Jon Hammond Journal For Day July 26, 2012 Report
Jon Hammond Journal For Day July 26, 2012 Report
Anaheim California -- Jason Lee tallest hair Carvin Rep and Jon Hammond at Winter NAMM Show
http://www.youtube.com/watch?v=RvjqYJ6F0WU
JFK -- Jon Hammond traveling musician pack with Briggs and Riley baggage - Jon Hammond says: "Briggs & Riley Travelware Flies and also will Float – thankfully as I found out!"
http://hammondcast.wordpress.com/2011/11/09/jon-hammond-says-briggs-riley-travelware-flies-and-also-will-float-thankfully-as-i-found-out/
Jon Hammond: “Since 1981 I have been flying with a Zero Halliburton Pilot case and a Kart-A-Bag
by Remin baggage cart, ever since my first flight aboard Air France Concorde to Paris CDG
from JFK.
I never thought I would change this combo until recently, now with extra restrictions on
carry on luggage, it’s hard to get the Kart-A-Bag unit on in addition to my bags, so I went for
the finest in rolling carry on baggage, Briggs & Riley with the “Simple As That” Lifetime
Warranty.”
“It’s a good thing I did, because recently while getting on a friend’s yacht in
Sausalito CA with music and video equipment for the annual Fleet Week Blue Angels show, our
Briggs & Riley baggage loaded with expensive video equipment and microphones fell in to the
water at dockside to my horror…but miracle of miracles, the Briggs Riley baggage floated!
All the equipment was bone dry when we fished it out of the waters of San Francisco Bay with
the boat hook. What a great feature!”
You can say I’m a happy camper, because if it had been my well traveled Halliburton aluminum
case, it likely would have sank to the bottom with all my gear and irreplaceable camera
masters inside, plus fine Superlux and Sennheiser microphones..no doubt about it.
Jon Hammond recommends Briggs & Riley Travelware for the professional traveler, with The only
warranty that covers it all…B&R says “If your Briggs & Riley bag is ever broken or damaged,
even if it was caused by an airline, we will repair it free of charge. Simple as that!”
“And it floats!” Try the new extra rugged Baseline models.
http://www.briggs-riley.com/category/group.aspx?col=baseline
Jon Hammond Band
My new travel profile:
with Hammond XK-1 organ in custom-built flight case on Super 600 wheels with various Briggs and Riley baggage - http://www.jonhammondband.com/
Frankfurt Germany -- Kenny and Benny...Bing and Bong!
Hessischer Rundfunk Kenny and Benny Meet Bing and Bong Jon Hammond Reporting From Frankfurt
http://hammondcast.wordpress.com/2011/09/20/hessischer-rundfunk-kenny-and-benny-meet-bing-and-bong-jon-hammond-reporting-from-frankfurt/
Historic hr-Bigband Frankfurt Radio Bigband Concert and Broadcast
special guests guitarist Kenny Burrell and saxophonist composer
Benny Golson aka The Kenny and Benny Show, because at the time the hr-Bigband had Kurt Bong
and Herbert Bings, this was the historic night that as Jon Hammond says:
“The Kenny and Benny met Bing and Bong !”
Photo of broadcast:
*photo by Jon Hammond — at Hessischer Rundfunk.
Setzingen-Ulm Germany -- This is where it all started folks - Hammond Germany / Deutsche Hammond, the workshop of main man Professor Klaus Maier founder of Hammond Germany, who I had the good fortune to meet him and his very talented son Michael at my very first Musikmesse Frankfurt in year 1987 - they have built one of the most important Hammond Organ museums in the world and have kept the tradition going - Michael is regarded in Japan at Suzuki Headquarters as "prince and the future of Hammond" and I concur with them! - Jon Hammond here with Michael Falkenstein at the birthplace of Hammond in Germany
http://hammond.de/
Worldwide HammondCast http://www.HammondCast.com/
Daly City California -- iPad in Daly City - Little Boxes - this is the place where my old friend Malvina Reynolds got her inspiration to write the smash hit song "Little Boxes" - Jon Hammond I shot that while driving by last night..
http://en.wikipedia.org/wiki/Malvina_Reynolds
"Reynolds' most famous song, "Little Boxes" (made famous by Pete Seeger), has enjoyed renewed popularity by being featured in Showtime's TV series Weeds. "Little Boxes" was inspired visually by the houses of Daly City, California. Nancy Reynolds Schimmel, daughter of Malvina Reynolds, explained:
"My mother and father were driving South from San Francisco through Daly City when my mom got the idea for the song. She asked my dad to take the wheel, and she wrote it on the way to the gathering in La Honda where she was going to sing for the Friends Committee on Legislation. When Time Magazine (I think, maybe Newsweek) wanted a photo of her pointing to the very place, she couldn't find those houses because so many more had been built around them that the hillsides were totally covered."
http://en.wikipedia.org/wiki/Little_Boxes
"Little Boxes" is a song written by Malvina Reynolds in 1962, which became a hit for her friend Pete Seeger in 1963.
The song is a political satire about the development of suburbia and associated conformist middle-class attitudes. It refers to suburban tract housing as "little boxes" of different colors "all made out of ticky-tacky", and which "all look just the same." "Ticky-tacky" is a reference to the shoddy material used in the construction of housing of that time.
Reynolds was a folk singer-songwriter and political activist in the 1960s. Nancy Reynolds, her daughter, explained that her mother came up with the song when she saw the housing developments around Daly City, California built in the post-war era by Henry Doelger, particularly the neighborhood of Westlake.
My mother and father were driving South from San Francisco through Daly City when my mom got the idea for the song. She asked my dad to take the wheel, and she wrote it on the way to the gathering in La Honda where she was going to sing for the Friends Committee on Legislation. When Time magazine (I think, maybe Newsweek) wanted a photo of her pointing to the very place, she couldn’t find those houses because so many more had been built around them that the hillsides were totally covered.[2]
Reynolds' version first appeared on her 1967 Columbia Records album Malvina Reynolds Sings the Truth,[3] and can also be found on the Smithsonian Folkways Records 2000 CD re-issue of Ear To The Ground, however Pete Seeger's rendition of the song is known internationally, and reached number 70 in the Billboard Hot 100. Seeger was a friend of Reynolds, also a political activist, and like many others in the 1960s he used folk songs as a medium for protest.
