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Hammond finds new energy in the blues, abandons cliches

By Joe Derderian

Through some 45 years of performances since his self-titled 1962 Vanguard Records debut, blues artist John Hammond has somehow managed to keep his music both fresh and relevant -- strange for a man who has never professed to be a songwriter.

Hammond’s role has been mostly that of messenger, spreading the gospel of both classic and lesser-known blues songs to a wider audience. Remarkably, and as testament to his skill and prowess, Hammond has done so without succumbing to any of the prevalent blues clichés that so often threaten to destroy the form.

Hammond was present during the blues renaissance of the mid-1960s that spurred interest in many of the great, classic blues players. The careers of musicians such as Skip James, Reverend Gary Davis and Mississippi John Hurt were all renewed during this period.

While Hammond gained his following largely through the reinterpretation of classic blues songs, this non-traditional traditionalist has readily assimilated the essence of the many songs he’s learned over the last four decades and made them his own; Hammond is far more than a mere “covers” musician, and has more than 30 albums and multiple Grammy nominations to prove it.

Having played with and learned from such musical luminaries and friends as Muddy Waters, Howling Wolf, J.J. Cale and the Band, Hammond has only recently really begun writing original material. Hammond’s most recent release, 2007’s Push Comes to Shove, evokes a new energy and drives a dozen songs of upbeat blues ever forward.

Produced by Philadelphia singer/guitarist G Love (nee Garret Dutton III), himself a longtime Hammond aficionado, Push Comes To Shove is a dynamic leap forward for the 65-year-old musician. Hammond is so comfortable in the role he has created for himself that he’s unafraid to, well, push and shove those boundaries. The resulting album accurately captures the real fire and spark of Hammond’s live performances.

Perhaps because Love is such a fan, he “gets” Hammond, and the resulting music is all the richer for it. Hammond pours his heart into his guitar and harp work, and his soul emanates from the music. On Push Comes to Shove, Hammond remains grounded in his roots, but pushes the boundaries of his signature style with the aplomb of an artist who not only knows what he wants, but how to get it.

In fact, where the hip-hop flavor of his most recent version of “I’m Tore Down” would sound contrived in lesser hands, Hammond (expertly accompanied by Love) pulls it off naturally and resolutely. Love’s production captures both the mean, soulful growl of Hammond’s guitar, and his raw voice snarling and roaring over Hammond’s excellent backing band.

Push Comes to Shove staggers, pounces and struts, but never falls flat. Further, it makes the influence of Hammond on the music of the younger Love readily apparent, and one hopes Hammond’s efforts will grab the attention of yet another generation of fans.

John Hammond will appear at the Campbell Steele Gallery, 1064 Seventh Ave. in Marion, Thursday, Jan. 31, at 8 pm. Presented by Liar’s Theater, tickets are $25, and available by calling the Campbell Steele Gallery at (319) 373-9211, or Liars Theatre at (319) 899-8444.