John H. Hammond - Personal Accounts

Personal Accounts

Hammond believed jazz music to have originated as an African-American musical genre. For this reason, he generally preferred African-American musicians to Caucasian musicians. Hammond even writes that whites, such as the members of the Original Dixieland Jass Band, stole this musical form from Negro musicians when they released the first jazz records.

When Hammond entered the jazz community, integration had not yet begun. Black and white musicians rarely played together and often the prestigious locations only permitted white audiences. Hammond remembers that before the 1920s, black musicians could always find jobs, even if they were low paying. After the instatement of Local 802, a union of professional musicians within New York City, Hammond saw more whites receiving jobs than blacks. However, this did not stop the African-American musicians. Through burlesque and record making, these musicians continued to be a presence.

1933 was a defining year for Hammond. He remembers this year being extraordinary due to his establishment of relationships with British record companies. Hammond was able to secure contracts for various musicians. He was an attractive producer to these companies because he did not desire a profit for himself. In 1933, he helped Benny Goodman receive a record deal with Columbia Records, which at the time was only known as English Columbia. During this time, Goodman was in need of a big break, as he had been receiving a reputation as being difficult to work with. Hammond proposed that Goodman produce a multiracial record; however, Goodman believed this route would hurt his musical reputation.

Furthermore, in this year, he broke out of the traditional role of a producer and became a talent scout, after hearing Billie Holiday. He remarks that he was astounded to discover that she was the daughter of Clarence Holiday from Fletcher Henderson's band. That same year, he was able to get her involved in the Benny Goodman Orchestra. Hammond attributes fate to his finding of Holiday. After hearing her sing for the first time, he wrote, "She weighs over 200 pounds, is incredibly beautiful, and sings as well as anybody I have ever heard."

Later in 1933, he heard Teddy Wilson, a jazz pianist, on the Chicago radio. While he did not discover him, he was able to provide significant opportunities for him, even some collaboration with Billie Holiday.

Hammond's work with civil rights came from multiple angles. In 1933, he traveled South to attend a trial regarding the Scottsboro case, a case in which two white girls accused nine black boys of raping them. The testimonies of the two girls did not align with the story. While the all nine boys were convicted, Hammond viewed this trial as a "catalyst for black activism".

Record integration became an important component of jazz music. Starting in 1935, musicians began to record in mixed-race groups. While some of this integration had already taken place, Hammond remembers it as being hidden. However, in 1935, the Goodman Trio began recording. In 1936, the group appeared in a live concert at the Chicago Hot Jazz Society. Hammond fondly remembers this as an innovative moment in jazz history.