#WATCHMOVIE HERE:
Jon Hammond Funk Unit With Some Bad Hombres Specials On The Band in Nashville Tennessee Nissan NAMM Stage!
Jon's archive
https://archive.org/details/2PMKickOffNissanStageSummerNAMMShow
Some Serious Bad Hombres!:
Roland Barber - trombone, trumpet, sea shell
Cord Martin - tenor saxophone
Chuggy Carter - percussion
Louis Flip Winfield - drums
Lee Oskar - harmonica
Joe Berger - guitar
Jon Hammond - organ + bass
2PM EST Jon Hammond Funk Unit kicking it off on the Nissan Stage at Summer NAMM Show Nashville Music City Center
Facebook Video
https://www.facebook.com/jonhammondband/videos/1330048600357267/
http://www.jonhammondband.com
#NAMMShow #SummerNAMM #NissanStage
#suchanastylady
#badhombres
#putinspuppet
#yourethepuppet
#NOYOURETHEPUPPET
#cantwaitforSNL
#badhombre vs #badhombres #Unbeleivable
Bad Hombre Joe Berger!
*photo courtesy CNN
Jon Hammond Funk Unit on Nissan Stage Nashville Music City Center Summer NAMM Show showcase:
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Producer Jon Hammond
Language English
WALL OF LESLIE SPEAKER SOUND 2215 HIGH POWER 3300 WOOD VERSION 3300w Keyboard Products Super Leslie Jon Hammond
3 x LS-2215 Leslie's with Hammond Sk1 Organ - Jon Hammond:
Leslie LS-2215 Info
http://hammondorganco.com/products/leslie/ls2215/
Mono Solid State 200W RMS/300W Peak
Preamp Stereo mini mixer
Inputs 2x 1/4" TR keyboard inputs, auto sensing between passive/active
2x 1/4" TR instrument inputs, auto sensing between passive/active
2x 1/4" TR auxiliary inputs
2x 1/4" TRS effects return inputs
1x 1/4" TRS effects return / power amp input
1x XLR mic input
1x 1/4" mono mic input
Outputs 1x 1/4" TRS stereo headphone output
2x 1/4" TR outputs
2x XLR outputs, each with ground
2x 1/4" TRS effect send outputs
1x 1/4" TRS effect send / slave amp output (send only provides right channel audio out to slave amp for stereo)
Channels and Controls Instrument: Low, mid, high, volume
Keyboard: Low, mid, high, volume
Microphone: Low, mid, high, volume
Auxiliary: Volume
Phones: Volume
Master: Low, mid, high, volume
Tweeter 2x 4" mid to high frequency drivers
Woofer 1x 15" low frequency driver
2x bass ports, front and rear
My 1959 Hammond B3 organ with custom built Super Leslie Speaker by the late great Bill Beer of Keyboard Products - just to the right of the Leslie box & flight case is my well-traveled original Hammond XB-2 in the 'weekend warrior case', it was not lightweight and not designed for heavy travel - but with the help of lots of gaffer tape and stickers I went around the world with that organ numerous times - can't beat the mighty B3, but it won't fit in a taxi cab don't ya' know! - Jon Hammond *Note: It was a LONG weekend for the Weekend Warrior Case folks!:
Very Special Concert in Suzuki Hall, First Time Koei Tanaka Harmonica In Duo with Jon Hammond B3mk2 Organ and High Power Leslie model 3300W
and W stands for Wood! - Jon Hammond
Jon Hammond at the Hammond Organ with Manji Suzuki President Founder of Suzuki Musical Instruments Corp. LTD in Hamamatsu Japan
Jon's archive
https://archive.org/details/JonHammondSuzukiWorldHeadquartersInHouseConcertJonHammondPt3of3
Suzuki Headquarters and factory concert special for President Founder Manji Suzuki with introduction by Waichiro 'Tachi' Tachikawa, Jon Hammond at the new B3mk2 organ with Koei Tanaka chromatic harmonica
Views
1,345
#1345
Special Thanks Mr. H. Ono, Mr. M. Terada, Mr. S. Ohtaka, Mr. Y. Beniya, Tachi Tachikawa, President M. Suzuki and entire Suzuki Musical Instruments Team
Suzuki Musical Instruments, B3mk2 Organ, Tachi Tachikawa, Hamamatsu, Headquarters, Jon Hammond, Local 802 Musicians Union
Jon Hammond at the Hammond Organ - WALL OF LESLIE POWER and Stacked 122's with B3 Organ
Wall of Sound, Leslie 2215, #LeslieSpeaker #HighPower #Hamamatsu #Suzuki #HammondOrgan #Musikmesse #NAMMShow
Jon's archive
https://archive.org/details/JonHammondTAKAonHammondCastNarita
Usage Attribution-NonCommercial-NoDerivs
Topics TAKA, Takamitsu Yashiro, Blue Groove Sessions, Harley Davidson, Fender Telecaster, Jon Hammond, HammondCast, Kamakura, Japan
TAKA Blue Groove Sessions on HammondCast KYOU Radio interview with Jon Hammond in Narita Japan. Guitarist producer and Harley Daivdson chopper from Kamakura
Views
82
#82
Youtube
https://youtu.be/mzlEIFvJPV4
168 views
#168
Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse
http://jonhammondband.com/blog.html/interviews_sennheiser_jon_hammond_headphones_microphones_organ_accordion_music_archive_namm_musikmesse/ - Jon Hammond
L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser
Parking lot of Sennheiser Headquarters in Wedemark Germany, Knut Benzner of NDR with 421 mic and Norbert Hilbich long-time Sennheiser man!
