Jan Hammer

Jan Hammer is a Czech jazz/rock keyboardist, composer, and producer with a sixty-year musical career.

As a teenager, Hammer led a jazz trio and cut his first album, Malma Maliny, in 1968 for MPS. After two years in the US, he joined the original Mahavishnu Orchestra, which made the seminal jazz-rock albums The Inner Mounting Flame and Birds of Fire. After their split, he and bandmate Jerry Goodman cut the 1974 album Like Children.

Between 1975 and 1977, Hammer cut the jazz-rock solo albums The First Seven Days, Oh Yeah?, and Melodies; the latter two billed to the Jan Hammer Group. Concurrently, he backed Jeff Beck on the English guitarist’s 1976/77 jazz-rock albums Wired and Live. 

In 1979, Jan fronted Hammer, a rock/disco band that made two albums for Asylum Records. Between 1981 and 1983, he cut two albums as part of Schon & Hammer, an AOR/jazz-rock duo with Journey guitarist Neal Schon.

In 1985, Hammer composed and performed the era-defining theme for the American crime/action series Miami Vice. The high-tech “Miami Vice Theme” reached No. 1 on the US Billboard Hot 100.

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Background

Hammer was born on April 17, 1948, in Prague, Czechoslovakia; the son of singer Vlasta Průchová (1926–2006) and musician/doctor Jan Sr. (1919–1989), who played bass and vibraphone before his switch to cardiology. Their son took up piano at age four and began formal lessons at age six. In 1953, they bore him a sister, Andrea.

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Junior Trio

By age 14, Hammer toured as part of Junior Trio, formed with bass prodigy Miroslav Vitouš and his brother, drummer Alan Vitouš. In 1964, they backed Vlasta on her Supraphon single “Čtyři Bratři,” a cover of the Jimmy Giuffre tune “Four Brothers” backed with the George/Ira Gershwin standard “The Man I Love.”

As a composer, Hammer landed one song (“Docela Všední, Obyčejný Den”) on a 1964 Supraphon maxi-single by the Milan Dvořák Trio.

Junior Trio performed at the 1965 Prague Jazz Festival. Their set included two numbers (“Caravan,” “Marjo”) featured on Ozvěny (Echoes), a Supraphon document of the event with two fellow performers, the George Garanian Quartet and the Gustav Brom Orchestra.

Hammer paused his group activities and enrolled at the Prague Academy of Musical Arts, where he studied harmony, counterpoint, and classical composition. After the August 20, 1968, Warsaw Pact invasion of Czechoslovakia, he abruptly fled to Munich, Germany.

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Malma Maliny

Jan Hammer debuted as a bandleader with Malma Maliny, recorded live on August 30, 1968, at Munich’s Domicile jazz club with bassist George Mraz (aka Jiří Mráz, a fellow Czech refugee) and Dutch drummer Cees See. Domicile founder Ernst Knauff produced the album for MPS Records.

Soon after, Hammer won a scholarship to the Berklee School of Music in Boston, Massachusetts. He promptly moved to the US and applied for citizenship.

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1971–74 Activity | Mahavishnu Orchestra

In 1971, Hammer played percussion on one track (“Lipstick”) on the singular album by Air, a jazz-pop combo with bassist John Siegler (a subsequent Todd Rundgren sideman and Utopia co-founder) and the husband/wife team of Googie and Tom Coppola. Herbie Mann produced Air, which also features input by the Brecker Brothers (then in Dreams with Panamanian drummer Billy Cobham). Hammer also played on 1971 albums by jazz flutist Jeremy Steig and singer/songwriters David Pomeranz and Kathy Smith.

Hammer rose to global prominence as a member of the Mahavishnu Orchestra, a multi-national jazz-rock group formed by English guitarist John McLaughlin with Cobham, Irish bassist Rick Laird, and American violinist Jerry Goodman (ex-The Flock). They made the 1971–73 studio albums The Inner Mounting Flame and Birds of Fire, followed by the live disc Beyond Nothingness and Eternity, which features extended jams from a long-vaulted third studio album.

