On The Mountain is a phenomenal record. Also the Jan Hammer Group ”Live in New York” album is great (Tony Smith KILLS it on this one too). We need more Jan Hammer!
Love the channel. I saw Tony Wlliams Lifetme 3x in 1970. I saw MO July 10, 1972 at UMass Amherst. This was shortly before Jan started using the MiniMoog live. According to my understanding, it was JM who told Jan about the MiniMoog and actually bought one for him. I agree about Jan defining the sound and phrasing. As much as I absolutely fawn over JM, it was the sound and phrasing of JH that really blew my mind live. Especislly when he would turn on the Ring Modulator on top of the Rhodes and do do all that note bending. Insane.But when he started using the Moog on Birds of Fire, it was game over. He alone is The Mastrr of The MiniMoog. I also saw The Jan Hammer Group at The Bottom line in 1976, with Tony Smith, Fernando and Kindler. Jan is my fav keyboardist, period. And he is also a friggn cool drummer.
Tony Williams - legend. His drumming on there and back (among many others of course) is so outstanding, wicked, and crucial to the greatness of that LP
finally getting some real credibility after all this time. Jan is the most innovative and groundbreaking musicians I can think of and Bravo to you for bringing attention to it! cheers
I LOVE Oh, Yeah! I have also often thought that it is at least one of the top three jazz fusion albums of all time. Timeless with JOHN Abercrombie and Jack DeJohnette is just as good.
Jan is the man. I'd take him over anybody 8 days a week. Enjoyed your nuanced analysis. In fact, I'd go so far as to say you nailed it with Hammer (sorry, couldn't resist).
Always one of my best keyboard master. I saw him twice in the 70’s with Steven Kindler, Tony Smith and Fernando Saunders. I remember them playing a furious version of Timeless. Great shows.
Jan Hammer presented THE fusion synth lick: Note 1 followed by the note a whole tone down being bent up to note one. I've felt like there's a chicken/egg dynamic in the Mahavishnu orchestra- did JM influenced JH's style? did JH influenced JH's style? Did all the elements shape both players? Did they shape the band?
RE:I forgot my comment on the title of your (Click Click)video Maybe the Charlie Parker of the Jazz Fusion moog, minimoog, synthesizer? There are only 3 who can fight for this position: The most used keyboards and moog by the way they played piano before Jan Hammer, Joe Zawinul, George Duke are the three who created a way to play the moog With his guitar like sound maybe he is the one with the most individuell sound. Then he is the winner of the Charlie Parker medal
Jan Hammer’s note-bending was the first, and best, of its kind. Suddenly, even electric pianos come equipped with pitch wheels to bend notes. His sound captured my attention immediately. I bought Like Children, Oh Yeah, and The First Seven Days when they were released. Then he partners with Jeff Beck! I hadn't considered the viewpoint you reveal here, but having now heard it, I think your premise is quite correct.
Hammer's note-bending was definitely not the first of its kind, even if to you it was the best. The pitch wheel was a feature of the Moog since 1971. Just listen to Side 2 of "The Inner Mounting Flame," when Hammer was still pounding his Fender Rhodes, and check out McLaughlin's bends and phrasing. He was steeped in Indian music and its influence is felt all over that first LP, not to mention his acoustic LP which preceded it, "My Goal's Beyond." Hammer's use of the Minimoog really kicked the MO up a notch and made Hammer a much more effective foil to McLaughlin, as evidenced on "Birds of Fire" and, of course, in concert. Hammer was certainly an essential presence in the MO and made some great Jazz Fusion afterwards, but it was McLaughlin's vision which paved the way. Not sure what the "Charlie Parker" of Jazz Fusion really means, but McLaughlin was certainly the one who revealed the path (at Miles’s urging) and left it to others to pursue that path while JL himself moved on ... More like Miles, he blazed new trails, brought in sympatico musicians to help out, and continued to evolve. We’re lucky to have witnessed it!
Considering that Jan gained fame while playing with the Mahavishnu Orchestra, perhaps it's more valid to say that the Charlie Parker of Jazz Fusion is John McLaughlin. Jean Luc-Pony, and Billy Cobham had a little say in that endeavor as well. Then there's Weather Report; Joe Zawinul, and Wayne Shorter, and all that they spawned including providing an outlet for perhaps the greatest jazz-fusion bassist of all time, Jaco Pastorius. I love Hammer's work, but I can't grant that he is to jazz-fusion what Parker is to be-bop.
