Posts Tagged ‘Sunday Session’

NAMM Show Sunday Blues Session at Hammond Suzuki Stand

August 3, 2016

*WATCH SUNDAY SESSION HERE: NAMM Show Sunday Blues Session

Jon’s archive https://archive.org/details/JonHammondNAMM2012SundayBluesSessionHammondSuzukiMercyMercySk1

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First time to NAMM Show – Suzuki Harmonica artist KOEI TANAKA from Tokyo Japan with JOE BERGER aka The Berger-Meister on guitar through Leslie G37 guitar combo amp, SWISS CHRIS getting down with custom Vic Firth drum sticks only on practice pad for low volume trade show performance

with JON HAMMOND at Sk1 Hammond combo organ and SCOTT MAY vocals resurrecting lyrics of Illinois band The Buckinghams (1967 release) http://en.wikipedia.org/wiki/The_Buckinghams for this classic bluesy funky tune having fun all together with Suzuki and Hammond first time combined stands full power! Special thanks to Suzuki Musical Instruments Team – Waichiro ‘Tachi’ Tachikawa, Mr. M. Terada, Shuji Suzuki, Shigeyuki Ohtaka, Yu Beniya, Hammond Suzuki USA Dennis Capiga, Scott May, Jay Valle, NAMM President Joe Lamond Jon’s flight case Gator GKPE-49-TSA http://www.namm.org/library/oral-history/jon-hammond HammondCast http://www.HammondCast.com

Music, #GatorCases #KoeiTanaka #Sk1 #HammondOrgan

Youtube https://youtu.be/RvjqYJ6F0WU

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#1937

by Jon Hammond

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Topics namm 2012 sk1 organ drawbars mercy mercy funky bluesy koei tanaka suzuki musical #Chromaticharmonica

Trump has a ‘black soul’ – Khizr Khan , right on!! JH

HammondCast, KYOURADIO Dot Org, Funk Band, Jazz Music, #NDR #Payphone #HammondOrgan #MP3

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

Melody Without Name by Jon Hammond Band in Jon’s annual musikmesse Warm Up Party in the world famous Jazzkeller Frankfurt – Joe Berger guitar, Giovanni Totò Gulino drums, Peter Klohmann tenor saxophone, Jon Hammond at the Hammond Sk1 organ http://www.HammondCast.com Video: Tino Pavlis

Youtube https://youtu.be/LJTgPjiu-uw

Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Melody, Warm Up Party, jazzkeller, Frankfurt, Musikmesse, Hammond Organ, Jon Hammond Band

Hammond XK-5 aka Flexi-B Top Secret Organ Programmable Multi Contact Keys with MTW 1 Modeled Tone Wheel Generator

Hammond Flexi-B Top Secret Organ
with 9 contact keyboards! – Jon Hammond at musikmesse with Suzuki Musical Instruments Prototype Debut

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

Sony GCS-1 SuperBetaMovie Industrial Camera in the field with Jon Hammond – I wore out 3 of these cameras filming for my Public Access

TV Show The Jon Hammond Show on MCTV, MNN TV and now streaming – we are still on 34th year late Friday nights / early Saturday mornings

01:30 AM EST – 28 minute program, Music, Travel and Soft News

The camera was way ahead of it’s time! – Jon Hammond

John Entwistle of The Who with Jon Hammond and his Sony GCS-1 – John is playing one of his custom made Warwick Buzzard basses, pure ebony

Jon’s archive https://archive.org/details/JonHammondCIrca89JonHammondShowMCTVwEddieMoneyJohnEntwistleJoeBergerBonusKennyBridgeDiver

Action-packed vintage clip from the long-running (24th year) NYC cable-access TV show “The Jon Hammond Show” has classic opening with Video by LORI, Eddie Money spot filmed the night he did David Letterman with Ronnie Spector “Take Me Home Tonight”. Also a spot for Joe Berger’s Impromptu Video Movie with voice-over by Jon Hammond featuring John Entwistle (RIP) of the WHO & Jack Bruce of CREAM. This spot was a noble attempt at marketing that went awry. Joe unfortunately got ripped off by the people who were supposed to run the ad nation-wide 1989, but we’ve got it for you here..enjoy! ©2007 http://www.HammondCast.com *BONUS: Kenny the Belly-flop Bridge Swan Diver..ouch!