Jon Hammond using Sennheiser e855 evolution microphone on interview with Tommy Denander and Mathias Melo in Hollywood
Nashville Tennessee -- Jon Hammond interviewing legendary Roy Clark with Sennheiser evolution e855 microphone
Jon's archive
https://archive.org/details/RoyClarkTelevisionInterviewWithJonHammond
Roy Clark Television Interview with Jon Hammond just before Roy appeared on the American Eagle Awards in Nashville Tennessee during Summer NAMM Show - Roy Clark an American Living Legend and long-time member of The Grand Ole Opry and The Country Music Hall of Fame - Roy's wiki
https://en.wikipedia.org/wiki/Roy_Clark
Roy Linwood Clark (born April 15, 1933) is an American country music musician and performer. He is best known for hosting Hee Haw, a nationally televised country variety show, from 1969 to 1992. Roy Clark has been an important and influential figure in country music, both as a performer and helping to popularize the genre.
Jon's archive
https://archive.org/details/TrainSongMusikmesseWarmUpParty
Views
269
#269
Youtube
https://youtu.be/ibPxc0shd8Y
104 views
#104
Jon Hammond original composition "Train Song" performed at Jon's annual musikmesse Warm Up Party in the world famousJazzkeller Frankfurt
- Jon Hammond Band: Giovanni Totò Gulino drums, Peter Klohmann tenor saxophone, Joe Berger guitar, Jon Hammond Sk1 Hammond organ - special thanks to Frank Poehl for operating the camera -
http://www.HammondCast.com/ ©JH INTL ASCAP Publishing JON HAMMOND International
Producer Jon Hammond
Language English
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Train, Song, Hammond organ, Warm Up Party, Jon Hammond, jazzkeller, Frankfurt, Jazz, musikmesse, Peter Klohmann, Giovanni Totò Gulino, Joe Berger, ASCAP Composer
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Jon's archive
https://archive.org/details/JonHammond_TributetoVictimsof9_11_JONHAMMONDBand
Views
560
#560
Youtube
https://youtu.be/OzRVyWFhkek
2,955 views
#2955
TONY LAKATOS-tenor sax HEINZ LICHIUS-drums JOE BERGER-guitar JON HAMMOND-XB-2 Organ/Bass *at JAZZKELLER Frankfurt
Special Thanks Eugen Hahn jazzkeller
Get Back in The Groove composed by Jon Hammond ©JH INTL Jon Hammond International ASCAP
Jon's archive
https://archive.org/details/JonHammondJazzKneipeFrankfurtJonHammondBandFunkyHeadPhone
Views
643
#643
Youtube
https://youtu.be/uwm1evylatI
3,226 views
#3226
Rare Footage from inside Jazz Kneipe Frankfurt!
