Jan Hammer: A journey Through Musical Legends
Jan Hammer expresses deep gratitude when reflecting on the iconic guitarists he has collaborated with since his inception into the mahavishnu Orchestra in 1971. “I must have done something right to attract such talent,” the Grammy-winning keyboardist shares during a phone interview from his home in a New york suburb. “My admiration for guitarists has always influenced my synthesizer playing, particularly in melodic improvisation and tone. It’s incredible how many guitarists come to see me perform whenever I play.”
Born in Prague, Hammer’s musical journey began early. His father, a physician, played music to fund his medical education, while his mother was the renowned jazz singer Vlasta Pruchova. Hammer started piano lessons at the age of four and began his professional career as a teenager.
his studies at the Prague Academy of Musical Arts where interrupted by the 1968 warsaw Pact invasion, prompting him to complete his education at the Berklee College of Music in Boston. Following his graduation, he joined jazz vocalist Sarah Vaughan’s band and relocated to New york City, where he became a U.S. citizen in 1978.
Hammer’s interest with guitarists-such as Mahavishnu’s John McLaughlin, Jeff Beck (with whom he recorded six albums), Al Di Meola (four), and Journey’s Neal Schon (two)-stems from their unique abilities. “There’s a certain fluidity in their playing that I couldn’t replicate on a keyboard,” he explains. “The vibrato,bends,and slides were sounds I could hear in my mind but struggled to express until I delved deeper into electronic music and pitch-shifting technology.”
“It was only after I got my hands on a Mini moog synthesizer that I found my true voice. This instrument allowed me to improvise and exchange solos in ways that were impossible on a piano, enabling me to collaborate with these guitarists in a fresh manner.”
In addition to his collaborations, Hammer has released nearly 30 solo albums and garnered Grammy and Emmy Awards for his contributions to the television series Miami Vice. Now at 78, he considers himself “mostly retired,” yet he remains proud of his legacy and enjoys recounting stories about the artists he has worked with throughout his career.
Influences and Collaborations
Miles Davis
“I had just relocated to New York City to tour with Sarah Vaughan when I received a call: ‘Come over tomorrow morning to Miles’ house.’ I was thrilled,” Hammer recalls.”For someone from Eastern Europe,miles was like a deity. I was intimately familiar with his discography; he profoundly influenced my improvisational style.”
“When I arrived, John McLaughlin and Steve Grossman were already there, and we began workshopping ideas. Miles provided cryptic directions, like suggesting we emulate the groove of Crosby, Stills & Nash, which resonated with me as a fan of their music. It was a positive sign from Miles.”
“Even though I was initially not the first choice for Davis’s band-Keith Jarrett held that position-my time with sarah Vaughan led to the formation of mahavishnu Orchestra, which compensated for that missed prospect. Miles would come to our shows, and I cherished those moments spent discussing music with him.”
John McLaughlin
“I first encountered John while he was performing with Tony Williams in Boston, and I was fully blown away. later, we connected in New York City during jam sessions at lofts, where we would invite musicians like Billy Cobham to join us.”
“eventually, I was invited to join Mahavishnu Orchestra, and once we began performing, we instantly understood our musical direction. The impact was palpable, and while some jazz musicians dismissed us as aspiring rock stars, we were creating something revolutionary.”
“playing alongside McLaughlin was seamless; we understood each other’s musical intentions. The synergy among the five of us was exceptional. John’s dedication and virtuosity were evident,and I discovered valuable aspects of my musical history that contributed to our collective sound.”
Jeff Beck
“Jeff and I inspired each other for years. We first met in Switzerland while I was with Mahavishnu Orchestra, and he was performing with Beck, Bogert & Appice. Coincidentally, it was also his birthday, and we ended up at the same hotel, where we discussed our musical interests.”
“It was fascinating to discover our shared tastes; while I was often seen as a jazz musician, I had a deep recognition for rock and rhythm and blues. Jeff was intrigued, and we began exploring the idea of collaborating.”
“It wasn’t until a year later that we recorded on Wired. The chemistry was immediate; we just clicked.I remember picking Jeff up from the airport,only to find that his guitar had been stolen. Fortunately, I had a vintage Stratocaster in my studio, which he used to record ‘Blue Wind.’”
“Our first session was magical; we laid down the rhythm and the lick in one take, with me on drums and Jeff on guitar. The experience was exhilarating.”
“Our collaborations were often dictated by Jeff’s whims; he would sometimes lose interest for periods, then suddenly call to tour. In 1976, we embarked on a meaningful tour and recorded a live album, but shortly after, he unexpectedly canceled our upcoming japan tour, leaving my group in limbo. Despite this, I was always ready to work with him; his talent was extraordinary, albeit unpredictable.”
Al Di Meola
“Al and I were aware of each other through our respective bands, Mahavishnu Orchestra and Return to Forever. He invited me to contribute to his 1977 album Elegant Gypsy, and our collaboration blossomed from there. Al’s unique style, infused with Spanish influences and the Phrygian mode, made our sessions particularly enjoyable.”
“During one rehearsal, a bandmate humorously remarked, ‘I think I’ve got Phrygian poisoning,’ which perfectly captured the essence of our work together.”
“One of our moast intriguing projects was Electric Rendezvous in 1982, where we explored the realms of electronics and synthesizers. Phil Collins and Bill Bruford contributed drums on different tracks, making it a remarkable experience.”
Tommy Bolin
“tommy was a revelation; his effortless playing was amazing. I met him through flutist Jeremy Steig, and we recorded together with Billy Cobham. I ended up playing drums on his album teaser after the original drummer was delayed in traffic, which turned out to be a delightful experience.”
“Bolin was an extraordinary talent, and it’s tragic that his life was cut short.”
Neal Schon
“Neal is a powerhouse of creativity; his musical ideas flow effortlessly. We first met while I was touring with jeff, and Journey was the opening act. I would often join their sound checks, jamming on Billy Cobham’s kit while Neal played his incredible rhythm riffs.”
“after several jam sessions, we decided to record a couple of albums together, including Untold Passion in 1981 and Here to Stay in 1982. Regrettably, our efforts were overshadowed by Journey’s upcoming album, Escape, which featured the iconic track ‘Don’t Stop Believin’.’”
Eddie Van halen
“I had the pleasure of performing with Eddie during the Les Paul & Friends concert in august 1988 at the Brooklyn Academy of Music. The energy he exuded was electrifying; he had an innate ability to captivate a room.”
“eddie expressed his admiration for my work, particularly a track called ‘Jetstream’ from my 1978 album Black Sheep. I was genuinely surprised that he was familiar with my music.”
