John Hammond (record producer) Socialites Information

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. He is the father of famous blues musician John P. Hammond.

Hammond was instrumental in sparking or furthering numerous musical careers, including those of Bob Dylan, Bruce Springsteen, Benny Goodman, Harry James, 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, Jim Copp, Asha Puthli and Stevie Ray Vaughan. He is also largely responsible for the revival of delta blues artist Robert Johnson's music.

Hammond was born in New York, christened John Henry Hammond Jr., although both his father and grandfather shared the same name. He was the youngest child and only son of John Henry Hammond and Emily Vanderbilt Sloane. His mother was one of three daughters of William Douglas Sloane and Emily Thorn Vanderbilt, and a granddaughter of William Henry Vanderbilt.

His father attended Yale University, graduating with a law degree from Columbia Law School. His grandfather was Civil War General John Henry Hammond, who married Sophia Vernon Wolfe. His father was a brother of Ogden H. Hammond, ambassador to Spain and uncle to politician Millicent Fenwick. Despite the family fortune from his mother's side of the family, which included wealth from the W. and J. Sloane chain, his father worked to provide for his family and maintain the family fortune. He worked "as a banker, lawyer, and railroad executive".

Hammond had four sisters: Emily, Adele, Rachel, and Alice. The youngest, Alice married first, Arthur Duckworth in 1927, which ended in divorce and second, musician Benny Goodman in 1942.

Hammond showed interest in music from an early age. At four he began studying the piano, only to switch to the violin at age eight. He was steered toward classical music by his mother, but was more interested in the music sung and played by the servants, many of whom were black. He was known to go down to his basement to listen to the upbeat music in the servants' quarters. He loved Sir Harry Lauder's "Roamin' in the Gloamin'". While he was in the basement, the rest of his family in the greater part of the five-story mansion would listen to "the great opera tenor Enrico Caruso, as well as to standard classics by Beethoven, Brahms, and Mozart".

Hammond became interested in social reform at a young age. His mother also promoted social reform as a means to give back some of her fortune to the community. She often found solace in religion. Hammond shared her desire to help the community with his privilege.

Hammond notes that the first jazz music that he heard was in London in 1923 on a trip with his family. He heard a band called The Georgians, a white Dixieland jazz group, and saw a Negro show called From Dixie to Broadway, that featured Sidney Bechet. This trip changed the way that he thought about music. Upon his return to the states, Hammond searched for records by Negro musicians but could not find them in the greater Manhattan area. He learned that Negro music was sold in different stores, so he began to search for this music in Harlem.

In 1925 Hammond graduated from the elementary institution St. Bernard's School at the age of 14. He persuaded his family to allow him to attend Hotchkiss School due to its liberal curriculum. Hammond's love for music flourished. However, he felt limited within the confines of a boarding school. Hammond succeeded in convincing the headmaster to allow him to go into the city every other weekend, a rare privilege, so that he could take lessons from Ronald Murat. However, the headmaster was not aware that outside his formal lessons, Hammond would go up to Harlem to hear jazz. During this time, he said that he heard Bessie Smith perform at The Harlem Alhambra, but her biographer disagrees about the dates.

The summer after graduating from Hotchkiss in 1929, Hammond went to work for a newspaper in Maine, the Portland Evening News. Its editor Ernest Gruening was also a Hotchkiss alumnus, class of 1903, who was interested in social issues and social justice.

In the fall of 1929, Hammond entered Yale University as a member of the class of 1933. He studied the violin and, later, viola. He felt a disconnect with his fellow students at Yale and felt that he was already well acquainted with the professional world. He made frequent trips into New York city and wrote regularly for trade magazines. In the fall semester of 1930, Hammond had to withdraw due to a recurring case of jaundice. Hammond had no desire to a repeat a semester, which contributed to his dissatisfaction with the university lifestyle. Much to the disappointment of his father, a Yale alumnus, in 1931 he dropped out of school for a career in the music industry, first becoming the U.S. correspondent for Melody Maker.

In 1931, Hammond 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.

In 1932, Hammond acquired a nonpaying job on the WEVD radio station as a disc jockey. He did not discriminate when choosing which musicians to air; 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 1932–33, 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 during the Great Depression that many of them would not have otherwise 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.

Hammond always strived for racial integration within the musical scene. For this purpose, he frequently visited musicians in Harlem in order 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 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, Hammond 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, Pete Johnson, 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; he 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".

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