[edit]Reception
The profundity of the satire is attested by a university professor of the time who said that, "I've been lecturing my classes about middle-class conformity for a whole semester. Here's a song that says it all in 1½ minutes."[4]
The term "ticky-tacky" became a catchphrase during the 1960s, attesting to the song's popularity.[4] However, according to Christopher Hitchens, satirist Tom Lehrer described "Little Boxes" as "the most sanctimonious song ever written".[5]
[edit]Covers
The song has been recorded by a number of musicians, including Death Cab For Cutie, Rise Against, Regina Spektor, The Shins, The Womenfolk and Walk off the Earth. Other musicians have arranged and translated the song to meet their styles. The lyrics have been reprinted with photographs of "Little Box" houses in environmental publications.
The version of the song by The Womenfolk is the shortest single ever to chart on the Billboard Hot 100 at 1:03 minutes long.[citation needed] The Spanish songwriter Adolfo Celdrán wrote the first Spanish version of the song, called "Cajitas", which was published in 1969 and had several successive reissues. Another Spanish version of the song, "Las Casitas del Barrio Alto," was written by the Chilean songwriter Víctor Jara in 1971, depicting in a mocking way the over-Europeanized and bourgeois lifestyle of the residents of the "Barrio Alto" (high-class neighborhood) in Santiago de Chile. A French version with the title "Petites boîtes" was performed by Graeme Allwright and was later covered by Kate and Anna McGarrigle on their 2003 album La vache qui pleure.
Other artists who have covered the song include Devendra Banhart, Chester Bennington of Linkin Park, Elvis Costello, Death Cab For Cutie, Tim DeLaughter of The Polyphonic Spree, Donovan, Skott Freedman, Engelbert Humperdinck, The Individuals, Angelique Kidjo, Rilo Kiley, Kinky, Jenny Lewis, Man Man, Randy Newman, Ozomatli, Phosphorescent, The Real Tuesday Weld, Rise Against, The Shins, Regina Spektor, The Submarines, Billy Bob Thornton, and The Decemberists, who expanded the song with several new verses. In 2012 a version by Adrienne Stiefel was released in the UK by iTunes.[6]
[edit]In popular culture
The song was performed on the NBC satirical television program That Was The Week That Was on April 13, 1964, sung by Nancy Ames and accompanied by a film montage by Guy Fraumeni and Lou Myers depicting tract housing and other related images.
In the 1975 novel Ecotopia by Ernest Callenbach, describing a secessionist ecological utopia in the western United States, the protagonist (visiting the country as a US journalist) is informed that “cheaply built houses in newer districts” are scornfully referred to as “ticky-tacky boxes” by the population.[7]
Russ Abbott took the music to the song and its general theme to satirize The Spinners, a contemporary popular folk group whose songs apparently "all sound the same", as a parody act "The Spanners" on his 1980s London Weekend Television Madhouse series.
"Little Boxes" is the signature tune of BBC Radio 4 comedy series Robin and Wendy's Wet Weekends, sung by Kay Stonham in the character of "Wendy Mayfield" to a background of inept coaching by Simon Greenall as her husband "Robin".
A 2006 book about Westlake, Little Boxes: The Architecture of a Classic Midcentury Suburb, is named for the song.[8]
The song is sometimes used as the opening theme song for the Showtime television series Weeds. The first season used Reynolds's version as the theme song. The second, third, and eighth seasons used versions by nearly thirty different musicians, as well as the occasional Reynold's version. The song was not used regularly during seasons four through seven, it can occasionally be heard briefly. For a complete list of artists who have recorded this song for the show, see opening music of Weeds.
The song is also used by the Italian journalist Gianluca Nicoletti as the opening song for his radio show Melog, on air daily on the Italian national network Radio 24 since January 9, 2006.
This song is sung by both Keith Carradine (as "Elton Tripp") and Kate Mara (as "Zoe Tripp") in the 2005 film The Californians
"Little Boxes" is the theme song for "Xurupita's Farm II", a recurring sketch about a reality TV show on the Brazilian comedy program Pânico na TV.
In 2012, a re-worded version of the song, written by Sniffy Dog, was used in a UK TV commercial for mobile telephone operator O2. Three versions are known to have been broadcast, one of them is sung by Adrienne Stiefel,[9], while another is sung by Jedd Holden.[6] The third is an instrumental non-vocal version.[10]
[edit]See also
Urban sprawl
Suburb
Pittsburgh, Pennsylvania, Bob Merrill's 1952 song, that uses the same tune.
Notes
^ Merriam-Webster definition of 'Ticky-tacky' — at In-N-Out Burger - Daly City
Caution High Headroom -- 7 CEES Bus - Jon Hammond
http://www.7cees.org/
We make creative experiences with people. We just traveled the country for 5 months on a mission to collaborate with and inspire people to use their creative passion to make a difference in their community. Now we're in Madison, WI building up for our next adventure- get in touch!
Sam Lundsten
Sam is looking to understand the way our perspective shapes the world around us.
Alex Connelly
Alex has a background in art, laughing and friends. He hopes to explore the common as well as the uncommon, maintain and create life long relationships, and find his direction in life.
Michael Fenchel
Michael's fascinated by the experience of consciousness, and excited to be alive and part of a time when we're really starting to understand and have the freedom to shape it.
*Pursuing A Vision
The more I look and around, the more I realize that one of the biggest influences 0n people’s happiness is pursuing a vision. Could be a vision for a business, a vision for relationships, or a vision for how to spend the day- doesn’t matter much, so long as it’s there. Vision gives us a reason to try and ignites us with energy to create. Otherwise we just float with the whims of the world, reacting. If you see, then you can change ‘react’ to ‘create’ (the subtleties of language are mesmerizing).
It’s a tricky thing in business though, vision, because it’s so hard to measure and thus so difficult to reassure ourselves that results will come from enhancing it. People want to talk in terms of numbers, strategies, attention, payoff- all the sexy things that make entrepreneurship so alluring. That way they can convince themselves they’re not wasting time.
But at the end of the day, if the vision behind those sex-ified metrics isn’t complete or wasn’t ever really considered in the first place, then all anyone’s doing is closing little loophole opportunities in the system. Not that that’s bad, it’s great and it helps our economy run and life go on; however, I think as people we want to do more than that, because we know we can. We want to take something we feel inside that nobody else knows and use it to make the world a little better.
In doing that, we hope to find support for ourselves, but it’s tough. Nobody pays for you to develop your vision, because nobody else directly benefits in the short term. In fact, many roles and jobs prefer that you adopt the company vision and policy and leave dreams and other ideas aside or as secondary considerations.
