John Hammond (producer)

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John Hammond (producer) bigraphy, stories - Jazz producer, talent scout, and Civil Rights activist

John Hammond (producer) : biography

December 15, 1910 – July 10, 1987

John Henry Hammond II (December 15, 1910 – July 10, 1987) was an American record producer, Civil Rights activist and music critic from the 1930s to the early 1980s. In his service as a talent scout, Hammond became one of the most influential figures in 20th century popular music.

Hammond was instrumental in sparking or furthering numerous musical careers, including those of Bob Dylan, Bruce Springsteen, Benny Goodman, Charlie Christian, Billie Holiday, Count Basie, Teddy Wilson, Big Joe Turner, Pete Seeger, Babatunde Olatunji, Aretha Franklin, George Benson, Freddie Green, Leonard Cohen, Arthur Russell, Asha Puthli and Stevie Ray Vaughan. He is also largely responsible for the revival of delta blues artist Robert Johnson’s music.

Career

In 1931, he funded the recording of pianist Garland Wilson, marking the beginning of a long string of artistic successes as record producer. He moved to Greenwich Village, where he claimed to have engaged in bohemian life and worked for an integrated music world. He set up one of the first regular live jazz programs, and wrote regularly about the racial divide. As he wrote in his memoirs,John Hammond On Record: An Autobiography, ISBN 0-671-40003-7 "I heard no color line in the music…. To bring recognition to the negro’s supremacy in jazz was the most effective and constructive form of social protest I could think of." This pre-occupation with social issues was to continue, and in 1941 he was one of the founders of the Council on African Affairs. Hammond was given to exaggeration when speaking of his own achievements, but he had much to be acclaimed for.

In 1932, Hammond acquired a nonpaying job on the WEVD radio station as a disc jockey. Hammond did not discriminate when choosing which musicians to air; in fact, the station allowed Hammond complete freedom on the station as long as he paid for his time slot. Through this position, Hammond gained a reputation as a well-educated jazz fan. Various musicians were guests on his show, including, Fletcher Henderson, Benny Carter, and Art Tatum. When the station transferred from the Broadway Central Hotel to the Claridge Hotel, the new venue would not allow the black musicians to use the main elevator. For this reason, Hammond quit his work with WEVD.

By 1932–1933, through his involvement in the UK music paper Melody Maker, Hammond arranged for the faltering US Columbia label to provide recordings for the UK Columbia label, mostly using the specially created Columbia W-265000 matrix series. Hammond recorded Fletcher Henderson, Benny Carter, Joe Venuti, and other jazz performers during a time when the economy was bad enough that many of them would not have had the opportunity to enter a studio and play real jazz (a handful of these in this special series were issued in the US).

In 1934, Hammond is known to have introduced Benny Goodman and Fletcher Henderson. It is said that Hammond convinced the musicians to ‘swing’ the current jazz hits, so that they could play in a free manner like the original New Orleans Jazz."Swing". The Subject Is Jazz. WNBC. New York, New York, 1958. Television.

Hammond always strived for racial integration within the musical scene. For this purpose, he frequently visited musicians in Harlem as to connect with musicians in their own area. While initially his race proved a problem in connecting with this community, he formed relationships with various musicians that allowed him to surpass this barrier. His friendship with Benny Carter gave him a status in this area that allowed him to enter this musical community.

He played a role in organizing Benny Goodman’s band, and in persuading him to hire black musicians such as Charlie Christian, Teddy Wilson and Lionel Hampton. In 1933 he heard the seventeen-year-old Billie Holiday perform in Harlem and arranged for her recording debut, on a Benny Goodman session. Four years later, he heard the Count Basie orchestra broadcasting from Kansas City and brought it to New York, where it began to receive national attention.