In late 1973, the original Mahavishnu Orchestra split over personality conflicts. Hammer and Goodman pooled their unused band material into a joint album, Like Children, released in 1974 as the inaugural title on Nemperor Records, an Atlantic-distributed jazz and pop label.

At New York’s Generation Sound studio, Hammer (along with drummer Jack DeJohnette) backed guitarist John Abercrombie on the June 21–22 sessions for Timeless, an acclaimed 1975 release on ECM.

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The First Seven Days

Jan Hammer released his second solo album, The First Seven Days, in October 1975 on Nemperor.

The album presents a conceptual seven-part sequence inspired by the creation narrative, interpreted through layered keyboard textures and rhythmic interplay. Jan Hammer performs on piano, electric piano, Moog and Oberheim synthesizers, Mellotron, and sequencer, as well as drums and percussion, forming a tightly integrated sonic landscape. Guest musicians include violinist Steve Kindler and percussionist David Earle Johnson, who contribute to the more animated middle and later pieces.

Hammer composed, produced, and engineered all seven tracks, which progress in loosely programmatic fashion from darkness and cosmic formation through biological emergence and human development.

A1. “Darkness / Earth in Search of a Sun” (4:30)
A2. “Light / Sun” (6:40) — features Steve Kindler on violin
A3. “Oceans and Continents” (6:14)
A4. “Fourth Day – Plants and Trees” (2:44)

B1. “The Animals” (6:09) — features Steve Kindler (violin) and David Earle Johnson (congas, percussion)
B2. “Sixth Day – The People” (7:11) — features Steve Kindler (violin) and David Earle Johnson (congas, percussion)
B3. “The Seventh Day” (6:08) — features Steve Kindler on violin

Hammer recorded, engineered, and mastered The First Seven Days in 1975 at Atlantic Studios with assistant engineer Andy Topeka.

The album features cover illustration by Milton Glaser. It was distributed in Europe by WEA Musik GmbH.

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Oh, Yeah?

Jan Hammer released his third solo album, Oh, Yeah?, in September 1976 on Nemperor.

The album shifts Hammer’s sound into funk-charged fusion with bright synthesizer voicings and driving rhythmic interplay. Hammer performs on electric piano and synthesizers, using layered tonal textures to substitute for guitar leads. Tony Smith, recently of Malo, handles drums and lead vocals on several tracks, while bassist Fernando Saunders plays both standard and piccolo bass and contributes additional vocals. Steven Kindler, best known for his violin work, also adds electric violin and guitar across the set. Percussionist David Earle Johnson contributes congas on all tracks except B2 and B3.

All eight compositions are by Hammer, who fuses syncopated lines and electronic dynamics with tightly constructed ensemble arrangements. The title track and closing number revisit his earlier Mahavishnu-era intensity with a leaner rhythmic presentation.

A1. “Magical Dog” (6:40)
A2. “One to One” (3:36)
A3. “Evolove” (4:45)
A4. “Oh, Yeah?” (4:30)

B1. “Bambu Forest” (5:24)
B2. “Twenty One” (5:05)
B3. “Let the Children Grow” (4:48)
B4. “Red and Orange” (6:44)

Oh, Yeah? was recorded and mixed at Red Gate Studio, with Hammer producing and engineering the album and Dennis King handling mastering. Assistant engineer was Bob Schachner. Atlantic Recording Corporation handled U.S. distribution; the album was pressed by PRC Recording Company (Richmond, Indiana).

Art direction was by Bob Defrin with coordination by Andy Topeka. The front cover features uncredited photography and a design layout centered on the stylized Nemperor logo.

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Melodies

Jan Hammer released his fourth solo album, Melodies, in October 1977 on Nemperor.

Melodies introduces a compact, vocal-led format built around concise arrangements and electronic textures. Hammer sings on most tracks and plays piano, synthesizer, and drums. Fernando Saunders contributes electric bass, acoustic guitar, and vocals. Tony Smith handles drums and lead vocals, while Steven Kindler plays violin and shares vocal duties. Andy Topeka supplies additional electronics credited as “with a twist.”

