Al Jazzbeaux Collins Movie with Jon Hammond KCSM Jazz 91

*WATCH THE FILM HERE: Al Jazzbeaux Collins Movie With Jon Hammond KCSM Jazz 91 Ver 2.0 Jon's archive https://archive.org/details/AlJazzbeauxCollinsMovieWithJonHammondKCSMJazz91Ver2.0 Youtube https://youtu.be/gYwQvlL8Wmc by Jon Hammond Published June 18, 2015 Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Al Jazzbeaux Collins, Documentary, Jon Hammond, Movie, Jazz 91, Mississippi Mud, Jazzbo Collins, WNEW 1130 AM, Jazz Radio, #HammondOrgan The late great radio and TV broadcaster personality Al Jazzbeaux Collins in the studios of KCSM Jazz 91 with organist Jon Hammond - aka Al Jazzbo Collins, one of the greatest and most definitely coolest broadcasters who ever lived. *Note: I dearly miss Jazzbeaux, he was a huge inspiration to me personally. He broke out my music on the air back in New York on WNEW 1130AM huge powerful door he opened for me, we had a lot of fun together on both coasts - he introduced me to folks like Lionel Hampton, David Panama Francis, Lew Anderson band leader and Clarabell the Clown from It's Howdy Doody Time! TV Show, Joe Bushkin pianist, and his Family the Collins Family - he knew every door man garbage man and taxi drivers on the street - rest in peace Albert! sincerely, Jon Hammond *including a clip from Live performance in Horizons Sausalito with funky James Preston drums on Jon Hammond Band https://en.wikipedia.org/wiki/Al_%22Jazzbo%22_Collins Albert Richard "Jazzbo" Collins (born January 4, 1919, Rochester, New York[1] — d. September 30, 1997, Marin County, California) was an American disc jockey, radio personality and recording artist who was briefly the host of NBC television's Tonight show in 1957. The name "Jazzbo" derived from a product Collins had seen, a clip-on bowtie named Jazzbows. Just as Martin Block created the illusion that he was speaking from the Make Believe Ballroom, Collins claimed to be broadcasting from his inner sanctum, a place known as the Purple Grotto, an imaginary setting suggested by radio station WNEW's interior design, as Collins explained: I started my broadcast in Studio One which was painted all kinds of tints and shades of purple on huge polycylindricals which were vertically placed around the walls of the room to deflect the sound. It just happened to be that way. And with the turntables and desk and console and the lights turned down low, it had a very cavelike appearance to my imagination. So I got on the air, and the first thing I said was, "Hi, it's Jazzbo in the Purple Grotto." You never know where your thoughts are coming from, but the way it came out was that I was in a grotto, in this atmosphere with stalagtites and a lake and no telephones. I was using Nat Cole underneath me with "Easy Listening Blues" playing piano in the background. Collins grew up on Long Island, New York. In 1941, while attending the University of Miami in Florida, he substituted as the announcer on his English teacher's campus radio program, and decided he wanted to be in radio. He began his professional career as the disc jockey at a bluegrass station in Logan, West Virginia. By 1943, Collins was broadcasting at WKPA in Pittsburgh, moving in 1945 to WIND in Chicago and in 1946 to Salt Lake City's KNAK. In 1950, he relocated to New York where he joined the staff of WNEW and became one of the "communicators" on NBC's Monitor when it began in 1955. Two years later, NBC-TV installed him for five weeks as the host of the Tonight show when it was known as Tonight! America After Dark in the period between hosts Steve Allen and Jack Paar.[2] In 1957, Collins appeared, as himself, as the star of an episode of NBC radio's science fiction radio series X Minus One. He also hung out with the beatnik hipsters in North Beach during that time. In 1959, he was with KSFO in San Francisco. While at KSFO he would often say that he was broadcasting "from the purpleness of the Grotto". He often mentioned his assistant "Harrison, the long-tailed purple Tasmanian owl". During the 1960s, he was the host of Jazz for the Asking (VOA), and he worked with several Los Angeles stations during the late 1960s: KMET (1966), KFI (1967) and KGBS (1968). He officially changed the spelling of his name to Jazzbeaux when he went to Pittsburgh's WTAE in 1969. He moved to WIXZ in Pittsburgh (1973) before heading back to the West Coast three years later. While in Pittsburgh, he briefly hosted a late night television show entitled "Jazzbeauxz (he spelled the possessive with a 'z.') Rehearsal". The show had nothing to do with any actual rehearsal, and was entirely an eclectic sampling of anything that caught Collins' interest at the time. One of those "interests" was a long-running hard-boiled-egg spinning contest. He conducted the program from a barber chair, as he had on a previous TV show. In the early 1960s Collins hosted a morning TV program, "The Al Collins Show," that aired on KGO-TV in San Francisco (the ABC affiliate). The format included light talk and guest appearances. The guest lineup typically included local or state-wide celebrities, and B-list actors, such as Moe Howard of The Three Stooges. A popular segment on his show was the "no stinkin' badges" routine. Al would politely request the main guest for that day don a Mexican bandit costume, complete with ammo belts crossing the chest, six-guns in holsters, a huge sombrero and large fake mustache. The guest then had to pose in front of cameras and for the TV audience. With pistols pointing at the camera lens the guest had to say (with emphasis) "I don't got to show you no stinkin' badges." If the guest did not say it with sufficient sinister tone Collins made him or her repeat it until in Al's opinion the guest got it right. Collins' bit was a play on a famous exchange in the 1948 film The Treasure of the Sierra Madre. In one scene some obviously very bad bandidos try to pass themselves off to Bogart as federales (police). Humphrey Bogart's character knows they are not federales but nevertheless asks to see some badges. The bandito-in-charge responds "Badges?! I don't got no badges. We don't need no badges! I don't have to show you any stinkin' badge." Collins reduced the guest bandit's lines to the single phrase so it was easy for the guest to recite. In 1976 Al Collins returned to San Francisco working at KMPX, followed by a three-year all-night run at KGO which drew callers throughout the West Coast. He always opened with Count Basie's "Blues in Hoss flat". He also worked a late night shift at KKIS AM in Pittsburg, CA in 1980. After returning to New York and WNEW (1981), he was back in San Francisco at KSFO (1983) and KFRC (1986). Then came one more run at WNEW (1986–90), and then he joined KAPX (Marin County, California) in 1990, and from 1993 until his death, Jazzbeaux did a weekly jazz show at KCSM (College of San Mateo, California). He died on September 30, 1997, at the age of 78, from pancreatic cancer. — with Al "Jazzbo" Collins, Al "Jazzbo" Collins and James Preston at KCSM Jazz 91 CNN iReport http://ireport.cnn.com/docs/DOC-1250843 Dailymotion http://www.dailymotion.com/video/x2ujdip_al-jazzbeaux-collins-movie-with-jon-hammond-kcsm-jazz-91_music Jon Hammond Band Facebook https://www.facebook.com/jonhammondband/videos/vb.133709526657853/1076061095756020/?type=3&theater Jon's archive from 2014 Nashville Summer NAMM https://archive.org/details/LateRentThemeSongAcousticNationStage Youtube https://youtu.be/4jTXzicbPiY NAMM Details Page https://www.namm.org/summer/2015/events/jon-hammond-funk-unit Jon Hammond Funk Unit First time on the band: Cord Martin tenor sax!: Artist Info Joe Berger: Guitar Roland Barber: Trombone Louis Flip Winfield: Percussion Evan Cobb: Tenor Saxophone Jon Hammond: Organ Cord Martin : Tenor Saxophone Genre: Jazz