Johnny Hammond -

Johnny Hammond (aka Johnny Smith, Dec. 16, 1933 — June 4, 1997) was an American jazz keyboardist who debuted in 1958 with a solo organ album as Johnny Smith.

Adopting the name Johnny “Hammond” Smith, he released three soul-jazz albums on Prestige-subsidiary New Jazz in 1959/60, then switched to Prestige for 16 further albums between 1961 and 1971.

Trimming his name to Johnny Hammond, he issued six jazz-funk albums on the CTI-subsidiaries Kudo and Salvation between 1971 and 1974, culminating with Gambler’s Life. Moving to Milestone, he released four further jazz-funk albums between 1975 and 1978.

Early years, New Jazz titles

Hammond was born John Robert Smith on December 16, 1933, in Louisville, Kentucky. His earliest credit is on the 1957 two-part single “Oh, Yeah!” by Chris Columbo and the Swinging Gentlemen, released on King Records.

In 1958, he debuted under his own name with the solo organ album Have You Heard Johnny Smith, released on Arrow Records. It features his rendition of the 1930s keyboard standard “Deep Purple,” which later inspired the name of the English hard-rock band. Three of the album’s eight songs (“Shalimar,” “Flip Top,” “Ecstasy”) are Smith originals. The risque cover image is credited to Chuck Stewart, the photographer behind numerous ’50s-era album covers on Roulette and Verve.

In 1959, Smith signed to Presige-subsidiary New Jazz and released his first two albums as Johnny “Hammond” Smith, That Good Feelin’ and All Soul. He’s backed on these titles by guitarist Thornel Schwartz, bassist George Tucker, and drummer Leo Stevens. He retained Tucker for the 1960 New Jazz release Talk That Talk, featuring saxophonist Oliver Nelson, drummer Art Taylor, and percussionist Ray Barretto.

Also in 1960, Smith played on Nelson’s New Jazz release Taking Care of Business, a hard bop set that opens with the vibe/sax-driven “‘Trane Whistle.” During the ensuing 10-year period, Smith released 16 albums on Prestige, the parent label of New Jazz.

Prestige years (1961-1971)

Smith’s run at Prestige started with the 1961 albums Stimulation and Gettin’ The Message, both with guitarist Eddie McFadden and respectively featuring vibraphonists Freddie McCoy and Lem Winchester. That same year, Smith played on the Jazzland release Bottom Groove by the Wild Bill Moore Quintet. Smith then collaborated with saxophonist Willis Jackson on the 1962 Prestige release Johnny “Hammond” Smith Cooks With Gator Tail.

In 1963, Smith collaborated with saxist Seldon Powell on the Prestige/New Jazz release Look Out and issued two albums on Riverside Records: Black Coffee and Mr. Wonderful, the latter with saxist Houston Person and trumpeter Sonny Williams. As a sideman, Smith appeared on two 1964/65 Prestige titles by saxophonist Gene Ammons: Velvet Soul and Angel Eyes.

Person played on seven further Smith titles up through 1970, including the 1965 Prestige release The Stinger. That album, which features four Smith originals (inc. “Cleopatra and the African Knight”), sports a cover depiction of the DC Comics character Green Lantern in a color-altered (red and yellow) variant of his famous costume.

In 1966, Smith cut a “followup” album, The Stinger Meets the Golden Thrush, with blues singer Byrdie Green. Returning the favor, Smith played, arranged, and conducted Green’s 1966–68 Prestige trilogy: The Golden Thrush Strikes at Midnight, I Got It Bad (And That Ain’t Good), and Sister Byrdie! Vibist McCoy returned for Smith’s other 1966 Prestige title, Opus de Funk.

Smith issued two further albums on Riverside, the 1966/67 titles Open House! and A Little Taste, respectively featuring trumpeters Thad Jones and Virgil Jones. On his two 1967 Prestige titles, Love Potion #9 and Gettin’ Up, he tackles some of the era’s pop and soul hits (“A Taste of Honey,” “Stand By Me,” “Knock On Wood,” “The ‘In’ Crowd”).