Betamax Wiki https://en.wikipedia.org/wiki/Betamax

Betamax (also called Beta, and referred to as such in the logo) is a consumer-level analog videocassette magnetic tape recording format developed by Sony, released in Japan on May 10, 1975. [1] The first Betamax introduced in America was the LV-1901 console, which included a 19″ color monitor, and appeared in stores in early November, 1975. The cassettes contain .50 in (12.7 mm)-wide videotape in a design similar to the earlier, professional .75 in (19 mm) wide, U-matic format. The format is obsolete, having lost the videotape format war[2] to VHS. Betamax recorders ceased production in 2002, but the format’s cassette tapes were available until March 2016, when Sony discontinued them.[3]

Like the rival videotape format VHS (introduced in Japan by JVC in October 1976[4] and in the United States by RCA in August 1977[5]), Betamax had no guard band and used azimuth recording to reduce crosstalk. According to Sony’s own history webpages, the name came from a double meaning: beta being the Japanese word used to describe the way signals were recorded onto the tape, and from the fact that when the tape ran through the transport, it looked like the Greek letter beta (β). The suffix -max, from the word “maximum”, was added to suggest greatness.[6] In 1977, Sony came out with the first long play Betamax VCR, the SL-8200. This VCR had two recording speeds: normal, and the newer half speed. This provided two hours recording time on the L-500 Beta videocassette. The SL-8200 was to compete against the VHS VCRs which had 2 or 4 hours of recording time.[7]

Sanyo marketed a version as Betacord, but this was also referred to casually as “Beta”. In addition to Sony and Sanyo, Beta-format video recorders were manufactured and sold by Toshiba, Pioneer, Murphy, Aiwa, and NEC. The Zenith Electronics Corporation and WEGA Corporations contracted with Sony to produce VCRs for their product lines. Department stores like Sears (in the United States and Canada) and Quelle (Germany) sold Beta-format VCRs under their house brands, as did the RadioShack chain of electronic stores. Betamax and VHS competed in a fierce format war, which saw VHS come out on top in most markets.

n early 1985, Sony would introduce a new feature, High Band or SuperBeta, by again shifting the Y carrier—this time by 800 kHz. This improved the bandwidth available to the Y sideband and increased the horizontal resolution from 240 to 290 lines on a regular-grade Betamax cassette. Since over-the-antenna and cable signals were only 300–330 lines resolution, SuperBeta could make a nearly identical copy of live television. However, the chroma resolution still remained relatively poor, limited to just under 0.4 MHz or approximately 30 lines resolution, whereas live broadcast chrominance resolution was over 100 lines. The heads were also narrowed to 29 μm to reduce crosstalk, with a narrower head gap to play back the higher carrier frequency at 5.6 MHz. Later, some models would feature further improvement, in the form of Beta-Is, a high band version of the Beta-I recording mode. There were some incompatibilities between the older Beta decks and SuperBeta, but most could play back a high band tape without major problems. SuperBeta decks had a switch to disable the SuperBeta mode for compatibility purposes. (SuperBeta was only marginally supported outside of Sony, as many licensees had already discontinued their Betamax line.)[19][20]

In 1988, Sony would again push the envelope with ED Beta, or “Extended Definition” Betamax, capable of up to 500 lines of resolution, that equaled DVD quality (480 typical). In order to store the ~6.5 MHz-wide luma signal, with the peak frequency at 9.3 MHz, Sony used a metal formulation tape borrowed from the Betacam SP format (branded “ED-Metal”) and incorporated some improvements to the transport to reduce mechanically induced aberrations in the picture. Beta ED also featured a luminance carrier deviation of 2.5 MHz, as opposed to the 1.2 MHz used in SuperBeta, improving contrast with reduced luminance noise.[21]

Sony introduced two ED decks and a camcorder in the late 1980s. The top end EDV-9500 (EDV-9300 in Canada) deck was a very capable editing deck, rivaling much more expensive U-Matic set-ups for its accuracy and features, but did not have commercial success due to lack of timecode and other pro features. Sony did market Beta ED to “semiprofessional” users, or “prosumers”. One complaint about the EDC-55 ED CAM was that it needed a lot of light (at least 25 lux), due to the use of two CCDs instead of the typical single-CCD imaging device. The Beta ED lineup only recorded in BII/BIII modes, with the ability to play back BI/BIs.[22]