Website: http://www.jonhammondband.com Facebook: http://www.facebook.com/jonhammondband Artist Bio: JON HAMMOND Instruments: Organ, Accordion, Piano, Guitar Attended: Berklee College of Music 1974, City College San Francisco Languages: English, German Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Hammond Organ. Musician: Jon Hammond is one of the premier B3 PLAYERS in the world. Jon has played professionally since age 12. Beginning as a solo accordionist, he later played Hammond B3 organ in a number of important San Francisco bands. His all original group HADES opened shows for Tower of Power, Quicksilver Messenger Service and Michael Bloomfield. Eddie Money and Barry Finnerty became musical associates. Moving East he attended Berklee College of Music and played venues as diverse as Boston's "Combat Zone" in the striptease clubs during the '70's and the exclusive Wychmere Harbor Club in Cape Cod, where he was house organist with the late great trumpet player Lou Colombo and developed a lasting friendship with House Speaker Tip O'Neill. He also toured the Northeast and Canada with the successful show revue "Easy Living", and continued his appearances at nightclubs in Boston and New York. Subsequently Hammond lived and traveled in Europe, where he has an enthusiastic following. TV/Video Producer: In 1981 Jon formed BackBeat Productions. Assisted by Lori Friedman (Video by LORI), the innovative TV show "The Jon Hammond Show" became a Manhattan Cable TV favorite. Jon's "Live on the street" video style included news events, as well as live music/video clips of Dizzy Gillespie, Paul Butterfield, Jaco Pastorius, John Entwistle, Sammy Davis Jr., Percy Sledge and many others. The weekly show is now in it's 30th year and has influenced the broadcasts of David Letterman and others. Billboard Magazine hailed Jon's show as "The Alternative to MTV". LINK http://youtu.be/7TApELTO1XI Head Phone Jon's archive https://archive.org/details/LateRentJonHammondThemeSong2014 Jon Hammond theme song Late Rent on the occasion of 28th annual musikmesse Warm Up Party in the world famous jazzkeller Frankfurt and Jon's birthday with Peter Klohmann tenor saxophone, Giovanni Totò Gulino drums, Joe Berger guitar and Jon Hammond at the Sk1 Hammond organ - Late Rent is the theme song for Jon's long-running cable TV show in New York City The Jon Hammond Show and HammondCast radio program http://www.HammondCast.com - special thanks to Frank Poehl for operating the camera - Jon Hammond Band Jon's archive https://archive.org/details/LateRentJonHammondThemeSong2014 Jon Hammond theme song Late Rent on the occasion of 28th annual musikmesse Warm Up Party in the world famous jazzkeller Frankfurt and Jon's birthday with Peter Klohmann tenor saxophone, Giovanni Totò Gulino drums, Joe Berger guitar and Jon Hammond at the Sk1 Hammond organ - Late Rent is the theme song for Jon's long-running cable TV show in New York City The Jon Hammond Show and HammondCast radio program http://www.HammondCast.com - special thanks to Frank Poehl for operating the camera - Jon Hammond Band Youtube http://youtu.be/5shPL3IOYlU NuMuBu http://www.numubu.com/153010-videos.html?VIDEO_ID=23971 CNN iReport http://ireport.cnn.com/docs/DOC-1117717 Vimeo http://vimeo.com/91332204 Dailymotion http://www.dailymotion.com/video/x1mn3pb_late-rent-jon-hammond-theme-song-2014_music Jon Hammond Band Facebook http://www.facebook.com/photo.php?v=806846682677464 Blip TV http://blip.tv/jon-hammond/late-rent-jon-hammond-theme-song-2014-6818982 "The FINGERS...are the SINGERS!" Musikmesse "Warm Up Party" Jon Hammond & Band Jon Hammond (aus New York City) - organ Joe Berger - guitar Peter Klohmann - saxophone Giovanni Gulino - drums Mr. Hammond has toured worldwide since 1991 using the incredible Sk1 organ by Hammond Suzuki..™ "Classic Hammond Sound...In A Suitcase!" The Jon Hammond Show is a funky swinging instrumental revue, featuring top international soloists. The show has universal appeal. Big Hammond orgel sound - 100% organic Jon Hammond in P.Mauriat Pmauriat Albest Pro Shop Taipei Taiwan Journal Frankfurt article by Detlef Kinsler LINK: http://journal-frankfurt.de/funkyjazz Kultur MY HOME AWAY FROM HOME Nomen est omen. Der Mann heißt Hammond und spielt eine Hammond. Der Organist aus New York freut sich auf Frankfurt und lädt zur Musikmesse Warm Up Party am 9.4. in den Jazzkeller ein. JOURNAL FRANKFURT: Was war für Sie zuerst da - die Frankfurter Musikmesse oder Auftritte im Jazzkeller? Jon Hammond: Die Musikmesse. Ich kam 1987 zum ersten Mal nach Frankfurt, zusammen mit Joe Berger, der auf der Messe für Engl Amplifiers spielte. Wir flogen mit der Lufthansa ein und teilten uns ein Zimmer im berühmten Prinz Otto Hotel am Hauptbahnhof. Schon in der ersten Nacht stellte mir Joe den großen John Entwistle, den Bassisten von The Who vor. Es wurde eine lange Nacht, in der wir Cognac tranken und Erdnüsse knabberten in eiern Suite des Marriott Hotels. Ich habe Joe bei einer Session mit John und Ringo Starrs Sohn Zak Starkey im Dorian Grey Club gefilmt bei einer Soundcheck Party. In den ersten paar Jahren spielte ich nicht oft live weil ich noch keine transportierbare Hammond Orgel hatte vor 1991 als ich den Prototyp einer XB-2 Hammond Orgel bekam mit der ich dann um die Welt reiste. Hauptsächliche dokumenierte ich aber die Messe für meine Cable TV Show in New York, die inzwischen im 29. Jahr als The Jon Hammond Show -- Music, Travel and Soft News präsentiert. Die harten Nachrichten überlasse ich CNN und den großen Networks (lacht). Vom ersten Jahr an fühlten wir uns der Musikmesse eng verbunden, haben seitdem eine tolle Zeit hier, kommen jedes Jahr wieder bis wir kleine, alte Männer sind. Das Jazzkeller-Konzert am Vorabend der Musikmesse ist zu einer netten Tradition geworden - wie kam es dazu, was bedeutet es Ihnen und wir werden Sie dieses Jahr diesen Abend im Jazzkeller zelebrieren? Ab 1991 lernte ich mehr und mehr Musikmesse-Menschen kennen und die mich und auch einiges von meiner Musik. Einige von ihnen ermunterten mich, doch auch für Auftritte nach Deutschland zu kommen weil es hier doch ein Interesse an Hammond-Orgel-Groove-Music gab. Mit der schon erwähnten, kleinen, kompakten aber sehr kraftvollen Orgel war das alles möglich. Zudem machte ich in New York gerade eine schwere Zeit durch, mein Vater war gestorben und ich hatte das Gefühl, einige Veränderungen könnten meinem Leben gut tun. Also kam ich nach Frankfurt mit meiner XB-2, allerdings mit einem Rückflugticket falls etwas schief gehen würde. Ich rief viele Musiker an, ließ sie wissen, ich bin jetzt da, lasst uns zusammen spielen. Das war für mich der Anfang einer langen, sehr speziellen Beziehung, vor allem zum Frankfurter Publikum nach ersten kleinen erfolgen im Jazzkeller und einer kurzen Auftritt im Hessen Report im Fernsehen. Beatrix Rief verdanke ich dieses "lucky light on me", eine tolle Erfahrung. Seitdem nenne ich Frankfurt "My Good Luck City" und im Jazzkeller begann auch alles für mich als Musiker. Deshalb liegt mir der Club auch so nah am Herzen, deshalb hatte ich auch die Idee, meine "Musikmesse Warm Up Party" dort zu realisieren, immer in der Nacht bevor die Messe startet was zu einer schönen Tradition wurde. Im ersten Jahr, in dem ich dann auch ein wenig Sponsoring von Philip Morris bekam, konnte ich damit einige Flugtickets für befreundete Musik bezahlen. Darüber war ich sehr glücklich. Dabei rauche ich selbst gar nicht. Wie würden Sie Ihr persönliches Verhältnis zu Deutschland und Frankfurt beschrieben? Lassen Sie es mich so sagen: ich liebe Frankfurt und die Frankfurter waren immer gut zu mir in all den Jahren. Ich könnte ein ganzes Buch über die Zeit schreiben, in der ich in Bornheim wohnte und Nacht für Nacht in der alten Jazzkneipe in der Berliner Straße auftrat. Das war der