Hammond Extravaganza Part 2 : A HAMMOND S

ozzy_tom
Senior Member

  

succesfully useful nowadays and can bring as this the feeling of these wonderful times of fantastic music.

   My adventure with Hammond organ became with Deep Purple which was my favorite band from some years ...but truly in the beginning I didn't know that there is some organ or something, I just listened to their songs and I didn't focus on each instrument. I opened my eyes (or rather ears) after I listened to first three Purple's albums (where Hammond had a main role) and some Uriah Heep's compilation where I listened to "Gypsy" and I felt in love to this roaring sound! After that I started to explore farther prog organ-driven bands like The Nice, Colosseum, ELP, Aardvark, Trace & so on & after some time I also discovered lots of new retro band which also uses lots of this instrument. Thans to its phenomenal sound till today Hammond is a must-have in most of bands which I start to listen to, I usually search for it when I hear some new music or read reviews of bands which I don't know.”

JIMMY ROW:

jimmy_row Senior Member

 

Thoughts on the Hammond Organ:

 - I can remember around the time I began listening to music, I was always attracted by “novelty instruments”, ones that you didn’t hear a lot within the context of rock music, of course my exposure was mostly FM radio at this time, so when I heard rock bands using flutes, tuned percussion, sitars, etc, etc, I was always taken by the texture and diversity that was added to the music—an interesting departure from guitar-riff dominated American rock.  Strangely, as common as the Hammond B3 is in music, I can’t remember noticing it until I heard Deep Purple or Yes on the radio.  I can recall thinking, “Wow, they’re using a church organ (sic), it sounds so powerful….why doesn’t anyone else do that?”  Well, to my surprise, I soon discovered Uriah Heep and Deep Purple, and I was struck with awe over their uncompromising use of this organ.  Jon Lord’s solo on Hush showed me that it was best played without any restraint and I was delighted to hear that a famous (or infamous if you like) band from the 1970’s dedicated much of their sound to just that—complete freakouts on the Hammond organ (in addition to moogs, pianos, and all of those other goodies).  Of course I’m talking about Emerson, Lake, and Palmer….and it wasn’t enough for Keith to play the hell out of the thing, he had to throw it around and stab it with knives, incredible!  By now, I was headlong into progressive rock, discovering that beautiful sounds like the Mellotron, Moog and ARP Synthesizer, and Hammond organ were not just novelty sounds, but many groups built their foundation upon them.  Because the Hammond was around earlier than these other electronic instruments (since the 1930’s I believe…the creator, Laurens Hammond, was appalled that his instrument was used in blues and jazz music – “the devil’s music”) it played an integral role in the development of blues, jazz, and rock music throughout the 20th century; the likes of Jimmy Smith, Larry Young, Brain Auger, Keith Emerson, Jon Lord, Ken Hensley, Steve Winwood, Mike Ratledge, Vincent Crane, Johnny Smith, and Thjis Van Leer made the Hammond organ their trademark sound, each coaxing a different sound and bringing their own personal style, showing that this instrument has an unexpected diversity, bringing something different to any style of music…just manipulate the draw-bar settings and you have an amazing variety of possibilities at your fingers.

 

Top 5 tracks: (5 out of millions…very difficult)

* Jon Lord – Child in Time (Deep Purple – Made in Japan, 1972)

* Tony Pagliuca – La Porta Chiusa (Le Orme – Uomo di Pezza, 1972)

* Keith Emerson – Pictures at an Exhibition (ELP – Pictures at an Exhibition, 1971)

* David Sinclair – Nine Feet Underground (Caravan – In the Land of Grey and Pink, 1971)

* Thjis van Leer – Hamburger Concerto (Focus – Hamburger Concerto, 1974)

Top 10 Hammond-driven Prog Albums: (okay its 11)

* Emerson, Lake, and Palmer – Tarkus (1971)

Easy Money
Senior Member

 

