Jon Hammond's Sennheiser evolution microphone Monophonic Recorder combo Headphone HD 25-1 Classic and Song

Jon Hammond's Sennheiser evolution microphone Monophonic Recorder combo Headphone HD 25-1 Classic and Song Jon Hammond: Back to Mono with Sennheiser combo TASCAM product DR-10X Plug-on Micro Linear PCM Recorder for XLR Connection (flipped over): Jon Hammond playing his 1968 Gibson Byrdland - owned since 18 years old Front and Back Jon Hammond's 1968 Gibson Byrdland Jon Hammond interviewing the great Roy Clark with Sennheiser evolution e855 microphone - Roy is a long-time Gibson Byrdland virtuoso! Jon Hammond 1965 Fender Bandmast Blackface on the bench Jon's Bandmaster Fender Head paired with Bag End 15" coaxial speaker bottom Jon Hammond flanked by Sennheiser co-CEO's Dr. Andreas Sennheiser and Daniel Sennheiser foto by Christian Burkert: Sennheiser to open Soundscape Showroom in the Westfield World Trade Center http://www.nydailynews.com/new-york/manhattan/daniel-sennheiser-open-soundscape-showroom-nyc-article-1.2815943 - Jon Hammond "Daniel and Andreas Sennheiser who run the blossoming Sennheiser company, an audio business based in Germany. (CHRISTIAN BURKERT)" BY EBENEZER SAMUEL NEW YORK DAILY NEWS Monday, October 3, 2016, 2:47 PM "Daniel Sennheiser knows exactly what he's up against. Along with his brother Andreas, Daniel Sennheiser runs the blossoming Sennheiser company, a blossoming audio business based in Germany. But he's watched and admired New York City for a long time, come to appreciate the business challenges of the Big Apple. And along the way, Sennheiser says, he's come to view New York City as a pivotal battleground for any business ready to go global. "New York has been the beginning of a lot of things," Sennheiser says. "This is a melting pot, that has brought up so many things, brought up Broadway. New York is very fast-living. And that's positive in a sense that they're quick to pick up new trends and things. "But that also means you need to make a certain amount of noise." And now, it's time for Sennheiser to make some noise. In late October, the company will take up residence in the Big Apple, opening the Sennheiser Soundscape Showroom in the Westfield World Trade Center. It's a venue that will be filled with Sennheiser's unique products, but the focus isn't on selling. Instead, Sennheiser is focused on introducing New Yorkers to its distinctive audio, part of a first step in establishing the company as a sound powerhouse in a nation that's spent the last few years in the midst of a great headphone awakening. "We believe it's the right time for us to make a big splash to share our version of the future of audio with New York," says Andreas. It's an intriguing vision from a company that's long delivered high-quality sound but has consistently lacked the profile of the bigger names in the industry. Beats by Dre and Bose own the majority of U.S. mindshare, and both companies are highly visible, utilized by both celebrities and major sports franchises. Sennheiser has never had such presence, and that's mostly by choice. Look closely during your next NBA on TNT broadcast, and you may notice Sennheiser headsets on the play-by-play guys. But the company has historically done little marketing, preferring to let its devices shine on their own merits. The Soundscape Showroom isn't the start of some massive ad campaign, either. But it is part of a company-wide initiative to be more visible in the United States, to draw more notice to an underrated line of products. Just a few years ago, the company set up a small pop-up store on the East Side. With the Soundscape Showroom, it's going bigger, aiming to be a national presence. "It's to raise a little awareness. We're just not present enough," Daniel says, before talking proudly of Sennheiser's lore. "Sennheiser is the inventor of the hi-fi headphone. Not a lot of people know that." Indeed, few realize just how potent Sennheiser products truly are. It was Sennheiser that released the first pair of open headphones way back in 1968, and it's Sennheiser that's continued to chase perfect, pure sound throughout the last few decades. And it's Sennheiser that last year debuted the HE1 Orpheus, a handcrafted set of headphones powered by a massive amplifier built from marble and driven by gold-vaporized electrodes and platinum vaporized-diaphragms. It's a device that costs tens of thousands of dollars and is hardly for use with your iPad on the train - but it's a device that showcases Sennheiser's pursuit of high-level sound. "Sennheiser has been on the forefront of audio strategy for years," says Daniel. "We just added the sexy aesthetics after we did the sound." Sound remains the company's top priority, but in recent years, it's been pushing to match the more attractive headphones delivered by the likes of Beats and Bose. There's the Momentum line of headphones, a sharp-looking line of headphones with rugged leather bands that seem tailor made for the stylish Manhattanite. And just this summer, Sennheiser released the PXC 550, a noise-canceling Bluetooth pair of cans designed to go head-to-head with Bose's QuietComfort line, but with touch controls built onto the earcups. These products, says Daniel Sennheiser, are examples of Sennheiser's ability to adapt to culture, proof that the company's products truly can fit the New Yorker. The Sennheiser aesthetic is unique, and the Momentums are especially eye-catching units, as fashion-conscious as they come. The hope is that consumers enter the Soundscape Showroom and see these products, falling in love with a new brand of headphone. "The qualities (of Sennheiser headphones) are great — the material, the leather, the steal," Daniel says. "But you also have to have the opportunity to touch it. In our experience, audio is something you can't describe. You have to put it on your head. "Sennheiser is not a brand for everyone. I think we're a brand for people who are in the know, who are creative, who really look for special things. That's why I think a place like New York is the place to be." And that's precisely why Sennheiser is finally here, with the Soundscape Showroom as its first truly potent portal in the United States. The goal is to build from here, Andreas says, to finally aggressively cultivate the Sennheiser brand in the U.S. It won't be easy, not with Beats and Bose dominant. But Sennheiser arrives prepared. "We have a serious plan, but we're also nimble enough to adjust," says Daniel. "As Frank Sinatra said, 'If you can make it here, you can make it everywhere.'" Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse *WATCH THE FILM HERE: Head Phone Stick with Sennheiser Jon's archive http://ia601507.us.archive.org/7/items/HeadPhoneStickWithSennheiser/Head%20Phone%20stick%20with%20Sennheiser.mp4 Sennheiser (headphones) Momentum series with tribute to Lutz Büchner on solo section: Head Phone stick with Sennheiser (headphones) Jon Hammond's 20th annual Musikmesse Session in Jazzkeller Hofheim - funky jazz with Giovanni Totò Gulino drums, Peter Klohmann tenor saxo, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ - Jon's keyboard stand by Bespeco Professional, Audio: Philipp, Konrad Neupert, Marvin Gans Jazzkeller Hofheim Team - special thanks Jeff Guilford / JJ guitars for operating the camera http://www.HammondCast.com Sennheiser HD 25-1 NAMM Oral History Interview Jon Hammond by Dan Del Fiorentino and Tony Arambarri Jon's archive https://archive.org/details/JonHammondJonHammond_NAMM.orgOralHistoryInterviewDate_January13_2011FullVersion_0 Views 144 #144 Youtube https://youtu.be/Faq_A58v4sE 275 views #275 Usage Attribution-NonCommercial-NoDerivs Topics NAMM Oral History, Musikmesse, Mini-B, NAMM, G37, G27, Leslie Speaker, Onions, Jazz, Blues, Musicians Union, Local 802, ASCAP, KYOU Radio, Anaheim, Frankfurt, B3 Organ, XB-2, Leslie Speaker Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011

namm.org/ library/ oral-history/ jon-hammond

Jon Hammond
Interview Date: January 13, 2011
Job Title: President and Founder
Company: Jon Hammond & Associates
accordions electric organs Hammond B-3 Hammond Organs Jazz Music Manufacturing Musicians

Jon Hammond


Jon Hammond has successfully created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Digital B3 Organ.