Treffpunkt, wo auch die Musiker der HR Bigband hinkamen und es gab eine generöse Chefin in der kleinen Kneipe. Auch Regine Dobberschütz und Eugen Hahn im Jazzkeller waren wahre Jazzengel für mich, die mir so vieles ermöglichten in der Zeit. Wir konnten auch in den Studios von AFN Radio spielen, waren die einzigen Musiker, die das - mit einer Sondergenehmigung des US Militärs - durften. Für ein wenig Promotion für die Musikmesse. Wir nannten das Programm für die AFN "Profile TV "-Show "Sound Police". Wir hatten viel Spaß. Kein Wunder also, dass ich Frankfurt als my home away from home begreife und ich mich jedes Mal wieder freue zur Musikmesse zu reisen, in diesem Jahr übrigens zum 27. Mal in Folge. Und ich bin diesmal besonders aufgeregt, heim nach Frankfurt zu kommen weil ich gerade 60 Jahre alt geworden bin. Wer wird in diesem Jahr zum Gelingen des Konzertes mit teils komponierter, teils improvisierter Musik, so nehme ich an, beitragen und was für einen Sound wird die Band präsentieren? Ich habe etwa 90% der Kompositionen geschrieben, die wir spielen werden. Es ist die Musik, die man auch in meiner New Yorker TV-Show hören kann und die mich mehrmals um die Welt getragen hat. Meinen Stil nenne ich "Swinging Funky Jazz and Blues" und featurert die ganz wunderbaren Solisten in meine Band: Tony Lakatos, den großen ungarischen Tenorsaxophonisten, der auch Mitglied in der hr Bigband ist, dann meinen alten Freund Giovanni Gulino, diesen tollen Schlagzeuger, der schon für fast alle Großen der Szene getrommelt hat. Ich liebe diese Jungs. Als Gitarrist ist mein alten Freund und Kollege Joe Berger dabei, den man auch als The Berger-Meister kennt. Auf diese Formation bin ich wirklich stolz. Werden Sie im Jazzkeller wieder eine Hammond Orgel spielen? Ja, sicher, das neueste Modell, eine Sk1, die exakt so klingt wie die legendäre B3. Ich liebe sie. Und sie wiegt nur noch sieben Kilo (Anm. des Autors: Das Original, ein echtes Möbel mit viel Holz, mussten immer zwei Menschen mit viel Muskelkraft die Treppen rauf und runter hieven), ein deutliches Indiz, dass wir in der Zukunft angekommen sind. Da stecken viele Jahre Forschung und Entwicklung drin, auch Bühnenerprobungen. Ich ziehe den Hut vor den Ingenieuren von Suzuki, ein unverwüstliches Instrument erschaffen zu haben. Und das unterziehe ich jetzt einen echten Härttest (lacht). -- Interview: Detlef Kinsler P.Mauriat Action Blues With Jon Hammond Pmauriat / Albest Music Jon's archive https://archive.org/details/P.MauriatActionBluesWithJonHammond Jon's archive https://archive.org/details/LewSoloffCelebrationMovieByJonHammond by Jon Hammond Published June 16, 2015 Usage Attribution-Noncommercial-No Derivative Works 3.0 Topic: Lew Soloff In Memory of Lew Soloff, late great and much loved musician trumpeter from New York. Part 1 condensed clip from Jon Hammond in his chair - at The John C. Borden Auditorium Manhattan School of Music June 8, 2015 http://www.HammondCast.com - *Release from Lew's manager: http://www.lewsoloff.com/Celebration%20for%20Lew%20Soloff%20Press%20Release%20Number%203.pdf "For Immediate ReleaseMay 18, 2015Contact: Nancy Meyer (909) 547 0504 nancy@batesmeyer.comMUSICIANS JOIN TOGETHER TO HONOR LEW SOLOFFAN EVENING OF MUSIC AND REMEMBRANCE – MONDAY, JUNE 8, 2015New York – A prestigious group of the jazz world’s finest players will pay tribute to their colleague, legendary trumpet player Lew Soloff (Feb. 20, 1944-Mar 8, 2015) on Monday, June 8, 2015 at the John C. Borden Auditorium, located at the Manhattan School of Music (MSM). This event is free to the public and begins at 7:00 p.m. Doors open at 6:15pm.MSM and the Borden Auditorium are located atSoloff was a vital part of the New York jazz scene for more than 50 years. Throughout his respected career, his unique and unforgettable trumpet solos graced hundreds of projects in the fields of jazz, classical, rock, blues, pop and Latin music, including numerous film and TV soundtracks. Many of those whose lives he touched will gather to share their talent in tribute to Soloff on this special evening.The musical program for this celebration is under the direction of Soloff’s close friends Paul Shaffer and Noah Evans. Shaffer will also serve as Master of Ceremonies. Some of the artists taking part include: Wynton Marsalis, Steve Tyrell, Randy Brecker, Jon Faddis, Will Lee, Chris Potter, Jimmy Owens, Adam Nussbaum, Ray Anderson, Sammy Figueroa and the classical quintet Manhattan Brass. A complete list of those participating is posted below. The program will also include a visual montage of Soloff’s life and career. A comprehensive Soloff artist biography is available at lewsoloff.com.For those who would like to honor Soloff’s memory, tax-deductible contributions at all levels may be made to Manhattan School of Music with donations going toward the school’s Jazz Arts Program. For nearly 20 years, Soloff was part of the Jazz Arts faculty at MSM. The school hopes to create an endowed scholarship in Soloff’s name, thus recognizing in perpetuity this extraordinary musician’s indelible contributions, while also supporting young musicians. For further information, please visit http://www.msmnyc.edu/Give-to-MSM/Tribute- Giving or contact Andrea Sanseverino Galan, Vice President for Advancement, agalan@msmnyc.edu.Musical guests scheduled to perform at press time include: Ray Anderson, Dave Bargeron, Jeff Berlin, Randy Brecker, Cecil Bridgewater, John Clark, Anne Drummond, Mark Egan, Miles Evans, Jon Faddis, Sammy Figueroa, Alex Foster, Carlos Franzetti, Gil Goldstein, Beth Gottlieb, Danny Gottlieb, Grace Kelly, Will Lee, Pete Levin, Jesse Levy, Fred Lipsius, Tom Malone, Manhattan Brass (Wayne Du Maine, R.J. Kelley, Michael Seltzer, David Taylor), Lou Marini, Wynton Marsalis, Lisa Maxwell, Emily Mitchell, Francois Moutin, Adam Nussbaum, Shunzo Ohno, Jimmy Owens, Chris Potter, Jhair Sala, Paul Shaffer, Brandon Soloff, Bob Stewart, Steve Tyrell, Adam Mandela Walden and Jeff “Tain” Watts.122nd Street, just steps West of Broadway), New York, New York 10027. For further120 Claremont Avenue (entrance on Westinformation please contact Caryn Freitag, Communications and Public RelationsAssociate at MSM, (917) 493-4536 or cfreitag@msmnyc.edu.-end-" — with Alex Foster, Noah Evans, Fred Lipsius, Shunzo Ohno, Miles Evans, Bill Warfield, Lew Soloff, Blue Lou Marini, Laura Solomon, Lisa Maxwell, David Taylor, Emily Mitchell, Randy Brecker, Anne Drummond, Bernie Williams Official, John Clark, Paul Shaffer, Wynton Marsalis, Jeff Watts, Alex Sipiagin, Will Lee and Bob Stewart, Bill Warfield, Shunzo Ohno, Lisa Maxwell, John Clark, Alex Sipiagin, Jeff Tain Watts, Tom Bones Malone, Will Lee, Paul Shaffer, Anne Drummond, Wynton Marsalis, Emily Mitchell, Jon Hammond, Fred Lipsius, Jesse Levy, Dave Bargeron at Manhattan School of Music. - Associated Musicians of Greater New York, Local 802 AFM​ Producer Jon Hammond Language English Facebook Video LINK: https://www.facebook.com/hammondcast/videos/vb.558692101/10152844142142102/?type=3&theater High Definition Version on Facebook: https://www.facebook.com/jonhammondband/videos/vb.133709526657853/1075190475843082/?type=3&theater Some of Jon Hammond's pictures from Lew Soloff Memorial last night - very heavy bitter sweet evening, the NYC musical community came together with outstanding music and testamonials - Paul Shaffer MC - R.I.P. Lew, Sincerely, Jon Hammond http://www.HammondCast.com/ ©JON HAMMOND International *Album LINK: https://www.facebook.com/hammondcast/media_set?set=a.10152830765317102.1073741894.558692101&type=3 Jon Hammond Pictures at Lew Soloff Memorial - Taken at Manhattan School of Music Al Jazzbeaux Collins, KCSM Jazz 91, Jon Hammond, #HammondOrgan #JazzRadio WNEW 1130 AM, Mississippi Mud, Ukelele, Broadcaster, Public Access TV, MNN Channel 1