Of course I forgot about that childhood epiphany for many years until late in the 60s when I had my second encounter with the Hammond. My big brother had a friend who had a record that I just had to hear, Deep Purple’s Book of Taliesyn. I was already well-versed in classical music from listening to my parent’s collection of old records and I knew most of the pop-rock hits of the day and I often wondered what it would sound like if a rock band played longer compositions. Now, on this Deep Purple record, the music that I had imagined, one that combined the energy of rock with the long range development of classical music was blasting out of the speakers. The big plus was again the amazing sound of the Hammond B-3, this time played loudly and aggressively by Jon Lord. It’s funny how thin this record sounds today because back then it sounded larger than life.

Throughout the early 70s I listened to a variety of music, but my favorite bands always had the up-front Hammond player. Deep Purple was still a favorite, as well as Santana, ELP, Focus, Badger and others. In the mid 70s when I was living in Texas and approaching the end of my teen years, I decided to take the plunge and learn to play. I stumbled through a few piano lessons and then decided  to teach myself. At the time I found the piano a bit boring but I knew there was no way that I could afford a real Hammond. One day I was in a music store in Dallas when I found the next best thing, the Univox Organizer. The Organizer, put out by the Univox Corporation in the mid 70s, was a low-cost analogue imitation of the Hammond B-3. It had draw bars and percussion just like a Hammond, but only one keyboard.  It was popular for a while because it was less expensive than a Hammond and much easier to transport. The sound of the Organizer is very similar to a Hammond though not as rich or complex. It has a little more direct punch than a Hammond making it sound 85% Hammond and 15% Farfisa. My parents were shocked when I spent almost $800 on an instrument that I could barely play, but I was determined.

After practicing for a couple of years I was admitted to a low-end yet very creative music school, East Texas State University. I loved going to music school and learning about music that was new to me, including jazz and contemporary concert hall music. My interest in B-3 players shifted from Jon Lord to Brian Auger and then finally to the great jazz B-3 players like Jimmy Smith, Groove Holmes and Jack McDuff. Later I would discover more “outside” players like Larry Young and Sun Ra.

By the late 70s my playing had progressed to where I was working professionally with funk and jazz-fusion bands. Then something happened that I couldn’t have predicted. Music moved into the 80s and the sound of the Hammond became very out of fashion. I put away my Univox and switched to guitar and later to digital samplers.

Many years later, in the early 90s, I was living in San Francisco playing and teaching music when I finally had a reason to break out the old Univox again. I had been invited to play keyboards with a very good Santana cover band. The keyboardist I was replacing was the original keyboardist for Malo, Jorge Santana’s band, one of the best Latin Rock bands in the San Francisco Bay Area. During this same time I was also asked to join a Jamaican Dub Reggae band. While with this band I had a lot of fun playing in the rich psychedelic style of Prince Jammy, my favorite Jamaican Hammond player.

In the mid-90s a new music trend swept through San Francisco. The young hipsters called it acid jazz but to me it was late 60’ RnB/jazz with a modern psychedelic sound and updated beats. My Univox never sounded better. It was the perfect instrument for this retro music and I led my own band through many gigs at some of the hippest restaurants and jazz clubs in Oakland and San Francisco. Acid jazz finally faded and I put away the Univox as my interest had shifted to vintage analogue synthesizers and the new electronic music of the late 90s.

The new century came and my life changed drastically. I reunited with a former girlfriend, got married and moved with her to Memphis. I gave up on modern electronic music because Memphis is just not conducive to that style and I found myself going back in time and getting gigs playing blues and old soul music.

In 2005 I hooked up with local guitar slinger Jim Duckworth and we put together a jazzy instrumental progressive rock band in the style of Focus and Santana. The chance to play progressive rock professionally does not come around often, so I considered it a really unique opportunity. Unfortunately progressive rock is still a tough sell and we eventually gave up on the band.  Soon after that the Univox finally wore out.