One trend I’ve noticed is for people to try to find quick alternatives to make a lot of money so they can spend the rest of their time doing what they love. In my case, I’ve worked on technology start-ups with huge upside, and when I was younger, I played poker online. Now there are even full online casinos to give us a chance at bypassing our work obligations ;).
Still, while get-rich-quick-and-give-back successes are touted in the media and held up as an ideal, they’re incredibly rare and more importantly, they can be a trap. One thing about vision is that it builds on itself- what you will see tomorrow is a compound of what you see today and the experiences you have in the mean time. That means if we focus on monetary or other success through sacrifice of true creative passion, every day it gets a little harder to pivot and find that clarity of purpose and inspiration.
In leaving the secure physics, math and computer science world and entering the world of theory, writing, meditation and social start-ups I’ve had to relinquish financial security and dreams of achieving overnight success. But in return, I’ve received the freedom to know that we can create what we want, so long as we can see it first.
Port Costa California -- "Ox Racing" Zone - Jon Hammond where 24.0% of the population were Czech American in Port Costa http://en.wikipedia.org/wiki/Port_Costa,_California
The population was 190 at the 2010 census.
Geography
According to the United States Census Bureau, the CDP has a total area of 0.16 square miles (0.41 km2), all of it land. Port Costa is surrounded by rolling hills grazed by cattle and managed by East Bay Regional Park District. Carquinez Strait Regional Shoreline stretches from Crockett through Port Costa and to Martinez. Big Bull Valley Creek runs along McEwen Road into a historic reservoir just above the town, then it runs in an underground pipe culvert beneath the town to the Carquinez Strait.[2]
[edit]History
Port Costa School
Port Costa was founded in 1879 as a landing for the railroad ferry Solano, owned and operated by the Central Pacific Railroad.[3] This put Port Costa on the main route of the transcontinental railroad.[3] The Solano, later joined by the Contra Costa, carried entire trains across the Carquinez Strait from Benicia to Port Costa,[3] from whence they continued on to the Oakland Pier.[3] For a time, it was also the United States' busiest wheat-shipping port and had a reputation as a colorful, sometimes violent community.[citation needed]
After California's wheat output dropped in the early 20th Century and especially, after the Southern Pacific (which took over the operations of the Central Pacific) constructed a railroad bridge at Martinez in 1930 to replace the ferry crossing, Port Costa lost population and importance.[3] Bill Rich was an influential property owner and raconteur. Since the late 1960s, it has mainly been a small shopping venue for antique hunters and a gathering place for bikers and motorcyclists.
Port Costa's first post office was established in 1881.[4]
[edit]Demographics
[edit]2010
The 2010 United States Census[5] reported that Port Costa had a population of 190. The population density was 1,200.1 people per square mile (463.3/km²). The racial makeup of Port Costa was 172 (90.5%) White, 2 (1.1%) African American, 2 (1.1%) Native American, 7 (3.7%) Asian, and 7 (3.7%) from two or more races. Hispanic or Latino of any race were 10 persons (5.3%).
The Census reported that 100% of the population lived in households.
There were 99 households, out of which 15 (15.2%) had children under the age of 18 living in them, 37 (37.4%) were opposite-sex married couples living together, 4 (4.0%) had a female householder with no husband present, 5 (5.1%) had a male householder with no wife present. There were 10 (10.1%) unmarried opposite-sex partnerships, and 3 (3.0%) same-sex married couples or partnerships. 42 households (42.4%) were made up of individuals and 9 (9.1%) had someone living alone who was 65 years of age or older. The average household size was 1.92. There were 46 families (46.5% of all households); the average family size was 2.61.
The population was spread out with 19 people (10.0%) under the age of 18, 13 people (6.8%) aged 18 to 24, 38 people (20.0%) aged 25 to 44, 80 people (42.1%) aged 45 to 64, and 40 people (21.1%) who were 65 years of age or older. The median age was 52.5 years. For every 100 females there were 97.9 males. For every 100 females age 18 and over, there were 101.2 males.
There were 110 housing units at an average density of 694.8 per square mile (268.3/km²), of which 53 (53.5%) were owner-occupied, and 46 (46.5%) were occupied by renters. The homeowner vacancy rate was 5.4%; the rental vacancy rate was 2.1%. 118 people (62.1% of the population) lived in owner-occupied housing units and 72 people (37.9%) lived in rental housing units.
[edit]2000
As of the census[6] of 2000, there were 232 people, 108 households, and 60 families residing in the CDP. The population density was 342.1 people per square mile (131.7/km²). There were 115 housing units at an average density of 169.6 per square mile (65.3/km²). The racial makeup of the CDP was 90.95% White, 0% Black,1.29% Native American, 1.29% Asian, 1.72% from other races, and 4.74% from two or more races. 6.90% of the population were Hispanic or Latino of any race.
There were 108 households out of which 20.4% had children under the age of 18 living with them, 46.3% were married couples living together, 3.7% had a female householder with no husband present, and 44.4% were non-families. 34.3% of all households were made up of individuals and 8.3% had someone living alone who was 65 years of age or older. The average household size was 2.15 and the average family size was 2.80.
In the CDP the population was spread out with 15.5% under the age of 18, 4.7% from 18 to 24, 28.0% from 25 to 44, 37.5% from 45 to 64, and 14.2% who were 65 years of age or older. The median age was 46 years. For every 100 females there were 121.0 males. For every 100 females age 18 and over, there were 110.8 males.
The median income for a household in the CDP was $61,429, as was the median income for a family. Males had a median income of $40,769 versus $58,000 for females. The per capita income for the CDP was $33,563. About 9.7% of families and 10.7% of the population were below the poverty line, including 27.9% of those under the age of eighteen and none of those sixty five or over.
100% of the residents speak English
Sottsdale Arizona -- Jon Hammond at Fender World Headquarters - Vintage Modified Series - Band-Master
http://www.fender.com/products/search.php?section=guitaramplifiers&series=Vintage+Modified
London -- circa 1987 - the late great John Entwistle inscribed for me on this magazine foto:
"This Space Vacant For Advertizing" on his high forehead. - Jon Hammond
Miss ya' big John!
http://en.wikipedia.org/wiki/John_Entwistle
John Alec Entwistle (9 October 1944 – 27 June 2002) was an English bass guitarist, songwriter, singer, horn player, and film and record producer who was best known as the bass player for the rock band The Who. His aggressive lead sound influenced many rock bass players.[1][2] He was inducted into the Rock and Roll Hall of Fame as a member of the Who in 1990.