Subject Info Jon Hammond Interview Date: January 13, 2011 Job Title: President and Founder Jon Hammond & Associates Jon Hammond has successfully created a ... of his career, the Excelsior Accordion and the Digital B3Organ. (accordions, electric organs, Hammond B-3, Hammond Organs) 512KB MPEG4 download download 1 file MPEG4 download download 1 file TORRENT download "Interview: Co-CEO Dr Andreas Sennheiser" credit: PSN Europe http://www.psneurope.com/interview-co-ceo-dr-andreas-sennheiser/ "Dr Andreas Sennheiser took over the running of his family business with his brother Daniel in May of 2013. In the three years since, the company has released some notable technology – but there have been some serious changes at the company along the way. In an wide-ranging and candid interview, Dave Robinson discovers what the young co-CEO thinks about the $50k Orpheus headphones, the restructuring of the company, the fiercely competitive marketplace and what gets him out of bed in a morning… Let’s begin with AMBEO, your 3D, immersive audio concept. Dr Andreas Sennheiser: At CES, we launched something we’ve been working on for the last 5-7 years: algorithms for ‘immersive audio’. When we started research, we thought it was going to be relevant: it was a gut feeling that what exists wasn’t good enough. While we did research on these algorithms, we didn’t know where it was going to go, but with big content providers such as Universal and Red Bull Media embarking in 360-degree video and immersive audio recordings in the last 12-18 months, suddenly a huge new world has opened up for us. So, we’ve started to compile all the technology into distinct solutions for recording, mixing, processing, playing back. And that’s what we showed with the AMBEO brand at CES [and NAMM and PL+S]. It’s the starting point of something we will develop with our customers. We really are positioning ourselves to take advantage of whatever 3D format emerges, a format with a higher emotional impact. Many artists have said to us, the only way to really connect with the audience the way they want to is to play live – but if they had a format that captured that, so that users at home could listen to it in a way similar to actually being there, then they would have a higher engagement with the listeners. That’s when we got serious about bringing AMBEO to the market. At NAMM you demonstrated a surround-style ‘tetra mic’, with its ‘virtual miking technique’ software, which could change the way things are recorded… The interesting thing about this is that we have to combine different technologies in order to make the immersive experience perfect; to integrate different technologies to make the transition from reality to virtual reality seamless. With third party involvement? By presenting it in its initial stage, it’s an invitation to our customers to think ahead, whether that’s a possible approach for them, how they would use it, and to find new applications for it. It’s all software based at the moment – we have a virtualisation algorithm, an upmix algorithm – we don’t really have a hardware decoder at this point, but if we see a stronger need, we can go in that direction, too. Let’s talk about Orpheus, the HE 1, the ‘world’s most expensive headphone’. The HE 1 for us is a product, a statement, and an indication of our innovation culture, to a certain extent. We could have said, we still have the Orpheus from 1991, it’s still considered the best headphone in the world, why do something better? But part of our culture is to not be happy with anything that exists now, regardless of whether we invented it or not. About 10 years ago, we decided it was the time for the world to experience the next level. On one hand, it’s beyond common sense. But, on the other, by being so intensively on the limits of physics, we learn so much for other applications. You make it sound like the Space Programme… Yes, exactly, and this pushes the entire Sennheiser culture into new ways. Think about the effect this has at the company when a group of people bring out a flagship that will be there for another couple of decades. That has a huge motivational impact on the other employees; at the same time, it tells the industry that what exists is not good enough for Sennheiser, so we will push it forward. I’ve heard the HE 1s. They make sound ‘visceral’, I would suggest. People have ‘seen’ things, heard things which they haven’t heard before, or been able to describe. Do you think they are worth $50,000? [Immediately] Absolutely. No doubt. What sort of reaction have you had to them? A product like this is dividing: people who rave about it, others who say, Is it worth the money? But to me, it’s not the point: it’s about buying into an exclusivity which sets you apart, in a positive way, from the masses. It’s connoisseurship. From the feedback we’ve got, most of the customers who are interested in the HE 1 are audiophiles who say, Audio is my life. The original Orpheus had a run of some 300 units. When HE 1 ships later this year, will that be limited to 300 too? We are not planning any limitation this time: but it is limited by the price and the capacity – making one per day – and the level of customisation. We have significant requests for customised versions. You mean I can have them in pink? Someone wants it in solid jade instead of marble, for instance. The exclusivity includes the concept of a one-off product, as long as the sound properties are not affected. How many do you think you’ll be making? We have more than 50 ordered. I don’t believe it’s going to stop at 100 or 200. I personally believe that it’s something that’s going to be with you for life, and we will offer servicing on it so it will be with you as long as you want to enjoy it. Turning to the other end of the market, consumer headphones: it’s an increasingly aggressive and crowded marketplace. What is Sennheiser doing there? We’re trying to be more focused on specific target groups. With the Momentum line, for example, we are targeting a specific type of personality, people who have a certain style and way of expressing themselves. We’re not just looking at price points and shelf space, and that will set us apart from just having X metres of headphone hangers. You put into place a ‘selective distribution’ model a couple of years ago – other makes have done that too… It ensures that the brand is represented in the appropriate way. If [our models] were at a cash-and-carry checkout for five pounds [six euros], it would just damage the brand. You can’t credibly have a product like that and the HE 1. Are you worried that brands like Beats are changing the market? It’s not necessarily a concern – it is, rather, keeping us on our toes. That increasingly competitive environment was beneficial in two ways: one, it grew the market; two, it forced us to think what Sennheiser is all about, what is at our core, what is our heritage. We’re the only ones to have the 1968 invention of the open-back HD 414 headphone; we’re the only one that has the innovation culture and heritage. How can we use that to be more relevant and have a higher value for the customer? So, with the success of the Momentum line, the higher end HD 800 line, the professional headphones – the HD 25 still being an icon – this process has been healthy for us because it gave us a stronger sense of identity which we are able to communicate. How successful has the D9000 digital wireless system been? It’s a huge success, especially in the last year where the ‘Digital Dividend’ [spectrum sell-off] in Japan gave us extra demand and business. Digital 9000 is successful beyond our initial imagination for a simple reason: we positioned and developed it as a system to be used on stage for singers and touring, because it was so flexible. But the corporate world has discovered it, because of its high-level encryption and flexibility in use. We saw a lot of companies adopt it, such as a major American retail chain. There’s a huge market there. Since you and your brother Daniel became joint CEOs three years ago, you’ve restructured the company. I get the impression, some of that has been easy, and some of it has been hard. Is that correct? We went from a territorial approach to a sales channel approach. In Europe, there’s no borders for commerce. Consumer is one part, professional is another, and so on. In a reorganisation like that, you always have a working assumption. Sometimes you assume, sometimes you just hope for the best. The reorganisation was a great success, especially with the feedback we got from our customers. Did everything work out like we planned? With a change of that magnitude, we discovered things we had to fine-tune. That was a learning experience. For us it was more important to go in the direction that makes sense for the future rather than stay with something we know but might not be any longer relevant. Some of your ideas were quite radical: staff had to look at their roles within the company and say, this is what I do, and this is what I want to do… You are spot on. We had hundreds of people in new roles, so there was an element of change management. …Which can be difficult. Absolutely! And I have empathy with people who are uncertain for a period, who have to find their role and it’s not all clear from Day One. But part of our culture is to go through changes with our employees, and that means everyone can design their future and their fate, which brings the downside of uncertainty with it. But some people don’t want to do that. Yes, but it’s part of our nature to involve people in their own destiny rather than giving them 100% certainty but no influence. The impression I got from the staff video, made for the company’s 70th anniversary last year, is that your employees are pleased to be a part of the Sennheiser phenomenon. The smiles from the people in the factory were natural, not forced. The passion and commitment, the joy of what we do is everywhere at Sennheiser. And that’s really part of my personal motivation. Seeing people committed to that extent gives me a reason to go forward. Do you ever feel the burden of the family legacy, though? When you wake up, do you ever think, [in panicked voice] ‘Oh God, I’m running Sennheiser!’