Takes me way back to high school in the first half of the 70s, when I liked the sound of a mini-moog only in small doses. But Jan Hammer mastered the instrument and took it to another place.
@@AndyEdwardsDrummer Taste for Moog is of course subjective, especially when considering the musical tastes of one's late teens, early 20s -- that sweet spot that is rumored to set the course of our musical lives thereafter. My musical friends and I did really enjoy Just Children, The First Seven Days, Spectrum, etc., but by age 18 Keith Jarrett's "American Quartet" was the (subjective) lodestar for the rest of the 70s. Really enjoyed your post, btw.
I suspect that the reason that Jan hasn't had enough credit is that much of his post Mahavishnu work has been as a sideman or involved in collaborative projects / soundtrack work. He has relatively few solo releases, compared to say Corea or Hancock. Still a giant in the fusion field though. Caught him live in a trio with Colin Hodgkinson around the 'Black Sheep' period and he absolutely smoked!
Charlie Mariano's LP "12 Trees" with Jan is a good one.. - I personally prefer George Duke over Jan but that's mainly because of his latin jazz influence...
Apart from his amazing technique, what turns Jan Hammer into a great for me is his note choice. Think of the sublime ending of Sister Andrea from B.N.a.E
interesting vid... I too espoused the virtues of Jan's incredible playing, albeit 30 years ago when frankly no one would listen. "Oh Yeah" always a personal fav of mine, although until recently due to cats like yourself it remained mostly forgotten. I've always considered Jan the Charlie Parker of the synthesizer - mainly becuase of his incredible phrasing, note choices, rhythmic exptrapolations etc. - but again, many years ago and largely on deaf ears. Lots of tracks in the collaboration dept - you mentioned Tony's Joy of Flying, Jeff's Wired & Live CDs etc. Also Harvery Mason's debut, Big City by Lenny White (Enchanted Pool Suite, long a fav with both Jan & Jerry Goodman) and the records woth Neal Schon which although very 80's metal-ish feature a couple of outstanding solos by Jan in addition to some great writing - check out "Time Again" from Here to Stay, for example. Yeah, we could get into it.. :) Then there's Jan's groundbreaking skill asa synthesist - as a programmer, exploring new technologies, crafting his own style and sound with those technologies. Only Zawinul comes close in that department, and I would posit his equal in that respect - listening to Mr Gone, Procession, etc just for the sounds alone is astonishing. Anyway, your channel is quite interesting an fun. Hope to cross paths one day. :) - NAIL NOTE: Have to make mention here of the amazing synth programming on "1st Seven Days" - in addition to the writing/arrangening/performing, specifically the track "Light/Sun".
Have you heard Energy by Jeremy Steig? Then there is Timeless and Night by John Abercrombie. The three Elvin Jones albums are great as is the album he did with David Earl Johnson...and of course the Stanley Clarke album...I might need to do another Jan video to cover a lot of these forgotten gems
@@AndyEdwardsDrummer Funny - the Jeremy Stieg record is the only one I missed until recently. Timeless I got when it came out - changed my life. "Night" yielded a lot of great tunes, many of which I've performed. I saw you trying to remember the David Earl Johnson records in the vid, and I knew that's what you were thinking. I have the Elvin Stuff - "At This Point In Time" is of particular interest as it places Jan longside multiple horn players. And Stanley's first CD - which as the story goes, they could never get the fire and energy of the rehearsals actually on to tape. Yeah - I'm quite familiar with the breadth of the catalog. We could even discuss "Hammer" - there's some solid playing by Jan on there, as well as some very interesting programming and studio work (Rainbow Day, for example). Well, now you've gotten me started...
No argument from me. Maliny Maliny album is such a great album. I kinda wish he did more acoustic albums because his vocabulary at that age was vast but his contribution with other artists more than makes up for it. As a kid I was very happy to see him find success with Miami Vice. Considering his background I loved his lack of snobbery for other genes, he just went for it, similar to Herbie. A superb musician. Mark's right, he is The Man. Again where's the deserved documentaries on these people?
@@AndyEdwardsDrummer I'm a fan of Elvin as well so I do have these albums. I just wanted a few acoustic solo albums from Jan to add to his collection. Cheers Andy.