Hammer co-wrote seven tracks, including four with lyricist Ilene Reich. Saunders, Smith, and Kindler contribute additional material, with two tracks credited solely to Kindler.

A1. “Too Much to Lose” (2:47) — Reich, Hammer
A2. “Peaceful Sundown” (3:55) — Reich, Hammer
A3. “I Sing” (4:23) — Saunders
A4. “Honey 5379” (2:37) — Saunders, Hammer, Smith
A5. “Window of Love” (3:30) — Hammer, Kindler
A6. “What It Is” (2:57) — Hammer, Smith

B1. “Don’t You Know” (2:58) — Reich, Hammer
B2. “Just for Fun” (4:14) — Kindler
B3. “Hyperspace” (3:43) — Kindler
B4. “Who Are They?” (6:14) — Hammer
B5. “Your Love” (3:30) — Hammer

Hammer produced and engineered the album at Red Gate Studio with assistant engineer Bob Schachner. Andy Topeka coordinated sessions and added additional effects. Richard Greenberg directed the album’s design.

Other notable credits from this period include keyboard work on albums by Billy Cobham, Charlie Mariano, Harvey Mason, Jeremy Steig, Stanley Clarke and Steve Grossman.

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Black Sheep

Jan Hammer released his fifth solo album, Black Sheep, in 1979 on Asylum Records.

The album presents a band-oriented format under the name Hammer, built around synthesizer-led arrangements with no guitar present. Hammer performs on synthesizer, electric and acoustic piano, drums, and vocals, and also handles production and engineering. The lineup includes bassist Fernando Saunders, drummer Tony Smith, and three vocalists—Bob Christianson, Colin Hodgkinson (ex-Back Door), and Gregg Geya Carter—who rotate lead and harmony roles across the album. Hammer credits the record’s sound to an array of Minimoog, Polymoog, Oberheim polyphonic synthesizers, and Oberheim digital sequencer.

Hammer composes or co-composes all original material, collaborating on lyrics with Tony Smith and Ivona Reich on select tracks. The set also includes a synthesizer-driven reading of Jimi Hendrix’s “Manic Depression.”

A1. “Jet Stream” (4:14) — Saunders, Hammer, Smith / Hammer, Smith
A2. “Heavy Love” (6:02) — Hammer / Hammer, Smith
A3. “Black Sheep” (5:11) — Hammer / Reich, Hammer
A4. “Light of Dawn” (3:20) — Hammer
A5. “Hey Girl” (3:10) — Hammer

B1. “Waiting No More” (4:52) — Hammer
B2. “Between the Sheets of Music” (3:15) — Hammer / Smith
B3. “Manic Depression” (4:25) — Hendrix
B4. “Silent One” (7:12) — Hammer / Reich, Hammer

Black Sheep was recorded and mixed at Red Gate Studio in Kent, New York. Hammer engineered the sessions with assistant engineer Bob Schachner. Lacquers were cut at Tonstudio Pfanz, and German pressings were manufactured by Record Service Alsdorf for WEA Musik GmbH.

Art direction was handled by Ron Coro with design by Mary Francis and Ron Coro. The cover illustration was created by Bill Imhoff. Management was provided by Danny Goldberg and Elliott Sears.

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Hammer

Hammer released their self-titled second album in late 1979 on Asylum.

The album presents a keyboard-centered hybrid of jazz-rock, vocal fusion, and American blues-pop. Jan Hammer plays keyboards and lead/rhythm synthesizer lines, handles engineering and production, and shares vocals. Colin Hodgkinson sings and plays bass and twelve-string guitar, while Glen Burtnick sings lead and backing vocals and plays acoustic and rhythm guitar. Gregg Carter plays drums throughout.

The ten tracks include band originals and outside material. Hodgkinson and Hammer share lyrical and compositional input, with Burtnick and lyricist Ivona Reich contributing to several pieces. The album also features a cover of the Roy Orbison–Bill Dees standard “Oh, Pretty Woman.”

