Carroll Musical Instrument Rental, Kevin Struthers, Rodney Durr-Kennedy Center, Allan Chao, LaDee Streeter, Dwight Dickerson, Ray Charles, Jaco Pastorius, Linda Tillery, Paul Kantner, Chick Corea, Dieter Glawischnig, Hendrik Maier, Terry Pimsleur, Dan Rather, Margo & Brian Shandblatt family, Detlev Reimann, Roger’s Kiste-Stuttgart, Michael Kersting, Carol Kaye, Billy Drewes, Maggie Bell, Sonny Stitt, Wild Bill Davis, Oliver Groenewald, Ingo Sens, Bob Morton, Cynthia Tornquist, Mac Seshimoto, Herbert Zorn-Groove City/FSK Radio Hamburg, Lars Karstensen, Olga Arvaniti-Hotel Turm Frankfurt, Margie Glad, Andrea English, Marietta Violetta Windhorst, Sgt. Rick Brown, Specialist Nicky Kiers, Ralph Stinson-AFN, Robert Cohen & Assoc., Anton Baronin, Vitaly Solomonov, Alexander Dovgoboly, Igor Butman Bigband, Oleg Butman, George Clinton, Vladimir Danilin, Alexei Kuznetzov, Retha Herne, Bruce A. Douglas, Charles Huggins-See’s Candy, Leslie Stewart, Ken Shapero-Jazz Factory, Kathleen Lawton, Don Menza, Commodore Hotel SF: Bina, Joseph, Melanie, Gitanjali, Jeff, Jeff Mason, Anatoly Kiryushkin, Igor Moskvichev, Steven King, Paul Gaist, Sergei Manoukian, Alex Rostotsky, Bill Cobham, Silvia Pagni, Gunther Zint, Cyril Moshkow, Sergei Shidlouskij, Ryo Kawasaki, AND all our viewers of The Jon Hammond Show over the last 21 years!

Recreating LATE RENT CD Product

Some notes about the LATE RENT product you are holding in your hand:
They say history repeats itself. In the case of LATE RENT it is partially true, but now in 2005 I have taken the opportunity to take control of my music and visuals bringing them to you in the absolute highest quality thanks to my outstanding team of specialists. It has been a long road with many detours along the way but thankfully all the master recordings are intact and I was able to locate the photos which artist Michael August has shaped in to a creation that conveys the look of my tv show and tells you many things about this music before you even open the box. Hammond B3 freaks will not be disappointed. Joe Berger preserved the master recordings well. 25 years have passed from the start of this project with the first recordings. I am happy to say that now today my Rent is NOT Late!
And the music of LATE RENT is available for the Ring Tones on your Phones.
We appreciate your feedback by phone, email or good old fashioned snail-mail.
Jon & Late Rent Team
JON HAMMOND Hot Links http://community-4.webtv.net/laterent/JONHAMMOND/
http://community-4.webtv.net/GoldenPenMan/BLUESINTHEMOSCOW/

NDR SESSIONS Projekt, Hamburg, Studio 1, Jazz, Funk Soul Blues, Organ, Accordion, Late Rent, Sk1, Sk2, XK-3c, B3, XB-2, XK-1, Suzuki, Instruments, Excelsior, Musikmesse, NAMM Show, Local 802, Musicians Union

The Day I Met Steve Jobs Personally In San Francisco by Jon Hammond

Jon Hammond San Francisco CA — Let me preface this post by saying I am deeply saddened by the too-young death of Steve Jobs, but I am

very thankful to have met him personally and I am one of the beneficiaries of his incredible body of work. Thanks Steve!

As follows: On January 11th 2005 I attended The MacWorld Expo Keynote given by Steve Jobs at Moscone Convention Center in San Francisco. Just prior to MacWorld my

first album re-release digitally remastered “Late Rent” went on to the iTunes Store so I was very excited about the whole concept of being able to offer my music through

the iTunes platform and I brought along one of the CD’s in my pocket.

The Keynote was really great, although I wasn’t really sure that Steve was there live because he was projected up on to the big screen throughout the presentation.

I thought it might be possible that it was a prepared film, but he occasionally made references to the day’s weather (rain predicted) and some other things that made it

current. Near the end of the presentation he brought out a surprise guest, President of Sony Kunitake Ando and they pledged a commitment to work together

on HD video. John Mayer came out and played at the end, the presentation was over and so I went in to the exhibits directly afterwards.

I was speaking with one of the Apple black shirt guys when all of a sudden I saw Steve. He saw me and I know he doesn’t like to be approached but he must have thought

he either knew me or recognized me and he came right over to meet me. I saw him coming so I reached in my pocket and pulled out my CD Late Rent fresh copy still in

the shrink wrap. I introduced myself and thanked Steve for the wonderful opportunity for all the composers and musicians to get our music out through iTunes (I am a member

of ASCAP) and I told him I would like to give him my Late Rent album if he would take it. He said “Sure!”

He then (this showed me how intense he is, I will never forget) I handed it to him and right away he looked at the cover art work and then looked straight at me to verify it

was indeed me on the cover. He then said “Thanks!” and I told him it was great to meet him…Steve walked away holding the CD in both hands still studying the artwork

intensely as approx. 50 people were following him like the Pied Piper, shouting out Steve Steve…over here!. Steve was absorbed in the art work, and there is plenty to look

at and copy to read, Michael August aka ILLUSTRATORP who designs my album covers so fantastically made sure of that!

http://www.cityhallrecords.com/catpics/webpics/large/HBF105Lg.jpg

The cover Steve Jobs was studying as he walked away:

Late Rent Album Info

iTunes Album Link Late Rent

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

http://itunes.apple.com/us/artist/jon-hammond/id4308313

After I met Steve Jobs it seemed that everything I did with Apple had been blessed by him, and maybe it has / had been!