These days I still get gigs in Memphis playing blues and funk as well as jazz  with my band Zazerac. I usually play a fake Hammond setup that consists of a Crumar T1, another 70s Hammond copy, as my lower keyboard and a Korg Triton as the upper keyboard. You can hear my playing at www.zazerac.com Check out the tune Mr Ali to hear what the old Univox was capable of. (When you read this article the band web site may be down. A new one should be up soon on MySpace music under the name Zazerac.)

Although my bands never “made it big” I did get to share the stage with some great artists including: Faust, Primus, Faith No More, Ohio Players, Neurosis, Marc Almond, Black Flag, and Mr Bungle .

In closing I would like to acknowledge the websites of some of my favorite  musicians I have worked with in various bands over the years. None of these people are “rock stars” so give them some support.

John Echols, bass, Dallas TX www.daredevilsmusic.com  John is the master of the “thump-pop” style of bass. His percussive style is similar to Ralphe Armstrong of Mahavishnu or Doug Rausch of Santana. Check out the song Funky Luck to hear his mad skills.

Jason Collins, guitar, Oakland CA  MySpace.com-The Funkanauts. Jason has a great early 70s psychedelic rock/RnB sound in a style that mixes Eddie Hazel with David Gilmour. Jason’s retro sound was always a perfect match for my analogue keyboards. We played in many bands together.

Nate Vinson, keyboards, Dallas TX MySpace.com/beep squawk. Nate plays jazz piano and composes electronic music. Check out his wacky  DrumnBass music that sounds like an unlikely mix of Aphex Twin, Sun Ra and Martin Denny.

Dain Dizazzo, bass, San Francisco CA www.thenewup.com  Dain plays  deep melodic bass grooves in a style that mixes Bill Laswell with John Entwistle. Check him out in his progressive leaning alternative rock band The New Up.

Five Hammond B3 Album Recommendations

* Deep Purple - Made in Japan

- Though Jon Lord may not be the best keyboard player in the history of rock, he is possibly the best soloist. Each one of Lord’s solos is a mini-composition and no matter how intense he begins, he always manages to build to an ever higher level of intensity. His solos are very focused. There is rarely a wasted note as each phrase builds and pushes the solo to greater heights. On this record both Highway Star and Lazy show Lord in fine form and he has stated that these are some of his favorite recorded solos, but the solo that really shows what Lord is  capable of comes on the jam that follows Space Truckin. This jam is based on the song Mandrake Root from an earlier album. The solo starts with Lord’s trademark flat 9 scales and builds while Lord starts manipulating the sound of the Hammond with a ring modulator. At its peak, this solo becomes an onslaught of electronic sound very unique for a rock keyboard player, it is more similar to sound oriented guitarists like Hendrix or Sonny Sharrock.  Another Deep Purple album that contains great Hammond solos is In Rock especially the songs Flight of the Rat and Hard Lovin Man.

* Santana - Santana I

- Greg Rolie may not be as technical a player  as some of his rock contemporaries but he always had the best sounding B-3.  There is not a dull moment on this record. Every song is bursting with Latin-Rock energy. Although this is Carlos’ band, Greg’s organ playing is right up front and it is his Hammond licks that kick the album off on the opening song Waiting. Throughout the record Greg plays several great solos and all feature his trademark rhythmic riffs. He is one of the most rhythm oriented of all the great B-3 players.

* Brian Auger’s Oblivion Express  Live Oblivion Vol 2

- Brian Auger was at the peak of his game when this record was released. Brian was in the process of leaving behind his RnB/rock career and was heading towards becoming a full-time jazz musician. In this record you get the best of both worlds, jazz quality licks played with the fun and energy of a rock band.

Brian’s electric piano playing lacks the sophistication of Herbie Hancock or Ramsey Lewis but his Hammond playing holds up well against anyone. He prefers rapid fire lines that are phrased aggressively in an almost rock guitar style. Overall this is a fun, high energy album that shows jazz can rock also.