A1. “Goodbye” (3:37) — Hodgkinson, Hammer
A2. “I Got You” (5:50) — Hammer, Hodgkinson
A3. “Oh, Pretty Woman” (3:41) — Dees, Orbison
A4. “One Day” (4:38) — Burtnick, Reich
A5. “Vaporize Me” (3:42) — Hammer, Hodgkinson

B1. “Nowhere to Go” (5:46) — Hammer
B2. “Forever Tonight” (4:46) — Hodgkinson, Hammer
B3. “Highway Made of Glass” (3:14) — Reich, Hammer
B4. “Rainbow Day” (5:38) — Hammer
B5. “Sister Louisiana” (3:14) — Hodgkinson

Sessions took place at Red Gate Studio. Hammer produced and engineered the album. Ron Coro and Johnny Lee handled art direction and design, with photography by Chris Callis.

Hammer was issued in Germany on Asylum (AS 52 177).

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Hip Address

David Earle Johnson with Jan Hammer released Hip Address in 1980 on the German label CMP.

The album presents an acoustic-electric fusion of global percussion motifs and synthesized timbres. David Earle Johnson plays congas, hand drums, timbales, cuica, kalimba, African log drums, shakers, gurio, and vocals. Jan Hammer adds piano, Moog and Oberheim synthesizers, bass drum, full drum kit, and tambourine. Jeremy Steig contributes flute, bass flute, and wooden whistle on three tracks.

Johnson composed the first three pieces and co-composed the remaining five with Hammer. The album includes both vocal and instrumental versions of the title track, along with extended ensemble workouts on side B.

A1. “Rebel Trot” (4:39) — Johnson
A2. “Green & Black” (3:29) — Johnson
A3. “Punk Luck” (3:48) — Johnson
A4. “Siete Parati” (3:33) — Johnson, Hammer
A5. “Hip Address (Voc)” (4:38) — Johnson, Hammer

B1. “Night” (7:56) — Johnson, Hammer
B2. “Bamboo Forest” (6:04) — Johnson, Hammer
B3. “Hip Address (Instr.)” (6:15) — Johnson, Hammer

Sessions took place at Red Gate Studio, Kent, New York, in February and March 1980. Hammer produced and engineered the album, with Johnson credited as associate producer. Executive production was handled by Kurt Renker.

The cover features artwork by E. Morisot. The album was pressed by Sonopress (A-5184).

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Finger Dancing

Yoshiaki Masuo with Jan Hammer released Finger Dancing in 1981 on Electric Bird (K28P-6071, Japan).

The album presents a six-track set of electric jazz-rock marked by melodic synth voicings and sustained guitar phrasing. Jan Hammer performs on Oberheim, Minimoog, and Yamaha CP-70, and arranged the first four tracks. Yoshiaki Masuo plays electric guitar and arranged the final two tracks. Russel Blake plays electric bass, and Tony Cintron, Jr. handles drums throughout.

Hammer composed the first four tracks; Masuo wrote the last two.

A1. “Waiting No More” (6:03) — Hammer
A2. “All Right” (6:28) — Hammer
A3. “Young Filly” (5:11) — Hammer

B1. “Let Us Go” (6:48) — Hammer
B2. “A Little Bit More” (5:19) — Masuo
B3. “Sunshine Avenue” (6:35) — Masuo

Masaaki Saitō recorded and mixed the album. Jan Hammer and Yoshiaki Masuo handled arrangements. Shigeyuki Kawashima produced the sessions, with Motohiko Takawa and Yuki Watanabe as executive producers. Kazuo Kobayashi, Koichi Suzuki, and Rick White assisted on engineering. A 24-bit remaster was prepared by Seiji Kaneko.

Finger Dancing was released exclusively in Japan by King Records.

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Schon & Hammer – Untold Passion

Jan Hammer and Neal Schon released their first duo album, Untold Passion, in October 1981 on Columbia.