I played 207 gigs in the famous JAZZ KNEIPE Frankfurt at Berlinerstr. 70 until Regina the boss finally closed the doors and moved to Spain a few years ago, usually in Duo, sometimes as Trio but more often than not as Solo. This was a special occasion because my bandmates from California came over so I had them on the gig with addition of Sgt. Al Wittig of U.S. Air Force on tenor, James Preston of Sons of Champlin band drums, Barry Finnerty gtr., myself Jon Hammond at XB-2 Hammond organ. This was a very special place frequented by all the musicians after there gigs. A 5 hour gig until wee hours of the morning, Live Music 7 days a week in rotation with musicians like Piano George, Izio Gross, Wilson de Oliveira and members of HR Bigband. Regina introduced me to Tony Lakatos the Hungarian tenor saxophonist who I play with still today. The club was not large but it had a great atmosphere and was always a safe place to hang out until as late as 5AM. Sadly the Jazz Kneipe is still shuttered there on Berlinerstr. directly behind the Frankfurter Hof Hotel. All musicians tip their hat when they pass by. There's a lot of music in those walls!
Jon Hammond Band original composition "Head Phone" with Atilla Zoller (RIP) in the house that night. ©)JHIntl. Jon Hammond International
http://www.HammondCast.com
Facebook video
https://www.facebook.com/hammondcast/videos/10150741062342102/
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):
Monophonic High fidelity Folks! True Hi-fi
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 Bandmaster 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
Facebook Video:
https://www.facebook.com/jonhammondband/videos/1330048600357267/
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)
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"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).
Jon's archive
https://archive.org/details/Hammondcast202TheJonHammondShowAudioFromJonsRadioShow
Views
493
#493
Youtube
https://youtu.be/aJzR5uizk6Y
122 views
#122
HammondCast 202 The Jon Hammond Show audio from Jon Hammond's radio program special retrospective with audio from a recording he made while on the house band led by Lou Colombo at The Wychmere Harbor Club in Harwich Port Cape Cod MA in 1978. Jon made the recording with his Nakamichi 550 tape deck, it is a remarkable recording of the Lou Colombo Band which played nightly for luminaries such as Speaker of The House Tip O'Neill for all his private parties and the Kennedy Clan.
Visuals from Jon Hammond Show long-running cable access TV program in New York City personally shot by Mr. Hammond with Video by LORI special graphics and FX. Kick back and enjoy!
http://www.HammondCast.com
For full audio of HammondCast 202:
AUDIO:
http://www.archive.org/details/JonHammondHammondCast202KYOURadio
HammondCast 202 KYOU Radio special edition with part 2 of recording from Wychmere Harbor Club when Jon played B3 organ on the Lou Colombo Band, the house band at Wychmere Harbor Club in Harwich Port Cape Cod MA. First backing up a feature dance duo with cha cha and then Emily waltz, Saturday Night Fever followed by the chaser 'California Here I Come', then Summertime, Hello Dolly medley, Bossa nova medley Watch What Happens in to Wave and then a cooking "In The Mood" taking it home with Jon's "Lydia's Tune" and some of Sidewinder - ©JH INTL
Music
Tags:
Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip O'neill, Kennedy clan, cape cod, private club
Run time 14 minutes 58 seconds
Producer Jon Hammond
Audio/Visual sound
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Topics Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip O'neill, Kennedy clan, cape cod, private club
Folks, something told me I had better get on down to see my main man Lou Colombo last week
in Fort Myers FL, I played on Lou's band for 2.5 years in Cape Cod at the Wychmere Harbor Club
and Thompson's Clam Bar in Harwich Port MA. It was an important time of my life and career and
he was always very generous to me, kept me on my toes throwing tunes at me in all keys the music
never stopped once we hit.
I just saw Lou a few days ago in Fort Myers FL at the gig he was playing at his Daughter Sherri's restaurant
and hub Marc Neeley - Roadhouse Cafe, he was at the top of his game, playing great as ever and looking like a
million dollars. I am deeply saddened to receive terrible tragic news this morning from Lou's fine trombonist
Nelson E. Foucht that Lou was tragically killed last night just 4 blocks from Roadhouse Cafe coming home from the
gig. My deepest condolences to the Colombo Family, Lou's Wife Noel, daughters Lori, Sherri, David all his 6 kids, extended
Family of friends and musicians. I am totally blown away, thankful that I had the opportunity to know him and play with
him nightly back in the 70's and then to see and hear him again at the end of his life, thanks Lou!
Here are some photos from just a few days taken by my long-time great girlfriend Jennifer and myself at his gig,
R.I.P. Big Lou - Louis Colombo the greatest trumpet player bandleader baseball slugger and golfer ever!