Despite the sharp decline in sales of Betamax recorders in the late 1980s and subsequent halt in production of new recorders by Sony in 2002, both Betamax and SuperBetamax are still being used by a small number of people. New cassettes are still available for purchase at online shops and used recorders are often found at flea markets, thrift stores or on Internet auction sites. Early format BetaCam cassettes—which are physically based on the Betamax cassette—continue to be available for use in the professional media.

Comparison with other video formats[edit]

Size comparison between a Betamax cassette (top) and a VHS cassette (bottom).
Below is a list of modern, digital-style resolutions (and traditional analog “TV lines per picture height” measurements) for various media. The list only includes popular formats. All values are approximate NTSC resolutions. For PAL systems, replace “480” with “576”. Note that listed resolution applies to luminance only, with chroma resolution usually halved in each dimension for digital formats, and significantly lower for analog formats.

Resolution based on the quality with a standard Kell factor of 0.7:[citation needed]

350×480 (250 lines per picture height): Umatic, Betamax, VHS, Video8
420×480 (300 lines per picture height): Super Betamax, Betacam (professional)
460×480 (330 lines per picture height): Analog Broadcast
590×480 (420 lines per picture height): LaserDisc, Super VHS, Hi8
700×480 (500 lines per picture height): Extended Definition Betamax
Pal Systems,

350×576 (250 lines per picture height): Umatic, Betamax, VHS, Video8
420×576 (300 lines per picture height): Super Betamax, Betacam (professional)
460×576 (330 lines per picture height): Analog Broadcast
590×576 (420 lines per picture height): LaserDisc, Super VHS, Hi8
700×576 (500 lines per picture height): Extended Definition Betamax
[23][not in citation given]

Digital formats Quality based on the resolution with a standard Kell factor of 0.7:[citation needed]

352×240 (240 lines per picture height): Video CD
480×480 (330 lines per picture height): SVCD
720×480 (504 lines per picture height): 4:3 DVD, Anamorphic Widescreen DVD, DV, miniDV, Digital8
720×360 (504 lines per picture height): Letterbox Widescreen DVD
1280×720 (896 lines per picture height): AVCHD-lite (720p)
1440×1080 (1080 lines per picture height): miniDV (high-def variant)
1920×1080 (1344 lines per picture height): (1080i/p) AVCHD, Blu-ray, HD DVD
Tape lengths[edit]
Both NTSC and PAL/SECAM Betamax cassettes are physically identical (although the signals recorded on the tape are incompatible). However, as tape speeds differ between NTSC and PAL/SECAM, the playing time for any given cassette will vary accordingly between the systems. Other unusual lengths were produced from time to time, such as L-410.

For NTSC only, BI is standard speed, BII is 1/2 speed, BIII is 1/3 speed
Common tape lengths
Tape label Tape length Recording time
ft m BI BII BIII PAL/SECAM
L-125 125 38 15 min 30 min 45 min 32 min
L-165 166 2/3 51 20 min 40 min 60 min (1 h) 43 min
L-250 250 76 30 min 60 min (1 h) 90 min (1:30 h) 65 min (1:05 h)
L-370 375 114 45 min 90 min (1:30 h) 135 (2:15 h) 96 min (1:36 h)
L-500 500 152 60 min (1 h) 120 min (2 h) 180 min (3 h) 130 min (2:10 h)
L-750 750 229 90 min (1:30 h) 180 min (3 h) 270 min (4:30 h) 195 min (3:15 h)
L-830 833 1/3 254 100 min (1:40 h) 200 min (3:20 h) 300 min (5 h) 216 min (3:36 h)
Home movies [edit]
Two-piece camera/VCR systems rapidly displaced Super 8 mm film as the medium of choice for shooting home movies and amateur films. These units included a portable VCR, which the videographer would carry by a shoulder strap, and a separate camera, which was connected to the VCR by a special cable. At this point, Beta had several advantages over VHS systems. The smaller Beta cassette made for smaller and lighter VCRs.