@@petertrotman7708 for information: Jan Hammer has a channel on youtube. He published some stuff from his cssr period. (Trio with the two Vitous) . Olaf Kuebler has a channel on youtube, where he published "Turtles" Olaf Kuebler & Jan Hammer Trio. Hammer was the housemusician in the Domizil, Muenchen 1968
Nice try, but I'm not persuaded by your lofty praise for Jan Hammer. Herbie Hancock is the definitive fusion keyboard player for me. His vital link with early electric Miles Davis and then his phenomenal Mwandishi band. And then Herbie's Headhunters. And then all those other electro jazz albums. Zawinul, Corea and Duke would come before Hammer in my estimation.
Herbie never played synthesizer with Miles, only Rhodes . That was Herbie’s thing along with acoustic piano . Not so much in synthesizer (see his synth solo on chameleon ).
@@WyattLite-n-inn I didn't say he played synth with Miles. I said "early electric Miles Davis" and that would mean Rhodes. I'm sorry you didn't read my post carefully.
Both of your Heroes have the Status of a total work of art = Gesamtkunstwerk. Versatile always up to date. Sure your second hero Narada switched for a period only because the family need food. But it is very ok. The industrial - like productionperiod of JH is very ok too. To make music for movie and tv on the long term is king class. The career both had in this industry with great impact on the bank account is part of the art. I prefer Jan Hammer as a piano player. As a composer of synthesizer-driven music, he is at the top of the podium For those concerned: There is no guitar on this album JH skills and JZ skills are the skills of tamers. But not only to tame the new and newest technical equipment also to create sound you never heart before. (There is a story, Tom Oberheim, listening to Zawinuls playing with an Oberheim polyphonic synthesizer , said it is not possible with my synthesizer) PS MPS relaunched Malma Maliny
Great video, Andy. However, I think you give too much credit to Jan Hammer in terms of his being the real or primary innovator of jazz fusion. Certainly he did much to "perfect" the genre, but it's hard to believe that McLaughlin, the guy who put the Mahavishnu Orchestra band together to incarnate a very specific vision, wasn't a powerful influence on Hammer (although I doubt Hammer would ever admit it). All the compositions on the first too albums were written by McLaughlin (yes, Hammer and Jerry Goodman griped that they didn't get enough credit, that they were group compositions, but it's obvious the pieces on the first two MO albums were through composed, highly structured and detailed, and that, as you say, the others all added their own contributions to create what we ended up hearing. (And, btw, have you given McLaughlin's 1971 LP "My Goal's Beyond" a good listen. You'll find a strong Indian influence and phrasing there, with Goodman on violin, along with his trademark quirky melodic lines.) I believe McLaughlin wanted to fuse rock, jazz and *Indian* music, to create the unique hybrid which became Fusion. The way you describe Cobham's playing could also describe the tabla playing of Zakir Hussain, a friend and colleague of McLaughlin's and a founding member of McLaughlin's Shakti, an insanely magnificent interpretation of Indian music. I attended two nights -- two shows each night -- at the Great American Music Hall in San Francisco where Shakti just destroyed the audience. (Jeff Beck and Billy Cobham were sitting at a table right behind me and both looked absolutely gobsmacked.) When Hammer was at the Berkeley School of Music, McLaughlin was in Tony Williams Lifetime soon after joined Miles Davis' group. (Do you know how good you have too be to play with *those* cats? :) And, yes, Hammer certainly wanted to incorporate the sort of Indian style of bending notes, something McLaughlin had already done on the first MO album. I'm sure McLaughlin's phrasing caught Hammer's ear. I recall the first time I saw the MO, in 1972, and Hammer only had his Fender Rhodes. When he soloed the dynamic would drop from the high intensity of Goodman and McLaughlin; that Rhodes just couldn't compete. But the second time I saw them, Hammer had his Minimoog and that was a game changer. And, to my ears, he then had a sound, and a mode of expression, much more similar to McLaughlin's, and the MO soared. I just don't see how you would think the MO's "melodic phrasing and sound" come from Hammer. Just listen to The Inner Mounting Flame. McLaughlin was already a serious student of Indian music and the melodic influence is all over that first MO LP. To say that McLaughlin's sounds "wasn't a sound we hadn't heard before" and that Hammer was the one who brought the unique phrasing and