INDIE POOL Special and Jon's Journal November 21 2012

*LISTEN TO THE AUDIO HERE: The Indie Pool: Jon Russell Hosts Jon Hammond Downloaded 512 times http://archive.org/details/JonHammondINDIEPOOLKYOURadioSpecialJonRussellHostingJonHammondofHammondCastShow The Indie Pool: Jon Russell Hosts Jon Hammond KYOURADIO San Francisco CA-- Not just another interview show with music. More like an audio magazine that digs deeper so you’ll come away with a better understanding of the featured artists and bands and their music. Every couple of weeks the Indie Pool presents a new installment giving you an opportunity to come away with a better understanding of who’s making today’s music and why. The Indie Pool showcases: Jon Hammond With music from Jon Hammond played live in the studios of KYOU Radio with Host Jon Russell and tracks from Jon'a album NDR SESSIONS Projekt on Ham-Beger-Friz Records http://www.HammondCast.com San Francisco – Oakland Bay Bridge -- Slow down 35 MPH for the curve people! Not 50 or 60 like lots are doing - Jon Hammond Dead Man's Curve http://www.sfgate.com/bayarea/article/Ideas-offered-to-slow-S-curve-motorists-3211750.php Getting drivers to slow down for the Bay Bridge S-curve might seem like an unusual challenge, but some states have been dealing with troublesome curves on interstate highways for decades, using everything from speed cameras and flashing lights to grooved pavement and unusual lane markings to get drivers to slow down and pay attention. Some of these tactics will be used on the S-curve after a series of accidents, including a fatality Monday morning, sparked a public outcry for safety improvements at the temporary detour on the Bay Bridge. At least 43 accidents - or an average of five per week - have occurred on the curve since the detour opened to traffic Sept. 8. "People just don't want to slow down," said Russ Rader, a spokesman for the Insurance Institute for Highway Safety, which researches traffic safety. "The question is: How do you make them?" Many cities have dangerous curves on highways that have earned infamy and nicknames because of the large number of accidents. In Cleveland, the 90-degree curve on Interstate 90 nearing downtown is called "Deadman's Curve." Opened in 1959, the curve quickly became a problem. Like the Bay Bridge, the speed limits on either side of the curve are 50 mph - which drivers usually exceed, said Jocelynn Clemings, a spokeswoman for the Ohio Department of Transportation. The sharp turn requires drivers to slow to 35 mph. To get drivers to reduce their speeds, the department has, over the years, put in "a lot of flashing signage" along with grooved pavement that makes a loud vibrating sound when drivers pass over it, and extra arrows, or chevrons, on the pavement. While drivers are more aware, she said, "There are quite often accidents of varying severity," and the Department of Transportation plans to "flatten" the curve sometime in the next decade, she said. Kansas City has two troublesome curves that it has tamed with speed sensors and flashing lights that warn drivers on Interstate 70 to slow down. Trucks frequently overturned at the Jackson and Benton curves, prompting the Missouri Department of Transportation to install a special warning system about 20 years ago. The system uses a sensor planted in each lane to read the speed of vehicles approaching the curves. If they're speeding, flashing lights over their lane activate and a sign blares: "Driving too fast when lights flashing." "We've had a pretty noticeable reduction in accidents," said Jesse Skinner, an interstate corridor engineer with the Missouri Department of Transportation. Elsewhere, the department also has used radar signs - one for each lane of traffic - that read and display drivers' speeds next to signs showing the speed limit. "People drive what (speed) they feel comfortable driving," Skinner said. "If you want them to slow down, you have to get their attention." Caltrans also employed flashing lights and prominent signs to do just that at "the Fishhook," the sharply curved intersection of highways 1 and 17 in Santa Cruz, and the curve was widened recently to make it easier to navigate. Colin Jones, a Caltrans spokesman, said the devices improved safety at the interchange but noted that drivers changing highways are more likely to slow down than those driving across a bridge and entering a curve. Anne McCartt, vice president of research at the Insurance Institute for Highway Safety, said the key to slowing drivers is enforcement of speed laws. Speed cameras, which use radar to measure speed and then automatically issue a ticket, can be especially effective in an area like the S-curve, or where it could be difficult for police to pull over speeders. "The advantage of automated enforcement is that it can happen anytime of the day or night, wherever it is needed," she said. McCartt also recommended stricter enforcement of speeds on the entire bridge, saying that it is unrealistic to expect drivers to slow from speeds in excess of 50 mph to 35 mph for the curve. Caltrans officials already have installed extra signs and flashing lights, and plan more safety improvements to slow motorists, including reflective striping near the top of the bridge's barrier walls, a large overhead sign warning of the curve and of the reduced speed on the upper deck of the bridge, and radar boards flashing drivers' speeds. Caltrans spokesman Bart Ney said the agency also is considering installing grooved pavement or rows of pavement markers to warn drivers they are approaching the curve. Sorry William, you missed the McIntosh model 225, better luck next time! - Jon Hammond MC225 - *Random Reviews: "Bottom Line: The 225 matches excelently to My Klipsch Belle's and My Klipschorns. The 104 db/watt efficiency of these systems is a must for an amplifier of this size. 118 db peak passages are possible without clipping - a must for any realistic reproduction of music. Try to get 118 db peaks from any of the low efficiency speakers ( less than 100 db/watt ) and you end up with an impossible situation. The 225's have fixed bias, this should be critically set as I have found that amplifier signatures change with as little as 5ma. differences. The Sovetek 7591A's (not XYZ) are better sounding tubes than the NOS stuff being sold." "Over many years of experimenting with many products -solid state vs tubes I much prefer the tube sound. I recently purchased a 30 year old MAC 225 Amp and was amazed at the quality of the sound.My then current Cary SLA70 did not compare. I was hearing things I had never heard before on some favorite CD's with the MAC 225.Can I realistically improve the sound of my system by moving up to a MAC 240 or 275? Replies are appreciated. Also to maintain the MAC 225 sound signature should I continue with my Audible Illusions MOD 3 Pre amp(Tube) or move to a Mac 33 pre amp (Solid State). Any comments,suggestions or recommendations are appreciated." "I have been using MC-225 for more than 5 years and that is the part I think I will use it for my whole life (I guess my next generation can still use them by replacing some parts). It gave you great and smooth sound especially in the mid to high range. Very impressive for playing songs by female singer. Don't think that 25 watts is small, it can still gives you very solid bass and sound stage. Currently I have two sets of MC-225 to drive ProAC Tabelette 50 Sig. Other components include:" Radio Day By The Bay -- Jon Hammond with Celeste Perry Radio/TV Personality and another lady of Radio/TV - annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California Radio Day By The Bay -- Cheryl Jennings and Stan Bunger annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California - Jon Hammond Radio Day By The Bay -- He's got 'The Fever'...Radio Fever! Jon Hammond Radio Day By The Bay -- A lucky buyer got this beautiful classic radio for only 50 bucks at the annual Fund Raiser for California Historical Radio Society at KRE Radio in Berkeley California - Jon Hammond Jon Hammond's new little SONY TFM-6060W 2 Band Radio will be going on a trip around the world - Travel Radio just got acquired by a traveler! - Radio Day By The Bay - KRE Radio Berkeley California annual fundraiser for California Historical Radio Society Classic Motorola AM Radio in Turquoise Blue- this one went for big bucks at the Auction at annual fundraiser for California Historical Radio Society - RADIO KRE Berkeley - Jon Hammond Cheryl Jennings of KGO-TV conducting Oral History Interviews in control room of KRE Radio -- at Radio Day By The Bay annual fundraiser for California Historical Radio Society - Jon Hammond NAMM Oral History Session Jon Hammond recorded January 13th 2011 Anaheim CA

Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011 Full Version

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

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

http://www.namm.org/library/oral-history/jon-hammond

Jon Hammond

Interview Date: January 13, 2011

Job Title: President and Founder

Company: Jon Hammond & Associates

Tags:

• 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.

Jon Hammond

Subject Info Jon Hammond Interview Date:  January 13, 2011 Job Title:  President and Founder Jon Hammond & Associates Jon Hammond has successfully created a ... of his career, the Excelsior Accordion and the Digital B3Organ.   (accordions, electric organs, Hammond B-3, Hammond Organs, ...

Oral History - tonya - 03/02/2011 - 4:41pm

Jon Hammond

Jon Hammond

Interview Date: January 13, 2011

Job Title: President and Founder

Company: Jon Hammond & Associates

Tags:

• accordions
 
• electric organs
• Hammond B-3
 
• Hammond Organs
• Jazz
 
• Music Manufacturing
 
• Musicians

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

Special Thanks: Joe Lamond president and chief executive officer of NAMM

Hiromitsu Ono Suzuki Musical Instrument Chief Engineer

Waichiro Tachi Tachikawa Suzuki Musical Instrument Corporation, 鈴木楽器製作所 Suzuki Gakki

Betty Heywood, director of international affairs at NAMM

Manji Suzuki President and Founder of Suzuki Musical Instruments Hammond Suzuki here with Jon Hammond at the New B3mk2 Organ in Suzuki Hall Hamamatsu World Headquarters
Actual NBC Chimes - This is how it was actually done On-The-Air Kids! - Jon Hammond http://en.wikipedia.org/wiki/NBC_Chimes The NBC chimes, named for the radio and television network on which they have been used, consists of a succession of three distinct pitches: G3, E4, and C4 (middle C), sounded in that order, creating an arpeggiated C-major chord in the second inversion, within about two seconds time, and reverberating for another two or three seconds. The intervals of this progression are up a major 6th from G3 to E4 and down a major third from E4 to C4. The chimes were the first ever audio trademark to be accepted by the U.S. Patent and Trademark Office. Contrary to widespread belief, the "G-E-C" sequence is not a reference to the General Electric Company (now a minority shareholder in NBC's current parent company), which did not acquire NBC until 1986; however, GE's radio station WGY in Schenectady, New York was an early NBC affiliate, and GE was an early shareholder in RCA, which founded NBC by creating it as a subsidiary. The chimes were originally used as a cue for radio stations across the network to begin broadcasting their station identifications or local feeds. After their use as a formal network communications signal ended around the 1970s as the result of automation, the chimes has been used ever since as an audio logo or signature for NBC. An elegant solution: the station break The chimes were originally conceived to help solve a problem inherent in early network radio broadcasting: the vast majority of which was live, rather than pre-recorded. At the top of each hour, any individual broadcaster (on radio, TV or other broadcast band) must identify itself by callsign and the name of the community where its broadcast license has been issued, in compliance with Federal Communications Commission (FCC) regulations. For example: "This is WHYY, Philadelphia." Therefore it might seem efficient for a small radio network (three to seven stations, for instance) to accomplish this chore by having a single announcer "on the network", whose voice is transmitted to all the local stations, read the short list of local callsigns and corresponding communities for about ten seconds each hour, during an extended broadcast period. However, this practice becomes quite inefficient as a network grows, consuming valuable commercial airtime.[1] Hence it was determined in early big-network radio days that this job, among others, had to be done locally, on a pre-determined cue from the network itself. The simplest way to accomplish this is with a spoken announcement (sometimes called an outcue), and its special format has a familiar ring. For instance: "We pause now for ten seconds for station identification: this is the NBC Television Network". This phrasing alerts a local announcer to put him/herself on the air and formally identify the local station. The Today Show, broadcast for four hours live every weekday on NBC, uses a special spoken outcue for station breaks: "This is Today on NBC." Indeed, as a public relations technique, this task is often offered to a member of the live audience assembled in Rockefeller Plaza outside the Today studio. For the network pioneers at NBC in the late 1920s, a more simple, elegant and consistent solution than an announcer's voice, with its individual distinctiveness, was sought. It was decided by a three-person committee (consisting of Oscar Hanson, a former engineer of AT&T, Earnest la Prada, an NBC orchestra leader, and the NBC announcer Philip Carlin) that the simplest way to do this would be to create a musical cue which would sound to signal the end of programs. Essentially, NBC wished to brand itself in sound, a sound that any listener would immediately recognize. [edit]History The chimes came to their familiar configuration and sound after several years of on-air development. They were first broadcast over NBC's Red and Blue networks on November 29, 1929. However, there are disagreements about the original source of the idea. One story is that they came from WSB in Atlanta which allegedly used it for its own purposes until one day someone at NBC headquarters in New York City heard the WSB version of the notes during a networked broadcast of a Georgia Tech football game and asked permission to use it on the national network. The NBC chimes were invented by Robert Blanchard. The company tested the chimes during 1927 and 1928 when it experimented with several possible combinations of notes. The first sequence consisted of the seven notes G-C-F-E-G-F-E. However, since the original NBC chime machine was an actual set of chimes which the announcer would play 30 seconds before the end of every half-hour to signal the end of a program, it was left to the announcers to play this trademark sequence without error, which was unavoidable with such a lengthy cue. The chime sequence was shortened to G-C-F-E and then, on November 29, 1929, the cue was shortened for the final time, and the three well-known notes G-E-C were heard on NBC radio for the first time. Despite the relative simplicity and efficiency of the new, shorter chime sequence, problems still existed in other musical aspects of the sequence, such as the tempo, rhythm, and volume at which it was played, as well as the musical tone of the set chimes. Therefore the NBC chimes were mechanized in 1932 with a unit that could play the sequence perfectly and consistently. Richard H. Ranger, a former Radio Corporation of America (RCA) engineer who also invented an early form of the modern fax machine, invented the NBC chime machine that generated the notes by means of finely tuned metal reeds that were plucked by fingers on a revolving drum, much like a musical box. NBC had several of these chime machines made which they set up at major network locations across the country, including Los Angeles, New York, Chicago, and San Francisco (which actually had two machines, a main one and a backup.) It is estimated that no more than a dozen of these machines were ever made, and even fewer are currently in existence. The technical purpose of the mechanical chimes was to send a low level audio signal of constant amplitude that would be heard by the various switching stations manned by NBC and AT&T engineers, but not disturb the listening audience. This would serve as the system cue for switching the myriad local stations between the NBC Red Network and NBC Blue Network feeds as scheduled, as well as signalling the pause for local station identification immediately thereafter. In essence, it was the audio equivalent of a traffic signal. Because of fears of offending commercial sponsors by cutting their live network programs off in mid-sentence, the mechanized chimes were always rung by an announcer pushing a button in conjunction with the program’s conclusion; they were never set to an automatic timer, although heavy discussions on the subject were held between the Engineering and Programming departments throughout the 1930s and 1940s. On November 20, 1947, NBC filed with the U.S. Patent and Trademark Office to make the chimes a registered service mark for identification of radio broadcasting services, the first such audible service mark to be filed with that office. Registration was granted on April 4, 1950; the registration number was 0523616, serial number 71541873. This registration expired on November 3, 1992, as NBC Radio became part of broadcasting history. However a separate service mark registration was made in 1971 for identification of television broadcasting services (serial 72349496, registration 0916522). While this registration is still active, the chime was heard for the final time on the NBC television channel in 1976, the 50-year anniversary of the chime; the chime is now used only for various smaller purposes on the channel.