I used to go with Lou to the golf course where he had the snack concession in Yarmouth just to watch him drive
balls in to outer space. I couldn't believe how far and hard he could hit the ball. Lou would put on black
executioner gloves and hit the ball and it would disappear, just keep on sailing in to the sky like Lou's spirit
must be now. His music and great memories will live on forever.
Sincerely,
Jon Hammond - Member AFM Local 802 and Local 6 Musicians Union
*Note: Lou's band the other night at Roadhouse Cafe were so great, I'm so sorry cats:
Nelson Foucht on trombone, F.L. "Woody" Brubaker piano and keyboard bass, Richard Iannuzzi drums and Gil DiBenedetto tenor saxophone and clarinet.
Jon Hammond and Lou Colombo
**Note: Lou Colombo and my neighbor Leo Ball (R.I.P.) also a fine trumpet player member of Local 802 were born on the same day in Brockton MA
*Note: Lou called me on my cell phone when I was at the airport just about to fly out of Tampa TPA Airport, he told me he really dug
my album that I had given him "NDR SESSIONS Projekt" my first record of mostly standards, it was inspired much by him actually. Lou
was talking about the horn players on it, Lutz Buechner and Joe "Jo" Gallardo, he really dug them and he told me we were going to do
something back up in the Cape for sure. I was very touched by his call and he had called me on my previous birthday last year, I got
all choked up when he told me that. Thanks a million Lou!
Jon Hammond
http://www.archive.org/details/JonHammondLouColomboMoviebyJonHammond
Lou Colombo and Jon Hammond - 02/23/2012
1978 Photo of Lou Colombo Band with Jon Hammond on B3 organ House Band at private club Wychmere Harbor Club in Harwich Port Cape Cod MA
L to R: Frank Shea drums, Lou Colombo trumpet, Jack Pena guitar, Jon Hammond B3 organ
http://www.youtube.com/watch?v=JkqBaFIAXn4
Jon Hammond Funk Unit - some Bad Hombres folks!
Bad Hombres, Jon Hammond, Funk Unit, #FunkyJazz #cantwaitforSNL #HammondOrgan #NAMMShow #Musikmesse
- almost complete take shot by Aurelia Natalini with camera direction by Tino Pavlis - Giovanni Totò Gulino drums, Peter Klohmann tenor saxophone, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ ©Jon Hammond International ASCAP http://www.jonhammondband.com/ - Jon Hammond Band
Attribution-Noncommercial-No Derivative Works 3.0
Topics photographs, funky jazz, hammond organ, sk1, Jon Hammond, musikmesse, music party, chocolate cake, tenor saxophone, frankfurt, electric guitar, drums, ASCAP Composer, local 802, musicians union
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Jon's archive https://archive.org/details/6842260613
Views
156
#156
Youtube https://youtu.be/e3qMWeXdqkA
47 views
#47
Youtube Jon Hammond Band XK5 Organ Debut introduction by "Gregg" Gregory Gronowski https://youtu.be/Zse4xuv6-eg
4,982 views
#4982
Full High Definition Film:
Jon Hammond Band at XK-5 Organ Debut with Introduction by "Gregg" Gregory Gronowski the late great Marketing and Sales Genius for Hammond Suzuki USA -
*Note: Very very sadly soon after this piece was filmed in Nashville Gregg Gregory Gronowski passed away suddenly on August 19th of 2016 - Remembering Gregg Grownoski folks, R.I.P. Gregg! - Jon Hammond -
Hammond Organ USA Party SoundCheck Nashville: Kayleigh Moyer drums, Chuggy Carter congas percussion, Joe Berger guitar, Jon Hammond at the new XK-5 organ - Summer NAMM 2016 fifth Sound Soul Summit Hammond Organ USA co-sponsored by Keyboard magazine and Soundcheck LLC, Nashville - Event: "the first public showing of Hammond’s new XK5 organ and Heritage Series expanded systems, which represent the cutting edge of technology applied to recreating the precise touch, feel, and sound of the classic Hammond B-3. #NAMMShow #SummerNAMM #HammondOrgan
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Video by Lori, Late Rent (Music), Jon Hammond Show, MNN TV, #HammondOrgan ASCAP Composer, Musicians Union, Local 802, Local 6, Public Access TV, 32nd year
Yes that's Andy Warhol on The Jon Hammond Show folks! #AndyWarhol