…? [Smiling broadly] With great responsibility comes a certain weight. You have to think about what is good for the company, the customers, the employees. There are moments of doubt and pressure, but all-in-all, what makes me so confident of getting up in the morning is that I’m not alone here, there are 2,700 people who are highly committed and enjoy what they do. It’s not on my shoulders, it’s on 2,700 pairs of shoulders making their own destiny. With that in my mind, it’s easy to get up and assume that responsibility. Good answer! What do you think you still need to do at the company? Become quicker, more nimble to reacting to customer feedback. Sennheiser seems to think about what it’s going to do, thinks some more, and then makes its move. It took you ages to adopt Dante, for instance. That approach can be positive – but negative too. If 80% of our decisions are well-thought through and strategically directed, that’s exactly what we need. In hindsight, we could have taken some decisions earlier. On the other hand, ‘German engineering and thinking’ takes time. What our next challenge will be, is to preserve the thoroughness of where we want to go, but add an element of ‘start-up’ activity. A start-up culture with 70 years of experience, if you will. If we can do that, then we will be even quicker when supplying the customers with what they want. Last question: the factory is on fire – you run in and grab three items. What are they? First, the photo of my grandfather [Fritz Sennheiser, who started the company]. Second, the Emmy Award. [In 2013, Sennheiser was awarded the Philo T. Farnsworth Award, presented to a company whose “contributions over time have significantly impacted television technology and engineering”.] Third, my trolley, which holds all the stuff I use for daily work… But which one product do you put on that trolley? The D9000. Not a classic microphone or headphone? D9000 is a statement of innovation, and is ‘classic’ at the same time. It’s one of a kind. It’s an icon. It shows all the competency that’s in this company. www.sennheiser.com Sennheiser Wiki https://en.wikipedia.org/wiki/Sennheiser Sennheiser electronic GmbH & Co. KG (/ˈsɛnhaɪzər/; branded Sennheiser) is a private German audio company specializing in the design and production of a wide range of both consumer and high fidelity products, including microphones, headphones, telephony accessories, and avionics headsets for consumer, professional, and business applications. ndustry Audio electronics Founded 1945 (as Labor W) Headquarters Wedemark, Hanover, Lower Saxony, Germany Key people Fritz Sennheiser, founder Daniel Sennheiser, CEO and Chairman of the Board Products Audio electronics for consumer, professional, and business uses Owner Sennheiser family Number of employees 2,183 as of 2011 The company was founded in 1945, just a few weeks after the end of World War II, by Fritz Sennheiser (1912–2010)[2][3] and seven fellow engineers of the University of Hannover in a laboratory called Laboratorium Wennebostel (shortened, "Lab W"). The laboratory was named after the village of Wennebostel in the municipality of Wedemark to where it had been moved due to the war. Its first product was a voltmeter.[1] Lab W began building microphones in 1946 with the DM1, and began developing them in 1947 with the DM2. By 1955, the company had 250 employees, and had begun production of many products including but not limited to: geophysical equipment, the Noise-Compensated microphone (DM4), microphone transformers, mixers, and miniature magnetic headphones. Labor W was renamed 'Sennheiser electronic' in 1958.[citation needed] In 1968, Sennheiser released the world's first open headphones.[4] The introduction of open headphones affected the headphone market as they were able to produce a more natural sound that many users preferred.[5] Sennheiser was transformed into a limited partnership (KG) in 1973. In 1980, the company entered the aviation market, supplying Lufthansa with headsets.[6][7] The company began producing modern wireless microphones in 1982, the same year when founder Fritz Sennheiser handed the management of the company over to his son, Jörg Sennheiser. In 1987, Sennheiser was awarded at the 59th Academy Awards for its MKH 816 shotgun microphone. Also in 1991, Georg Neumann GmbH, Berlin, which builds studio microphones, became a part of Sennheiser.[8][9] In 1996, Sennheiser received an Emmy Award for its advancements in RF wireless technology.[10] Also in 1996, Sennheiser became a private limited company (GmbH and Co. KG). Since then, Sennheiser has maintained its tradition of high quality audio technology, and still maintains those high standards today. Professor Dr. Fritz Sennheiser died in 2010. On July 1, 2013, Daniel Sennheiser and Andreas Sennheiser were promoted to the position of CEO responsible for Sennheiser electronic GmbH & Co. KG.[11] In October 2013, Sennheiser received the prestigious Philo T. Farnsworth Award at the 65th Primetime Emmy®Engineering Awards in Hollywood.[12] In May 2014, Sennheiser founded a new competence center for innovative streaming solutions, Sennheiser Streaming Technology GmbH (SST). Locations Sennheiser is headquartered in the municipality of Wedemark, Germany (near Hannover). Its United States headquarters is located in Old Lyme, Connecticut. The company has factories in Wennebostel (Wedemark, near Hanover); Tullamore, Ireland (since 1990); and Albuquerque, New Mexico (since 2000). Sennheiser's R&D facilities are located in Germany, Denmark, Switzerland, Singapore and San Francisco, California. Products This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2016) (Learn how and when to remove this template message) Sennheiser is mainly known for its consumer headphones and professional microphones. The most famous microphones by Sennheiser are the MKH 416 short shotgun, which came to be the Hollywood standard shotgun microphone, and the 816, similar in design with longer reach. Its also makes wireless microphones. Subsidiary products include aviation, multimedia and gaming headsets, micro-Hifi systems, conferencing systems, speakers and amplifiers. Jon's archive https://archive.org/details/JoeBergerNammOralHistoryInterviewUneditedLongVersionOfficial55 Youtube https://youtu.be/uFFMVHCkZ8w Joe Berger NAMM Oral History Interview Unedited Long Version Official 55 minutes 4 seconds by Jon Hammond Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics concert production, electric guitars, namm show, frankfurt musikmesse, joe berger, oral history, john entwistle, concert tours Joe Berger Interview Date: January 20, 2012 Job Title: Musician, Product Endorser - short version here also http://www.namm.org/library/oral-history/joe-berger Joe Berger knows sound! Joe has been mixing sound for over 30 years and he stopped counting at 35,000 bands! Also a virtuoso guitar player with his own definitive, unique playing style and "ear", Joe has jammed with the likes of John Entwistle and Jack Bruce. He has also been a fixture at music trade shows for decades as a guitar demonstrator, having set a record for most hours played at a single trade show. Tony Arambarri, Dan Del Fiorentino - NAMM Historians Categories: concert production electric guitars Guitars-Amps-Fretted Jon Hammond mixing consoles Musicians Musik Messe Frankfurt NAMM Show New York City NY product endorsers Run time 55 minutes 4 seconds Audio/Visual sound Jon's archive https://archive.org/details/JonHammondsMusikmesseWarmUpPartyJazzkeller Alpha Jon Hammond - http://hammondcast.tumblr.com Add to Calendar: Tuesday April 5, 2016 in the famous jazzkeller Frankfurt - Jon Hammond Band performs at 9PM Celebrating 30 Years, As Seen On Cable TV 32 Years Jon Hammond Show MNN TV Channel 1 and Streaming Worldwide FULL HIGH DEFINITION VERSION 29th Year! Jon Hammond's musikmesse Warm Up Party jazzkeller - Big Special Thanks to my good friend Saray Pastanesi for absolute Masterpiece Birthday & 29th musikmesse Chocolate Chocolate cake!! It was delicious, every morsel was consumed and enjoyed! Journal Frankfurt http://www.journal-frankfurt.de/journal_news/Kultur-9/My-home-away-from-home-Jon-Hammond-zum-27-Mal-auf-der-Musikmesse-18308.html MY HOME AWAY FROM HOME Jon Hammond zum 27. Mal auf der Musikmesse Nomen est omen. Der Mann heißt Hammond und spielt eine Hammond. Der Organist aus New York freut sich auf Frankfurt und lädt zur Musikmesse Warm Up Party am 9.4. in den Jazzkeller ein. JOURNAL FRANKFURT: Was war für Sie zuerst da - die Frankfurter Musikmesse oder Auftritte im Jazzkeller? Jon Hammond: Die Musikmesse. Ich kam 1987 zum ersten Mal nach Frankfurt, zusammen mit Joe Berger, der auf der Messe für Engl Amplifiers spielte. Wir flogen mit der Lufthansa ein und teilten uns ein Zimmer im berühmten Prinz Otto Hotel am Hauptbahnhof. Schon in der ersten Nacht stellte mir Joe den großen John Entwistle, den Bassisten von The Who vor. Es wurde eine lange Nacht, in der wir Cognac tranken und Erdnüsse knabberten in eiern Suite des Marriott Hotels. Ich habe Joe bei einer Session mit John und Ringo Starrs Sohn Zak Starkey im Dorian Grey Club gefilmt bei einer Soundcheck Party. In den ersten paar Jahren spielte ich nicht oft live weil ich noch keine transportierbare Hammond Orgel hatte vor 1991 als ich den Prototyp einer XB-2 Hammond Orgel bekam mit der ich dann um die Welt reiste. Hauptsächliche dokumenierte ich aber die Messe für meine Cable TV Show in New York, die inzwischen im 29. Jahr als The Jon Hammond Show -- Music, Travel and Soft News präsentiert. Die harten Nachrichten überlasse ich CNN und den großen Networks (lacht). Vom ersten Jahr an fühlten wir uns der Musikmesse eng verbunden, haben seitdem eine tolle Zeit hier, kommen jedes Jahr wieder bis wir kleine, alte Männer sind. Das Jazzkeller-Konzert am Vorabend der Musikmesse ist zu einer netten Tradition geworden - wie kam es dazu, was bedeutet es Ihnen und wir werden Sie dieses Jahr diesen Abend im Jazzkeller zelebrieren? Ab 1991 lernte ich mehr und mehr Musikmesse-Menschen kennen und die mich und auch einiges von meiner Musik. Einige von ihnen ermunterten mich, doch auch für Auftritte nach Deutschland zu kommen weil es hier doch ein Interesse an Hammond-Orgel-Groove-Music gab. Mit der schon erwähnten, kleinen, kompakten aber sehr kraftvollen Orgel war das alles möglich. Zudem machte ich in New York gerade eine schwere Zeit durch, mein Vater war gestorben und ich hatte das Gefühl, einige Veränderungen könnten meinem Leben gut tun. Also kam ich nach Frankfurt mit meiner XB-2, allerdings mit einem Rückflugticket falls etwas schief gehen würde. Ich rief viele Musiker an, ließ sie wissen, ich bin jetzt da, lasst uns zusammen spielen. Das war für mich der Anfang einer langen, sehr speziellen Beziehung, vor allem zum Frankfurter Publikum nach ersten kleinen erfolgen im Jazzkeller und einer kurzen Auftritt im Hessen Report im Fernsehen. Beatrix Rief verdanke ich dieses "lucky light on me", eine tolle Erfahrung. Seitdem nenne ich Frankfurt "My Good Luck City" und im Jazzkeller begann auch alles für mich als Musiker. Deshalb liegt mir der Club auch so nah am Herzen, deshalb hatte ich auch die Idee, meine "Musikmesse Warm Up Party" dort zu realisieren, immer in der Nacht bevor die Messe startet was zu einer schönen Tradition wurde. Im ersten Jahr, in dem ich dann auch ein wenig Sponsoring von Philip Morris bekam, konnte ich damit einige Flugtickets für befreundete Musik bezahlen. Darüber war ich sehr glücklich. Dabei rauche ich selbst gar nicht. Wie würden Sie Ihr persönliches Verhältnis zu Deutschland und Frankfurt beschrieben? Lassen Sie es mich so sagen: ich liebe Frankfurt und die Frankfurter waren immer gut zu mir in all den Jahren. Ich könnte ein ganzes Buch über die Zeit schreiben, in der ich in Bornheim wohnte und Nacht für Nacht in der alten Jazzkneipe in der Berliner Straße auftrat. Das war der Treffpunkt, wo auch die Musiker der HR Bigband hinkamen und es gab eine generöse Chefin in der kleinen Kneipe. Auch Regine Dobberschütz und Eugen Hahn im Jazzkeller waren wahre Jazzengel für mich, die mir so vieles ermöglichten in der Zeit. Wir konnten auch in den Studios von AFN Radio spielen, waren die einzigen Musiker, die das - mit einer Sondergenehmigung des US Militärs - durften. Für ein wenig Promotion für die Musikmesse. Wir nannten das Programm für die AFN "Profile TV "-Show "Sound Police". Wir hatten viel Spaß. Kein Wunder also, dass ich Frankfurt als my home away from home begreife und ich mich jedes Mal wieder freue zur Musikmesse zu reisen, in diesem Jahr übrigens zum 27. Mal in Folge. Und ich bin diesmal besonders aufgeregt, heim nach Frankfurt zu kommen weil ich gerade 60 Jahre alt geworden bin. Wer wird in diesem Jahr zum Gelingen des Konzertes mit teils komponierter, teils improvisierter Musik, so nehme ich an, beitragen und was für einen Sound wird die Band präsentieren? Ich habe etwa 90% der Kompositionen geschrieben, die wir spielen werden. Es ist die Musik, die man auch in meiner New Yorker TV-Show hören kann und die mich mehrmals um die Welt getragen hat. Meinen Stil nenne ich "Swinging Funky Jazz and Blues" und featurert die ganz wunderbaren Solisten in meine Band: Tony Lakatos, den großen ungarischen Tenorsaxophonisten, der auch Mitglied in der hr Bigband ist, dann meinen alten Freund Giovanni Gulino, diesen tollen Schlagzeuger, der schon für fast alle Großen der Szene getrommelt hat. Ich liebe diese Jungs. Als Gitarrist ist mein alten Freund und Kollege Joe Berger dabei, den man auch als The Berger-Meister kennt. Auf diese Formation bin ich wirklich stolz. Werden Sie im Jazzkeller wieder eine Hammond Orgel spielen? Ja, sicher, das neueste Modell, eine Sk1, die exakt so klingt wie die legendäre B3. Ich liebe sie. Und sie wiegt nur noch sieben Kilo (Anm. des Autors: Das Original, ein echtes Möbel mit viel Holz, mussten immer zwei Menschen mit viel Muskelkraft die Treppen rauf und runter hieven), ein deutliches Indiz, dass wir in der Zukunft angekommen sind. Da stecken viele Jahre Forschung und Entwicklung drin, auch Bühnenerprobungen. Ich ziehe den Hut vor den Ingenieuren von Suzuki, ein unverwüstliches Instrument erschaffen zu haben. Und das unterziehe ich jetzt einen echten Härttest (lacht). Interview: Detlef Kinsler Jon Hammond - organ Joe Berger - guitar Peter Klohmann - saxophone Giovanni Gulino - drums Mr. Hammond has toured worldwide since 1991 using the incredible Sk1 organ by Hammond Suzuki..™ "Classic Hammond Sound...In A Suitcase!" The Jon Hammond Show is a funky swinging instrumental revue, featuring top international soloists. The show has universal appeal. Big Hammond orgel sound - 100% organic As seen on MNN TV Cable TV Show The Jon Hammond Show 32nd year -- Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Journal Frankfurt, Journalkalendar, Jon Hammond, musikmesse, Warm Up Party, Hammond Organs, Frankfurt, Blues, Jazz, Soft News, MNN TV Channel 1 - Jazz Party of The Year! #JazzParty #CNNiReport Producer Jon Hammond Language English Jon's archive https://archive.org/details/48MinuteDocumentaryJazzMovieBigBandWithOrganistJonHammond by Jon Hammond 48 minute Documentary movie of Tuesday night session at Friends Seminary School in Manhattan, 5 original compositions! "Head Phone" by Jon Hammond arranged by Todd Anderson "Lydia's Tune" by Jon Hammond arranged by Todd Anderson "Late Rent" by Jon Hammond arranged by Todd Anderson "Pocket Funk" by Jon Hammond arranged by Todd Anderson "Have a Nice Day Blues" by Todd Anderson arranged by Todd Anderson *Note: Tenor Saxophonist Arranger Todd Anderson was Jon Hammond's teacher for Arranging and Compostion at Berklee College of Music in Boston MA in 1973. 10 years later they recorded this music for TV Show "The Jon Hammond Show" still on TV every week for 32 years, the recording session went down at Intergalactic Recording Studios where John Lennon did some of his last recording dates. The big band here is presided over by Professor Bob Rosen in charge of the music program at Friends Seminary School on Manhattan's East Side, 230 year old school K - 12th grade. Top sight reading musicians gather weekly - more info: http://www.HammondCast.com ©JON HAMMOND International ASCAP / BMI Photographs Courtesy of Elmar Lemes Youtube https://youtu.be/2mcykc-OHTg Back to Mono, Sennheiser evolution, #Microphone #Monophonic #Soundscape #Showroom #HammondOrgan #Headphones #Sennheiser

NAMM Show Sunday Morning Blues Session at Hammond Suzuki Stand Boys

#WATCHMOVIE HERE: NAMM Show Sunday Morning Blues Session at Hammond Suzuki Stand Boys Jon's archive https://archive.org/details/JonHammondNAMM2012SundayBluesSessionHammondSuzukiMercyMercySk1 Views 1,927 #1927 Youtube https://youtu.be/RvjqYJ6F0WU 1,957 views #1957 Usage Attribution-NonCommercial-NoDerivs Topics namm show sk1 organ drawbars mercy mercy funky bluesy koei tanaka suzuki musical harmonica L to R Jon Hammond, Masuo Terada, Shuji Suzuki L to R Bernard Purdie, Jon Hammond L to R Waichiro Tachikawa, Jon Hammond Jon Hammond holding Sk1 Hammond Organ L to R Cliff Unruh / Hammond Central, Swiss Chris L to R Jon Hammond, Koei Tanaka L to R Joe Berger, Koei Tanaka, Jon Hammond in Hammond Suzuki Stand at Winter NAMM Show L to R Shuji Suzuki, Jon Hammond 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 H.264 download download 1 file OGG VIDEO download download 1 file QUICKTIME download download 1 file TORRENT download download 25 Files download 4 Original Producer Jon Hammond E = mc2 Theory of relativity My long lost bro' Albert.. Albert Einstein​! Jon Hammond http://en.wikipedia.org/wiki/Albert_Einstein Albert Einstein (/ˈælbərt ˈaɪnstaɪn/; German: [ˈalbɐrt ˈaɪnʃtaɪn] ( listen); 14 March 1879 – 18 April 1955) was a German-born theoretical physicist and philosopher of science.[3] He developed the general theory of relativity, one of the two pillars of modern physics (alongside quantum mechanics). The theory of relativity usually encompasses two theories by Albert Einstein: special relativity and general relativity.