However, consumers wanted a one-piece solution. The first one-piece consumer camcorder, the Betamovie, came from Sony. A major requirement for a one-piece camcorder was miniaturizing the recording head drum, and Sony’s solution to this involved a nonstandard video signal which would become standard only when played back on full-sized VCRs. A side effect of this was that Beta camcorders were record-only: consumers saw this as a major limitation.

VHS manufacturers found a better solution to drum miniaturization (it involved four heads doing the work of two). Because it used standard video signals, VHS camcorders could review footage in the camcorder and copy to another VCR for editing. This shifted the home movie advantage dramatically away from Beta, and was a primary reason for the loss of Beta market share: owners of Beta VCRs found that a VHS camcorder would allow them to copy and edit footage to their Beta deck – something that Betamovie could not do. If rental movies were not available in Beta, they could rent them in VHS and use their camcorder to play them. Owners of VHS VCRs could also choose a variant camcorder format called VHS-C. This used a miniaturized cassette to make a camcorder smaller and lighter than any Betamovie.

Sony could not duplicate the functionality of VHS-C camcorders, and seeing the rapid loss of market share, eventually introduced the Video8 format. Their hope was that Video8 could replace both Beta and VHS for all uses. For more information, see the article on camcorders.[24]

End of production[edit]
On November 10, 2015 Sony announced [25] that it would no longer be producing Betamax video cassettes. Production and sales ended March 2016 after nearly 41 years of continuous production.

Jon’s archive https://archive.org/details/6842260604

Hello New York! Jon Hammond Show 28 Minutes Preview 06/04 MNN TV – First segment: Jon Hammond’s annual musikmesse Warm Up Party in the world famous jazzkeller Frankfurt – LATE RENT Jon Hammond Theme Song – Jon Hammond Band: Peter Klohmann tenor, Giovanni Totò Gulino drums, Joe Berger guitar, Jon Hammond organ – Video: Tino Pavlis – Second segment: First playing of the Todd Anderson arrangement of “Lydia’s Tune” by Jon Hammond – Organist Jon Hammond composed this song in Paris France after flying there aboard Air France Concorde in year 1981, played here now with Meeting House Jazz Orchestra – #hammondcast Arranged and Conducted by tenor saxophonist Todd Anderson. Bob Rosen (tenor) presiding over the Music Program at Friends Seminary​ 230 year old school established on Manhattan’s East Side – David Zalud trumpet, Greg Ruvolo trumpet, Jim Piela saxophone, Pat Hall, Art Baron​, Alfredo Marques trombones, (guitar solo): David Acker guitar, Mike Campenni drums, Charles Lee alto, more names coming! Thank you for playing my song and those listening and watching this Podcast folks! Jon Hammond​ ©JON HAMMOND International ASCAP http://www.HammondCast.com/
TV Producers of Manhattan Neighborhood Network [MNN]​ – Manhattan Neighborhood Network​ – Associated Musicians of Greater New York, Local 802 AFM​ of Greater New York, Local 802 AFM AFM Local 6 PROFILE http://afm6.org/member-profile/jon-hammond-wheres-the-gig/ — with Alfredo Marques, Bob Rosen, Greg Ruvolo, Todd Anderson, Mike Campenni, Art Baron, David Acker, Charles Lee and AFM Local 6 at Friends Seminary.
3rd segment: Jon Hammond Band​ – Czechoslovakian Salsa Song by Jon Hammond (organ) Video Tino Pavlis
Note: https://www.facebook.com/notes/jon-hammond-band/best-party-of-the-year-jon-hammonds-annual-musikmesse-warm-up-party-in-jazzkelle/1107482975950736
Best Party of The Year! Jon Hammond’s annual musikmesse​ Warm Up Party in Jazzkeller​ Tuesday April 5th 2016 celebrating 30 years
Jon Hammond​ – organ Joe Berger​ – guitar Peter Klohmann​ – saxophone Giovanni Totò Gulino​ – drums Mr. Hammond has toured worldwide since 1991 using the incredible Sk1 organ by Hammond Suzuki..™ “Classic Hammond Sound…In A Suitcase!” The Jon Hammond Show is a funky swinging instrumental revue, featuring top international soloists. The show has universal appeal. Big Hammond orgel sound – 100% organic
©JON HAMMOND International – JJ Guitars​ Suzuki Musical Instruments​
4th segment: As Seen On MNN TV The Jon Hammond Show – Filmed in High Definition – Pocket Funk with NDR Horns – Jon Hammond Band special Auster Jazz Series – musical director Michael Leuschner trumpet, Lutz Büchner tenor saxophone, Ernst-Friedrich Fiete Felsch alto saxophone, Funky Heinz Lichius drums feature on this one, Joe Berger guitar, Jon Hammond organ + bass http://www.HammondCast.com/ special thanks dankeschön to Knut Simon and Lukas Aaron Hambrecht AutoBild Redaktion Team for bringing the Borgward, Nicolai Ditsch for operating the camera (also a fine drummer) and all the Hamburg people who came to this party session, Auster Bar Team Frank Blume & Torsten Wendt – support from Musik Rotthoff, Joe Berger is playing Futhark Guitars, Jon Hammond the Sk1 Hammond manufactured by Suzuki Musical Instruments – Auster Bar Hamburg Eimsbüttel #hammondcast

