0 n ammon MASTERORGANIST

by Lloyd E. Klos

A while back, we learned that the widow off or mer theatre organ­ ist, John Hammond, is living in Bogalusa, Louisiana. With the assistance of ATOS member Howard Jackson, we were put in con­ tact with Mrs. Hammond, who offered to supply background infor­ mation on the life of this Hall of Fame organist. This, then, is the story of John F. Hammond, master organist.

Born in Hempstead, Long Island, Wright, at that time, warden of the in 1894, his paternal grandmother AGO and one of the guild ex­ was a fine concert pianist, and gave aminers. Later, under the same him his first piano lesson when he instructor, John completed a was six. Learning very fast, and thorough course in musical theory. showing remarkable aptitude, he Though gaining credit through then studied under an uncle, William ability as organist and choirmaster in G. Hammond, a choir director and three Brooklyn churches, he soon be­ organist in a large Brooklyn church. came aware that the theatre offered a John's parents vehemently oppos­ broader and more lucrative field. ed their son becoming a musician. There being no school for motion His engineer father, and his mother, picture organists in the early days of an operator of a business school, the profession, the only road to suc­ thought music inferior to their cess lay through actual experience of choice of vocation for him - doctor. the most disheartening kind. The He did attend medical school, but way to advance was to hold a posi­ quit in this junior year, having tion long enough to learn all there studied organ on the side. One of his was to be learned, and then move on standing jokes was, "It's a good to another theatre. thing I dropped out of med school; I John Hammond was first em­ would only have made the under­ ployed as organist at New York's takers wealthy." Vitagraph Theatre. With great an­ So, music won out; it was his ticipation, he looked forward to his prime interest throughout his life. first evening performance. He very He studied organ under Frank carefully chose an opening number

THEATRE ORGAN 5 backdrop and curtains. The organ was used primarily with the or­ chestra in motion picture accom­ paniment. The adjacent Kilbourn Hall, used for student recitals and chamber music, had (still does) a 4-manual Aeolian-Skinner. In a large room on one of the upper floors of the theatre, was housed a 2/8 Wurlitzer, and this was employed for instruc­ tion and practice in the art of silent movie accompaniment, using a film library, a screen and projection equipment. Advanced students were given the opportunity to play the Austin in the theatre, thereby gain­ ing practical experience. There were 11 other practice studios for classical organ study; nine with 2-manual organs and two with 3-manual instruments. This was the scene which John Hammond entered late in 1922. From all reports, he was an excellent musician and a fine teacher. Rosa Rio, who studied under him at the Eastman, says: "He was an excellent teacher and inspired all who studied with him. He loved music dearly and was by far superior to Jesse Crawford as a musician, but never cared for fame or money." In August, 1923, the 16th annual convention of the National Associa­ tion of Organists was held in Rochester. Focal points of the ses­ sions were the Eastman Theatre and the School of Music. Mr. Hammond played a leading role in this affair, demonstrating motion picture ac­ John Hammond poses for a 1924 publicity photo at the console of the Piccadilly Theatre's 4/ 28 Marr & Colton in companiment and acting as a host of New York . (Harold Joi/es collection J the event. (See April 1972 THE­ which would be impressive, since he ander, musical director of ATRE ORGAN.) assumed there'd be a full house . Rochester's new Eastman Theatre, In July, 1924, he accepted the post Everything was ready and at the ap­ announced the appointment of two as organist at the new Piccadilly pointed moment, he played the organists for the theatre and for Theatre at Broadway and 52nd opening chords with great gusto. But teaching organ in the Eastman Street in New York. Installed was a when he observed the size of the au­ School of Music. They were Dezso $60,000 4/28 Marr & Colton, the dience, ''my pride fell like a punc­ von D' Antalffy of New York's largest that firm ever built. The tured balloon . There were but three Capitol Theatre, and John Ham­ theatre opened in September. persons in the theatre!" mond. Selection of Mr. Hammond was He then served successively at the The $5 million Eastman Theatre, made after a nationwide survey of National Theatre in Jersey City; "Dedicated to the Enrichment of theatre organists. While he was Claremont, Strand and Broadway Community Life," possessed what reluctant to leave his position in theatres in New York; and the Strand was described in glowing press Rochester, the off er was so finan­ Theatre in Brooklyn where he was to releases, "The world's largest cially attractive, he couldn't refuse remain for two-and-a-half years. theatre organ." It was a 4-manual, it. His selection was considered a During his tenure at the Strand, he 155-stop Austin, and it was always tribute to the high calibre of the was instrumental in organizing the regrettable that the pipes weren't Eastman faculty. The man who suc­ New York Society of Theatre situated in chambers on either side of ceeded him at the Eastman, was Organists and served as president for the proscenium, rather than in their Harold Osborn Smith, the same two terms. backstage location. As a result, they organist who took Mr. Hammond's In August, 1922, Arthur Alex- had to speak through the orchestra place at the Brooklyn Strand when