[1] Concepts introduced by the theories of relativity include spacetime as a unified entity of space and time, relativity of simultaneity, kinematic and gravitational time dilation, and length contraction. Mill Valley CA -- Very powerful photo of my friends Nick Gravenites and Julius Karpen at Memorial for my old friend Ron Polte - 2 icons of Blues and Rock, #NickGravenites @NickGravenites (The Electric Flag) #JuliusKarpen (Manager of Big Brother and The Holding Company) transplanted to California from Chicago just as myself and Ron as well - great to see Nick & Julius! Jon Hammond http://jonhammondband.com/blog.html/breakfast_with_ron_rest_in_peace_ron_polte_manager_of_quicksilver_ace_of_cups_wild_west_fest__jon_hammond/ "Breakfast with Ron, rest in peace Ron Polte manager of Quicksilver Messenger Service - Band, Ace of Cups, Wild West Fest - Jon Hammond" "-- RIP my friend Ron Polte - manager of Quicksilver, Ace of Cups, Wild West Fest - Jon Hammond (my band opened for Copperhead on one of the very few live gigs they played in 1972 at The Longbranch Saloon) Tam Junction and Piatti Mill Valley Restaurant - Breakfast with Ron, rest in peace Ron Polte - Jon Hammond : *Note: We had a lot of fun in the old days at 759 Harrison Street San Francisco when we shared rehearsal space with The Quicksilver Messenger Service at Bruce Hatch's San Francisco Radical Laboratories aka SF Rad Lab in years 1968 / 1969 (not to be confused with radiation lab folks! I am still in touch with QSM guitarist Gary Duncan, sending my condolences Gary! - JH" Nick Gravenites Nick Gravenites - Nick's bio "Biography According to author and pop music critic Joel Selvin, Gravenites is "the original San Francisco connection for the Chicago crowd." Gravenites is credited as a "musical handyman" helping such San Francisco bands as Quicksilver Messenger Service and Janis Joplin's first solo group, the Kosmic Blues Band. Gravenites also worked extensively with John Cipollina after producing the first Quicksilver Messenger Service album. He and Cipollina formed the Nick Gravenites–John Cipollina Band which toured a lot in Europe. Gravenites was also a songwriter for the Paul Butterfield Blues Band, which consisted of Elvin Bishop, Paul Butterfield, and Michael Bloomfield, then formed The Electric Flag with Butterfield guitarist Mike Bloomfield. Gravenites is also responsible for writing the score for The Trip, produced the music for the movie Steelyard Blues. He produced the pop hit "One Toke Over the Line" for Brewer & Shipley and the album Right Place, Wrong Time for Otis Rush, for which he was nominated for a Grammy Award. Together with John Kahn, Gravenites produced the album 'Not mellowed with Age' by Southern Comfort. Over the years, Gravenites would often use pianist Pete Sears in his band "Animal Mind", including on his 1980 Blue Star album on which Sears played keyboards and bass. They also played together in front of 100,000 people on Earth Day 1990 at Crissy Field, San Francisco. Sears also joined him for a tour of Greece. He still performs live in northern California. Gravenites was inducted to the Blues Hall of Fame in 2003 for his song "Born In Chicago". He recently toured with the Chicago Blues Reunion and a new Electric Flag Band." **Excerpted from Huffington Post about Julius Karpen: " Barry Melton, lead guitarist for Country Joe & the Fish, was quoted: “Chet was the antithesis of Bill Graham. Chet didn’t really care about money. The music always came first.” Julius Karpen, who later managed Big Brother, was present when Hart phoned Melton. To Karpen, it sounded like “bitching between friends.” He asked Melton, “Did Mickey call you to complain about that quote?” Melton replied, “Oh, that’s Mickey. If you’re friends with Mickey, you’re always sparring with Mickey.” The most poetic eulogy for Chet was written by Allen Cohen, who had been the editor of the first psychedelic underground paper, the San Francisco Oracle: “...There were darkened skied and a storm about to strike. The women cried and danced in the streets while the good old boys were drinkin’ whiskey and rye down by the dock of the Bay. The day Chet Helms died Golden Gate Park was filled with mourners all with flowers in their hair. Big Brother played on all seven hills while Janis smiled from the clouds singing you got a piece of my heart....” Only, Cohen himself was already dead. He had written that eulogy in January 2000, when there was a false report in the Chronicle that Chet had died. Chet decided to have a combination wake and resurrection. He hired a hearse and a coffin and invited 200 guests. He was driven up to the Gold Coast Restaurant. The coffin was rolled into the restaurant and opened. Chet lay there with flowers and a cell phone on his chest. All of a sudden, the phone rang. Chet rose to answer it, then walked through the crowd, toasting the mourners and greeting the cameras." Jon's archive https://archive.org/details/HeadPhoneFunkMasterpieceJonHammondBandWithBernardPurdieSideCamera Views 173 #173 Youtube https://youtu.be/VfGi_QFZalc 189 views #189 Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Funk, Head Phone, NAMM Show, Bernard Purdie, Drums, Hammond Organ, Jon Hammond, Band, B3 organ Allowed on Timeline Side Camera - thanks Tino Pavlis & Joachim Wiesel Jon Hammond Band showcase for Hammond Organ USA / Suzuki Musical Instruments at The NAMM Show in honor of 80th anniversary of Hammond Organs on the Sound Soul Summit program - Jon Hammond original funk composition "Head Phone" featuring legendary Fatback Funk drummer Bernard "Pretty" Purdie and Jon's long-time colleague Joe Berger on guitar, from Tokyo Japan Koei Tanaka Suzuki Harmonica artist Suzuki Harmonica - Alex Budman tenor saxophone and Jon Hammond at the B3mk2 organ and high-power model 3300 Leslie Speaker with FOH mix by Brian English Audio Denny Mack - MC Stephen Fortner & Scott May Side Camera - thanks Tino Pavlis & Joachim Wiesel Jon Hammond Band showcase for Hammond Organ USA / Suzuki Musical Instruments at The NAMM Show in honor of 80th anniversary of Hammond Organs on the Sound Soul Summit program *Note: Jon Hammond Band played immediately before the late great KEITH EMERSON on the program, Keith was up next - Jon Hammond original funk composition "Head Phone" featuring legendary Fatback Funk drummer Bernard "Pretty" Purdie and Jon's long-time colleague Joe Berger on guitar, from Tokyo Japan Koei Tanaka Suzuki Harmonicas artist Suzuki Harmonica - Alex Budman tenor saxophone and Jon Hammond at the B3mk2 organ and high-power model 3300 Leslie Speaker with FOH mix by Brian English Audio Denny Mack - Youtube LINK: https://youtu.be/1r0SSgNoJXU - MC Stephen Fortner and Scott May Producer Jon Hammond Language English Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser Jon's archive http://ia601507.us.archive.org/7/items/HeadPhoneStickWithSennheiser/Head%20Phone%20stick%20with%20Sennheiser.mp4 Sennheiser (headphones) Momentum series with tribute to Lutz Büchner on solo section: Head Phone stick with Sennheiser (headphones) Jon Hammond's 20th annual Musikmesse Session in Jazzkeller Hofheim - funky jazz with Giovanni Totò Gulino drums, Peter Klohmann tenor saxo, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ - Jon's keyboard stand by Bespeco Professional, Audio: Philipp, Konrad Neupert, Marvin Gans Jazzkeller Hofheim Team - special thanks Jeff Guilford / JJ guitars for operating the camera http://www.HammondCast.com Sennheiser HD 25-1 NAMM Oral History Interview Jon Hammond by Dan Del Fiorentino and Tony Arambarri Jon's archive https://archive.org/details/JonHammondJonHammond_NAMM.orgOralHistoryInterviewDate_January13_2011FullVersion_0 Views 144 #144 Youtube https://youtu.be/Faq_A58v4sE 275 views #275 Playing Now -- Ron Howard's Beatles documentary 'Eight Days A Week: The Touring Years' - A Must See for all Beatles Freaks (as myself)! I highly recommend this film folks, Jon Hammond​ "The Beatles: Eight Days a Week" wiki https://en.wikipedia.org/wiki/The_Beatles:_Eight_Days_a_Week The Beatles​: Eight Days a Week – The Touring Years is a 2016 documentary film directed by Ron Howard about The Beatles' career during their touring years from 1962 to 1966, from their performances at the Cavern Club in Liverpool to their final concert in San Francisco in 1966. The film was released theatrically on 15 September 2016 in the United Kingdom and 16 September in the United States, and started streaming on Hulu on 17 September 2016. Directed by Ron Howard Produced by Brian Grazer Ron Howard Scott Pascucci Nigel Sinclair Written by Mark Monroe Starring The Beatles Music by The Beatles Edited by Paul Crowder Production companies Apple Corps Ltd. Imagine Entertainment White Horse Pictures Distributed by United Kingdom: StudioCanal PolyGram Entertainment United States: Abramorama Hulu Release dates 15 September 2016 (United Kingdom) 16 September 2016 (United States) Running time 97 minutes[1] Country United Kingdom United States The film was produced with the cooperation of Paul McCartney, Ringo Starr, and Beatle widows Yoko Ono Lennon and Olivia Harrison.[2][3] In addition to directing the documentary, Ron Howard also served as a producer alongside Brian Grazer, Nigel Sinclair, and Scott Pascucci.[4] Paul Crowder edited the film, and Mark Monroe wrote the film. Jon's archive https://archive.org/details/BarryDolinsOnHammondcastChicagoBluesFestival2007 Views 2,388 #2388 Youtube https://youtu.be/eW2ytY2zwHY 1,508 views #1508 by Jon Hammond Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Chicago Blues, Howlin' Wolf, Mayor Richard M. Daley, Barry Dolins, HammondCast, Jon Hammond, KYOU Radio 512KB MPEG4 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 14 Files download 4 Original Jon Hammond in Chicago IL interviewing Barry Dolins is Deputy Director of the Mayorâs Office of Special Events and the coordinator of the Chicago Blues Festival since 1985 on HammondCast show for KYOU & KYCY Radio 1550AM (San Francisco CA) Headliners & Program for 2007 Chicago Blues Festival: Thursday 6/7 Front Porch 11:30 AM Blues in the Schools Carrying on a Blues Fest tradition, boogie-woogie pianist Erwin Helfer, vocalist Katherine Davis, and guitarist-pianist Eric Noden lead a group of students from Stone Academy in a performance that will no doubt also feature enthusiastic cameos from an assortment of guest stars. --DW 1:30 PM Aaron Moore If this pianist hadn't opted for a dependable day gig with Chicago's Bureau of Streets and San in the 50s, relegating the blues to his spare time, he might now be as revered as Otis Spann or Johnny Jones. In the decade since his retirement he's made an enthusiastic return to music, his hearty vocal style and rollicking technique -- much influenced by Roosevelt Sykes -- still intact. --BD 3 PM Bobby "Slim" James with Joanne Graham Bobby "Slim" James, a club stalwart on the south and west sides, puts across his percussive guitar playing and choked, dramatic baritone vocals with a dose of flamboyant showmanship. He'll perform with singer Joanne Graham, whose winning combination of sass and class lets her sound lusty or tough without getting too coarse. --DW 5 PM Phil Guy & the Chicago Machine Notwithstanding his status as "the other Guy," at