[2] The chimes go modern Their use as a formal network communications signal ended around 1971, the result of automation. Television flagship WNBC in New York kept the sound of the chimes alive, though. In 1974, it incorporated the sequence into the opening of its synthesized theme music for NewsCenter 4 (sharpening the pitch by a half-step). The stinger was heard at the opens to the newscasts' 5, 6 and 11 p.m. hours. Eventually, NBC Radio adopted WNBC-TV's NewsCenter 4 stinger as its top-of-the-hour news sounder. With alterations (and a brief interruption in the early 1990s), WNBC has used a form of the chimes on its newscasts ever since. The music used on NewsCenter 4, NBC Radio-TV Newspulse by Fred Weinberg, was later used for NBC Nightly News in the 1970s and NBC News bulletins/special reports in the 1970s and 1980s. The usage of the NBC chimes continues in local newscasts on NBC stations to this day, in fact many NBC stations play the NBC Chimes at the end of the weather segment of the newscast, when the extended forecast is shown. In 1976, the chimes were revived nationally in celebration of the 50th anniversary of the network. Modern musical versions of the three-note chimes are still in popular use on the NBC radio and television networks (and are the opening and closing notes of the current edition of the NBC Nightly News theme song), as well as in the closing logo of NBC Universal Television Studio, the TV production arm of NBC's current immediate parent, NBC Universal. From 1982 to the early 1990s, most NBC voiceover promos at the end of network shows would begin with the chimes. From 1982 to 1987, the chimes would blend into an instrumental version of the promo slogan that NBC would be using at the time. The Today Show made the chimes the centerpiece of its theme in 1978, resolving a legal dispute between the network and the composers of the musical Godspell. The musical composers felt that the Ray Ellis-penned closing theme Today used since 1971 (which was also the show's opening theme since 1976) was lifted from the classic Godspell song "Day by Day." Using the chimes as his template, Ellis composed a new theme song, which stuck. Although Today has used a segment from John Williams' NBC News music package The Mission since 1985, Ellis's revised composition has been used on and off during portions of Today ever since. NBC News uses a version of the original chimes for special breaking news reports that interrupt regular programming on the network and/or its stations. NBC's on-air promotions for the fall 2008 television season featured the chimes prominently alongside the new slogan "Chime In". Several used alternate versions tied to specific shows' themes: for example, ringing telephones for The Office; the ringing of cash registers for Deal or No Deal; and objects striking metal for America's Toughest Jobs. The use of chimes as an audio logo is not unique, as other broadcasters, including Britain's ATV and Mexico's Televisa Canal de las Estrellas have used similar chimes. The Canal de las Estrellas chimes, for example, consist of eight musical notes. [edit]The chimes quoted in music Many composers have used the NBC chimes as their signature for their news packages, many of which were made exclusively for NBC stations. Some songwriters have quoted the sequence as well, and NBC-owned radio stations such as WNBC (AM) incorporated the melody into their station ID jingle packages. A few examples include: NBC Stations by Edd Kalehoff The Tower by 615 Music The Rock by Stephen Arnold The NBC Collection by Frank Gari L.A. Groove by Groove Addicts Nothing But Class and The Only One by JAM Creative Productions "Let's Go" by Ray Charles on his 1961 album Genius+Soul=Jazz "Do Your Thing" by Isaac Hayes "Here's Love" from the Meredith Willson musical Here's Love. It plays during the lyric "from CBS to NBC." [edit]The "Fourth Chime" The variant sequence B - D + G = G, based on a G-major arpeggio in second inversion, was known as "the fourth chime". According to an NBC Interdepartment Correspondence memo, dated April 7, 1933 documents the conception and initial purpose of the fourth chime. The memo states "In anticipation of the Spring and Summer months, when many in key positions will not always be available at home telephones, the following Emergency Call System will go into effect on Monday morning, April 16." The memo goes on to say that whenever a fourth tone is heard on the network chimes rung at fifteen minute intervals, it will indicate that someone on an attached list is wanted. Upon hearing this fourth chime, all personnel on the list are instructed to call in to the PBX operator to ascertain whether or not the Emergency Call is for them. The chime would continue at fifteen minute intervals over stations WEAF and WJZ until the wanted person communicated with the PBX operator. The list contained the names of the following NBC executives: John F. Royal John W. Elwood Frank Mason J de Jara Almonte The list also included names of personnel from Engineering, Press, Programming, Traffic, and Service departments. The "fourth chime" was also used to notify affiliates and their employees of pending urgent programming. This variant saw such use during wartime (especially in the wake of the attack on Pearl Harbor) and other disasters, most notably the Hindenburg disaster in 1937. According to NBC historians, the last official use of the "fourth chime" was in 1945, shortly after the end of World War II. However, according to a handwritten note appended to an NBC internal memo originally dated 1964 on the history and usage of the standard chime, this chime variant was used one final time in 1985 to symbolize the merger with GE. This recording of this variant exists Frankfurt Germany -- Bandstand shot from Jon Hammond of Chuck Plaisance, Bobby Kimball and Tommy Denander at 2012 Musikmesse Frankfurt on the Agora Stage Youtube http://www.youtube.com/watch?v=AR-tVxndAKE The "Jam of the Year Band" http://www.youtube.com/watch?v=Wcy1arOJrRQ 2012 Frankfurt Musikmesse backstage at the big Agora Stage just seconds before going on the bandstand in concert with Tommy Denander's Allstar band, with footage from the concert of Hendrix tribute playing Little Wing with these great musicians: "The legendary Jam-of-the Year Band" with Bobby Kimball (TOTO), Tommy Denander (guitar player, e.g. for Michael Jackson), Bruce Gaitsch (guitar player, e.g. for Richard Marx), Chuck Plaisance vocals, Curt Bisquera (drummer, e.g. for Tina Turner) und Jekko S. Jon Hammond at the Sk1 Hammond organ, Zlatko Jimmy Kresic keys, Pi TTi Hecht percussion *(Curt Bisquera - Drums (Tina Turner, Seal, Elton John) Tommy Denander - Guitar (Michael Jackson, Alice Cooper, Paul Stanley) Bruce Gaitsch - Guitar (Madonna, Richard Marx, Celine Dion) Jekko S. - Bass feat. Bobby Kimball, and some others...) on Agora Stage @Music Fair in Frankfurt March Frankfurt Germany -- Jon Hammond Band - Jazzkeller Frankfurt Youtube http://www.youtube.com/watch?v=AJT522j_nPQ 2012 Annual Musikmesse Warm Up Party hosted by Jon Hammond Band in Jazzkeller Frankfurt "Get Back In The Groove" / Tribute to 9/11 by Jon Hammond with Tony Lakatos tenor sax, Joe Berger guitar, Giovanni Gulino drums, Jon Hammond at the Hammond Sk1 organ, special guest Lee Oskar harmonica. This performance marks 26 years consecutive attending Musikmesse Frankfurt and it was also on the birthday of Jon Hammond March 20th, 2012 with a big chocolate on chocolate cake baked by Saray Pastanesi Baeckerei & Konditorei bakery on Mainzer Landstrasse 131. 