melodic approach is, to me, far off the mark and quite the opposite of what I heard then or hear now. I recall that in the wake of the appearance of the MO, it seemed everyone was rushing to cop their sound. When I saw Chick Corea's Return to Forever at the Boarding House (San Francisco) in the early '70s, Chick had totally transformed RTF's sound from a Jazz/Latin fusion to full-on Mahavishnu (which my friend who took me didn't dig, preferring the old way). Bill Connors, RTF's guitarist (pre-Di Meola), was dressed in all white and gazing heavenward, à la McLaughlin, and emulating McLaughlin's melodic and rapid-fire approach and phrasing. Heck, it seemed every hot rock guitarist wanted to sound like McLaughlin. I saw both Joe Walsh's Barnstorm and Journey (pre-Perry) open for the MO, and both had sort of gotten all, um, fusion-y.... Not to mention the influence McLaughlin had on Santana and Jeff Beck. These musicians and bands were primarily inspired by McLaughlin's vision as embodied in the MO, and many of them have copped to it openly. I continued to follow the MO through the Ponty period. The last time I saw them actually billed as the MO, they shared the bill with Jeff Beck at Winterland in San Francisco, in 1975. The band had been reduced to Steve Kindler on violin, and the "Inner Worlds" band, with Stu Goldberg, Ralphe Armstrong and Narada Michael Walden. McLaughlin covered his head with his white hoody the entire time, perhaps a bit embarrassed; the music was definitely not up to par. The Jeff Beck Group brought down the house and saved the evening. (I'll just add that I was the "Apocalypse" band at Winterland in 1974 or so and it was spectacular. They replicated the orchestral sound almost perfectly, and McLaughlin and Ponty had some hair-raising duels.) I did pick up the LP ("Like Children") that Hammer and Goodman did following their departure from the MO. I'm sure you'll agree that it was a pretty lackluster affair. It has some nice moments, but certainly doesn't make a strong case for those two being the REAL forces in the MO :) McLaughlin, as you know, continued to innovate and left it to others to carry forward the Fusion flag, to perfect it for the masses. His work with Shakti continued to evolve -- and that guitar he had specially built to accommodate/realize his vision -- and I continued to follow them. Anyway, sorry for the long-windedness, Andy. I just felt you'd sort of gone a bit overboard in your ascribing influence to Jan Hammer who, as I said, is a wonderful keyboardist and composer. And he'll never give *any* credit to McLaughlin as an influence, which is sad. It was the clash of egos that blew that band apart. All but Rick Laird are alive and it'd be fantastic to see them make peace and, maybe, some music.
Check out Jan here pre MO in 1970 and you van here that dark sound he brought to this band. You can here the MO in those opening chords th-cam.com/video/jTtDIkCo1zQ/w-d-xo.html
@@AndyEdwardsDrummer Sure, I can hear that. I’m not saying that Hammer or the others didn’t contribute to the MO’s sound. I’m saying that the MO’s sound and vision was McLaughlin’s and that the 5 of them brought it to life. But, man, when I first heard them, I’d definitely not heard any guitarist sound like that, nor had I heard compositions like that.. McLaughlin’s fusion of Indian classical, jazz and rock was truly unique. When it hit it changed everything. When Zappa, no slouch on guitar, shared the bill with the MO, it’s said he was blown away and exclaimed, “Wow! THAT’s what I’ve been trying to do this whole time!” When Chick heard them, he told McLaughlin, “I want to form a band like that!” Credit where credit’s due, mate ;) (BTW, I think “Eternity’s Breath - Pt 1” is the f’’’g apotheosis of JL’s vision)
On The Mountain is a phenomenal record. Also the Jan Hammer Group ”Live in New York” album is great (Tony Smith KILLS it on this one too). We need more Jan Hammer!
Love the channel. I saw Tony Wlliams Lifetme 3x in 1970. I saw MO July 10, 1972 at UMass Amherst. This was shortly before Jan started using the MiniMoog live. According to my understanding, it was JM who told Jan about the MiniMoog and actually bought one for him. I agree about Jan defining the sound and phrasing. As much as I absolutely fawn over JM, it was the sound and phrasing of JH that really blew my mind live. Especislly when he would turn on the Ring Modulator on top of the Rhodes and do do all that note bending. Insane.But when he started using the Moog on Birds of Fire, it was game over. He alone is The Mastrr of The MiniMoog. I also saw The Jan Hammer Group at The Bottom line in 1976, with Tony Smith, Fernando and Kindler. Jan is my fav keyboardist, period. And he is also a friggn cool drummer.