Jon Hammond Show Preview 06/13 MNN TV Ch 1 - Original Music, Travel and Soft News - beginning with Jon Hammond classic theme song Late Rent with video by Lori *Note: Every frame is heavily embedded with i.d. information and copyright protected ©JON HAMMOND International - next Bernard Purdie plays Jon Hammond's original Pocket Funk with Jon Hammond Band with Koei Tanaka harmonica, Joe Berger guitar, Alex Budman tenor, Bernard Purdie drums, Jon Hammond at the Sk1 Hammond organ onstage at NAMM Anaheim CA. Next Hoodman and then Scott Cooper flies in vintage NAB movie production. Next Jon Hammond's composition Lydia's Tune played in Hamburg Germany with the NDR Horns - Michael Leuschner trumpet, Fiete Felsch alto, Lutz Büchner tenor, Heinz Lichius drums, Joe Berger guitar, Jon Hammond organ and covering bass. Outtake to Jon's theme song Late Rent with images of Jon Hammond Show moments, now in 32nd year on New York Cable every Friday night late (Sat. morning) 1:30AM on MNN TV Channel 1 http://www.HammondCast.com
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New York NY -- Joe Berger doing an Apple Logic Pro X - Apple Tutorial at The Beacon School -
Hmm...I don't know what happened to Mark Via, Joe Berger and I came and played a session with his kids at The Beacon School and never heard back again from him. I hope he's OK - maybe I should check with Richard Carter and see if any signs of life around Fifth Ave. pehaps? - Jon Hammond — with Mark Via, Khaya Lee, Joe Berger and The Beacon School at The Beacon School.
Jon's archive http://ia601401.us.archive.org/26/items/AusterJazzHeadPhoneNDRHornsFunkyHeinz/Auster%20Jazz%20Head%20Phone%20NDR%20Horns%20Funky%20Heinz.m4v
Views
97
#97
Youtube https://youtu.be/I71VSKh61kk
284 views
#284
Auster Jazz Head Phone NDR Horns Funky Heinz - 3 + 3
Jon Hammond Band Live in Auster Bar Hamburg with funky Heinz Lichius drums, NDR Horns: Michael Leuschner trumpet, Lutz Büchner tenor sax, Fiete Felsch alto sax, Joe Berger guitar, Jon Hammond organ + bass -http://www.HammondCast.com/ Note: Joe Berger is playing Futhark Guitars -Jon Hammond - Hammond organ made by Suzuki Musical Instruments - special thanks to our friend and excellent drummer Nicolai Ditsch for operating the camera! & Auster Bar Team Frank Blume & Torsten Wendt
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Topics Funky Jazz, Hamburg, Auster Bar, NDR Horns, Jon Hammond, Sk1, Organ, Trumpet, Saxophones, Guitar, drums, Head Phone, ASCAP Composer
Producer Jon Hammond
Language English
Mourning Lutz Büchner - Trauer um Lutz Büchner
Jon's archive https://archive.org/details/PocketFunkWithNDRHornsAusterJazz
Thoughts about Lutz from Jon Hammond LINK: https://www.facebook.com/notes/jon-hammond/mourning-lutz-b%C3%BCchner/10156648708165287
Saturday, March 12, 2016: Folks, I am really in shock from hearing news of the unexpected and very sad death of my good friend Lutz Büchner! I really didn’t want to say it on the internet after receiving the horrible news in communications with our mutual good friend and fellow musician / bandmate Heinz Lichius. This is so hard to get my head around and accept it but I know it’s true that Lutz suffered a fatal heart attack while on tour in Tokyo Japan with his beloved NDR-bigband with Peter Erskine on the band - I can see Lutz’ smile and hear his voice and music in my mind like it was yesterday - and we spoke and played together so many times. So now I see the news releases are already out on the news FEEDS from the NDR, Hamburger Abendblatt etc. and a few too-early mentions on the Facebook, so I know it’s time to write a few words for those of you who might not know of Lutz Büchner, as follows: As Joe Gallardo the great trombonist and long-time colleague of Lutz’ said in email to me last night: “As you well know, Lutz was first of all a great human being and secondly, he was a masterful player. Lutz was my brother. We will all miss him.” - The very first time I met Lutz was in 1995 on a rainy night in Hamburg Eimsbüttel at the Thursday night weekly jazz session in Jazzclub Birdland - I had heard him the week before and pushed my Hammond organ on the wheels through the rain to the club and got there real early, Hr. Reichert the owner opened up the club and I was telling Mr. Reichert I came the week before but didn’t get to play so “early bird gets the worm...and maybe I’ll get to play with Lutz Büchner!” - well we did it and by good luck my friend Joris Dudli the great drummer was there - it was magic from the first hit. That’s where it started, I was living in Hamburg to play music and write tunes - like so many musicians following