Producer Jon Hammond
Language English

Sunday Session, Blues, Jazz, #NAMMShow #Musikmesse #Sk1 #HammondOrgan

Eastside Sound Session “Lydia’s Tune”

March 27, 2015

*WATCH THE VIDEO HERE: Eastside Sound Session “Lydia’s Tune”

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

Youtube https://youtu.be/r8A9ABjKe6k

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

Joe, Lou, Jon

CNN iReport http://ireport.cnn.com/docs/DOC-1228515

Jon Hammond Band Facebook https://www.facebook.com/video.php?v=1022871057741691&set=vb.133709526657853&type=3&theater

Vimeo https://vimeo.com/123362512

Jon’s archive https://archive.org/details/6842260328

Jon Hammond Show cable access TV show broadcast for 03/28/2015, Jon’s band performing in jazzkeller Frankfurt original composition “Get Back in The Groove” – exclusive footage from Jon Hammond Show of the late great Dave Van Ronk followed by radio interview footage with Alan Pasqua and Jon Hammond just before Alan’s concert with Allan Holdsworth recorded for DVD, then never-before-seen footage Jon filmed of Michael Brecker, the late great jazz tenor saxophonist in performance with Barry Finnerty’s band in Michael’s club Seventh Avenue South he co-owned with his brother Randy Brecker in Greenwich Village – wrapping up the show, a wonderful segment of Joe Franklin on mic with Jon Hammond, Joe Franklin was the King of Radio & TV

– 32nd year Jon Hammond Show, FSB, Funk Soul Blues and soft news – enjoy folks http://www.HammondCast.com

Youtube https://youtu.be/pafohvr4CGE

CNN iReport http://ireport.cnn.com/docs/DOC-1226569

Dailymotion http://www.dailymotion.com/video/x2k4t4c_jon-hammond-show-mnn-ch-1-broadcast-03-28-2015-funk-soul-blues-soft-news_music

Vimeo https://vimeo.com/122796412

Jon Hammond Band Facebook http://www.facebook.com/jonhammondband

Jon’s archive https://archive.org/details/JonHammondCakeFlowersandLateRent25YearsMusikmesseWarmUpPartyinJazzkeller

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

Jon Hammond Band Facebook https://www.facebook.com/video.php?v=1011779378850859&pnref=story

Dankeschön / Thanks for the flowers Musikmesse Team! and all my friends who came out for this very special evening – Jon Hammond
Chocolate on Chocolate Cake at Jon Hammond’s annual musikmesse Warm Up Party in jazzkeller Frankfurt with Jon Hammond Band and special guests for this special occasion celebrating 25 years in Musikmesse. Special acknowledgement of Wilhelm P. “Charly” Hosenseidl R.I.P. who was the Director of musikmesse years 1989-2008 now Directed by Wolfgang Luecke, special thanks to Messe Frankfurt Projekt and Presse Team!
Jon Hammond Band:
Joe Berger guitar
Tony Lakatos tenor saxophone
Giovanni Totò Gulino drums
Jon Hammond – XB-2 Hammond Organ – special thanks Hiromitsu Ono Chief Engineer Suzuki Musical Instruments designed my instrument which took me all around the world many times