Tony Williams - legend. His drumming on there and back (among many others of course) is so outstanding, wicked, and crucial to the greatness of that LP
finally getting some real credibility after all this time. Jan is the most innovative and groundbreaking musicians I can think of and Bravo to you for bringing attention to it! cheers
You rabble rouser. Causing trouble everywhere!..lol
I LOVE Oh, Yeah! I have also often thought that it is at least one of the top three jazz fusion albums of all time. Timeless with JOHN Abercrombie and Jack DeJohnette is just as good.
Thank you for solidifying what we all already knew. Jan Hammer, was the original sound that everyone copied on solo synth!
Jan is the man. I'd take him over anybody 8 days a week. Enjoyed your nuanced analysis.
In fact, I'd go so far as to say you nailed it with Hammer (sorry, couldn't resist).
Always one of my best keyboard master. I saw him twice in the 70’s with Steven Kindler, Tony Smith and Fernando Saunders. I remember them playing a furious version of Timeless. Great shows.
Couldn't agree more.
Totally agree. Jan is a monster player and composer and one of my favourite ever musicians.
One of the top. Narada is unbelievable as well. Gary Husband comes to mind as well. Drums or keyboards superb.
Jan's song, "I Remember Me" still stirs me to tears.
Yep I lover that one.
2024 now, but I listened way back then.
I liked it.
Jan is absolute fire. Red and Orange from John Abercrombie's Timeless. Absolutely fantastic
Jan Hammer presented THE fusion synth lick:
Note 1 followed by the note a whole tone down being bent up to note one.
I've felt like there's a chicken/egg dynamic in the Mahavishnu orchestra- did JM influenced JH's style? did JH influenced JH's style? Did all the elements shape both players? Did they shape the band?
Phenomenal vid Andy. Now I am hoping for a JH interview. I really hope he sees this video!
Fusion was recognizable through Jan Hammer. The jazz synth sound was quintessentially Jan ! And he had a huge hand in the sound of Mahavishnu mach 1
I saw Mahavishnu 3 times, early 70s. Jan brings his "Force of Nature" beingness to every gig.
RE:I forgot my comment on the title of your (Click Click)video
Maybe the Charlie Parker of the Jazz Fusion moog, minimoog, synthesizer?
There are only 3 who can fight for this position:
The most used keyboards and moog by the way they played piano before
Jan Hammer, Joe Zawinul, George Duke are the three who created a way to play the moog
With his guitar like sound maybe he is the one with the most individuell sound.
Then he is the winner of the Charlie Parker medal
Jan Hammer’s note-bending was the first, and best, of its kind. Suddenly, even electric pianos come equipped with pitch wheels to bend notes. His sound captured my attention immediately. I bought Like Children, Oh Yeah, and The First Seven Days when they were released. Then he partners with Jeff Beck! I hadn't considered the viewpoint you reveal here, but having now heard it, I think your premise is quite correct.
Hammer's note-bending was definitely not the first of its kind, even if to you it was the best. The pitch wheel was a feature of the Moog since 1971. Just listen to Side 2 of "The Inner Mounting Flame," when Hammer was still pounding his Fender Rhodes, and check out McLaughlin's bends and phrasing. He was steeped in Indian music and its influence is felt all over that first LP, not to mention his acoustic LP which preceded it, "My Goal's Beyond." Hammer's use of the Minimoog really kicked the MO up a notch and made Hammer a much more effective foil to McLaughlin, as evidenced on "Birds of Fire" and, of course, in concert. Hammer was certainly an essential presence in the MO and made some great Jazz Fusion afterwards, but it was McLaughlin's vision which paved the way. Not sure what the "Charlie Parker" of Jazz Fusion really means, but McLaughlin was certainly the one who revealed the path (at Miles’s urging) and left it to others to pursue that path while JL himself moved on ... More like Miles, he blazed new trails, brought in sympatico musicians to help out, and continued to evolve. We’re lucky to have witnessed it!
@@timkimware3537Of course it was basically lifted from Mclauglin. Comparing Jan to Parker is sophomoric and just short sighted . No comparoson
Considering that Jan gained fame while playing with the Mahavishnu Orchestra, perhaps it's more valid to say that the Charlie Parker of Jazz Fusion is John McLaughlin. Jean Luc-Pony, and Billy Cobham had a little say in that endeavor as well.
Then there's Weather Report; Joe Zawinul, and Wayne Shorter, and all that they spawned including providing an outlet for perhaps the greatest jazz-fusion bassist of all time, Jaco Pastorius.