in the footsteps of The Beatles, by invitation of my sponsor Knut Benzner journalist moderator on the NDR. From then on together with main man Heinz Lichius drums who I had met just before when Heinz came over to meet me one afternoon - Heinz had recommended to check out Lutz, one of the finest rising musicians on the Hamburg scene. We had a lot of great times together on the bandstand and off from that time on - we played in Hamburg and his hometown of Bremen - turned out to be that Lutz was a real life jazz angel who saved my life at least twice, one time involving bringing me to the hospital / krankenhaus and translating to me what they were about to do to me - we escaped out the side door and the doctor came to our gig that night! I met Lutz’ Mom and Dad beautiful people when they came to hear us play in Bremen at Studio club April 7, 1998 - and most recently our last gigs together with my favorite musicians Michael Leuschner, (Heinz Lichius of course) “Fiete” Ernst-Friedrich Fiete Felsch NDR horn section brothers along with Joe Berger guitar, probably best gig of my life - Lutz was so happy to have found his love with his wife Bettina and he was always crazy about his son Asmus and his step daughters by Bettina, the happiest I have ever seen him, he glowed in the dark he had that much joy! -- Back in 2005 I had an idea, I said to my long-time girlfriend Jennifer: Lutz is one of the greatest saxophonists I ever heard, I want to feature him on a CD release, he could be making a great record every day! I couldn’t believe that he didn’t have any feature albums out at that point - so I discussed it with Knut Benzner and we all co-produced a recording session for this purpose in the famous Studio 1 at NDR, the NDR SESSIONS Projekt was born, with the addition of “Joe G” / Joe Gallardo on trombone and Heinz Lichius and myself, Rudolf Grosser at the controls big SSL console, we started playing in the morning and I played through the magic bass amp belonging to Lucas Lindholm - the boys took one long coffee break and other than that we recorded tunes all day long - I am so grateful that I’ll always have this recording date together with Lutz, of course later on Lutz came out with more records - but this one for me is my special keepsake that went down with the blessings of NDR with the help of Knut Benzner and Axel Dürr. So many stories I can tell you, but most importantly everybody loved Lutz, I know there are a lot of tears flowing now around Hamburg and Bremen, my heart goes out to Lutz’ Family, Friends and Musicians music brothers and sisters! The 2nd to the last time we played together, I hadn’t seen Lutz for a while and he told me about a real miracle of survival when he was driving on the autobahn with Bettina and the kinder all his happy Family in the car, I think there was ice on the road - a car slammed in to the back of his car demolishing the car, but Lutz’ horns were in the trunk - they all got crushed but it saved his Family! They were all shaken up but OK - the lucky star was shining over them, and even though Lutz is not with us physically anymore, his lucky star will always be shining - he was competely dedicated to the NDR-bigband family of musicians and his own Family - always a huge inspiration to me as a person and master musician, rest in peace my very special good friend Lutz Büchner - my deepest and most sincere condolences go out to Lutz’ Mom and Dad and Bettina and his son Asmus and step children by Bettina - all the folks who know and love Lutz, sincerely, Jon Hammond
Jon's archive https://archive.org/details/JonHammondDonaldMeadeImpromptuJazzStoriesatJENConferenceAtlanta
Views
111
#111
Youtube https://youtu.be/pF3Rl3H-u1k
67 views
#67
Usage Attribution-NonCommercial-NoDerivs
Topics Jazz Griot, Donald Meade, JEN Atlanta, Historian, Impromptu, Education, Chitlin Circuit
Atlanta GA -- Jazz Historian Donald Meade here at the Jazz Education Network conference 2013 telling some wonderful jazz stories, and actually explains how the Chitlin Circuit got it's name! This was totally impromptu at a table including Jon Hammond, Javon Jackson, Joe Chambers, and Martin W. Mueller from The New School for Contemporary & Jazz Music - listening to Jazz Griot Award Recipient Donald Meade tell these fascinating stories in his engaging style, enjoy folks!