His 1968 release Nasty! marks one of the earliest appearances of guitarist John Abercrombie, whose light licks underlay Smith’s thick Hammond organ and Person’s striking sax, notably on the nine-minute title track. Smith released two further albums in 1968, Soul Flowers and Dirty Grape, both sporting psychedelic typography and then-prevalent song selections (“Ode to Billy Joe,” “Alfie,” “To Sir, With Love”). Both feature guitarist Wally Richardson, whose singular solo album, Soul Guru, appeared that year on Prestige.

Smith’s 1969 release, Soul Talk, welcomes Soul Guru drummer Bernard Purdie, who’d backed more than 30 artists during the prior three years (incl. David Newman, Phil Upchurch, Tamiko Jones, Jimmy Smith, Brother Jack McDuff, and The Insect Trust). Noted for his tricky, syncopated “Purdie Shuffle,” he gives this album a harder, more punctual rhythmic feel than prior Smith recordings.

Purdie stayed for Smith’s two 1970 releases, Here It ‘Tis and Black Feeling, which both feature 52-year-old bassist Jimmy Lewis, a veteran of the Count Basie Orchestra. The former covers newly-minted evergreens (“Stormy,” “You Made Me So Very Happy”); the latter features prominent horn charts, thanks to the presence of alto/tenor saxophonist Rusty Bryant and returning trumpeter Virgil Jones.

In 1971, Smith wrapped his Prestige run with What’s Going On, centered on the iconic Marvin Gaye hit. It also includes an impression of the Jackson 5‘s recent “I’ll Be There,” plus two Smith originals: “Smokin’ Cool” and “Between the Sheets.” Arranged by William S. Fischer, the album features a larger brass cast than prior Smith recordings, including veterans Ernie Royal (trumpet), Garnett Brown (trombone), Babe Clark (baritone sax), and up-and-coming saxist Grover Washington Jr. Also present are two members of the Philip Glass Ensemble: saxist Richard Landry and trumpeter Robert Prado, who died the following year in an oil-field accident.

The Prophet

Johnny Hammond released his third Kudu album, The Prophet, in 1972 on Kudu.

The Prophet contains six outside titles in organ-led arrangements by Pee Wee Ellis. Hammond works with guitarist Eric Gale, bassist Ron Carter, drummer Billy Cobham, percussionist Airto Moreira, and steelpan player Andrew Primus. The brass–reed section includes trumpeter Jon Faddis, tenor saxophonist Maceo Parker, and baritone saxophonist Pepper Adams among the credited players. Carl Carldwell, Lani Groves, and Tasha Thomas add voices to “Witchy Woman” and “Corner Of The Sky.”

“The Prophet” slouches through broad brass figures, Maceo Parker’s tenor line, and extended organ passages. “Thunder & Lightning” rushes through agitated, off-balance drive. “Witchy Woman” stalks through seething low-end motion, wordless female voices, and sharp guitar runs. “Stand Behind Me” floats in a placid band setting while the rhythm section holds steady movement beneath the lead. “Corner of the Sky” churns through percolating lines and reaches a heated close.

A1. “The Prophet” (7:35) – Alfred Ellis
A2. “Tomorrow Belongs To The Children” (4:00) – Gundry
A3. “Witchy Woman” (5:00) – Leadon, Henley

B1. “Thunder & Lightning” (7:10) – Coltrane
B2. “Stand Behind Me” (4:05) – King
B3. “Corner Of The Sky” (5:35) – Schwartz

Sessions occurred on November 29 and November 30, 1972, at Van Gelder Studio in Englewood Cliffs. Creed Taylor produced the album, and Rudy Van Gelder engineered the sessions.

The Prophet appeared in a Bob Ciano design with an album painting by David Leffel. Kudu lifted “Thunder & Lightning” as a 1973 single with “Thunder & Lightning Part II” on the B-side.

Gambler’s Life

Johnny Hammond released the Salvation album Gambler’s Life in 1974 on Salvation.

Gambler’s Life contains eight titles: five Mizell-linked pieces, two Hammond originals, and “Rhodesian Thoroughfare.” Larry Mizell supplies Solina; Fonce Mizell adds Clavinet, trumpet, and background voice. The rhythm section includes conguero King Errisson, bassists Henry Franklin and Tony Dumas, drummers Harvey Mason and Fritz Wise, and percussionist Stephanie Spruill. Additional front-line credits include guitarist Melvin “Wah Wah” Ragin, trombonist Al Hall, and saxophonist Carl Randall Jr.