“Late Rent” Jon Hammond theme song for Jon Hammond Show MNNTV and HammondCast Show KYOU Radio San Francisco CBS Radio Network
Thanks Joe Lamond President CEO NAMM, TecAmp Jürgen Kunze and Thomas Eich – Puma Combo bass amp powering Jon Hammond’s organ
Dankeschoen to Yücel Atiker, Tino Pavlis, Poehl, Bernie Capicchiano, Michael Falkenstein Hammond Suzuki Deutschland, Peggy Behling, Christine Vogel Messe Frankfurt,
Saray Pastanesı Baeckerei & Konditorei for Chocolate on Chocolate
25 Years Musikmesse Celebration Cake – Mainzer Landstrasse 131, 60327 Frankfurt am Main, Eugen Hahn Jazzkeller Frankfurt Team Kleine Bockenheimerstr. 18a Frankfurt
http://www.HammondCast.com/

Journal Frankfurt Article by Detlef Kinsler, LINK: http://journal-frankfurt.de/funkyjazz

Kultur
StartseiteAlle NachrichtenKultur

My home away from home 
 
MY HOME AWAY FROM HOME 

0
Jon Hammond zum 27. Mal auf der Musikmesse
Nomen est omen. Der Mann heißt Hammond und spielt eine Hammond. Der Organist aus New York freut sich auf Frankfurt und lädt zur Musikmesse Warm Up Party am 9.4. in den Jazzkeller ein.
JOURNAL FRANKFURT: Was war für Sie zuerst da – die Frankfurter Musikmesse oder Auftritte im Jazzkeller?
Jon Hammond: Die Musikmesse. Ich kam 1987 zum ersten Mal nach Frankfurt, zusammen mit Joe Berger, der auf der Messe für Engl Amplifiers spielte. Wir flogen mit der Lufthansa ein und teilten uns ein Zimmer im berühmten Prinz Otto Hotel am Hauptbahnhof. Schon in der ersten Nacht stellte mir Joe den großen John Entwistle, den Bassisten von The Who vor. Es wurde eine lange Nacht, in der wir Cognac tranken und Erdnüsse knabberten in eiern Suite des Marriott Hotels. Ich habe Joe bei einer Session mit John und Ringo Starrs Sohn Zak Starkey im Dorian Grey Club gefilmt bei einer Soundcheck Party. In den ersten paar Jahren spielte ich nicht oft live weil ich noch keine transportierbare Hammond Orgel hatte vor 1991 als ich den Prototyp einer XB-2 Hammond Orgel bekam mit der ich dann um die Welt reiste. Hauptsächliche dokumenierte ich aber die Messe für meine Cable TV Show in New York, die inzwischen im 29. Jahr als The Jon Hammond Show — Music, Travel and Soft News präsentiert. Die harten Nachrichten überlasse ich CNN und den großen Networks (lacht). Vom ersten Jahr an fühlten wir uns der Musikmesse eng verbunden, haben seitdem eine tolle Zeit hier, kommen jedes Jahr wieder bis wir kleine, alte Männer sind.

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

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

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

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

27. März 2013
Interview: Detlef Kinsler

Briggs & Riley Travelware added 2 new photos – https://www.facebook.com/BriggsandRiley/posts/10153116135768914

Iconic jazz and blues keyboardist and television/music radio show host and producer (CBS’s “Jon Hammond’s Afternoon Slide” on KYCY 1550 AM) Jon Hammond writes us: “Nothing like riding the old S-Bahn with my Briggs & Riley Travelware.” We do love hearing from you, Mr. Hammond. Happy travels on tour and keep on tinkling those ivories!!

Musician and media personality Jon Hammond in Frankfurt photographing his Briggs & Riley bags.

Keyboard master Jon Hammond on tour.

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Bossa Nova, Music Session, Recording Studios, Hammond Organs, Lower East Side, Eastside Sound, ASCAP Composer, Drums, Guitar, Sunday Session, Cable Access TV, Public Access, Musicians Union, Local 802