Jon Hammond
http://hammondcast.wordpress.com/2013/01/08/us-army-blues-pershings-own-precious-lord-take-my-hand-at-jen-2013-atlanta-jons-journal-january-8-2013/
Jazz Griot, Donald Meade, JEN Atlanta, Historian, Impromptu, Education, Chitlin Circuit
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Donald Meade Jazz Griot December 8, 1928 - May 22, 2015
Meade, born December 8, 1928 in Joliet Illinois, was raised in Joliet and later in the Watertown area of East Moline during the time when jazz was coming of age. Meade speaks fondly of growing up musically in the time of Duke Ellington. Nat Cole. Pat Patrick. Louis Armstrong. Clark Terry- and many other pioneers and innovators of the day. He has been a lifelong friend and confidant to many of the jazz legends and innovators, and has traveled extensively with jazz giants such as Ed Thigpen. Ray Brown. Oscar Peterson. Milt Jackson. Cedar Walton, the Heath Brothers. Art Farmer, and Ella Fitzgerald to name a few. "At one time jazz was the popular music" he says.
A friend and mentor to many, as well as a great jazz historian, Donald “Papa” Meade passed away on May 22, 2015. Donald's spirit and dreams live on through those friends, mentees and the recipients of the Donald Meade Griot Award.
-- 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 :
Photo: Nick Gravenites and Julius Karpen at Ron's Memorial recently - 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
Jon's archive https://archive.org/details/WhiteOnions2012MusikmesseWarmUpPartyJonHammondBand
Views
599
#599
Youtube https://youtu.be/Erm1jEvuN0Y
213 views
#213
Jon Hammond's Annual Musikmesse Warm Up Party in Jazzkeller Frankfurt
"White Onions" by Jon Hammond, special guest Lee Oskar harmonica,
Tony Lakatos tenor saxophone, Giovanni Gulino drums, Joe Berger guitar,
Jon Hammond at Sk1 Hammond organ / bass
special thanks Thomas Eich TecAmp - 2 x 12" Neodymium Speakers with TecAmp power amp on my organ
http://www.jonhammondband.com
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musikmesse warm up party jazzkeller frankfurt hammond sk1 lee oskar tony lakatos funky jazz blues shuffle
Run time 11 minutes 19 seconds
Producer Jon Hammond
Audio/Visual sound
by Jon Hammond
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics musikmesse warm up party, jazzkeller frankfurt, hammond sk1, lee oskar, tony lakatos, funky, jazz, blues, shuffle
Jon's archive https://archive.org/details/JonHammondsMusikmesseWarmUpPartyJazzkeller
Youtube https://youtu.be/nRIMY20BFaU
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!!! Jon Hammond / Jon Hammond Band
http://www.jonhammondband.com/blog.html/dienstag_144_rock__pop__jazz_journal_frankfurt_im_aktuellen_journalkalender/
DIENSTAG, 14.4. ROCK | POP | JAZZ Journal Frankfurt im aktuellen
Journal Frankfurt Journalkalender
1 JAZZ/BLUES/FOLK Jon Hammond & Band Wer zählt noch mit ... Mal ernsthaft: der Mann, der so heißt wie sein Instrument, ist zum 29. Mal zur Musikmesse „Warm Up Party”. 21:00, Ffm: Jazzkeller, Kleine Bockenheimer Straße 18a Facebook https://www.facebook.com/events/955188417848638/ Jon Hammond - organ Joe Berger - guitar Peter Klohmann - saxophone Giovanni Gulino - drums Mr. Hammond has toured worldwide since 1991 using the incredible Sk1 organ by Hammond Suzuki..™ "Classic Hammond Sound...In A Suitcase!" The Jon Hammond Show is a funky swinging instrumental revue, featuring top international soloists. The show has universal appeal. Big Hammond orgel sound - 100% organic - Jon Hammond Organ Group
Vimeo https://vimeo.com/125675321
Jazzkeller Jon Hammond Band - Pocket Funk Photos Film Gallery
Jazz Photo Gallery, Frankfurt, #Jazzkeller #Musikmesse #NAMMShow #HammondOrgan