Entwistle's lead instrument approach used pentatonic lead lines, and a then-unusual trebly sound ("full treble, full volume") created by roundwound RotoSound steel bass strings. He had a collection of over 200 instruments by the time of his death, reflecting the different brands he used over his career: Fender, Danelectro, and Rickenbacker basses in the 1960s, Gibson and Alembic basses in the 1970s, Warwick in the 1980s, and Status all-Carbon fibre basses in the 1990s. In 2011, a Rolling Stone reader poll selected him as the No. 1 rock bassist of all time.
Birth and early career
John Alec Entwistle was born in 1944 into a musical family in Chiswick, a London suburb. His father Herbert played trumpet and his mother, Queenie Maud Johns Entwistle (29 November 1922 – 4 March 2011), played piano. His parents' marriage failed soon after he was born, and Entwistle was mostly raised by his grandparents. He attended Acton County Grammar School and joined the Middlesex Youth Orchestra. His initial music training was on trumpet, french horn and piano, all three of which would feature in his later rock compositions.
In the early 1960s, Entwistle played in several traditional jazz and Dixieland outfits. He formed a duo called The Confederates with schoolmate Pete Townshend, and later joined Roger Daltrey's band The Detours, playing a major role in encouraging Townshend's budding talent on the guitar, and insisting that Townshend be admitted to the Detours as well. After changes in personnel, Daltrey had fired all members of his band with the exception of Entwistle, Townshend, and the drummer, Doug Sandom, although it was only because he had not yet found a drummer with sufficient talent to replace him. Upon the entry of Keith Moon to the band, Daltrey relinquished the role of guitar to Townshend, becoming frontman and lead singer in the band, while the band considered several changes of name, temporarily performing as the High Numbers, and finally settling on the name The Who. When the band decided that the blond Daltrey needed to stand out more from the others, Entwistle dyed his naturally golden hair black, and it remained so until the early 1980s. Around 1963 Entwistle played in a London band called The Initials for a short while; the band split when a planned resident stint in Spain fell through.
Entwistle picked up two nicknames during his tenure as a musician. He was nicknamed "The Ox" because of his strong constitution and seeming ability to "eat, drink or do more than the rest of them." Bill Wyman, bassist for the Rolling Stones, described him as "the quietest man in private but the loudest man on stage." Entwistle who was one of the first to make use of Marshall stacks, in an attempt to hear himself over the ruckus of his bandmates, who famously leapt and moved about on the stage, with Townshend and Moon smashing their instruments on numerous occasions. (Moon even employed explosives in his drum kit during one memorable performance). Pete Townshend later remarked that John started using Marshalls in order to hear himself over drummer Keith Moon's rapid-fire drumming style, and Townshend himself also had to use them just to be heard over John. They both continued expanding and experimenting with their rigs, until (at a time when most bands used 50–100 watt amplifiers with single cabinets) they were both using twin Stacks with new experimental prototype 200 watt amps. However, no matter what was taking place on stage, Entwistle stood by calmly and quietly, while plucking the strings very fast, in what was later described as his "typewriter" technique of playing, which earned him the name "Thunderfingers" by his bandmates and some fans of the Who. The band had a strong influence on the equipment of their contemporaries at the time, with Cream and the Jimi Hendrix Experience both following suit. Although they pioneered and directly contributed to the development of the "classic" Marshall sound (at this point their equipment was being built/tweaked to their personal specifications), they would only use Marshalls for a couple of years. Entwistle eventually switched to using a Sound City rig in search of his perfect sound, with Townshend following suit later as well. Townshend points out that Jimi Hendrix, their new label mate, was influenced beyond just the band's volume. Both Entwistle and Townshend had begun experimenting with feedback from the amplifiers in the mid-1960s, and Hendrix had not begun destroying his instruments until after he had witnessed The Who's "auto-destructive art".
Entwistle backstage with The Who, 1967
Entwistle's wry and sometimes dark sense of humour clashed at times with Pete Townshend's more introspective work. Though he continued to contribute material to all of The Who's albums, with the exception of Quadrophenia, his frustration with having his material recorded by the band, only to relinquish the position of vocalist to Daltrey, was a large part of the reason[citation needed] he became the first member of the band to release a solo record, Smash Your Head Against the Wall (1971). The only member of the band to have had formal training, he contributed backing vocals and performed on the French horn (heard in "Pictures of Lily"), trumpet, bugle, and jaw harp, and on some occasions (generally at least once per album & concert), lead vocalist on his compositions, the only exceptions being the first verse of "Happy Jack" and Ivor's part on "A Quick One, While He's Away". Examples are on Tommy, ("Cousin Kevin", "Fiddle About"), on the live favourite "Heaven and Hell", and on Who's Next ("My Wife"). He layered several horns and performed all pieces to create the brass as heard on songs such as "5:15", among others, while recording the Who's studio albums, and for concerts, arranged a horn section to perform with the band. In concert, Entwistle was content to stand quite still beside the uproar onstage, delivering dense and high-energy body to the music, but taking the spotlight only when singing lead. The exception was blinding illumination of his roaring solo notes in opening "Pinball Wizard".
Entwistle playing at Maple Leaf Gardens, Toronto 1976 Photo: Jean-Luc Ourlin
Entwistle also experimented throughout his career with "bi-amping," where the high and low ends of the bass sound are sent through separate signal paths, allowing for more control over the output. At one point his rig became so loaded with speaker cabinets and processing gear that it was dubbed "Little Manhattan," in reference to the towering, skyscraper-like stacks, racks and blinking lights.
His "full treble, full volume" approach to bass sound was originally supposed to be captured in the bass solo to "My Generation". According to Entwistle, his original intention was to feature the distinctive Danelectro Longhorn bass, which had a very twangy sound, in the solo, but the strings kept breaking. Eventually, he recorded a simpler solo using a pick with a Fender Jazz Bass strung with LaBella tapewound strings. This solo bass break is important as it is one of the earliest bass solos (if not the first) captured on a rock record. A live recording of The Who exists from this period (c. 1965), with Entwistle playing a Danelectro on "My Generation", giving an idea of what that solo would have sounded like.