60327 Frankfurt am Main http://www.jonhammondband.com/ New York NY -- 2 serious Cello Players with Cellos crossing at W.44th and Eighth Avenue, yield to the Celloists folks! Jon Hammond Radio Day By The Bay -- Jon Hammond in the Holy Grail of Radios folks! http://www.californiahistoricalradio.com/event/live-at-kre-radio-day-by-the-bay-2012/ Live at KRE - “RADIO DAY BY THE BAY 2012″ Radio Day By The Bay -- This KLH Radio is one of my favorite radios, sounds fantastic folks! Jon Hammond KLH Model Eight FM table radio - designed by Henry Kloss http://en.wikipedia.org/wiki/Henry_Kloss Kloss began his custom of eponymous products by lending his last name's initial to KLH as a founder in 1957, along with Malcolm Low and J. Anton Hofmann (son of pianist Józef Hofmann) who had also been investors in AR. At Cambridge-based KLH, Kloss continued to build speakers such as the classic KLH Model Five and Six, and produced one of the first small FM radios with high selectivity, the Model Eight. Though KLH was sold to the Singer Corporation in 1964, Kloss remained at the firm for a short time to assist in the development of additional speakers and electronic music products, and the firm continued to attract design and engineering talent. Kloss created the first solid state record player, the KLH Model Eleven. In 1962, he collaborated with Ray Dolby of Dolby Laboratories to develop the B version of the Dolby noise reduction system to reduce tape hiss. This resulted in the KLH Model Forty reel-to-reel tape recorder, Dolby's first foray into the consumer product market. By 1967, Kloss had left KLH. KLH was eventually sold to Kyocera, and production was shifted overseas. By 1979, nearly all of the original design and engineering team had left the company. My Dad's 1967 Lincoln Continental Convertible - 'Suicide Doors' *similar to the car President John F. Kennedy had his last ride in - has massive 464 cu. inches engine: http://hammondcast.tumblr.com/ Anaheim California -- Cats, could you bring a few more cameras next time?! Jon Hammond - Winter NAMM http://thedrumnetwork.ning.com/profiles/blogs/breaking-news-namm-president-ceo-joe-lamond-says-95-000 Breaking News NAMM President/CEO Joe Lamond Says 95,000 Attendance Broken 3rd Day of 4 Day Winter NAMM 2012 Jon Hammond Reporting 2 years ago I played a midnight showcase show with Bernard Purdie at NAMM in the Hilton Lobby - Pocket Funk http://www.youtube.com/watch?v=afTagFhYOCo Pocket Funk Bernard Purdie and Friends NAMM + Flash Back 1989 For Flash Back 1989 Mikell's Pocket Funk Video: http://video.google.com/videoplay?docid=-2831189635144040422&hl Pocket Funk LIVE JON HAMMOND Band w/BERNARD PURDIE at Mikell's NYC *Note: Listen to the crowd of mostly musicians actually roar after Joe Berger's guitar solo! - JH - Hilton Hotel Lobby - JH Frankfurt Germany -- Thank you for the Flowers! - Jon Hammond presented to Jon from Christine Vogel - Messe Frankfurt Projekt Team there with Peggy Behling in behalf of Musikmesse Frankfurt for 25 years *Youtube http://www.youtube.com/watch?v=hozrJpHvV-4 Celebration Cake - Mainzer Landstrasse 131, 60327 Frankfurt am Main, Eugen Hahn Jazzkeller Frankfurt Team Kleine Bockenheimerstr. 18a Frankfurt Radio Day By The Bay -- Type 545A Oscilloscope for bench testing at California Historical Radio Society - Jon Hammond http://www.thevalvepage.com/testeq/tek/545a/545a.htm A dual trace oscilloscope utilising plug-in units for the 'Y' amplifiers. Apparently there are 102 valves in this thing ! Hell, there are 14 of 'em in just the power supply ! Yet its still lighter than the Cossor. Lined up in rows, hanging upside-down, valves everywhere ! And a ruddy great fan at the back trying to keep it all cool. The scope was manufactured for a number of years, as illustrated by the April 1961 advert [138K] shown opposite. But check out the £600 price tag ! To put this into perspective, this represented half the yearly salery for a typical design engineer. Whilst a manufacturing plant was set up in Guernsey (off the souther coast of Great Britain), I wonder just how much of the scope was manufactured there and how much was "simply" assembling modules built in the state... R.I.P. Jon Lord L to R: Joe Berger, Jon Lord, Michael Falkenstein - at Release of Hammond SK-1 and SK-2 Stage Keyboards at 2011 Musikmesse Worldwide For Immediate Release http://hammondjazz.wordpress.com/2011/04/01/sk-1-and-sk-2-hammond-suzuki-stage-keyboards-hammondcast/ California Historical Radio Society, Journal, July 21, 2012, Jon Hammond, Jazz, Blues, Broadcast, Bay Bridge, NAMM, Musikmesse, Frankfurt, Sk1, Organ, Oral History, Cheryl Jennings New York NY -- Last night in Dizzy's Club Coca Cola Igor Butman & Moscow State Jazz Orchestra played one of the greatest concerts I ever heard in my life folks! I highly recommend to go see and hear them while they are here in New York City from Moscow! - Jon Hammond http://jalc.org/dccc/details09.asp?EventID=3159 Tue-Sun, Jul 17-22 (Jul 18: 7:30pm Sold Out) 7:30pm & 9:30pm plus 11:30pm on Fri & Sat "In his homeland of Russia, Butman is as influential with the cultural and political elite as a certain trumpeter here in America is. So it's no wonder that he is in the position to bring his state assisted orchestra. The saxophonist is a world-class player, arranger, and no doubt - talent scout, so expect a hyped up energized group of musicians aiming not just to please, but to blow away. A fitting analogy would be as if the Jazz at Lincoln Center Orchestra was playing in Moscow. You know they'd be more than ready. Igor Butman, tenor/soprano saxophone, leader; Alexander Dovgopolyy, saxophones; Illya Morozov, alto saxophone, clarinet; Dimitry Mospan, saxophones; Alexander Sakharov, saxophones; Oleg Borodin, Pavel Ovchinnkikov, Alvetina Polyakova, Nikolay Shevnin, trombones; Pavel Zhulin, Alexander Sakharov, Denis Popov, trumpet; Anton Baronin, piano; Vitaliy Solomonov, bass; Eduard Zizak, drums; plus special guests on trumpet, saxophone, vocals, et al." special thanks Manager Marat Garipov and Lord Todd Barkan — Vitaly Solomonov, Dmitry Mospan, Konstantin Safyanov, Alevtina Polyakova, Alexander Dovgopoly and Pavel Ovchinnikov at Dizzy's Club Coca-Cola New York NY -- Folks, my good friends from Igor Butman Moscow State Jazz Orchestra played one of the greatest concerts I ever heard in my life last night! Even after playing 2 x 2 hour sets, they are going down to the Village after hours to play more in Smalls! Thank you for the great great music! - Jon Hammond *here after show in front of Jazz at Lincoln Center - make sure to hear the entire orchestra in Dizzy's Club Coca Cola, there are still a few more nights remaining Iliya Morozov,Konstantin Safyanov, Ed Zizak, Makar Novikovand Evgeny Sivtsov, Alevtina Polyakova at Jazz at Lincoln Center Dizzy's Club Coca Cola -- Igor Butman Orchestra rhythm section and part of horn section, Nick Levinovsky piano and arranger, Igor Butman tenor saxophone,Konstantin Safyanov Ed Zizak drums, Vitaly Solomonov bass and the cats sounding fantastic in cola club! - Jon Hammond — withVitaly Solomonov, Dmitry Mospan, Ed Zizak,Konstantin Safyanov and Alevtina Polyakova atDizzy's Club Coca-Cola Alexander Dovgopoly doubling on Piccolo - choreography section of show - danger zone if not executed precisely, could get hit in the head by trombone! - JH Igor Butman & Moscow State Jazz Orchestra - I highly recommend to go see and hear them while they are here in New York City from Moscow! - Jon Hammond http://jalc.org/dccc/details09.asp?EventID=3159 Tue-Sun, Jul 17-22 (Jul 18: 7:30pm Sold Out) 7:30pm & 9:30pm Alvetina Polyakova blowing a fantastic solo on trombone last night with Igor Butman & Moscow State Jazz Orchestra - they played one of the greatest concerts I ever heard in my life last night folks! I highly recommend to go see and hear them while they are here in New York City from Moscow! -Jon Hammond The Saxophones of Igor Butman and the Bass of Vitaly Solomonov ! - Jon Hammond Front Line Saxophones -Alexander Dovgopoly doubling on Piccolo - Nick Levinovsky Piano and Vitaly SolomonovBass of Igor Butman & Moscow State Jazz Orchestra - I highly recommend - Jon Hammond Alexander Dovgopoly blowing a smokin' solo on baritone saxophone last night with Igor Butman & Moscow State Jazz Orchestra - they played one of the greatest concerts I ever heard in my life last night folks! New York NY - Fifth Avenue & 57th St. -- "You're looking very chic...Why thank you, you're looking very chic also! Where do you buy your clothes? The same place you buy yours of course!" - Jon Hammond Moscow, Igor Butman, Eduard Zizak, JALC, Organ, Sk1, Jon Hammond, Jazz, Blues, Funky, Local 802 Musicians Union, Russia Jon Hammond 10 Years Before in Moscow Russia with Igor Butman tenor sax and Ed Zizak drums *WATCH THE VIDEO HERE: Easy Living in Moscow Russia Jon Hammond Trio with Igor Butman and Ed Zizak http://www.archive.org/details/JonHammondJONHAMMONDTriow_IgorButman_EduardZizak_EasyLiving_