“Gambler’s Life” tightens around taut lines and darker electronic color. “Rhodesian Thoroughfare” charges through suspense rises and breathless gallops. “Star Borne” glides through breezy figures and airy electric piano color. “Back to the Projects” darts through compact section turns and dense layering. “Yesterday Was Cool” drifts through space-toned ensemble lines. “Virgo Lady” relaxes into lush figures, dexterous electric piano, and Carl Randall Jr.’s searing saxophone. “Call on Me” settles into softened electronic color and a calmer close.

A1. “Gambler’s Life” (5:45) – Larry Mizell
A2. “Rhodesian Thoroughfare” (6:06) – Davis, Abdallah
A3. “This Year’s Dream” (6:19) – Hammond
A4. “Star Borne” (7:51) – Larry Mizell

B1. “Back To The Projects” (5:36) – Larry Mizell
B2. “Yesterday Was Cool” (6:50) – Larry Mizell, Jordan
B3. “Virgo Lady” (6:41) – Hammond
B4. “Call On Me” (4:30) – Fonce Mizell, Larry Mizell

Hammond recorded Gambler’s Life in June 1974 at The Sound Factory in Hollywood with producer Larry Mizell and engineer-mixer David Hassinger. Chuck Davis produced “Rhodesian Thoroughfare” and programmed synthesizers.

Sibbie McDonough designed Gambler’s Life, and Pete Turner shot the cover photograph. Salvation lifted “Yesterday Was Cool” as a 1974 single with “Virgo Lady” on the B-side.

Higher Ground

Johnny Hammond released his fourth Kudu album, Higher Ground, in February 1974 on Kudu.

Higher Ground contains four extended Bob James arrangements: “Catch My Soul,” the “Summertime”/“The Ghetto” medley, Stevie Wonder (“Higher Ground”), and the Hammond original “Big Sur Suite.” Hammond plays organ and electric piano beside James on electric piano, Yamaha organ, and Mellotron.

The large ensemble includes guitarist George Benson, bassist Ron Carter, drummers Steve Gadd and Jack DeJohnette, percussionists Phil Kraus and Ralph MacDonald, with tenor saxophonist Joe Henderson and alto saxophonist Hank Crawford among the reed players. Gadd handles the first three titles; DeJohnette underpins “Big Sur Suite.”

“Catch My Soul” places Henderson’s solo inside Hammond’s B-3-led chart and arranged brass. “Summertime/The Ghetto” braids the two themes through occasional cello-line Mellotron and volume-pedaled string chords. “Higher Ground” extends the Innnervisions tune into a low-slung workout.

A1. “Catch My Soul” (7:17) – Good, White
A2. “Summertime/The Ghetto” (10:05) – George Gershwin, Ira Gershwin, Heyward, Hathaway, Hutson

B1. “Higher Ground” (10:32) – Wonder
B2. “Big Sur Suite” (9:06) – Hammond

Sessions occurred on October 31 and November 1, 1973, at Van Gelder Studio in Englewood Cliffs with producer Creed Taylor and engineer Rudy Van Gelder.

Higher Ground appeared in a Bob Ciano design with cover photography by Pete Turner and liner photography by William Codge.

Gears

Johnny Hammond released his Milestone debut, Gears, in 1975 on Milestone.

Gears contains five Mizell brothers titles and the Hammond original “Fantasy,” with arrangements by Larry and Fonce Mizell. The core lineup includes bassist Chuck Rainey, drummer Harvey Mason, percussionist Kenneth Nash, guitarists Craig McMullen and John Rowin, plus Larry (Solina) and Fonce (Clavinet). Soloists include flutist-vibraphonist Roger Glenn, tenor saxophonist Hadley Caliman, trombonist Julian Priester, and violinist Michael White.

“Tell Me What to Do” jabs through Rhodes stabs, chiming wah-wah, a probing vocal, and a wistful tenor line. “Los Conquistadores Chocolatés” bursts from spoken words and a wind effect into a drum solo, bouncy low-end motion, flute, vibraphone, wah-wah figures, and an organ break. “Lost on 23rd Street” drifts through otherworldly electronics, slow chiming figures, clavinet touches, a trombone-like line, and a late tender vocal.