6 THEATRE ORGAN APRIL / MAY 1980 the latter went to Rochester. not placed in the exit-march photo-dramatic term, 'action. ' At the Piccadilly, Mr. Hammond category. Consequently, it is "Here, the console elevator comes was featured in a recital every noon. necessary to ref er frequently to the into play - the rising console is a For a time in 1925, his recitals were work and observations of the writer. certain attention-arrester. The broadcast over WGBS, New York. "It is almost an axiom in this day lighting is of utmost importance; the In short, John Hammond was fast of soap advertisements and publicity spotlight must not be too glaring and becoming one of New York's leading men to say that the curiosity and in­ must also reveal the console in order theatre organists. In the February terest of the public must be aroused that the actual manipulation may be 15, 1925 issue of The Metronome, by special efforts if sales are to be under observation. It is of equal im­ appeared an article by him entitled made. An appeal must be made to all portance that the surrounding house "Making a Box Office Attraction of the senses which the human lighting be of such a quality and the Theatre Organist,'' and since we organism possesses. One would character as not to distract attention believe it as important in today's think that music depended entirely from the per/ ormer. Next in the renaissance of the theatre organ as it upon the ear for its reception, and order of importance is the visible was in 1925, we reprint it here: such is indeed the case, but what per/ ormance. In this, we must be about the interpreter? Who receives guided by good taste between the "The theatre-going public in New the salary - the music, the organ or Seil/a of ludicrous acrobatics and the York City presents to the motion pic­ the organist? The answer is quite ob­ Charybdis of uninteresting rigidity. ture organist, problems which are vious. We have, therefore, not to sell The organist must become an actor not to be met with elsewhere. This music; our product is the organist, even as the orchestra conductor, and condition is due to many cir­ and his music and instrument are but every move be calculated to produce cumstances. In the first place, the two of the points in our ballyhoo. a reaction upon his audience. cosmopolitan aspect of the city is "An organist has no auricular ap­ Likewise, he must remember that a more pronounced than in any other peal per se. He can be seen, however, naturally pleasant facial expression section of the country. Then, there is and it is largely through vision that and an easy manner when facing the a predominance of excellent or­ his personality registers. One of the audience for applause are valuable chestral music to be found on Broad­ first requisites, then, is the matter of assets in the creation of a public de­ way. The New York public has been visibility. Unless the audience can see mand. All of the above remarks app­ educated to consider the orchestra of the organist readily from all parts of ly to the rendition of solo numbers in primary importance, relegating the the auditorium, there is little chance a cinema theatre; this branch of the organ to a very subordinate position. that his personality will create an im­ work being obviously the only spot Furthermore, the instruments have pression. Let us suppose that the on the program where personal ap­ not been located with a view to ex­ organist is in a suitable location for pearance is possible. It is worthy of ploitation from a showman's stand­ vision, what next? The attention of note, dear reader, that I have as yet point. Consoles are placed where it is the audience must be concentrated mentioned neither the organ nor the difJicult for the organist to be seen, upon him. This can be done by music to be rendered. and the organ chambers are put in lighting and motion, or to use the "From the audience standpoint, positions from which tonal egress is A publicity picture of John Hammond. The organ is not identified , but judging from the console light , it is a Kimball , limited, if not almost entirely and could be the one in Brooklyn's Mark Strand Theatre where he played in 1926. ( Hammond collection) obstructed. Finally, we have the bat­ tle for supremacy between the straight organ and the unit or­ chestra, a question which the organists have tried to decide for years, but which the public will even­ tually decide without any fuss what­ soever. "It will be readily seen from the foregoing statements that he who would put himself in a place of pro­ minence by per/ arming on a theatre organ in the neighborhood of the white lights has what might be term­ ed a "helluva chance" (which is col­ loquial for a "tough time"). How is it possible to develop a real interest in the organ on Broadway? The writer will probably be accused of egotism on account of frequent references in this article to his experiences. He oc­ cupies the singular position of being the sole featured organist on Broad­ way at the present time. By featured organist is meant one whose solos are

