John Hammond has finally arrived. Decades into a career dedicated to crafting faithful reproductions of traditional acoustic blues, Hammond, 67, has made the remarkable transition from the role of a reverent revivalist to an authentic blues original.
"I picked up a guitar in 1960 and started playing professionally in 1962," Hammond said Friday at the 14th annual Gladstone Summertime Bluesfest. "Forty-eight years later I'm hanging in there pretty good."
That's an understatement. Hammond's virtuosic ninety-minute solo set was anything but an exercise in nostalgia. As he enlivened dusty old songs, Hammond made a convincing case that the material is no less vital or relevant than it was in the first half of the 20th century.
A reading of Robert Johnson's "Come On In My Kitchen" revealed Hammond's genius. Not only did he capture Johnson's haunting sense of desperation, Hammond uncovered new layers of anguish in the blues classic. His take on "Hard Time Killing Floor Blues," Skip James' morbid dirge, was similarly terrifying. An exquisitely delicate interpretation of Blind Willie McTell's "Savannah Mama" reveled in sadness.
While Hammond's renderings of bitter songs about heartbreak are his strongest suit, a tough take on Sonny Boy Williamson's defiant "Fattening Frogs For Snakes" provided a refreshing dose of levity. Much of Hammond's strong original material also relies on humor. "You Know That's Cold," "Come To Find Out" and "Eyes Behind Your Head" combined an unflinching acknowledgement of life's challenges with a rollicking sense of fun.
The self-deprecating anecdotes Hammond shared between several of his 19 selections were also amusing. Stories about his heroes were particularly fascinating.
"Big Joe Williams was about five-foot-nine by five-foot-nine," Hammond recalled. "He kind of looked like a bullet."
Hammond's riotous playing on a National steel guitar during Williams' "Little Leg Woman" was the sole instance of overt instrumental showmanship. While it was loaded with substance, Hammond's harmonica playing was similarly free of flash. The mournfully evocative harmonica salvo that opened Lightin' Slim's "Mean Ole Lonesome Train" was imbued with a deep sense of longing.
Hammond's vocals were the most obvious indicator of his startling artistic development. Barely serviceable on his first recordings, Hammond's voice has become a strong, soulful instrument. While his innate talent has always been apparent, Hammond sounds like an earnest but awkward imitator on much of his early work. While the quality of his music has consistently improved, few could have predicted Hammond's stunning late-career renaissance. He received an enormous artistic and commercial boost when he collaborated with Tom Waits on the excellent 2001 album Wicked Grin.
"The record sold more than anything I ever made," Hammond marveled.
His take on Waits' "Get Behind the Mule" fit in seamlessly with the set's traditional blues material.
Not everyone in the audience of about 2,000 was thrilled by Hammond's nuanced performance. Many treated it as background music. Fortunately, the festival's spacious layout accommodated both serious fans and casual observers. A few dozen of Hammond's admirers crowded near the stage during his set. Situated in suburban Oak Grove Park, the festival offers plenty of shade from mature trees and fine sound reproduction from a relatively elaborate amphitheater. The refreshingly casual atmosphere allows children to room to roam while many of their adult counterparts indulge in pitchers of beer.
Hammond's appearance was bookended by two screeching blues-rock trios that were more to most of the audience's liking.
The festival opened with Fast Johnny Ricker's crowd-pleasing hybrid of boogie and classic rock. A solid cover of Cream's "Politician" reflected his intentions. Even when he played blues standards, Ricker's searing guitar work was more akin to Robin Trower than B.B. King. The approach has earned Ricker a loyal following in the Kansas City area.
The burly barroom blues of a band led by Florida-based Albert Castiglia closed Friday's show. An impressive reading of Fenton Robinson's "Somebody Loan Me a Dime" was heartfelt.
That's an understatement. Hammond's virtuosic ninety-minute solo set was anything but an exercise in nostalgia. As he enlivened dusty old songs, Hammond made a convincing case that the material is no less vital or relevant than it was in the first half of the 20th century.
A reading of Robert Johnson's "Come On In My Kitchen" revealed Hammond's genius. Not only did he capture Johnson's haunting sense of desperation, Hammond uncovered new layers of anguish in the blues classic. His take on "Hard Time Killing Floor Blues," Skip James' morbid dirge, was similarly terrifying. An exquisitely delicate interpretation of Blind Willie McTell's "Savannah Mama" reveled in sadness.