I love Hammer's work, but I can't grant that he is to jazz-fusion what Parker is to be-bop.
My argument in the video was specifically regarding sound and phrasing
Takes me way back to high school in the first half of the 70s, when I liked the sound of a mini-moog only in small doses. But Jan Hammer mastered the instrument and took it to another place.
Its not subjective either...somewhere in between.
@@AndyEdwardsDrummer Taste for Moog is of course subjective, especially when considering the musical tastes of one's late teens, early 20s -- that sweet spot that is rumored to set the course of our musical lives thereafter. My musical friends and I did really enjoy Just Children, The First Seven Days, Spectrum, etc., but by age 18 Keith Jarrett's "American Quartet" was the (subjective) lodestar for the rest of the 70s. Really enjoyed your post, btw.
I suspect that the reason that Jan hasn't had enough credit is that much of his post Mahavishnu work has been as a sideman or involved in collaborative projects / soundtrack work. He has relatively few solo releases, compared to say Corea or Hancock. Still a giant in the fusion field though. Caught him live in a trio with Colin Hodgkinson around the 'Black Sheep' period and he absolutely smoked!
Charlie Mariano's LP "12 Trees" with Jan is a good one.. - I personally prefer George Duke over Jan but that's mainly because of his latin jazz influence...
Should also add that Jan appears on Frank Foster's Loud Minority LP on Mainstream... I think he's playing Rhodes on that..
Apart from his amazing technique, what turns Jan Hammer into a great for me is his note choice. Think of the sublime ending of Sister Andrea from B.N.a.E
Yes...I beleive he is the defining sound of Jazz Fusion....
interesting vid... I too espoused the virtues of Jan's incredible playing, albeit 30 years ago when frankly no one would listen. "Oh Yeah" always a personal fav of mine, although until recently due to cats like yourself it remained mostly forgotten. I've always considered Jan the Charlie Parker of the synthesizer - mainly becuase of his incredible phrasing, note choices, rhythmic exptrapolations etc. - but again, many years ago and largely on deaf ears. Lots of tracks in the collaboration dept - you mentioned Tony's Joy of Flying, Jeff's Wired & Live CDs etc. Also Harvery Mason's debut, Big City by Lenny White (Enchanted Pool Suite, long a fav with both Jan & Jerry Goodman) and the records woth Neal Schon which although very 80's metal-ish feature a couple of outstanding solos by Jan in addition to some great writing - check out "Time Again" from Here to Stay, for example. Yeah, we could get into it.. :) Then there's Jan's groundbreaking skill asa synthesist - as a programmer, exploring new technologies, crafting his own style and sound with those technologies. Only Zawinul comes close in that department, and I would posit his equal in that respect - listening to Mr Gone, Procession, etc just for the sounds alone is astonishing.
Anyway, your channel is quite interesting an fun. Hope to cross paths one day. :) - NAIL NOTE: Have to make mention here of the amazing synth programming on "1st Seven Days" - in addition to the writing/arrangening/performing, specifically the track "Light/Sun".
Have you heard Energy by Jeremy Steig? Then there is Timeless and Night by John Abercrombie. The three Elvin Jones albums are great as is the album he did with David Earl Johnson...and of course the Stanley Clarke album...I might need to do another Jan video to cover a lot of these forgotten gems
@@AndyEdwardsDrummer Funny - the Jeremy Stieg record is the only one I missed until recently. Timeless I got when it came out - changed my life. "Night" yielded a lot of great tunes, many of which I've performed. I saw you trying to remember the David Earl Johnson records in the vid, and I knew that's what you were thinking. I have the Elvin Stuff - "At This Point In Time" is of particular interest as it places Jan longside multiple horn players. And Stanley's first CD - which as the story goes, they could never get the fire and energy of the rehearsals actually on to tape. Yeah - I'm quite familiar with the breadth of the catalog. We could even discuss "Hammer" - there's some solid playing by Jan on there, as well as some very interesting programming and studio work (Rainbow Day, for example). Well, now you've gotten me started...
@@nailmusic I'd forgotten Jan was on Harvey Mason's Earth Mover... haven't heard it in decades...
Jan hammer and jeff beck - GIDS OF FUSION
andy jan hammer wil have a new album out this friday aug 19th called seasons pt 2
Yes I saw that...wish he'd start playing the drums on his albums again...