This album is not highly rated by many critics and may not be his best offering but I really like its purposefully anti-commercial approach.  The music is somber and deeply spiritual. This is jazz fusion but instead of mixing jazz with rock, Young is using 60s African pop rhythms as well as Afro-Cuban rhythms. Young does very little traditional soloing on this album and instead uses the tone bars to create shifting psychedelic sound scapes. The production is bizarre and unorthodox and the many drummers that are used in this recording shift in and out of the mix in a constantly changing rhythmic kaleidoscope. This album isn’t for everyone but if you are looking for a totally unique take on the B-3, this might be it.

* Holmes / McGriff - Supa Cookin

- Groove Holmes and Jimmy McGriff, two of the great masters of the Hammond B-3 square off on this high speed, high energy live album.  Holmes and McGriff rate right up there with Jimmy Smith, John Patton and Jack McDuff for being originators of the classic jazz/blues/RnB organ sound of the 50s and 60s. Almost every progressive rock organist from Jon Lord to Tony Kaye and Keith Emerson owe a big debt to these jazz forebears.

This is not a subtle album, almost every song features standard blues changes played at top speed with both keyboardists showing how fast they can play their rapid fire solos. The song Mozambique is slightly different as it uses more of a 60s African rock feel and a deeper psychedelic sound texture. All through the album both organists use wah wah pedals and a bit of distortion to update their sound to the rock age.

In the late 70s I had the opportunity to see Groove Holmes perform at Bill’s Twilight Lounge in Memphis. He was a great guy and he let me sit behind him and watch while he played. During breaks he talked with me about jazz and it was Holmes who told me that Larry Young had just died. I will never forget the two of us standing in the parking lot, speechless and silently reflecting on what a powerful musician Larry Young had been.

JIM GARTEN

 

Jim Garten
Admin Group


Forum Moderator

“The Hammond Organ, my first true love!“

My introduction to the Hammond came at exactly the same time as my introduction to progressive rock; the very first album I ever bought as a callow 10 year old was ‘The Best Of Uriah Heep’ (purchased from a neighbour for the princely amount of £1 as he didn’t like it) and as the very first chord of ‘Gypsy’ scratched its way out of the family stereogram, I knew there was something there I needed to know more about. The album didn’t disappoint – following in quick succession came ‘July Morning’, ‘Look At Yourself’ and ‘Easy Livin’… by the end of the album I was in love (no, not with Ken Hensley!).

Throughout my musical development in the 70s 80s 90s & noughties be it punk, jazz, heavy rock, metal, progressive rock or any genre into which I dipped my toe, there was always one sound which would make my ears prick up & make the hairs on the back of my neck stand to attention… it was that sound. Be it the lightest of whistles produced by Ian McLagan with The Faces, the furious soloing of Jon Lord, the classical rock leanings of Wakeman and Emerson, the delicacy of touch by Charles Earland, or back to the full throated roar of Hensley’s B3, that sound would make me stop mid-sentence, forget what I was doing and make me oblivious to all else around me. Sad to say, it really does affect me that much sometimes… I remember being in the middle of a board game with a bunch of friends, The Rolling Stones’s ‘Sticky Fingers’ was on the deck (which I’d never heard before), then out of nowhere during ‘I got the blues’, Billy Preston’s solo hit me like an audio missile & I was completely unable to do anything until the solo had finished. Luckily, my wife and friends are all used to these occasional absences, just tipping each other knowing looks & venting long suffering sighs when the 20th Century’s greatest invention comes between us…

In the end, the inevitable happened – about 6 years ago, after 8 years of marriage, my wife and I had a new addition to the family; a 1971 Hammond L122 (as seen in old films of The Nice and Focus, and apparently the same model of beast on which the classic ‘Green Onions’ was recorded); it arrived, relegated the dining table to the kitchen & promptly gathered dust until a year or so later when on my 40th birthday, Vicky presented me with vouchers for keyboard lessons.