this point Phil Guy is far more of a meat-and-potatoes bluesman than Buddy, and he's certainly paid his dues -- behind his brother, with Junior Wells, even on his own. You can hear both his south Louisiana upbringing and his south-side Chicago panache in his guitar work: he tosses in a little low-down funk now and again, but his lead lines stay blissfully focused. --BD Crossroads Noon Charles E. Shaw & the Chicago Blues Rebellion Band featuring Lady Sax and Lady Kat Guitarist Charles E. Shaw can play everything from raw Chicago boogie blues to breezily romantic soul to post-John McLaughlin celestial fusion. His band will be joined by Lady Sax, an alto saxophonist from Gary who plays a solid blend of smooth pop-jazz and boogity funk, and rough-edged south-side vocalist Lady Kat, who does a knockout version of the witty, little-known Gloria Thompson Rodgers number "VooDoo Woman." --DW 2 PM Osee Anderson & Da Blooze Folks Formerly Lonnie Brooks's second guitarist, Osee Anderson is equally at home with Delta minimalism and Wes Montgomery-style sophistication. He tends to rely a bit too heavily on pyrotechnics, but when he reins in that bad habit you can hear how committed he is -- both to blues tradition and to his own eclectic set of influences. --DW 4 PM Hoochie Coochie Boys Muddy Waters always hired stellar sidemen, and this set reunites five of them: harpist George "Mojo" Buford, guitarists John Primer and Rick Kreher, bassist Calvin "Fuzz" Jones, and drummer Ray "Killer" Allison. Local pianist Barrelhouse Chuck will do his best to fill the shoes of the late Otis Spann, and vocalist Muddy Waters Jr., who recently surfaced with plans to follow in his dad's footsteps, will front the band. --BD Louisiana Bayou Station & Social Club 12:30 PM Willis Prudhomme & Zydeco Express Despite their similarities, Cajun and Creole musical traditions are distinct, and many fans and practitioners are adamant about keeping them that way. Not so accordionist Willis Prudhomme: mentored by Cajun legend Nathan Abshire, he combines bluesy, hectic zydeco with more sedate but no less complex Cajun material. --DW 2 PM Bob Hall At least since the trad-jazz revival in the 40s and 50s, there have been plenty of die-hard aficionados of early American jazz and blues in Britain. London pianist Bob Hall plays as though he's memorized stacks of classic blues, barrelhouse, and boogie records note for note, but his enthusiasm -- and his freshly minted variations on vintage themes -- help his music sound immediate instead of dated. --DW 3:30 PM Renaud Patigny This Belgian pianist specializes in transcribing early 78s, and for this set he'll deliver note-for-note re-creations of sides by the great Albert Ammons -- despite the poor quality of the source recordings, he says his versions are 98 percent accurate. Those who already distrust the repertory movement among jazz preservationists won't be thrilled with Patigny's premise, but his dedication, expertise, and virtuosity make the results worth checking out. --DW 5 PM Carl "Sonny" Leyland and Lila Ammons English pianist Carl "Sonny" Leyland, who specializes in what his Web site calls "obscure and primitive" styles, peppers his re-creations of vintage blues, jazz, and boogie-woogie with irreverent flashes of rockabilly and R & B and occasionally tosses in a wittily conceived original tune. He's joined here by Lila Ammons, granddaughter of Albert, who sings with classical precision and bluesy gusto. --DW Mississippi Juke Joint 12:30 PM Super Percy This coarse-voiced belter and his Soul Clique Band are regulars in south- and west-side clubs and have recently been playing weekend gigs at Lee's Unleaded Blues. Their energetic sets are mostly the usual Saturday-night fare, but they liven up their selection of blues, soul, and R & B standards with occasional tunes from Percy's self-released 2005 CD Is It Real. --DW 2:30 PM John Primer With his long service in bands led by Muddy Waters, Willie Dixon, and Magic Slim, John Primer is about as well--seasoned as a Chicago blues guitarist can possibly be. A native of Camden, Mississippi, he's been playing electric blues with his own band for a while, his exuberant vocals and uncommonly fluid leads sticking close to the Chicago tradition. --BD 4 PM Jimmy "Duck" Holmes Guitarist Jimmy "Duck" Holmes was mentored by Jack Owens, torchbearer for the so-called Bentonia school of acoustic blues, which is most closely associated with Skip James. Whether such a school existed at the time or was invented retrospectively is open to debate, but Holmes has mastered the primary components of the style: ghostly, high-pitched vocals and languorously picked chords and leads, mostly in an open E or E-minor tuning. --DW 6 PM Chicago Jam Station with Dave Specter, Aron Burton, and Kenny Smith This evening the festival's pro jam session is anchored by Dave Specter, a concise, T-Bone Walker-influenced guitarist who blends Kenny Burrell-style jazz with tough Chicago blues; veteran bassist Aron Burton, a former Albert Collins sideman; and drummer Kenny Smith, whose precise timekeeping owes something to the influence of his dad, longtime Muddy Waters trapsman Willie "Big Eyes" Smith. --BD Route 66 Roadhouse Noon Boogie Woogie Stomp: Honoring the Ammons Family Three pianists who performed on the Louisiana Bayou Station & Social Club stage earlier today -- Bob Hall, Renaud Patigny, and Carl "Sonny" Leyland -- discuss boogie-woogie music and its legacy. They're joined by vocalist Lila Ammons and her father, Edsel, one of Albert's sons and a retired bishop of the United Methodist Church. --DW 2 PM Soul-Blues: The Lifeblood of the Blues Today moderated by Larry Hoffman R The style known as soul-blues or southern soul -- which has its roots in R & B, 60s deep soul, and the smooth, swinging 12-bar blues pioneered by the likes of T-Bone Walker, B.B. King, and Bobby "Blue" Bland, and these days draws increasingly on rap and hip-hop -- not only continues to thrive in the south but has made plenty of converts outside it (a showcase at Arie Crown earlier this year sold out). This discussion features songwriter Bob Jones; singer Willie Clayton; Rip Daniels, owner of powerhouse Mississippi soul-blues station WJZD; and Julius Lewis, the Memphis promoter who put on the Arie Crown concert. --DW 4 PM Centennials Memorial Jim O'Neal of Living Blues magazine, Michael Frank of Earwig Music, and writer-producers Bob Porter and Larry Hoffman reminisce about the festival's centennial honorees, Albert Ammons and Sunnyland Slim, and a number of blues greats who've died since last year's fest, including guitarists Homesick James, Henry Townsend, and Robert Lockwood Jr., singer Ruth Brown, harpist Snooky Pryor, and drummer Chico Chism. Sadly, they'll now be able to add harpist Carey Bell, who passed away May 6. --DW Petrillo Music Shell 6 PM Willie Clayton R One of the leading lights of the contemporary soul-blues scene, Willie Clayton shows off his versatility on last year's Gifted (Malaco), offering up buoyant pop tunes ("My Lover My Friend") as well as his usual boudoir ballads ("When I Think About Cheating") and synth-driven dance-floor workouts ("Sweet Lady," "My Miss America"). His voice alternates between mellifluous crooning and hoarse, churchy imprecations, and though he's sometimes so cocky onstage he comes off almost arrogant, he's still a thrilling and charismatic showman. --DW 7:20 PM Jimmy Dawkins R In 1969 Jimmy Dawkins's Fast Fingers (Delmark) won the Grand Prix du Disque of the Hot Club de France, boosting his reputation but in the process saddling him with an inappropriate nickname. He tends to avoid flamboyant high-speed pyrotechnics, instead creating extended, slowly unfurling lines that burn savagely into your brain, and his preference for midrange tones over brilliant upper-register stuff reinforces the dark intensity of his music. His most recent release, 2004's Tell Me Baby (Fedora), is a bit less harrowing than 1994's Blues & Pain, but songs like "Falling Tears" and "Hard Life Blues" are still anything but easy listening. --DW 8:30 PM Koko Taylor & the Blues Machine R She's been hailed as Chicago's Queen of the Blues for so long that it's all but impossible to pinpoint the precise date of her coronation. Taylor's seminal version of "Wang Dang Doodle," cut while she was a protege of Willie Dixon at Chess Records, became a national hit in 1966, when Chicago blues records seldom managed that feat; the song remains her calling card today. She survived a life-threatening illness in late 2003, and on her comeback album, this year's Old School (on Alligator, her label for more than 30 years), her voice is a bit growly with age but her bone-deep commitment to blues tradition is as strong as ever. --BD Friday 6/8 Front Porch 11:30 AM Blues in the Schools Harpist Billy Branch, a founder of the Blues in the Schools program, leads a group of Mississippi children who came to Chicago for a class with him, organized by the Delta Blues Museum in Clarksdale. --DW 1 PM J.W. Williams & the Chi-Town Hustlers When bassist and vocalist J.W. Williams formed the Chi-Town Hustlers in the 80s, he was still a member of Billy Branch's Sons of Blues, and his band was sort of a subsidiary of the older group -- they often played together and shared personnel. Williams spent some time away from the scene, but in recent years he's been gigging in town with a reconstituted crew of Hustlers, playing the same brand of flamboyant, funky, irreverent blues. --DW 2:45 PM Vernon and Joe Harrington Southpaw guitar slinger Vernon Harrington and his bassist brother, Joe, are members of the Bell-Harrington clan, which also includes Joe's regular employer Eddy "the Chief" Clearwater and the late harp maestro Carey Bell. Vernon has a slinky, insinuating guitar style and a deft harmonic imagination, but he relies a little too heavily on overcooked