No argument from me. Maliny Maliny album is such a great album. I kinda wish he did more acoustic albums because his vocabulary at that age was vast but his contribution with other artists more than makes up for it. As a kid I was very happy to see him find success with Miami Vice. Considering his background I loved his lack of snobbery for other genes, he just went for it, similar to Herbie.
A superb musician. Mark's right, he is The Man. Again where's the deserved documentaries on these people?
Try the Elvin Jones albums....
@@AndyEdwardsDrummer I'm a fan of Elvin as well so I do have these albums. I just wanted a few acoustic solo albums from Jan to add to his collection. Cheers Andy.
@@petertrotman7708 for information: Jan Hammer has a channel on youtube. He published some stuff from his cssr period. (Trio with the two Vitous) . Olaf Kuebler has a channel on youtube, where he published "Turtles" Olaf Kuebler & Jan Hammer Trio.
Hammer was the housemusician in the Domizil, Muenchen 1968
@@scoop1178 Thanks for this info. It makes sense that Jan would have his own channel but it didn't click that I should've looked. Thanks again.
Nice try, but I'm not persuaded by your lofty praise for Jan Hammer. Herbie Hancock is the definitive fusion keyboard player for me. His vital link with early electric Miles Davis and then his phenomenal Mwandishi band. And then Herbie's Headhunters. And then all those other electro jazz albums. Zawinul, Corea and Duke would come before Hammer in my estimation.
Herbie never played synthesizer with Miles, only Rhodes . That was Herbie’s thing along with acoustic piano . Not so much in synthesizer (see his synth solo on chameleon ).
@@WyattLite-n-inn I didn't say he played synth with Miles. I said "early electric Miles Davis" and that would mean Rhodes. I'm sorry you didn't read my post carefully.
Tony Smith,the most underrated
drummer?
No...that would be me!!! only joking....
I always wanted Jan to collaborate with Sister Sledge.
They could call it . . . . wait for it . . .
Sledge Hammer.
Or with The Time....
Both of your Heroes have the Status of a total work of art = Gesamtkunstwerk.
Versatile always up to date. Sure your second hero Narada switched for a period only because the family need food. But it is very ok.
The industrial - like productionperiod of JH is very ok too.
To make music for movie and tv on the long term is king class.
The career both had in this industry with great impact on the bank account is part of the art.
I prefer Jan Hammer as a piano player.
As a composer of synthesizer-driven music, he is at the top of the podium
For those concerned: There is no guitar on this album
JH skills and JZ skills are the skills of tamers. But not only to tame the new and newest technical equipment also to create sound you never heart before. (There is a story, Tom Oberheim, listening to Zawinuls playing with an Oberheim polyphonic synthesizer , said it is not possible with my synthesizer)
PS MPS relaunched Malma Maliny
This premise is beyond silly ..
Great video, Andy. However, I think you give too much credit to Jan Hammer in terms of his being the real or primary innovator of jazz fusion. Certainly he did much to "perfect" the genre, but it's hard to believe that McLaughlin, the guy who put the Mahavishnu Orchestra band together to incarnate a very specific vision, wasn't a powerful influence on Hammer (although I doubt Hammer would ever admit it). All the compositions on the first too albums were written by McLaughlin (yes, Hammer and Jerry Goodman griped that they didn't get enough credit, that they were group compositions, but it's obvious the pieces on the first two MO albums were through composed, highly structured and detailed, and that, as you say, the others all added their own contributions to create what we ended up hearing.
(And, btw, have you given McLaughlin's 1971 LP "My Goal's Beyond" a good listen. You'll find a strong Indian influence and phrasing there, with Goodman on violin, along with his trademark quirky melodic lines.)
I believe McLaughlin wanted to fuse rock, jazz and *Indian* music, to create the unique hybrid which became Fusion. The way you describe Cobham's playing could also describe the tabla playing of Zakir Hussain, a friend and colleague of McLaughlin's and a founding member of McLaughlin's Shakti, an insanely magnificent interpretation of Indian music. I attended two nights -- two shows each night -- at the Great American Music Hall in San Francisco where Shakti just destroyed the audience. (Jeff Beck and Billy Cobham were sitting at a table right behind me and both looked absolutely gobsmacked.)