These went on for a couple of years (during which time, and after Vicky’s insistence & persistence on EBay, the L122 was joined by its spiritual partner, the Leslie 145) until the Hammond fell seriously ill… parts were difficult to come by & by the time he was well again, other interests had come into play, so there he sits again in the corner, well loved but un-played, and certainly never for the ‘For Sale’ list. Maybe one day I’ll sit at that bench again & renew my relationship with actually making that sound, but in the meantime, I’ll content myself with listening to those who really can play, and who have provided the soundtrack to my life for the last 35 years.

Trying to condense my love of the sound into a mere five albums is no easy task, but I will try my best (with the caveat that if this list were re-done in a couple of days, it would probably be completely different) :

 

1 – Made In Japan; Deep Purple – this one should sit in any ‘best of the Hammond’ list; in 1972, Deep Purple were on the up and up, critically acclaimed, hugely popular & loving every minute of it. This shows in the group playing and dynamics, but especially in that of Blackmore, and most especially with Jon Lord on the Hammond C3. From the onslaught of ‘Highway Star’ through ‘Child In Time’s subtleties and the jazzy blues of ‘Lazy’ to Space Truckin’s extended finale, Lord plays like a demon & shows all other rock Hammond players exactly how it should be done.

 

2 – That Was Only Yesterday; Spooky Tooth – Gary Wright’s playing on this ‘best of’ album is phenomenal; if you want to hear a Hammond growl like wounded bear, you need listen no further than their version of The Beatles classic ‘I Am The Walrus’, ‘Tobacco Road’, ‘Cotton Growing Man’ or the opening ‘Sunshine Help me’; the band’s output became increasingly erratic as they went on, but for a good overview of their career, and some of the best rock Hammond playing, this is the album to choose.

 

3 – Living Black; Charles Earland

– When people mention the words “Jazz” and “Hammond” in the same sentence, nine out of ten times, the words “Jimmy Smith” will follow; the late Charles Earland is in my opinion too often overlooked, which is a real shame as he is a soulful, passionate exponent of the art. This album, which combines two early live albums “Living Black” and “Live At The Lighthouse”, although erratic in sound quality in places, shows the man at his best, and prior to his jazz-funk later period when he all but abandoned the Hammond for electronic keyboards (hawk, spit). With these early 1970s recordings, you can smell the cigarette smoke in the room & see the sweat dripping down the walls – good, down & dirty jazz Hammond, played by a master.

 

4 – Welcome Back My Friends To The Show That Never Ends; ELP – Probably the most overblown of all progressive rock live albums, and certainly one which gave the genre a bad name for pomposity & pretension. For all that, it’s a must have for Hammond fans – Keith Emerson never puts a finger wrong from the opening fusillade of notes signifying a 200 mph version of ‘Hoedown’. His prowess & sheer exuberance comes through throughout this recording, reaching peaks during the epics ‘Tarkus’ and ‘Karn Evil 9’ with Emerson playing as if his life depended on it. Pretentious? Yes. Overblown? Yes. Essential? Definitely!

 

5 – Epilog: Anglagard

– Relative newcomers to the prog rock scene, Sweden’s Anglagard, and their keyboard player Thomas Johnson make no bones about it – they play unadulterated regressive sounding prog rock, and Johnson’s playing on 1994’s Epilog could easily have been recorded 20 years earlier. Highlights of the album include ‘Hostsejd’ and ‘Sista Somrar’, clocking in at 15 and 13 minutes respectively, both showcasing Johnson’s fluid runs & seemingly instinctive understanding of exactly what prog rock should sound like.

- As I said before the above recommendations, this list can, will and must change on a day to day basis. They all represent Hammond playing of the highest order, not all of which involve complex soloing; sometimes just the “feel” of the player adds so much to the songs (the Spooky Tooth recommendation, for example contains few if any soli).