“Fantasy” surges around urgent lead figures, lush strings, a hopeful vocal, violin response, and shifting section layers. “Shifting Gears” darkens through a spare rhythm entry, urgent vocal delivery, later reed-and-string insertions, clavinet, and a dramatic final stretch. “Can’t We Smile?” slows into soft harmonies, quivering electronics, a tender solo, and a hopeful vocal return.

A1. “Tell Me What To Do” (5:16) – Larry Mizell, Fonce Mizell
A2. “Los Conquistadores Chocolates” (5:56) – Larry Mizell, Fonce Mizell
A3. “Lost On 23rd Street” (6:36) – Larry Mizell, Fonce Mizell

B1. “Fantasy” (6:06) – Hammond
B2. “Shifting Gears” (5:19) – Larry Mizell, Fonce Mizell
B3. “Can’t We Smile” (4:35) – Larry Mizell, Fonce Mizell

Sessions occurred in July 1975 at Fantasy Studios in Berkeley. Larry and Fonce Mizell produced the album, Orrin Keepnews served as executive producer, and Eddie Bill Harris recorded the sessions with assistant Phil Kaffel. David Hassinger and Jim Nipar remixed the album with assistant Jeff Hawks.

Gears appeared under Phil Carroll art direction, with cover photography by Charlie Franklin and liner photography by Phil Bray. Gears reached No. 31 on the Billboard Top Jazz Albums chart.

Forever Taurus

Johnny Hammond released Forever Taurus in 1976 on Milestone.

Forever Taurus contains eight titles. Hammond and Wade Marcus account for six selections; “Old Devil Moon” and “My Ship” complete the program. Marcus arranged the main studio ensemble with harpist Dorothy Ashby, vibraphonist Victor Feldman, guitarist Lee Ritenour, drummer James Gadson, percussionist Bill Summers, keyboardist Sonny Burke, synthesizer player Marlo Henderson, and horn and string sections under Charles Veal Jr.

The title piece uses a separate Fantasy Studios group with trombonist Al Hall Jr., bassist Tony Dumas, drummer Ron Steen, conguero Sheila Escovedo, percussionist Mayuto Correa, and guitarists John Abercrombie and Ray Obiedo.

“Ghetto Samba” and “Cosmic Voyager” thread electric-keyboard figures through added hand percussion and large-ensemble color. “Forever Taurus” widens the setting with a separate rhythm-section lineup and a looser percussion bed.

A1. “Old Devil Moon” (4:31) – Lane, Harburg
A2. “Countdown” (4:45) – Marcus
A3. “Walk In Sunshine” (4:32) – Hammond
A4. “Ghetto Samba” (5:33) – Marcus

B1. “Cosmic Voyager” (4:37) – Hammond
B2. “My Ship” (3:22) – Gershwin, Weill
B3. “Winds Of Change” (3:33) – Marcus
B4. “Forever Taurus” (9:21) – Hammond

Sessions for seven Forever Taurus titles occurred in May and June 1976 at Devonshire Sound Studios in North Hollywood, with horn and string parts recorded at Crystal Industries in Hollywood. Wade Marcus produced and arranged the material with engineers Jerry Hudgins and Kevin Beamish. Hammond recorded “Forever Taurus” in March 1976 at Fantasy Studios in Berkeley with engineer Eddie Bill Harris.

Forever Taurus appeared under Phil Carroll art direction, with artwork by Jamie Putnam and liner photography by Phil Bray.

Storm Warning

Johnny Hammond released Storm Warning in 1977 on Milestone.

Storm Warning contains four Hammond originals and two outside titles: “Imagination” and “Quiet Storm,” the latter by Smokey Robinson. Hammond and Al Hall Jr. arranged the album for a small electric core with guitarist Carol Kaye, bassist Ron Carter, drummer Leon Ndugu Chancler, percussionist Bill Summers, and Clavinet player Larry Farrow.

The expanded credits feature guitarist John Abercrombie, flugelhornist Oscar Brashear, and vibraphonist Roger Glenn on selected titles, with strings under Charles Veal. Glenn also plays flute on “Lonely Dreamer.” Stephanie Spruill and Roger Kenerly-Saint handle lead-vocal parts; Julia Rinker and Ann White appear in the background-vocal credits.

“Lady Smooth” eases into the album’s electric-keyboard bed and adds vocal color to the ensemble. “California Lovers” stretches the same studio rhythm setting into a longer instrumental field. “Quiet Storm” reduces the setting to electric piano, synthesizer, acoustic bass, and vibes. “Brother Snook” sets flugelhorn and trombone against the electric-keyboard core.