standards. --DW 4 PM Lurrie Bell, Steve Bell, Billy Branch, and Matthew Skoller R Guitarist Lurrie Bell was originally scheduled to play with his father, harmonica legend Carey Bell, who died on May 6. Three local harp men will be taking his place: Lurrie's brother Steve, who was taught by Carey and has been playing with Lurrie on and off since they were boys; Billy Branch, Lurrie's bandleader in the Sons of Blues in the early 80s; and dependable local Matthew Skoller, with whom Lurrie has worked regularly in recent years. Each of these harpists can establish a powerful synergetic empathy with Lurrie even under ordinary circumstances, so this set ought to be devastatingly intense. --DW 5:45 PM The No Static Blues Band featuring Mary, Lynn, and Renee Lane Vocalist Mary Lane has been gracing west-side bandstands since the 50s, when she worked with the likes of Elmore James, Magic Sam, and Morris Pejoe (then her husband). She's joined here by daughters Lynn and Renee, whose sweet singing and contemporary styles ought to leaven their mother's stentorian, occasionally labored vocals and decidedly retro leanings. --DW Crossroads Noon Carl Weathersby A former member of the Sons of Blues, this remarkably versatile guitarist can segue from screaming blues intensity to deep-soul seduction without missing a beat. The imaginative transitions he crafts between the different ideas and conceits he visits during a song make his music engaging and exciting rather than merely disorienting. --DW 2 PM Mighty Joe Young Jr. featuring Chontella Renee The late guitarist Mighty Joe Young was an important figure in the development of modern Chicago blues, and Joe Jr.'s guitar style, both intense and subtle, is almost eerily reminiscent of his father's. His daughter Chontella contributes fiery vocals that simultaneously evoke the church, the street corner, and the dance floor. --DW 4 PM Carlos Johnson & the Serious Blues Band Yet another alum of Billy Branch's Sons of Blues who's carved out a solo career for himself, Carlos Johnson is a wide-ranging guitarist who sometimes forgets to connect the dots on his mix-and-match flights of fancy -- though in recent years his playing has been more reliable and tasteful than ever. --DW Louisiana Bayou Station & Social Club Noon Daryl Davis This gifted young African-American blues and boogie pianist studied music at Howard University, but he doesn't wear his erudition on his sleeve: his shows are jubilant celebrations, not textbook lessons. --DW 1:30 PM Ken Saydak This pianist has been a sideman to some of the best -- Willie Kent, Otis Rush, Lonnie Brooks, and Johnny Winter, just for starters -- but his solo work is what's brought him the most acclaim. Saydak's blend of traditional and modern blues styles reflects both the dedication of a craftsman and the zeal of an explorer for whom even well-trod paths represent opportunities to discover new beauty. --DW 3 PM Ariyo Currently the pianist in Billy Branch's Sons of Blues, Sumito Ariyoshi moved here from Japan in the early 80s, and before long was sitting in with legends like Eddie Taylor, Robert Lockwood Jr., and Jimmy Rogers. Over the years he's tamed his weakness for excessive ornament and expanded his stylistic range: a typical set now includes rumba-laced New Orleans R & B, driving Chicago-style blues and boogie, and nuanced pop balladry. --DW 4:30 PM Willis Prudhomme & Zydeco Express See Thursday. Mississippi Juke Joint Noon Jimmy "Duck" Holmes See Thursday. 1:30 PM Terry "Big T" Williams, Wesley Jefferson Bassist Wesley Jefferson and guitarist Terry "Big T" Williams are fixtures on the thriving blues circuit around Clarksdale, Mississippi. Their recorded debut, this year's Meet Me in the Cotton Field (Broke & Hungry), throbs with sinister energy even when they're playing acoustically -- and when they plug in, like they do for their bone-shattering version of "Catfish Blues," the intensity is almost unbearable. --DW 3 PM Clarksdale Delta Blues Museum The Mississippi kids who appeared with Billy Branch on the Front Porch stage earlier today play a set of their own. --DW 4:30 PM Jimmy "Duck" Holmes See Thursday. 6 PM Chicago Jam Station with Guy King, Calvin "Fuzz" Jones, and Kenny Smith This evening's jam session is led by guitarist Guy King, ex-sideman to Willie Kent, former Muddy Waters bassist Calvin "Fuzz" Jones, and drummer Kenny Smith, son of Willie "Big Eyes" Smith, Jones's longtime partner both with Muddy and in the Legendary Blues Band. --BD Route 66 Roadhouse Noon The Significance of the Berlin Jazz Festival as told by Jim O'Neal In 1977 Living Blues magazine cofounder Jim O'Neal assembled a revue called "the New Generation of Chicago Blues" for the Berlin Jazz Festival, and here he trades stories with some of the musicians involved. See today's Petrillo lineup for more. --DW 2 PM Blues: A Family Affair with Johnnie Mae Dunson and Jimi "Prime Time" Smith Johnnie Mae Dunson and her son Jimi discuss some of the blessings and challenges faced by a multigenerational blues family. See below for their Petrillo lineup set. --DW 4 PM Chicago Blues Today Reader blues critic David Whiteis, author of Chicago Blues: Portraits and Stories, and Karen Hanson, who wrote the new guidebook Today's Chicago Blues, talk about the state of the Windy City scene. --BD Petrillo Music Shell 6 PM Johnnie Mae Dunson and Jimi "Prime Time" Smith In the 50s and 60s Johnnie Mae Dunson occasionally wrote songs for Jimmy Reed or drummed in his band, and today she's carrying on as a charismatic and flamboyant singer. Her son, guitarist Jimi "Prime Time" Smith, played with Reed for a while before his death in 1976, then in the 80s accompanied other older--generation bluesmen, notably harpist Big Walter Horton. He usually stays rooted in the traditional styles he learned from his mentors but enlivens them with youthful zest and imagination -- and best of all, he writes most of his own material. --DW 7:15 PM Billy Branch's Sons of Blues 30th-anniversary reunion R In 1977 Jim O'Neal of Living Blues magazine was commissioned to put together a group of up-and-coming Chicago bluesmen to appear with Willie Dixon at the Berlin Jazz Festival under the name "the New Generation of Chicago Blues." Those dozen or so musicians put the world on notice that there were a bunch of young Turks in Chicago itching to bring the blues into a new era, and several important bands, most notably Branch's Sons of Blues, evolved directly out of the Berlin group. This performance won't be a full reunion -- Dixon passed away in 1992 and several others have dropped out of music or out of sight -- but it should have plenty of the adventurous, untamed spirit of the original event. --DW Saturday 6/9 Front Porch 11:30 AM Fruteland Jackson's Birthday Party Local multi-instrumentalist, singer--songwriter, and educator Fruteland Jackson celebrates his 54th birthday. There's no word as to whether Jackson has come up with any special music for the occasion, but given his flair for spinning songs out of day-to-day experiences ("Is That Your Real Name?" is about strangers' favorite thing to ask him), it wouldn't surprise me if he had. --DW 1:30 PM Wanda Johnson & Shrimp City Slim South Carolina singer Wanda Johnson sometimes sounds a bit brittle, but she makes up for it with a supple vibrato and a tone that stays warm even in her upper register -- not to mention her Tracy Chapman-esque knack for blending soul, blues, folk, and pop. Pianist Gary Erwin, aka Shrimp City Slim, runs the Erwin label, which has released two of Johnson's discs so far; his melodic, splay-fingered style complements her well. --DW 3:30 PM Chicago Blues Harmonica Project Part II featuring Little Arthur Duncan, Charlie Love, Big D, Jeffery Taylor, Mervyn "Harmonica" Hinds, and Reginald Cooper Septuagenarian Little Arthur Duncan and south-side mainstay Mervyn "Harmonica" Hinds are the best-known harpists in this lineup. Two of the others often play other instruments: Charlie Love leads the Silky Smooth Band as a singer and guitarist, and Jeffery Taylor is a popular drummer on the north-side circuit. Big D, a relatively young player, mixes jazzy jump and emotional Delta blues a la Little Walter, and Reginald Cooper has jobbed around town but isn't yet established. The backing band consists of guitarists Rick Kreher and Illinois Slim, bassist E.G. McDaniel, pianist Mark Brumbach, and drummer Twist Turner. As with the first Harmonica Project in 2005, Severn Records will release a compilation showcasing these musicians later this year. --DW 6 PM Khalif Wailin' Walter With his high-energy brand of roadhouse-rocking blues, this former sideman for Carl Weathersby and Lonnie Brooks hasn't often seemed to care much about subtlety. But on his forthcoming CD, Let Me Say That Again, the guitarist and singer focuses his Albert King-influenced leads with unprecedented taste and craftsmanship -- a level of sophistication befitting a musician who claims a degree in jazz performance from Roosevelt University. --DW Crossroads Noon Elmore James Jr. with Cadillac Zack Like his legendary father, Elmore James Jr. can fire off triplet-laden slide-guitar riffs in a raw, Delta-influenced style. Though he's also capable of playing more contemporary blues, closer to R & B, here he's backed by a rootsy band led by California guitarist Cadillac Zack and will likely stick to the older sounds. --DW 1:45 PM David Dee & Family Primarily known for his song "Going Fishing," an insistent good-time shuffle that became something of a blues-club standard in the mid-80s, Saint Louis guitarist David Dee serves up sparse, stinging Albert King-influenced licks as a tangy complement to his soul-streaked vocals. His daughters, who'll join him here, are talented R & B singers in their own right. --BD 3:45 PM Honeydripper All-Stars Featured in a forthcoming film by director John Sayles, this intriguingly eclectic group includes performers from all over the country: veteran Chicago saxman Eddie Shaw, young Texas guitarist Gary Clark Jr., Mississippi harpist Arthur Lee Williams, jazz pianist Henderson Huggins from Tuscaloosa, Alabama, and Detroit-bred singer Mable John, a former Raelette who recorded for both Motown and Stax in the 60s -- her sassy "Your Good Thing (Is About to End)" was a hit for Stax in '66 -- and now lives in LA. --BD Louisiana Bayou Station & Social Club 12:30 PM Dave Drazin A nationally renowned photoplay pianist as well as a music scholar and film archivist, Chicagoan David Drazin provides period-appropriate accompaniment for silent films, using jazz and blues instead of the usual ragtime. --DW 2 PM Drink Small R South Carolina septuagenarian Drink Small, aka "the Blues Doctor," styles himself as the modern-day equivalent of a medicine-show minstrel. A lot of his material is anachronistic -- what might have been subversively outrageous in a 1930s tent revue in rural Mississippi doesn't pack quite the same wallop today -- but his sly, barbed wit and bottomless energy lift him out of self-caricature. Though some of his zingers are meant for the crowd, he usually leavens them with self-deprecating buffoonery so his audience can laugh rather than cringe. --DW 4 PM Willis Prudhomme & Zydeco Express See Thursday. 