*WATCH Full Version Video Here: Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011 Full Version
http://a10.video2.blip.tv/9530007958507/JonHammond-JonHammondNAMMorgOralHistoryInterviewDateJanuary132011558.m4v?brs=1461&bri=44.3
http://blip.tv/file/4837335
http://vimeo.com/20619835
Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011
http://www.namm.org/library/oral-history/jon-hammond
Jon Hammond
John Entwistle, NAMM Show, Frankfurt Musikmesse, Sk1 Organ, Jon Hammond, Jazz, Blues, Local 802, Musicians Union, Fender Vintage Modified, Late Rent
Anaheim California -- Jason Lee tallest hair Carvin Rep and Jon Hammond at Winter NAMM Show
http://www.youtube.com/watch?v=RvjqYJ6F0WU
JFK -- Jon Hammond traveling musician pack with Briggs and Riley baggage - Jon Hammond says: "Briggs & Riley Travelware Flies and also will Float – thankfully as I found out!"
http://hammondcast.wordpress.com/2011/11/09/jon-hammond-says-briggs-riley-travelware-flies-and-also-will-float-thankfully-as-i-found-out/
Jon Hammond: “Since 1981 I have been flying with a Zero Halliburton Pilot case and a Kart-A-Bag
by Remin baggage cart, ever since my first flight aboard Air France Concorde to Paris CDG
from JFK.
I never thought I would change this combo until recently, now with extra restrictions on
carry on luggage, it’s hard to get the Kart-A-Bag unit on in addition to my bags, so I went for
the finest in rolling carry on baggage, Briggs & Riley with the “Simple As That” Lifetime
Warranty.”
“It’s a good thing I did, because recently while getting on a friend’s yacht in
Sausalito CA with music and video equipment for the annual Fleet Week Blue Angels show, our
Briggs & Riley baggage loaded with expensive video equipment and microphones fell in to the
water at dockside to my horror…but miracle of miracles, the Briggs Riley baggage floated!
All the equipment was bone dry when we fished it out of the waters of San Francisco Bay with
the boat hook. What a great feature!”
You can say I’m a happy camper, because if it had been my well traveled Halliburton aluminum
case, it likely would have sank to the bottom with all my gear and irreplaceable camera
masters inside, plus fine Superlux and Sennheiser microphones..no doubt about it.
Jon Hammond recommends Briggs & Riley Travelware for the professional traveler, with The only
warranty that covers it all…B&R says “If your Briggs & Riley bag is ever broken or damaged,
even if it was caused by an airline, we will repair it free of charge. Simple as that!”
“And it floats!” Try the new extra rugged Baseline models.
http://www.briggs-riley.com/category/group.aspx?col=baseline
Jon Hammond Band
My new travel profile:
with Hammond XK-1 organ in custom-built flight case on Super 600 wheels with various Briggs and Riley baggage - http://www.jonhammondband.com/
Frankfurt Germany -- Kenny and Benny...Bing and Bong!
Hessischer Rundfunk Kenny and Benny Meet Bing and Bong Jon Hammond Reporting From Frankfurt
http://hammondcast.wordpress.com/2011/09/20/hessischer-rundfunk-kenny-and-benny-meet-bing-and-bong-jon-hammond-reporting-from-frankfurt/
Historic hr-Bigband Frankfurt Radio Bigband Concert and Broadcast
special guests guitarist Kenny Burrell and saxophonist composer
Benny Golson aka The Kenny and Benny Show, because at the time the hr-Bigband had Kurt Bong
and Herbert Bings, this was the historic night that as Jon Hammond says:
“The Kenny and Benny met Bing and Bong !”
Photo of broadcast:
*photo by Jon Hammond — at Hessischer Rundfunk.
Setzingen-Ulm Germany -- This is where it all started folks - Hammond Germany / Deutsche Hammond, the workshop of main man Professor Klaus Maier founder of Hammond Germany, who I had the good fortune to meet him and his very talented son Michael at my very first Musikmesse Frankfurt in year 1987 - they have built one of the most important Hammond Organ museums in the world and have kept the tradition going - Michael is regarded in Japan at Suzuki Headquarters as "prince and the future of Hammond" and I concur with them! - Jon Hammond here with Michael Falkenstein at the birthplace of Hammond in Germany
http://hammond.de/
Worldwide HammondCast http://www.HammondCast.com/
Daly City California -- iPad in Daly City - Little Boxes - this is the place where my old friend Malvina Reynolds got her inspiration to write the smash hit song "Little Boxes" - Jon Hammond I shot that while driving by last night..
http://en.wikipedia.org/wiki/Malvina_Reynolds
"Reynolds' most famous song, "Little Boxes" (made famous by Pete Seeger), has enjoyed renewed popularity by being featured in Showtime's TV series Weeds. "Little Boxes" was inspired visually by the houses of Daly City, California. Nancy Reynolds Schimmel, daughter of Malvina Reynolds, explained:
"My mother and father were driving South from San Francisco through Daly City when my mom got the idea for the song. She asked my dad to take the wheel, and she wrote it on the way to the gathering in La Honda where she was going to sing for the Friends Committee on Legislation. When Time Magazine (I think, maybe Newsweek) wanted a photo of her pointing to the very place, she couldn't find those houses because so many more had been built around them that the hillsides were totally covered."
http://en.wikipedia.org/wiki/Little_Boxes
"Little Boxes" is a song written by Malvina Reynolds in 1962, which became a hit for her friend Pete Seeger in 1963.
The song is a political satire about the development of suburbia and associated conformist middle-class attitudes. It refers to suburban tract housing as "little boxes" of different colors "all made out of ticky-tacky", and which "all look just the same." "Ticky-tacky" is a reference to the shoddy material used in the construction of housing of that time.
Reynolds was a folk singer-songwriter and political activist in the 1960s. Nancy Reynolds, her daughter, explained that her mother came up with the song when she saw the housing developments around Daly City, California built in the post-war era by Henry Doelger, particularly the neighborhood of Westlake.
My mother and father were driving South from San Francisco through Daly City when my mom got the idea for the song. She asked my dad to take the wheel, and she wrote it on the way to the gathering in La Honda where she was going to sing for the Friends Committee on Legislation. When Time magazine (I think, maybe Newsweek) wanted a photo of her pointing to the very place, she couldn’t find those houses because so many more had been built around them that the hillsides were totally covered.[2]
Reynolds' version first appeared on her 1967 Columbia Records album Malvina Reynolds Sings the Truth,[3] and can also be found on the Smithsonian Folkways Records 2000 CD re-issue of Ear To The Ground, however Pete Seeger's rendition of the song is known internationally, and reached number 70 in the Billboard Hot 100. Seeger was a friend of Reynolds, also a political activist, and like many others in the 1960s he used folk songs as a medium for protest.