A1. “Lady Smooth” (4:48) – Hammond
A2. “California Lovers” (9:49) – Hammond
A3. “Imagination” (5:17) – Burke, Van Heusen

B1. “Quiet Storm” (5:53) – Smokey Robinson
B2. “Brother Snook” (5:21) – Hammond
B3. “Lonely Dreamer” (7:53) – Hammond

Hammond recorded Storm Warning in 1977 at Fantasy Studios, Berkeley, and Wally Heider Recording Studio, Los Angeles, where Hammond co-produced with Orrin Keepnews and co-arranged with conductor Al Hall Jr. Heider co-engineered with Wally Heider and mixing soundman Peter Granet.

Storm Warning appeared under Phil Carroll art direction, with cover art by Phil Bray and Jamie Putnam.

Don’t Let The System Get You

Johnny Hammond released Don’t Let The System Get You in 1978 on Milestone.

Don’t Let The System Get You contains seven Hammond-written and arranged titles with organ and ARP synthesizers. The core lineup includes Clavinet player Larry Farrow, bassist Byron Miller, drummer Leon Ndugu Chancler, guitarist Al McKay, conga player Sheila Escovedo, and rhythm conductor Al Hall Jr.

“For People Only” adds tenor saxophonist Hadley Caliman and trombonist Hall; guitarist Dan Papaila takes the solo. “Morning Magic” features guitarist David T. Walker and additional Clavinet by Jack Perry. “Contact Funk” uses an alternate rhythm line with bassist Tony Dumas, guitarist Mel Bolton, and percussionist Bill Summers.

“Don’t Let the System Get You” mutters its sing-song warning through near-monotone vocal and narration, filtered electronic effects, portamento bends, automated wah-wah, and a front-loaded rhythm mix.

A1. “For People Only” (5:24)
A2. “Don’t Let The System Get You” (4:50)
A3. “Morning Magic” (4:58)
A4. “Contact Funk” (5:38)

B1. “Ann” (6:07)
B2. “I Don’t Know” (6:11)
B3. “Losing You” (6:16)

Hammond recorded the core Don’t Let The System Get You sessions in August and October 1977 at Paramount Recording Studios in Los Angeles with engineer Kerry McNabb. Additional recording occurred at Fantasy Studios, where Bruce Walford co-engineered with mixer Eddie Bill Harris. Hammond and Orrin Keepnews produced the album.

Don’t Let The System Get You appeared under Phil Carroll art direction, with photography by Phil Bray.

Discography:

That Good Feelin’ (1959 • Johnny “Hammond” Smith)
Gettin’ the Message (1960 • Johnny “Hammond” Smith)
All Soul (1960 • Johnny “Hammond” Smith)
Talk That Talk (1960 • Johnny “Hammond” Smith)
Stimulation (1961 • Johnny “Hammond” Smith)
Johnny “Hammond” Cooks With Gator Tail (1962 • Johnny “Hammond” Smith & Willis Jackson)
A Little Taste (1963)
Look Out (1963 • Johnny Hammond & Seldon Powell)
Mr. Wonderful (1963)
Black Coffee (1963 • Johnny “Hammond” Smith)
Open House (1965)
The Stinger (1965)
Opus de Funk (1966 • Johnny “Hammond” Smith)
The Stinger Meets the Golden Thrush (1966 • Johnny “Hammond” Smith)
Love Potion #9 (1967)
Gettin’ Up (1967 • Johnny “Hammond” Smith)
Dirty Grape (1968)
Nasty! (1968 • Johnny “Hammond” Smith)
Soul Flowers (1968 • Johnny “Hammond” Smith)
Soul Talk (1969 • Johnny “Hammond” Smith)
Black Feeling! (1970 • Johnny “Hammond” Smith)
Breakout (1971)
What’s Going On (1971 • Johnny “Hammond” Smith)
Wild Horses / Rock Steady (1971)
Here It ‘Tis (1971 • Johnny “Hammond” Smith)
The Prophet (1972)
Gambler’s Life (1974)
Higher Ground (1974)
Gears (1975)
Forever Taurus (1976)
Storm Warning (1977)
Don’t Let the System Get You (1978)