APRIL/ MAY 1980 given an organ of reasonably good In late 1926, Hammond had a stint the Saenger. In a day when Para­ tone (preferably one possessing in­ at the Mark Strand Theatre in mount Pictures operated on the prin­ teresting solo stops), the console is Brooklyn and Dr. Edward J. Bebko ciple of lush and extravagant the most important part of the in­ (Eddie Baker), remembers being in­ theatres to offset mediocre (or strument. Here we are again con­ troduced to him by mutual friend worse) entertainment, the Saenger fronted with the specter of visibility. Raul de Toledo Galvao (Paul Brass). was the last word. The architecture A console with stop keys located on Hammond was first organist at the was authentic Barnum and Bailey, a side panels or one with the stops ar­ Strand, and Galvao was his assist­ Hollywood (synonymous with ranged in straight, parallel rows ant. Galvao introduced him as the Heaven in them days) version of an above the top manual, is poorly laid ''organists' organist.'' Hammond open-air garden with stars in the sky, out for display purposes. In the case spoke in glowing terms of the complete even to the clouds moving of the former, the angle of vision is Strand's 3/22 Kimball: "It has the majestically across the vaulted bad, while the body of the organist best qualities of a concert organ and plaster heavens. almost entirely obscures the stops of the beauty of a theatre organ." "My particular domain was, of the latter. The practice of placing the In early 1927, the multi-million course, the organ. In one particular, console on an elevator is a good one dollar 3 ,400-seat Saenger Theatre the Saenger was a maverick; from two standpoints. In the first opened in New Orleans. This was a originally, it was to be the prize jewel place, the motion of the rising con­ John Eberson-designed house, the in the Saenger Circuit crown. sole, as previously explained, is an atmospheric variety, where on the Sometime during its construction, it advantage, while the elevated posi­ ceiling, friendly stars twinkled and became part of the Paramount tion enables the entire console to be wisps of clouds floated by. Mrs. harem, but in one particular, the on display, as well as the foot work Hammond provided a letter which union was not legitimate. Any true of the perf armer. The crescentic ar­ her husband had written to a friend inmate of the Paramount Seraglio rangement of the stop keys seems to in 1970, and describes some of his ex­ was automatically required to boast be the best type for the purpose of periences at the Saenger. It is so (?) of a large Wurlitzer organ. The display as is evidenced by the fact amusingly written that we reproduc­ Saenger, as become a true Southern that the most prominent of theatre ed excerpts of it here: Belle (ergo, a genuine rebel), was organ designers are practically equipped with a very fine Robert unanimous in its adoption. " The Saenger Theatre opened in Morton organ. "A word now as to the location of 1927. That's 43 years ago. Henry "No theatre organist in 192 7 could the organ chambers. Broadway has Ford's Model A had just hit the know that we were even then singing been singularly unfortunate in hav­ market and some crazy guy was pre­ our swan song and that we were ing either back-stage installations paring to launch a contraption about to become a vanishing race. where any scenery immediately designed to make the movies talk. Of Yet, in two short years, Al Jolson in wrecks the tone, or a relation be­ course, such a ridiculous invention The Jazz Singer sounded the death­ tween organ and console which was impossible; Tom Edison had knell of the theatre organist. In that renders it virtual(y impossible for the tried it years earlier, and if he brief duration, however, my beloved organist to judge the performance couldn't do it, no one could. But, Robert Morton was able to furnish which he is attempting. To obtain someone did! some excellent background music anything like satisfactory results, it is "But, to return to the opening of for the old silents, prostitute itself by imperative that the organ chambers open directly into the auditorium John Hammond at the Austin in the Strand Theatre in Brooklyn about 1921. He played in this theatre about 2 ½ proper, and that the console be plac­ (Hammond collection) ed in the auditorium proper, where the organist can hear himself as others hear him."

As was the case with prominent theatre organists in those days, their pictures appeared on covers of sheet music which the organists used on their programs. John Hammond was no exception. Among the song sheets having his picture were those of "Whispering Eyes," "Down Moonlight Lane" and "Back Where the Daffodils Grow," all in 1924; "Little Love Notes" in 1925 and "For Heaven's Sake" in 1926, the last being inspired by the Harold Lloyd picture of the same name. The notation appears, '' Introduced by John Hammond, organist, now at the Piccadilly Theatre, New York."