[edit]Reception
The profundity of the satire is attested by a university professor of the time who said that, "I've been lecturing my classes about middle-class conformity for a whole semester. Here's a song that says it all in 1½ minutes."[4]
The term "ticky-tacky" became a catchphrase during the 1960s, attesting to the song's popularity.[4] However, according to Christopher Hitchens, satirist Tom Lehrer described "Little Boxes" as "the most sanctimonious song ever written".[5]
[edit]Covers
The song has been recorded by a number of musicians, including Death Cab For Cutie, Rise Against, Regina Spektor, The Shins, The Womenfolk and Walk off the Earth. Other musicians have arranged and translated the song to meet their styles. The lyrics have been reprinted with photographs of "Little Box" houses in environmental publications.
The version of the song by The Womenfolk is the shortest single ever to chart on the Billboard Hot 100 at 1:03 minutes long.[citation needed] The Spanish songwriter Adolfo Celdrán wrote the first Spanish version of the song, called "Cajitas", which was published in 1969 and had several successive reissues. Another Spanish version of the song, "Las Casitas del Barrio Alto," was written by the Chilean songwriter Víctor Jara in 1971, depicting in a mocking way the over-Europeanized and bourgeois lifestyle of the residents of the "Barrio Alto" (high-class neighborhood) in Santiago de Chile. A French version with the title "Petites boîtes" was performed by Graeme Allwright and was later covered by Kate and Anna McGarrigle on their 2003 album La vache qui pleure.
Other artists who have covered the song include Devendra Banhart, Chester Bennington of Linkin Park, Elvis Costello, Death Cab For Cutie, Tim DeLaughter of The Polyphonic Spree, Donovan, Skott Freedman, Engelbert Humperdinck, The Individuals, Angelique Kidjo, Rilo Kiley, Kinky, Jenny Lewis, Man Man, Randy Newman, Ozomatli, Phosphorescent, The Real Tuesday Weld, Rise Against, The Shins, Regina Spektor, The Submarines, Billy Bob Thornton, and The Decemberists, who expanded the song with several new verses. In 2012 a version by Adrienne Stiefel was released in the UK by iTunes.[6]
[edit]In popular culture
The song was performed on the NBC satirical television program That Was The Week That Was on April 13, 1964, sung by Nancy Ames and accompanied by a film montage by Guy Fraumeni and Lou Myers depicting tract housing and other related images.
In the 1975 novel Ecotopia by Ernest Callenbach, describing a secessionist ecological utopia in the western United States, the protagonist (visiting the country as a US journalist) is informed that “cheaply built houses in newer districts” are scornfully referred to as “ticky-tacky boxes” by the population.[7]
Russ Abbott took the music to the song and its general theme to satirize The Spinners, a contemporary popular folk group whose songs apparently "all sound the same", as a parody act "The Spanners" on his 1980s London Weekend Television Madhouse series.
"Little Boxes" is the signature tune of BBC Radio 4 comedy series Robin and Wendy's Wet Weekends, sung by Kay Stonham in the character of "Wendy Mayfield" to a background of inept coaching by Simon Greenall as her husband "Robin".
A 2006 book about Westlake, Little Boxes: The Architecture of a Classic Midcentury Suburb, is named for the song.[8]
The song is sometimes used as the opening theme song for the Showtime television series Weeds. The first season used Reynolds's version as the theme song. The second, third, and eighth seasons used versions by nearly thirty different musicians, as well as the occasional Reynold's version. The song was not used regularly during seasons four through seven, it can occasionally be heard briefly. For a complete list of artists who have recorded this song for the show, see opening music of Weeds.
The song is also used by the Italian journalist Gianluca Nicoletti as the opening song for his radio show Melog, on air daily on the Italian national network Radio 24 since January 9, 2006.
This song is sung by both Keith Carradine (as "Elton Tripp") and Kate Mara (as "Zoe Tripp") in the 2005 film The Californians
"Little Boxes" is the theme song for "Xurupita's Farm II", a recurring sketch about a reality TV show on the Brazilian comedy program Pânico na TV.
In 2012, a re-worded version of the song, written by Sniffy Dog, was used in a UK TV commercial for mobile telephone operator O2. Three versions are known to have been broadcast, one of them is sung by Adrienne Stiefel,[9], while another is sung by Jedd Holden.[6] The third is an instrumental non-vocal version.[10]
[edit]See also
Urban sprawl
Suburb
Pittsburgh, Pennsylvania, Bob Merrill's 1952 song, that uses the same tune.
Notes
^ Merriam-Webster definition of 'Ticky-tacky' — at In-N-Out Burger - Daly City
Caution High Headroom -- 7 CEES Bus - Jon Hammond
http://www.7cees.org/
We make creative experiences with people. We just traveled the country for 5 months on a mission to collaborate with and inspire people to use their creative passion to make a difference in their community. Now we're in Madison, WI building up for our next adventure- get in touch!
Sam Lundsten
Sam is looking to understand the way our perspective shapes the world around us.
Alex Connelly
Alex has a background in art, laughing and friends. He hopes to explore the common as well as the uncommon, maintain and create life long relationships, and find his direction in life.
Michael Fenchel
Michael's fascinated by the experience of consciousness, and excited to be alive and part of a time when we're really starting to understand and have the freedom to shape it.
*Pursuing A Vision
The more I look and around, the more I realize that one of the biggest influences 0n people’s happiness is pursuing a vision. Could be a vision for a business, a vision for relationships, or a vision for how to spend the day- doesn’t matter much, so long as it’s there. Vision gives us a reason to try and ignites us with energy to create. Otherwise we just float with the whims of the world, reacting. If you see, then you can change ‘react’ to ‘create’ (the subtleties of language are mesmerizing).
It’s a tricky thing in business though, vision, because it’s so hard to measure and thus so difficult to reassure ourselves that results will come from enhancing it. People want to talk in terms of numbers, strategies, attention, payoff- all the sexy things that make entrepreneurship so alluring. That way they can convince themselves they’re not wasting time.
But at the end of the day, if the vision behind those sex-ified metrics isn’t complete or wasn’t ever really considered in the first place, then all anyone’s doing is closing little loophole opportunities in the system. Not that that’s bad, it’s great and it helps our economy run and life go on; however, I think as people we want to do more than that, because we know we can. We want to take something we feel inside that nobody else knows and use it to make the world a little better.
In doing that, we hope to find support for ourselves, but it’s tough. Nobody pays for you to develop your vision, because nobody else directly benefits in the short term. In fact, many roles and jobs prefer that you adopt the company vision and policy and leave dreams and other ideas aside or as secondary considerations.
One trend I’ve noticed is for people to try to find quick alternatives to make a lot of money so they can spend the rest of their time doing what they love. In my case, I’ve worked on technology start-ups with huge upside, and when I was younger, I played poker online. Now there are even full online casinos to give us a chance at bypassing our work obligations ;).
