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, "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 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.
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.
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.
In 1938, he organized the first From Spirituals to Swing concert at Carnegie Hall, presenting a broad program of blues, jazz and gospel artists, including Ida Cox, Big Joe Turner, Albert Ammons, Meade "Lux" Lewis, Sister Rosetta Tharpe, the Count Basie orchestra, Sidney Bechet, Sonny Terry, James P. Johnson, and Big Bill Broonzy (who took the place of the murdered Robert Johnson). He coordinated a second From Spirituals to Swing concert in 1939.
After serving in the military during World War II, Hammond felt unmoved by the bebop jazz scene of the mid-1940s. Rejoining Columbia Records in the late 1950s, he signed Pete Seeger and Babatunde Olatunji to the label, and discovered Aretha Franklin, then an eighteen-year-old gospel singer. In 1961, he heard folk singer Bob Dylan playing harmonica on a session for Carolyn Hester and signed him to Columbia and kept him on the label despite the protests of executives, who referred to Dylan as "Hammond's folly". He produced Dylan's early recordings, "Blowin' in the Wind" and "A Hard Rain's a-Gonna Fall".
Hammond oversaw the highly influential posthumous reissues of Robert Johnson's recorded work (produced by Frank Driggs), convincing Columbia Records to issue the album King of the Delta Blues Singers in 1961. Musicians Hammond signed to the label included Leonard Cohen and Bruce Springsteen.
Hammond retired from Columbia in 1975, but continued to scout for talent. In 1983, he brought guitarist Stevie Ray Vaughan to Columbia and was credited as executive producer on his debut album.
Read more about this topic: John H. Hammond
Famous quotes containing the word career:
“I began my editorial career with the presidency of Mr. Adams, and my principal object was to render his administration all the assistance in my power. I flattered myself with the hope of accompanying him through [his] voyage, and of partaking in a trifling degree, of the glory of the enterprise; but he suddenly tacked about, and I could follow him no longer. I therefore waited for the first opportunity to haul down my sails.”
—William Cobbett (1762–1835)
“He was at a starting point which makes many a man’s career a fine subject for betting, if there were any gentlemen given to that amusement who could appreciate the complicated probabilities of an arduous purpose, with all the possible thwartings and furtherings of circumstance, all the niceties of inward balance, by which a man swings and makes his point or else is carried headlong.”
—George Eliot [Mary Ann (or Marian)
““Never hug and kiss your children! Mother love may make your children’s infancy unhappy and prevent them from pursuing a career or getting married!” That’s total hogwash, of course. But it shows on extreme example of what state-of-the-art “scientific” parenting was supposed to be in early twentieth-century America. After all, that was the heyday of efficiency experts, time-and-motion studies, and the like.”
—Lawrence Kutner (20th century)