8 leading 'audience sings, ' and render a definite service to the cause of good music by presenting Sunday organ programs, contemptuously endured by the management, but remembered to this day by that generation of New Orleans citizens who came to the theatre early on Sundays so as not to miss the organ concert. "The Saenger had been in opera­ tion but a few months when disaster struck. A torrential downpour one night flooded the city. The show at -- the theatre had been over but a short time, and I was in my dressing room under the stage when suddenly the water, which had, unknown to us, piled up against the windows at sidewalk level, suddenly burst Mr. Hammond was a licensed pilot in the days when one flew "by the seat of his pants." (~:;:,;~~;:~i:;i~~) through and proceeded to flood the about 1927, ready to take off - once the plane gets out of the hangar! orchestra and console pit. The con­ sole elevator had been lowered for the night and was threatened by the ed? I could feel the color rising and of 89 theatres in six states. It had an sudden rush of the water. the perspiration starting as I tried_to orchestra platform and the orchestra "I raced through the rapidly rising check the situation without stoppmg was conducted by Castro Carazo. flood and reached for the elevator 'Preislied. 'Suddenly, I looked at the Top stage shows were booked and button. Wonder of wonders! It still stage, and there at the exact center, a great conductors were billed for operated and just long enough for completely indifferent black cat sat weeks at a time, including Ben Black, the console to rise all the way. Then, and contentedly licked its paws. To Art Landry, Ben Bernie, Ted Lewis, the water shorted the wiring and all add insult to injury, the darned Lou Forbes and others. power was cut off. The console and animal cast a bored look in my direc­ Mr. Hammond's assistant cable were not damaged, but the first tion, yawned cavernously and slowly organist at the Saenger was Ray 30 rows of seats in the auditorium stalked off (exit, stage right, as Snag­ McNamara, a local musician and were completely wrecked. It took a glepuss would say). It was too much! ''tops in both organ and piano,'' ac­ couple months for the musty odor to I stopped the music and joined the cording to Rosa Rio, who also dissipate and for new seats and audience in a good laugh! played the Saenger. She played duets carpet to be installed. In the mean­ "Of all the theatres which I played with John, before and after the slave time, I was farced to play in one of during my years as a movie organist, console was installed. Sometimes, the smaller houses on whatever was the Saenger is the only one of which I she played piano on stage while there. have not a single photo of any aspect Hammond played the organ. Under "I also recall the time when we in­ of it. I had a scrapbook of press the pseudonym of John Hassel, stalled a Howard Organ Seat. As you notices, but a diligent search has not Hammond made a few records for know, it was divided with a portion brought it to light. My wife and I Columbia, Diva, Harmony and for each leg, each part moving with have ransacked the joint in vain." Velvet Tone. Anybody remember its respective leg. It also had a com­ these labels? According to the Doner ! ortable back rest which was a swe_ll It should be mentioned here that Record List, Hammond used a idea. But unfortunately, my assis­ Mr. Hammond was a licensed Wurlitzer in New Orleans, and the tant, a long, tall and rather thin girl airplane pilot as far back as 1927: He recordings were made in 1927-28. sat on the seat. The halves parted was also interested in automobiles, John Hammond served as Saenger company and deposited her in a heap having owned at various times a one­ organist for three years. Sound had on the pedalboard, resulting in a cylinder Cadillac, Haynes­ come to the fore in movies, and tumult of protest from the pedal Asperson, Stutz Bearcat, Willys vaudeville was on the way out. Use division. And I do mean tumult! Overland, Studebaker, Flint, Model of the organ had become minimal, so "I also recall the time that I was T Ford several Chryslers and a he pursued other interests. He playing a transcription of the Dodge. 'He never had an accident, bought an accordion and began to 'Preislied' from Die Meistersinger at but once was stopped for driving ten play in night clubs to make a living, one of my Sunday programs. Sud­ in Brooklyn's Prospect Park. "I was the depression having set in, but ~e denly, a very audible titter from my just a kid, had stolen my dad's car to did not particularly care for this audience reached my ears. When take a ride, and didn't know that the facet of show business. However, he anything like that happens, one is speed limit in Prospect Park was had to eat. He had no car at this time, immediately concerned about per­ eight miles an hour!" so had to walk a considerable sonal matters. Has some part of his The Saenger in New Orleans was distance to work. One day, two men clothing become torn or disarrang- the "flagship" of the Saenger chain in a car offered him a lift, and upon