When Hammer was at the Berkeley School of Music, McLaughlin was in Tony Williams Lifetime soon after joined Miles Davis' group. (Do you know how good you have too be to play with *those* cats? :)
And, yes, Hammer certainly wanted to incorporate the sort of Indian style of bending notes, something McLaughlin had already done on the first MO album. I'm sure McLaughlin's phrasing caught Hammer's ear. I recall the first time I saw the MO, in 1972, and Hammer only had his Fender Rhodes. When he soloed the dynamic would drop from the high intensity of Goodman and McLaughlin; that Rhodes just couldn't compete. But the second time I saw them, Hammer had his Minimoog and that was a game changer. And, to my ears, he then had a sound, and a mode of expression, much more similar to McLaughlin's, and the MO soared. I just don't see how you would think the MO's "melodic phrasing and sound" come from Hammer. Just listen to The Inner Mounting Flame. McLaughlin was already a serious student of Indian music and the melodic influence is all over that first MO LP. To say that McLaughlin's sounds "wasn't a sound we hadn't heard before" and that Hammer was the one who brought the unique phrasing and melodic approach is, to me, far off the mark and quite the opposite of what I heard then or hear now.
I recall that in the wake of the appearance of the MO, it seemed everyone was rushing to cop their sound. When I saw Chick Corea's Return to Forever at the Boarding House (San Francisco) in the early '70s, Chick had totally transformed RTF's sound from a Jazz/Latin fusion to full-on Mahavishnu (which my friend who took me didn't dig, preferring the old way). Bill Connors, RTF's guitarist (pre-Di Meola), was dressed in all white and gazing heavenward, à la McLaughlin, and emulating McLaughlin's melodic and rapid-fire approach and phrasing. Heck, it seemed every hot rock guitarist wanted to sound like McLaughlin. I saw both Joe Walsh's Barnstorm and Journey (pre-Perry) open for the MO, and both had sort of gotten all, um, fusion-y.... Not to mention the influence McLaughlin had on Santana and Jeff Beck. These musicians and bands were primarily inspired by McLaughlin's vision as embodied in the MO, and many of them have copped to it openly.
I continued to follow the MO through the Ponty period. The last time I saw them actually billed as the MO, they shared the bill with Jeff Beck at Winterland in San Francisco, in 1975. The band had been reduced to Steve Kindler on violin, and the "Inner Worlds" band, with Stu Goldberg, Ralphe Armstrong and Narada Michael Walden. McLaughlin covered his head with his white hoody the entire time, perhaps a bit embarrassed; the music was definitely not up to par. The Jeff Beck Group brought down the house and saved the evening. (I'll just add that I was the "Apocalypse" band at Winterland in 1974 or so and it was spectacular. They replicated the orchestral sound almost perfectly, and McLaughlin and Ponty had some hair-raising duels.)
I did pick up the LP ("Like Children") that Hammer and Goodman did following their departure from the MO. I'm sure you'll agree that it was a pretty lackluster affair. It has some nice moments, but certainly doesn't make a strong case for those two being the REAL forces in the MO :)
McLaughlin, as you know, continued to innovate and left it to others to carry forward the Fusion flag, to perfect it for the masses. His work with Shakti continued to evolve -- and that guitar he had specially built to accommodate/realize his vision -- and I continued to follow them.
Anyway, sorry for the long-windedness, Andy. I just felt you'd sort of gone a bit overboard in your ascribing influence to Jan Hammer who, as I said, is a wonderful keyboardist and composer. And he'll never give *any* credit to McLaughlin as an influence, which is sad. It was the clash of egos that blew that band apart. All but Rick Laird are alive and it'd be fantastic to see them make peace and, maybe, some music.
Check out Jan here pre MO in 1970 and you van here that dark sound he brought to this band. You can here the MO in those opening chords th-cam.com/video/jTtDIkCo1zQ/w-d-xo.html
@@AndyEdwardsDrummer Sure, I can hear that. I’m not saying that Hammer or the others didn’t contribute to the MO’s sound. I’m saying that the MO’s sound and vision was McLaughlin’s and that the 5 of them brought it to life. But, man, when I first heard them, I’d definitely not heard any guitarist sound like that, nor had I heard compositions like that.. McLaughlin’s fusion of Indian classical, jazz and rock was truly unique. When it hit it changed everything. When Zappa, no slouch on guitar, shared the bill with the MO, it’s said he was blown away and exclaimed, “Wow! THAT’s what I’ve been trying to do this whole time!” When Chick heard them, he told McLaughlin, “I want to form a band like that!” Credit where credit’s due, mate ;) (BTW, I think “Eternity’s Breath - Pt 1” is the f’’’g apotheosis of JL’s vision)
Alright, alright, alright