5 PM Tony Llorens Best known for his work in theater and film, Tony Llorens currently serves as music director of Chicago's esteemed ETA Creative Arts Foundation theater. But he's also put in time as keyboardist, bandleader, and producer for Albert King and worked with ZZ Top and Stevie Ray Vaughan -- as the best blues artists have always done, he fuses high- and low-culture sensibilities with refreshing irreverence. --DW Mississippi Juke Joint Noon Terry "Big T" Williams The Mississippi bluesman plays solo here. See Friday. 1:30 PM Homemade Jamz' Blues Band This family band consists of three siblings from the Perry family of Tupelo, Mississippi: 15-year-old guitarist Ryan, 12-year-old bassist Kyle, and 8-year-old drummer Taya. They won second place at the Blues Foundation's 23rd International Blues Challenge in Memphis this year and have gotten rave reviews from audiences and critics alike. --DW 3 PM Alvin Youngblood Hart R It's hard to believe that guitarist Alvin Youngblood Hart, who these days bills himself as "the Cosmic American Love Child of Howlin' Wolf and Link Wray," was ever pigeonholed as a blues revivalist, but that's exactly what happened after he released his all-acoustic debut, Big Mama's Door, in 1996. Since then, though, he's interspersed his rootsier efforts with projects as diverse as a collaboration with guitarist Audley Freed of the Black Crowes and an ensemble combining blues and jazz that also includes saxophonist David Murray, Meters guitarist Leo Nocentelli, and spoken word by author Ishmael Reed; under his own name he's branched out into grungy garage rock, western swing, honky-tonk waltzes, and Sonny Sharrock-style free-form explorations. And no matter what he plays, his molasses-rich baritone and bottomless vocabulary of melodic and harmonic elaborations, on themes both vintage and modern, keep his music aesthetically and emotionally focused. Here Hart will play solo, but even in such a stripped-down context he's reliably provocative and forward looking. --DW 4:30 PM Jimmy "Duck" Holmes See Thursday. 6 PM Chicago Jam Station with Guy King, Calvin "Fuzz" Jones, and Kenny Smith See Friday. Route 66 Roadhouse 11 AM The Great Lakes Blues Society Summit In recent years local and regional blues societies have emerged as major forces in promoting and supporting the music. Here representatives of the Great Lakes Blues Society, one of the more influential in the midwest, will lead a panel discussion hosted by Big City Rhythm & Blues magazine. --DW 1:30 PM Blues on Film: John Sayles's The Honeydripper Director John Sayles will discuss The Honeydripper, scheduled for release later this year, which stars Danny Glover as the proprietor of an Alabama juke joint and also features the Honeydripper All-Stars (see above) and guitarist Keb' Mo'. The late R & B vocalist Ruth Brown, who was supposed to appear as well, became too ill to travel to Alabama for filming but did record some songs for the soundtrack. --DW 3:30 PM Cultural Tourism: A Virtual Blues Tour on the Blues Trail Do busloads of tourists really benefit a local or regional blues scene, given that most of those people will probably never set foot in the community again? Living Blues magazine cofounder Jim O'Neal discusses the role of "cultural tourism" with representatives of state and local organizations in Chicago, Mississippi, and Louisiana that have taken the lead in sponsoring pub crawls, bus tours, and similar enterprises. --DW Petrillo Music Shell 5 PM Nellie "Tiger" Travis Nellie Travis's sultry vocals lend themselves most effectively to slick R & B-flavored soul-blues, and on her latest disc, 2005's Wanna Be With You (Da Man), recorded with veteran soul-blues producer Floyd Hamberlin, she's at her best -- she croons, testifies, and occasionally wails through its densely textured slow jams, jaunty dance-floor workouts, and agreeably abrasive up-tempo booty shakers. --DW 6:10 PM Big Jay McNeely with Jesse Scinto R Honking tenor saxophone was the backbone of both 1950s rock 'n' roll and its direct precedent, postwar R & B, and nobody exemplifies that sound like LA horn titan Big Jay McNeely -- his 1949 smash "Deacon's Hop" became the prototype for countless primal, blistering sax solos to come. Big Jay didn't finesse anything: he reared back and squawked one mile-wide note incessantly, often while flat on his back or being pushed around a nightclub on a cart, driving his young fans into an apoplectic frenzy. He still has that big sound down pat, and when I saw him last month, not long after his 80th birthday, he used some of his old moves, droppingto his knees or strolling through the crowd while wailing on his trademark fluorescent--lacquered horn. If Jesse Scinto's band provides him with a sufficient level of swing, Big Jay is liable to blow the band shell down. --BD 7:20 PM Irma Thomas & the Professionals R Hurricane Katrina robbed Irma Thomas of her home and her nightclub, but those losses haven't hurt her music. She's long been revered in New Orleans the way Koko Taylor is here, but her sweet, understated voice is the antithesis of Koko's strutting growl. At an outdoor gig last summer Thomas drew from her latest album, After the Rain (Rounder), whose poignant songs reflect the heartbreak of Katrina's aftermath. But she can also radiate happiness -- for instance when she exhorts a crowd to wave their hankies along with the second-line-powered "I Done Got Over It," one of the classic tunes she cut with Allen Toussaint in the early 60s. Thomas also recorded the original version of "Time Is on My Side" -- and though she seldom performs it now, her plaintive rendition blows the Stones' out of the water. --BD 8:30 PM Magic Slim & the Teardrops Though they now make their home in Lincoln, Nebraska, Magic Slim and his Teardrops were long one of Chicago's most reliable blues bands. The Teardrops value ensemble work over virtuosic soloing, leaving plenty of room for Slim's barbed-wire guitar and pulverizing vocals; the group has a bottomless shuffle-dominated repertoire, ranging from the warhorse "Mustang Sally" and a hilariously ribald "Mother Fuyer" to decades-old obscurities. --BD Jon's archive https://archive.org/details/BehindTheBeatBTBASCAPAudioPortraitLateRentJonHammondShow Youtube https://youtu.be/xCVRNf4uw6s Jon Hammond: Late Rent by Steve Rosenfeld Jon Hammond says "the fingers are the singers.’" The latest CD from this exceptional and soulful Hammond organist is the proof. "Late Rent" draws on decades of great recording sessions and top live performances to showcase his own playing and many top jazz and funk artists. It shows why the Hammond organ is one of the most enduring electric instruments and why Hammond is one of its best players. Late Rent Label: Ham-Berger-Friz Records Genre: Jazz All Jon Hammond profiles… The Late Rent Story Jon Hammond waited half his life to make this CD – starting with being an underground TV host. Swingin’ Funky Jazz & Blues Jon Hammond describes his style of music and how he learned to play it. Two Hot Tracks Jon Hammond recalls one of his first songs – from age 15 – and a great Sunday session. Sonny’s Advice A little advice on melody from a great sax player went a long way. http://behindthebeat.com/2004/12/jon-hammond-late-rent/ Producer Jon Hammond Audio/Visual sound, color Language English Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics MNN TV, #ASCAPEXPO, Jon Hammond, Public Access, Melody, Hammond Organ, Sk1, B3, Accordion, Musicians Union, Local 6, Local 802 Good times with Michael Leuschner & LaJazzO MV Bigband in Zeughaus Wismar! - Jon Hammond - camera by Heinz Lichius *LINK: https://youtu.be/mN36dsQEFPo das Landesjugendjazzorchester Mecklenburg-Vorpommern (LaJazzO MV) mit seinem diesjährigen Solisten Jon Hammond in der Hansestadt Wismar zu Gast. #hammondcast "Organ meets Big Band" wird dieses sehr traditionsreiche Instrument der Jazzgeschichte in den Mittelpunkt der Konzertreihe.. Al Tobias, Marie Birkholz, Jan Rolle, Henning Schiewer, Nane Schüßler, Oliver Herlitzka, Elli Sooss, Leon Saleh, Gabriel Rosenbach, Matthis Rasche, Michael Leuschner, Hörni Thorun Jon Hammond at ASCAP Expo with Seth Saltzman Senior VP of Adminstrative Services at ASCAP "Protect Your Music" Jon Hammond's 1965 Blackface Fender Band-Master on the bench Jon Hammond's XK-1 Hammond organ with 1965 Blackface Fender Band-Master and 15" Bag End Speaker cabinet with Coaxial horn Sunday Blues, NAMM Session, Hammond Suzuki, Koei Tanaka, Chromatic Harmonica, #BluesSession #NAMMShow #HammondOrgan