Although the above may be my top five at this moment in time, honourable mentions must also be given to the following:

* Santana: Moonflower – Tom Coster at his best, especially on Soul Sacrifice (usually associated with his predecessor, Greg Rolie, but Coster really makes it his own here) and Savor/Toussaint L'overture, where he swops soli with Santana throughout.

* Uriah Heep: Live 1973 – not the best of live recordings, but Heep’s classic lineup captured at the Birmingham Odeon on their Demons & Wizards tour; Hensley on fine form throughout, particularly on July Morning, Gypsy (the Hammond solo's superb, but can you stay awake during the Moog solo...?) and the classic Circle Of Hands.

- In closing, I'd reiterate the Hammond has been a feature of my life for over 35 years, so I freely admit to being a sad Hammond geek. The problem is, I've now infected my wife to the extent that on a single listening she can tell a real Hammond from a fake, and whether it's a full console or a spinet 

Does this count as spousal abuse?"

 

CHICAPAH

Chicapah Prog Reviewer

 

Why the Hammond? It came closest to doing what an orchestra could do by filling the room with a huge, electrified sound that had no limits.  From my earliest moments of musical consciousness I had always been attracted to the symphonic works of Beethoven, Haydn and Shubert and the big brown organ satisfied that need in my soul.  In the 50s and 60s nothing else could touch it.

On the occasion of my 11th birthday someone gave me the single of Dave “Baby” Cortez’ “The Happy Organ” and my love affair with the Hammond began.  That song became the first instrumental to reach the top of the Billboard Hot 100 in 1959 and it let the general public know that the Hammond had a place outside of church sanctuaries and urban living rooms.  As my musical tastes matured I discovered the magic of jazz legend Jimmy Smith who demonstrated that the instrument could more than hold its own with the piano in that genre.  But for me it was the stalking Hammond snarl in “Green Onions” by Booker T and the MG’s that sealed the deal in 1962.  There was a juke box in the local Dairy Mart that had that tune on the lineup and I must have pumped a fortune into that machine just to hear it booming through the restaurant.

After the British invasion opened the flood gates for rock & roll to blossom many groups jumped at the chance to show what the Hammond could do.  Brian Auger, Greg Allman, Felix Cavaliere, Mark Stein, Jon Lord, Keith Emerson, Steve Winwood, Tony Kaye, Greg Rolie and many, many more brought the Hammond into the forefront and demonstrated the instrument’s nearly unlimited versatility.  Who could ignore the screaming-like-a-banshee intro to The Spencer Davis Group’s “Gimme Some Lovin” or that incredible sound when the Leslie speaker cabinet kicks into tremolo mode on the Young Rascals’ hit “Lonely Too Long” or that unearthly growl that saturates and dominates Deep Purple’s “Highway Star.”  Obviously I could go on and on but you get the point.

Being a dedicated guitar buff, I never played keyboards but I toured with several professional rock bands in the wild 70s that featured the beloved behemoth.  Even with the specially-designed dollies and straps the heavy monster took at least two or more strong roadies to install in night clubs and upon stages that weren’t designed with access for the Hammond B3 in mind.  But the blood, sweat and tears were always worth it because just the revered organ’s presence garnered the group a certain prestige and demanded respect from the audience before the first number was even counted off.  I personally grew up and worked with Grammy-winner Richard Theisen for six years in “Daniel” and no one in the southwest USA could make his Hammond sing any better.

Outside of the progressive rock arena I would recommend two recordings to check out.  “Collections” by The Young Rascals and “Idlewild South” by the Allman Brothers are both excellent.  Inside I would start with “Streetnoise” by Brian Auger & the Trinity, “Machine Head” by Deep Purple, “The Yes Album” and the debut album by Emerson, Lake & Palmer.  The Hammond organ is the glue that holds these and countless other classic LPs together and, while modern keyboards and synthesizers have been invented that can ably ape its unmistakable tone, any organ man of merit will tell you that there’s no substitute for the real thing.