APRIL / MAY 1980 THEATRE ORGAN 9 In this play, a scene required Fon­ In 1944, he moved permanently to da to hit John. In the process, Fonda Bogalusa, La., where he served as slipped and really hung one on his organist, choirmaster and minister adversary! of music of the E.S.M. United Another scene called for John to Methodist Church until his death. In play the accordion, but the Musi­ addition to his church work, he also cians' Union insisted on union scale taught instrumental music and voice. which the director couldn't pay. It Still interested in the legitimate was decided that John would play theatre, he encouraged the Mill the harmonica, which wasn't con­ Town Players which were an sidered a musical instrument, so he outgrowth of a group which met at spent an evening learning to play it Hammond's home to read plays. A for the rehearsal next day. full-scale little-theatre group was the Hammond then became a church result, and he directed its first effort, organist in New York. When the You Can't Take It With You. He Hammond electronic came to the acted in and directed a series of plays fore in 1935, he became the New for 16 years. York sales manager. Though he Active in the Masonic order, John Following his theatre organ days, John Hammond maintained that he was a distant Hammond was a Shriner and a played in churches and on radio. Here he accom ­ panies singer Janis George at the piano over a Detroit cousin of Laurens Hammond, the member of the Order of Amaranth. station . (Detroit News Photo) organ's inventor, John used an alias He died in Bogalusa in October, when working for that company so 1972. that the customers wouldn't com­ Mrs. Hammond says: "As a musi­ being told John's occupation, the ment on the similarity of names. cian, he was a master of improvisa­ driver pulled the car off the road and Former Roxy Theatre and Radio tion. He felt that when one sits on an stopped. It developed that the two City Music Hall organist, Dr. C. A. organ bench for six hours on end, were traveling Evangelists. J. Parmentier remembers John you have to do something, and he One said, "Brother, the Lord has Hammond. "I used to see him occa­ could do anything with a pipe organ! given you too much talent for you to sionally in the early twenties when we His memory was fantastic. No mat­ use like this. We're going to pray for had get-togethers for the New York ter what type music one asked him to you right now, and then take you to Society of Theatre Organists. When play, he could do it from memory: A your destination. But, don't play he became the head of the Hammond Bach prelude, an aria from a another night in the clubs. The Lord offices in the greater New York area Wagnerian opera, show tunes, pop is going to give you some decent around 1936, it was he who engaged tunes. He often said he could play work soon." John was offered me as a salesman. He was always on from memory a thousand selec­ money to tide him over until the my side in our discussions with the tions, but could forget a loafof bread favorable job arrived. powers-that-be concerning im­ at the store. He never saw the men again, but provements, policies, and promo­ "He was a marvelous man to took their advice. Three days later, tion of the Hammond. Also, John know, as well as being a great musi­ he met a friend who offered him a prevailed on the Chicago head­ cian. Young in heart, and remaining small part in the play The Farmer's quarters that I play a series of Ham­ very active until he died, he had a Daughter, starring Henry Fonda. mond organ commercial programs great sense of humor and always John often said that this whole affair over WQXR in New York. looked on the bright side of things." was a turning point of his life. "I remember quite well that It is regrettable that the writer whenever prospects or buyers would didn't learn of John Hammond's ad­ Believed to be the last photo of John Hammond, it come into the Hammond studios, dress until too late to correspond was taken in August 1972 when he played the organ they would invariably say, 'This is a with him. However, we thank Mrs. in the Perkins Chapel on the S.M .U. campus in Dallas, Texas. (Hammond collection) remarkable instrument, but suppose Hammond for her cooperation, for you have to fill a big church, hall or without it, this story would have auditorium?' Our stock answer was, been impossible. 'Why, we could fill Madison Square Fittingly, we quote Mrs. Ham­ Garden (organ volume-wise).' This mond's remarks for the end of our eventually annoyed me. story. "He was a man whose music "I am sorry I don't remember any touched deeply all who heard it. It anecdotes, but I can tell you John was as though the music came from Hammond was a wonderful guy, a Heaven, and he was the instrument truly great personality with plenty of through which it was sent." D kindness thrown in.'' After his years in New York, he spent time as a church organist in Theatre Or~an Chicago and Detroit. Detroit News Want Ad!i clips, dated November 16, 1940, con­ GET RESULTS tained praise of his music played on Try One the carillon on Belle Isle.

THEATRE ORGAN APRIL/ MAY 1980