Thanks for everything Steve Jobs,

sincerely,

Jon Hammond

Member AFM Local 6 and Local 802 Musicians Union
ASCAP Composer Publisher – Jon Hammond International

ASCAP Network Behind The Beat Late Rent

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

re-issue of Jon’s 1995 European release “Late Rent.” Never before available in the U.S., it contains a collection of recordings featuring Bernard Purdie and Steve Ferrone on drums, as well as Todd Anderson and Alex Foster on sax, Barry Finnerty and Graham Hawthorne, Ray Grappone, Jim Preston and Chuggy Carter. The record is a swinging and funky compilation of original tracks written by Jon Hammond, as well as some anecdotal asides and a guest apperance by Jazzbeaux Collins. Lots of great solos and organ sounds, as well as melodies and groove. Includes “Late Rent,” “Pocket Funk,” “Lydia’s Tune,” “White Onions,” “Head Phone” and “Hip Hop Chitlins.”

http://laterent.blogspot.com/

Steve Jobs, Apple Inc, iTunes, Late Rent, MacWorld, Kunitake Ando, Sony, John Mayer, Moscone Convention Center, San Francisco, R.I.P., Jazz, Blues, Jon Hammond

Birdland Hamburg, Late Rent, Lutz Buechner, Knut Benzner, NDR Radio, Jazz, Blues, Organ, Czechoslovakia, Jon Hammond, Jazzkeller Frankfurt, Musikmesse, Local 802

Oliver Johnson batterie – Finale Paris France

August 23, 2009


*WATCH THE VIDEO HERE:

http://ia360935.us.archive.org/1/items/JonHammondOliverJohnsonbatterie-Finale/OliverJohnsonLastSong.m4v

http://www.youtube.com/watch?v=W0Tc_9BI3mM

1988 Jazz Concert musé d’art moderne in paris: Francois Chassagnite trp., Oliver Johnson drms, Jean Bardy bs, Arnaud Mattei pno as seen on The Jon Hammond Show TV Show and HammondCast ©2009 Oliver Johnson Finale

© www.HammondCast.com

Bob Cunningham, Bass, Bernard Purdie, Jon Hammond, Local 802, Musicians Union, NDR Jazz, Late Rent, Mikell’s, Jazz Foundation of America, Elmar Lemes, ASCAP Network, B3 organ, XK-3c, Blues, Funky, Rhonda Hamilton, WBGO


ASCAP Network Behind The Beat with Jon Hammond “LATE RENT”


Elmar Lemes photo of Jon Hammond playing XK-3 organ at Local 802 Monday Night Jazz Session sponsored by Jazz Foundation of America


Jon Hammond MySpace

HammondCast

ASCAP Network Behind The Beat “NDR SESSIONS Projekt”


Jon Hammond is an endorsed artist of Hammond Suzuki USA

*Note, regrettfully, sadly and tragically Oliver Johnson was murdered in Paris 2004 by a homeless man who is now in prison: *From Jazzhouse.org : Oliver Johnson was a noted participant in the free jazz movement of the 1960s, but was a versatile and adaptable performer in many settings. He settled in Paris in the late-60s. He worked with a number of major figures from the free and experimental scene, including Anthony Braxton, Dewey Redman, Sam Rivers, Archie Shepp, the Art Ensemble of Chicago and David Murray, as well as more mainstream players, including Hampton Hawes, Bobby Hutcherson, Maynard Ferguson, Yusef Lateef, Atilla Zoller and Johnny Griffin. He worked regularly with saxophonist Steve Lacy between 1978-89. He co-led the trio TOK with Takashi Kako and Kent Carter. His body was discovered on a bench near Les Halles. In memory of Oliver Johnson, Jon Hammond NYC

Batterie, Drummer, Finale, Francois Chassagnite, HammondCast, Jack Lang, Jean Bardy, Jon Hammond, KYOURADIO, M. Andre Francis, Oliver Johnson, Paris France, Radio, B3, XK-3c

Oliver Johnson batterie – Finale

April 13, 2008

musé d’art moderne in paris: Francois Chassagnite, Oliver Johnson, Jean Bardy, Arnaud Mattei March 6 1988 HammondCast

1988 Jazz Concert musé d’art moderne in paris: Francois Chassagnite trp., Oliver Johnson drms, Jean Bardy bs, Arnaud Mattei pno as seen on The Jon Hammond Show TV Show and HammondCast ©2008 http://www.HammondCast.com Oliver Johnson Finale *Note, regrettfully, sadly and tragically Oliver Johnson was murdered in Paris 2004 by a homeless man who is now in prison: *From Jazzhouse.org : Oliver Johnson was a noted participant in the free jazz movement of the 1960s, but was a versatile and adaptable performer in many settings. He settled in Paris in the late-60s. He worked with a number of major figures from the free and experimental scene, including Anthony Braxton, Dewey Redman, Sam Rivers, Archie Shepp, the Art Ensemble of Chicago and David Murray, as well as more mainstream players, including Hampton Hawes, Bobby Hutcherson, Maynard Ferguson, Yusef Lateef, Atilla Zoller and Johnny Griffin. He worked regularly with saxophonist Steve Lacy between 1978-89. He co-led the trio TOK with Takashi Kako and Kent Carter. His body was discovered on a bench near Les Halles. In memory of Oliver Johnson, Jon Hammond NYC
Francois Chassagnite, Oliver Johnson, Jean Bardy, Arnaud Mattei March 6 1988 HammondCast