Still, while get-rich-quick-and-give-back successes are touted in the media and held up as an ideal, they’re incredibly rare and more importantly, they can be a trap. One thing about vision is that it builds on itself- what you will see tomorrow is a compound of what you see today and the experiences you have in the mean time. That means if we focus on monetary or other success through sacrifice of true creative passion, every day it gets a little harder to pivot and find that clarity of purpose and inspiration.
In leaving the secure physics, math and computer science world and entering the world of theory, writing, meditation and social start-ups I’ve had to relinquish financial security and dreams of achieving overnight success. But in return, I’ve received the freedom to know that we can create what we want, so long as we can see it first.
Port Costa California -- "Ox Racing" Zone - Jon Hammond where 24.0% of the population were Czech American in Port Costa http://en.wikipedia.org/wiki/Port_Costa,_California
The population was 190 at the 2010 census.
Geography
According to the United States Census Bureau, the CDP has a total area of 0.16 square miles (0.41 km2), all of it land. Port Costa is surrounded by rolling hills grazed by cattle and managed by East Bay Regional Park District. Carquinez Strait Regional Shoreline stretches from Crockett through Port Costa and to Martinez. Big Bull Valley Creek runs along McEwen Road into a historic reservoir just above the town, then it runs in an underground pipe culvert beneath the town to the Carquinez Strait.[2]
[edit]History
Port Costa School
Port Costa was founded in 1879 as a landing for the railroad ferry Solano, owned and operated by the Central Pacific Railroad.[3] This put Port Costa on the main route of the transcontinental railroad.[3] The Solano, later joined by the Contra Costa, carried entire trains across the Carquinez Strait from Benicia to Port Costa,[3] from whence they continued on to the Oakland Pier.[3] For a time, it was also the United States' busiest wheat-shipping port and had a reputation as a colorful, sometimes violent community.[citation needed]
After California's wheat output dropped in the early 20th Century and especially, after the Southern Pacific (which took over the operations of the Central Pacific) constructed a railroad bridge at Martinez in 1930 to replace the ferry crossing, Port Costa lost population and importance.[3] Bill Rich was an influential property owner and raconteur. Since the late 1960s, it has mainly been a small shopping venue for antique hunters and a gathering place for bikers and motorcyclists.
Port Costa's first post office was established in 1881.[4]
[edit]Demographics
[edit]2010
The 2010 United States Census[5] reported that Port Costa had a population of 190. The population density was 1,200.1 people per square mile (463.3/km²). The racial makeup of Port Costa was 172 (90.5%) White, 2 (1.1%) African American, 2 (1.1%) Native American, 7 (3.7%) Asian, and 7 (3.7%) from two or more races. Hispanic or Latino of any race were 10 persons (5.3%).
The Census reported that 100% of the population lived in households.
There were 99 households, out of which 15 (15.2%) had children under the age of 18 living in them, 37 (37.4%) were opposite-sex married couples living together, 4 (4.0%) had a female householder with no husband present, 5 (5.1%) had a male householder with no wife present. There were 10 (10.1%) unmarried opposite-sex partnerships, and 3 (3.0%) same-sex married couples or partnerships. 42 households (42.4%) were made up of individuals and 9 (9.1%) had someone living alone who was 65 years of age or older. The average household size was 1.92. There were 46 families (46.5% of all households); the average family size was 2.61.
The population was spread out with 19 people (10.0%) under the age of 18, 13 people (6.8%) aged 18 to 24, 38 people (20.0%) aged 25 to 44, 80 people (42.1%) aged 45 to 64, and 40 people (21.1%) who were 65 years of age or older. The median age was 52.5 years. For every 100 females there were 97.9 males. For every 100 females age 18 and over, there were 101.2 males.
There were 110 housing units at an average density of 694.8 per square mile (268.3/km²), of which 53 (53.5%) were owner-occupied, and 46 (46.5%) were occupied by renters. The homeowner vacancy rate was 5.4%; the rental vacancy rate was 2.1%. 118 people (62.1% of the population) lived in owner-occupied housing units and 72 people (37.9%) lived in rental housing units.
[edit]2000
As of the census[6] of 2000, there were 232 people, 108 households, and 60 families residing in the CDP. The population density was 342.1 people per square mile (131.7/km²). There were 115 housing units at an average density of 169.6 per square mile (65.3/km²). The racial makeup of the CDP was 90.95% White, 0% Black,1.29% Native American, 1.29% Asian, 1.72% from other races, and 4.74% from two or more races. 6.90% of the population were Hispanic or Latino of any race.
There were 108 households out of which 20.4% had children under the age of 18 living with them, 46.3% were married couples living together, 3.7% had a female householder with no husband present, and 44.4% were non-families. 34.3% of all households were made up of individuals and 8.3% had someone living alone who was 65 years of age or older. The average household size was 2.15 and the average family size was 2.80.
In the CDP the population was spread out with 15.5% under the age of 18, 4.7% from 18 to 24, 28.0% from 25 to 44, 37.5% from 45 to 64, and 14.2% who were 65 years of age or older. The median age was 46 years. For every 100 females there were 121.0 males. For every 100 females age 18 and over, there were 110.8 males.
The median income for a household in the CDP was $61,429, as was the median income for a family. Males had a median income of $40,769 versus $58,000 for females. The per capita income for the CDP was $33,563. About 9.7% of families and 10.7% of the population were below the poverty line, including 27.9% of those under the age of eighteen and none of those sixty five or over.
100% of the residents speak English
Sottsdale Arizona -- Jon Hammond at Fender World Headquarters - Vintage Modified Series - Band-Master
http://www.fender.com/products/search.php?section=guitaramplifiers&series=Vintage+Modified
London -- circa 1987 - the late great John Entwistle inscribed for me on this magazine foto:
"This Space Vacant For Advertizing" on his high forehead. - Jon Hammond
Miss ya' big John!
http://en.wikipedia.org/wiki/John_Entwistle
John Alec Entwistle (9 October 1944 – 27 June 2002) was an English bass guitarist, songwriter, singer, horn player, and film and record producer who was best known as the bass player for the rock band The Who. His aggressive lead sound influenced many rock bass players.[1][2] He was inducted into the Rock and Roll Hall of Fame as a member of the Who in 1990.