 

RIVERTREE

Rivertree
Special Collaborator


Discographies Edition & Band Submissions

Considering the development of many Krautrock bands from the end of the 60s on it was just normal to use Hammond Organ to give their music a special jazzy or symphonic touch.

Besides a lot of popular productions this is an excerpt of quite rare and unknown Hammond saturated german Krautrock and Heavy Prog albums


1972
Analogy


1972
Prof. Wolfff


2003
Platte


1972
Reflections On The Future


1971
Seasons


1970
Orange Peel


1971
Ikarus

2000
Edmundo Lopez

Sperrmüll - Sperrmüll

This are current German Neo Krautrock/Psych Bands using Hammond

Electric Orange
Space Debris
Karmic Society
Treacle People
Liquid Visions
Zone Six
Mars Mushrooms


Finally my Top 10 of Hammond infected songs

* Deep Purple - Child In Time
* Brian Auger's Oblivion Express - Freedom Jazz Dance
* Colosseum - Valentyne Suite
* The Allman Brothers Band - In Memory Of Elizabeth Reed
* Santana - Jingo
* Procul Harum - A Whiter Shade Of Pale
* Steve Winwood - Silvia (Who Is She?)
* Niacin - King Kong
* Frumpy - Take Care Of Illusion
* Grobschnitt - The Excursion Of Father Smith
 

 

CHAPTER 12:

THIS IS NOT A HAMMOND ORGAN!

 

The Doors: The omnipresent organ sound in The Doors their music was in the early days a Vox Continental organ (Vox built large church organs in the UK but in 1960 Vox released the Vox Continental combo organ , soon it became the most popular one) but later keyboard player Ray Manzarek switched to the Gibson G101 combo organ because he was dissatisfied with the new plastic keys after the factory had moved to Italy. On Absolutely Live you can enjoy that Gibson organ sound in its full splendor!

 

The Animals – House Of The Rising Sun: This is the most famous example of the sound of the Vox Continental organ (played by Alan Price) since the worldwide hit single was released in 1964.

 

The early Pink Floyd sound: before Rick Wright bought a Hammond organ in the early Seventies, he only played on Farfisa organs , you can hear that distinctive sound on songs like Arnold Layne and especially on the Pink Floyd At Pompeii video/DVD (in combination with the Hammond organ) for the more psychedelic atmospheres.

 

CHAPTER 13:

SOURCES OF INFORMATION

 

Book: The Hammond Organ – Beauty In The B by Mark Vail

Book: Rock Hardware by Miller Freeman Books

Book: The A-Z Of Analogue Synthesizers Part One: A-M by Peter Forest

 

CHAPTER 14:

INTERESTING LINKS

• Hammond/Leslie resource and home of the hammondzone user group
• Drawbar Settings, Progressions, and Links
• obsolete.com article on the Hammond Organ
• http://www.roth-handle.nu/instruments/organ_HammondL100.htm
• History of the Hammond B-3 Organ
• The HammondWiki
• Captain Foldback (Hammond organ history, information on the different models of vintage Hammond organs, and technical data)
• Drawbar Settings, Progressions, and Links
• Article on the Hammond Organ
• Description of Hammond Organ
• Beatrix - The Organ Software Synthesizer
• Geoff Alexander's history of the Jazz Organ
• The model list of all vintage Hammonds (and Leslie speakers)
• List of jazz organists
• List of Hammond organ players
• Clonewheel organ
• Organ trio
• Hammond Piano

 

 

   THANKS TO ANGELO FOR SCANNING THE PICTURES

               IN THIS HAMMOND ORGAN SPECIAL!!

 

 

 

 

 

Edited by erik neuteboom - November 28 2007 at 16:59