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John Henry Hammond

John Henry Hammond Jr. was an American record producer, civil rights activist, and music critic active from the 1930s to the early 1980s. As a talent scout, Hammond became one of the most influential figures in 20th-century popular music. He is the father of blues musician John P. Hammond.

Early years and family
Hammond was born in New York, christened John Henry Hammond Jr., although both his father and paternal grandfather shared the 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. The family lived at the John Henry Hammond House in Manhattan. His father attended Yale University, and graduated 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. & 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 Arthur Duckworth in 1927, and then, after divorcing him, the musician Benny Goodman in 1942. Well-known clergyman and peace activist William Sloane Coffin Jr. was a cousin. Hammond showed interest in music from an early age. At four he began studying the piano, then switched 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". In 1925, 14-year-old Hammond graduated from the elementary St. Bernard's School, then persuaded his family to send him to Hotchkiss School due to its liberal curriculum. Hammond's love for music flourished. However, he felt limited by boarding school. Hammond convinced the headmaster to allow him to go into New York 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, he heard Bessie Smith perform at The Harlem Alhambra, but her biographer disagrees about the dates. 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 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 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. ==Career==
Career
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." In 1941, he helped found 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. 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 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". Musicians Hammond signed to the label included Leonard Cohen and Bruce Springsteen. Hammond retired from Columbia in 1975 but continued to scout for talent. In 1983, he brought guitarist Stevie Ray Vaughan to Columbia and was credited as executive producer on his debut album. ==Personal accounts==
Personal accounts
Hammond recognized jazz music to have originated as an African-American musical genre. When Hammond entered the jazz community, integration had not yet begun. Black and white musicians rarely played together and often the prestigious locations permitted only 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 white people receiving jobs than black people. 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 was getting 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. In this year, Hammond 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 a Chicago radio broadcast. Hammond provided opportunities for him, including some collaboration with Billie Holiday. Hammond's work with civil rights took various forms. In 1933, he traveled south to a trial concerning the Scottsboro case, in which two white girls accused nine black boys of raping them. The testimonies of the two girls did not align. While 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. 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. ==FBI investigation==
FBI investigation
FBI Director J. Edgar Hoover investigated Hammond's links to the Communist Party, of which Hammond was never a member. His name often appeared in The Daily Worker, a communist newspaper, because of the various benefits and fund-raisers that Hammond hosted for the popular front. It also appeared on the letterheads of left-wing organizations for which he was a donor or member. ==Personal life==
Personal life
Hammond had four sisters: Alice, Rachel, Adele, and Emily. Early in his career, Hammond focused more on his work than his love life. While he was seen publicly with various women, the relationships were never substantial. In 1940, Hammond met Jemison "Jemy" McBride at a Manhattan party. They were married on March 8, 1941, in New Haven, Connecticut. The couple had a small, non-denominational wedding with only about ten guests. Although both sets of parents approved of the couple, neither attended the wedding. of complications of AIDS, which she had contracted from a blood transfusion. Hammond was distraught and died on July 10, 1987, after a series of strokes. It is said that he died listening to the music of Billie Holiday. ==Legacy==
Legacy
"John's Idea", originally titled "I May Be Wrong It's John's Idea", is a tribute to John Hammond written by Count Basie. Hammond received a Grammy Trustees Award for being credited with co-producing a Bessie Smith reissue in 1971, and in 1986 was the inaugural recipient of the Rock and Roll Hall of Fame Lifetime Achievement Award. Hammond's son, John P. Hammond, became an American blues musician. Prince's song "Avalanche" mentions Hammond in the lyric "Mr. John Hammond with his pen in hand... Sayin' 'Sign your kingdom over to me and be known throughout the land!'" ==References==
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