The album features nine tracks of guitar- and synth-driven rock with prominent melodic phrasing and hybrid arrangements. Neal Schon plays electric guitar, guitar synthesizer, and sings lead vocals. Jan Hammer handles drums, keyboards, and synthesizers. Colin Hodgkinson plays bass and co-writes multiple tracks. All sessions took place at Hammer’s Red Gate Studio.

Each track highlights different writing partnerships, with Hammer and Schon alternating lead roles across instrumental and vocal compositions.

A1. “Wasting Time” (3:45) — Hodgkinson, Schon
A2. “I’m Talking to You” (4:52) — Hodgkinson, Hammer, Schon
A3. “The Ride” (4:40) — Schon
A4. “I’m Down” (4:09) — Hodgkinson
A5. “Arc” (3:52) — Hammer

B1. “It’s Alright” (4:44) — Hodgkinson, Schon, Silver
B2. “Hooked on Love” (3:05) — Hodgkinson, Hammer
B3. “On the Beach” (5:26) — Schon
B4. “Untold Passion” (7:00) — Hammer

Hammer produced and engineered the album at Red Gate Studio. Jim Welch directed the album’s visual design with cover artwork by Kelley and photography by Chris Callis. 

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Schon & Hammer – Here to Stay

Schon & Hammer released their second duo album, Here to Stay, in February 1983 on Columbia.

The album reunites Neal Schon and Jan Hammer for a second collaboration, balancing compact synth-rock songs with rhythmic vocal tracks and instrumental interludes. Hammer performs drums, keyboards, and synthesizers and co-produces alongside Schon. Schon handles electric guitar, guitar synthesizer, and lead vocals. Colin Hodgkinson plays bass on six tracks, with additional contributions from Ross Valory, Glenn Burtnick, and Steve Perry. Drummer Steve Smith appears on one track.

The ten tracks include co-writes with Burtnick, Hodgkinson, Jonathan Cain, and Perry, with Hammer and Schon supplying the majority of the music and arrangements.

A1. “No More Lies” (3:29) — Burtnick, Hammer, Schon
A2. “Don’t Stay Away” (3:35) — Hammer, Schon
A3. “(You Think You’re) So Hot” (3:54) — Hodgkinson, Hammer
A4. “Turnaround” (4:48) — Hodgkinson, Hammer
A5. “Self Defense” (3:13) — Cain, Perry, Schon

B1. “Long Time” (3:50) — Burtnick, Hammer
B2. “Time Again” (4:55) — Hammer
B3. “Sticks and Stones” (3:15) — Hodgkinson, Hammer, Schon
B4. “Peace of Mind” (2:10) — Schon
B5. “Covered by Midnight” (5:27) — Hodgkinson, Hammer, Perry, Schon

Hammer and Schon produced tracks A1–A4 and B1–B5. Kevin Elson and Mike Stone produced A5. Jan Hammer and Kevin Elson handled additional mixing. Bob Ludwig mastered the album.

Here to Stay was recorded at Red Gate Studio. Jim Welch directed art and photography; Rick Griffin illustrated the front cover, which spoofs the Arm & Hammer baking soda brand.

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Discography:

• Maliny Maliny (1968 • The Jan Hammer Trio)
  
• Like Children (1974 • Jerry Goodman & Jan Hammer)
  
• The First Seven Days (1975)
  
• Oh, Yeah? (1976 • Jan Hammer Group)
  
• Melodies (1977 • Jan Hammer Group)
  
• Hip Address (1980 • David Earle Johnson With Jan Hammer)
  
• Finger Dancing (1981 • Yoshiaki Masuo with Jan Hammer)
  
• Untold Passion (1981 • Neal Schon & Jan Hammer)
  
• Here to Stay (1983 • Schon & Hammer)
  
• Escape From Television (1987)
  
• Snapshots (1989)
  
• Beyond the Mind’s Eye (1992)

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Sources:

• Discogs: Jan Hammer
• 45worlds: Jan Hammer
• JazzMusicArchives: Jan Hammer
• RYM: Jan Hammer
• MusicBrainz: Jan Hammer