While Hammond's renderings of bitter songs about heartbreak are his strongest suit, a tough take on Sonny Boy Williamson's defiant "Fattening Frogs For Snakes" provided a refreshing dose of levity. Much of Hammond's strong original material also relies on humor. "You Know That's Cold," "Come To Find Out" and "Eyes Behind Your Head" combined an unflinching acknowledgement of life's challenges with a rollicking sense of fun.
The self-deprecating anecdotes Hammond shared between several of his 19 selections were also amusing. Stories about his heroes were particularly fascinating.
"Big Joe Williams was about five-foot-nine by five-foot-nine," Hammond recalled. "He kind of looked like a bullet."
Hammond's riotous playing on a National steel guitar during Williams' "Little Leg Woman" was the sole instance of overt instrumental showmanship. While it was loaded with substance, Hammond's harmonica playing was similarly free of flash. The mournfully evocative harmonica salvo that opened Lightin' Slim's "Mean Ole Lonesome Train" was imbued with a deep sense of longing.
Hammond's vocals were the most obvious indicator of his startling artistic development. Barely serviceable on his first recordings, Hammond's voice has become a strong, soulful instrument. While his innate talent has always been apparent, Hammond sounds like an earnest but awkward imitator on much of his early work. While the quality of his music has consistently improved, few could have predicted Hammond's stunning late-career renaissance. He received an enormous artistic and commercial boost when he collaborated with Tom Waits on the excellent 2001 album Wicked Grin.
"The record sold more than anything I ever made," Hammond marveled.
His take on Waits' "Get Behind the Mule" fit in seamlessly with the set's traditional blues material.
Not everyone in the audience of about 2,000 was thrilled by Hammond's nuanced performance. Many treated it as background music. Fortunately, the festival's spacious layout accommodated both serious fans and casual observers. A few dozen of Hammond's admirers crowded near the stage during his set. Situated in suburban Oak Grove Park, the festival offers plenty of shade from mature trees and fine sound reproduction from a relatively elaborate amphitheater. The refreshingly casual atmosphere allows children to room to roam while many of their adult counterparts indulge in pitchers of beer.
Hammond's appearance was bookended by two screeching blues-rock trios that were more to most of the audience's liking.
The festival opened with Fast Johnny Ricker's crowd-pleasing hybrid of boogie and classic rock. A solid cover of Cream's "Politician" reflected his intentions. Even when he played blues standards, Ricker's searing guitar work was more akin to Robin Trower than B.B. King. The approach has earned Ricker a loyal following in the Kansas City area.
The burly barroom blues of a band led by Florida-based Albert Castiglia closed Friday's show. An impressive reading of Fenton Robinson's "Somebody Loan Me a Dime" was heartfelt.
While Ricker and Castiglia respectfully acknowledged masters of the blues, Hammond demonstrated that he's the genuine article.
| Bill Brownlee, Special to The Star
Thanks for the thorough review. Hammond's version of "No One Can Forgive Me But My Baby" is what got me into the blues back when I was 15. His style can be just ferocious, almost like a train about to go off the tracks, but then it rights itself in the nick of time. To a 15 year old mostly into rock, that can be pretty appealing.
I overheard someone up front at the Gladstone show mention how few people in attendance probably recognized the brilliance and blues royalty that is John Hammond. Regardless, I think they appreciated the show and I hope he makes it back soon.
Thanks much to the Gladstone fest for getting John back to the midwest.
Posted by: byebluemonday | June 12, 2010 at 04:30 PM
John has always been much better live than on a record.
Excellent review, sorry I missed the show.
Posted by: Orphan of the Road | June 13, 2010 at 12:47 PM
For the thousands of alleged music fans who didn't bother going to see Duke Robillard last Thursday night, Duke spotted John Hammond in the meager audience and brought him onstage for a song. And very good it was too.
Posted by: Chubby | June 14, 2010 at 09:34 AM
That's awesome Chubby. Sorry I missed that but I have been out of town.
And thank you for an excellent review Bill. Local blues shows are often overlooked in this column (The BB and Buddy shows excepted) which always baffles me since KC is second only to Chicago and maybe NO and Memphis when it comes to blues.
Posted by: NEW | June 14, 2010 at 01:42 PM
Was unable to attend due to the Jason & Scorchers show that same night at Knucklehead's but I got a similar review on Friday night's set from a friend who was there. Did get to see Charlie Musslewhite the next night (Grady Champion was a nice, energetic surprise before him) and he was stellar as well. Thank you again, Gladstone for bringing in such an excellent and FREE festival. They may have outdone themselves this year with two blues acts of such noteworthy status...kudos.
Posted by: pellboy | June 15, 2010 at 08:47 AM