JON HAMMOND Trio w/ Igor Butman & Eduard Zizak "Easy Living" Organist & CBS/KYCY Radio Host JON HAMMOND playing in Trio with Russian tenor saxophonist IGOR BUTMAN & EDUARD ZIZAK-drums in LE CLUB in THEATRE TAGANKA. The beautiful Ballad "Easy Living" *JENNIFER-Camera *Special Thanks-FAINA COBHAM, HAMMOND SUZUKI, ALEXANDER VERSHBOW *STORY: http://community.webtv.net/ GoldenPenMan/BLUESINTHEMOSCOW http://www.youtube.com/watch?v=ufJ1zC1hthY *WATCH THE VIDEO HERE: Joe Franklin Thanksgiving at The Laugh Factory

http://www.youtube.com/watch?v=b_-mYcrxtTo 8,702 Jon Hammond on the scene covering Joe Franklin's annual Thanksgiving show and free turkey dinner at Laugh Factory NYC, a great tradition, Miracle on 42nd St.! Owner Richard Basciano an icon of Times Square says "By giving this holiday gift we want to give our thanks to the people NYC for making us what we are today ." No one should be alone on this day of giving thanks and all are invited. Come out for a day of food and fun and share good times with friends. Happy Thanksgiving from Times Square Arts Center and The World Famous Laugh Factory. Enjoy Joe Franklin legend of Radio & TV here! jh http://www.HammondCast.com *WATCH THE VIDEO HERE: When I Fall In Love in The jazzkeller Frankfurt

http://www.archive.org/details/JonHammondWhenIFallInLoveinThejazzkellerFrankfurt Musikmesse Warm Up Party in Jazzkeller Frankfurt hosted by Jon Hammond Band Tony Lakatos tenor sax Jon Hammond XK-1 organ Giovanni Gulino drums When I Fall In Love special thanks Eugen Hahn Jazzkeller Frankfurt Team, Musikmesse, Waichiro Tachikawa Suzuki Hammond, Michael Maier Falkenstein Hammond Deutschland, Video Camera by Jennifer http://www.jonhammondband.com http://www.youtube.com/watch?v=5bwqe0YbzSY

http://www.archive.org/search.php?query=hammondcast&page=11 *WATCH VIDEO: Conversations Show Part 1 Harold Channer and Jon Hammond MNN TV http://www.archive.org/details/JonHammondConversationsShowwithHaroldChannerandJonHammondMNNTV

Excerpt from 'Conversations Show', Harold Channer with guest TV/Radio Host & Producer Jon Hammond on MNN TV in New York City. Hear Harold and Jon discuss Public Access Television and play a clip from Jon's very first broadcast on MCTV Channel C 'The Jon Hammond Show' with original music and graphics from BackBeat Productions that aired for first time Feb. 2, 1984. Jon's TV show is now in it's 24th year and he is hosting daily radio show 'HammondCast Early Edition http://www.HammondCast.com Harold Hudson Channer and Jon Hammond in the studios of MNN TV

The famous envelope containing program labels for The Jon Hammond Show on MNN TV

Jon Hammond Show Still images

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