Entwistle's lead instrument approach used pentatonic lead lines, and a then-unusual trebly sound ("full treble, full volume") created by roundwound RotoSound steel bass strings. He had a collection of over 200 instruments by the time of his death, reflecting the different brands he used over his career: Fender, Danelectro, and Rickenbacker basses in the 1960s, Gibson and Alembic basses in the 1970s, Warwick in the 1980s, and Status all-Carbon fibre basses in the 1990s. In 2011, a Rolling Stone reader poll selected him as the No. 1 rock bassist of all time.
Birth and early career
John Alec Entwistle was born in 1944 into a musical family in Chiswick, a London suburb. His father Herbert played trumpet and his mother, Queenie Maud Johns Entwistle (29 November 1922 – 4 March 2011), played piano. His parents' marriage failed soon after he was born, and Entwistle was mostly raised by his grandparents. He attended Acton County Grammar School and joined the Middlesex Youth Orchestra. His initial music training was on trumpet, french horn and piano, all three of which would feature in his later rock compositions.
In the early 1960s, Entwistle played in several traditional jazz and Dixieland outfits. He formed a duo called The Confederates with schoolmate Pete Townshend, and later joined Roger Daltrey's band The Detours, playing a major role in encouraging Townshend's budding talent on the guitar, and insisting that Townshend be admitted to the Detours as well. After changes in personnel, Daltrey had fired all members of his band with the exception of Entwistle, Townshend, and the drummer, Doug Sandom, although it was only because he had not yet found a drummer with sufficient talent to replace him. Upon the entry of Keith Moon to the band, Daltrey relinquished the role of guitar to Townshend, becoming frontman and lead singer in the band, while the band considered several changes of name, temporarily performing as the High Numbers, and finally settling on the name The Who. When the band decided that the blond Daltrey needed to stand out more from the others, Entwistle dyed his naturally golden hair black, and it remained so until the early 1980s. Around 1963 Entwistle played in a London band called The Initials for a short while; the band split when a planned resident stint in Spain fell through.
Entwistle picked up two nicknames during his tenure as a musician. He was nicknamed "The Ox" because of his strong constitution and seeming ability to "eat, drink or do more than the rest of them." Bill Wyman, bassist for the Rolling Stones, described him as "the quietest man in private but the loudest man on stage." Entwistle who was one of the first to make use of Marshall stacks, in an attempt to hear himself over the ruckus of his bandmates, who famously leapt and moved about on the stage, with Townshend and Moon smashing their instruments on numerous occasions. (Moon even employed explosives in his drum kit during one memorable performance). Pete Townshend later remarked that John started using Marshalls in order to hear himself over drummer Keith Moon's rapid-fire drumming style, and Townshend himself also had to use them just to be heard over John. They both continued expanding and experimenting with their rigs, until (at a time when most bands used 50–100 watt amplifiers with single cabinets) they were both using twin Stacks with new experimental prototype 200 watt amps. However, no matter what was taking place on stage, Entwistle stood by calmly and quietly, while plucking the strings very fast, in what was later described as his "typewriter" technique of playing, which earned him the name "Thunderfingers" by his bandmates and some fans of the Who. The band had a strong influence on the equipment of their contemporaries at the time, with Cream and the Jimi Hendrix Experience both following suit. Although they pioneered and directly contributed to the development of the "classic" Marshall sound (at this point their equipment was being built/tweaked to their personal specifications), they would only use Marshalls for a couple of years. Entwistle eventually switched to using a Sound City rig in search of his perfect sound, with Townshend following suit later as well. Townshend points out that Jimi Hendrix, their new label mate, was influenced beyond just the band's volume. Both Entwistle and Townshend had begun experimenting with feedback from the amplifiers in the mid-1960s, and Hendrix had not begun destroying his instruments until after he had witnessed The Who's "auto-destructive art".
Entwistle backstage with The Who, 1967
Entwistle's wry and sometimes dark sense of humour clashed at times with Pete Townshend's more introspective work. Though he continued to contribute material to all of The Who's albums, with the exception of Quadrophenia, his frustration with having his material recorded by the band, only to relinquish the position of vocalist to Daltrey, was a large part of the reason[citation needed] he became the first member of the band to release a solo record, Smash Your Head Against the Wall (1971). The only member of the band to have had formal training, he contributed backing vocals and performed on the French horn (heard in "Pictures of Lily"), trumpet, bugle, and jaw harp, and on some occasions (generally at least once per album & concert), lead vocalist on his compositions, the only exceptions being the first verse of "Happy Jack" and Ivor's part on "A Quick One, While He's Away". Examples are on Tommy, ("Cousin Kevin", "Fiddle About"), on the live favourite "Heaven and Hell", and on Who's Next ("My Wife"). He layered several horns and performed all pieces to create the brass as heard on songs such as "5:15", among others, while recording the Who's studio albums, and for concerts, arranged a horn section to perform with the band. In concert, Entwistle was content to stand quite still beside the uproar onstage, delivering dense and high-energy body to the music, but taking the spotlight only when singing lead. The exception was blinding illumination of his roaring solo notes in opening "Pinball Wizard".
Entwistle playing at Maple Leaf Gardens, Toronto 1976 Photo: Jean-Luc Ourlin
Entwistle also experimented throughout his career with "bi-amping," where the high and low ends of the bass sound are sent through separate signal paths, allowing for more control over the output. At one point his rig became so loaded with speaker cabinets and processing gear that it was dubbed "Little Manhattan," in reference to the towering, skyscraper-like stacks, racks and blinking lights.
His "full treble, full volume" approach to bass sound was originally supposed to be captured in the bass solo to "My Generation". According to Entwistle, his original intention was to feature the distinctive Danelectro Longhorn bass, which had a very twangy sound, in the solo, but the strings kept breaking. Eventually, he recorded a simpler solo using a pick with a Fender Jazz Bass strung with LaBella tapewound strings. This solo bass break is important as it is one of the earliest bass solos (if not the first) captured on a rock record. A live recording of The Who exists from this period (c. 1965), with Entwistle playing a Danelectro on "My Generation", giving an idea of what that solo would have sounded like.
*WATCH Full Version Video Here: Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011 Full Version
http://a10.video2.blip.tv/9530007958507/JonHammond-JonHammondNAMMorgOralHistoryInterviewDateJanuary132011558.m4v?brs=1461&bri=44.3
http://blip.tv/file/4837335
http://vimeo.com/20619835
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
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.
John Entwistle, NAMM Show, Frankfurt Musikmesse, Sk1 Organ, Jon Hammond, Jazz, Blues, Local 802, Musicians Union, Fender Vintage Modified, Late Rent
hammondcast - 26. Jul, 03:23
