The legendary Hammond B-3 organ was the focal point of a special, three-hour feature on the Dec. 19 edition of Greasy Tracks. In addition to a wide range of music featuring the B-3, Hammond players Brian Auger, Zoot Money and Matt Zeiner were all interviewed.
Click here to check out an archive of the program, while a playlist is here.
The Hammond organ first appeared in 1935 and although many models have been produced, it’s the B-3 — introduced by Laurens Hammond in 1939 — which remains the most popular.
The B-3 features two, 61-note keyboards which are known as manuals; nine pre-set keys and nine drawbars for each manual; and a number of different pedals. Initially built for use in churches, the B-3 was later marketed for home and studio use. Due to the fact that it weighed in excess of 400 pounds, it was hardly the assignment any roadie would want to be tasked with moving for a touring band.
Based upon the design of the B-3, the organ is known for its versatility and “warm” sound, often enhanced when paired with a Lesley speaker. The innovative unit featured a pair of rotating speakers — low and high frequency drivers — which can turn at a number of different speeds, thereby “moving” the sound.
In time, Hammond organs, especially the B-3, were finding their way into band line-ups throughout the jazz, blues and rock music ranks.
Brian Auger and Zoot Money were Hammond aficionados and equally in the middle of the burgeoning jazz-meets-blues environment of 1960s England. As both were influenced by the likes of Jimmy Smith and Jack McDuff, each was key to mainstreaming the organ, namely the B-3, in the growing rock market which help fuel the “British Invasion” of the United States.
Following a studio appearance playing harpsichord on the Yardbirds’ version of “For Your Love”, Auger formed The Steampacket with singers Long John Baldry, Julie Driscoll and Rod Stewart. He and Driscoll later were part of The Trinity which formed in 1966. Their version of Bob Dylan’s “This Wheel’s On Fire” reached No. 5 on the U.K. Singles chart. In 1970, he merged jazz and rock, forming Brian’s Oblivion Express which helped usher in jazz fusion. The group released a number of well-received studio and live albums. Earlier this year, Auger released
Money’s Big Roll Band, which he formed in 1961, continues to perform to this day, albeit with a different line-up than the original. Between this group and a variety of other bands he worked with, including, Alexis Korner’s Blues Incorporated and Dantalian’s Chariot, Money turned down one invitation to join the Animals in 1965 — when Alan Price left the band — before ultimately linking up with a renovated and renamed Eric Burdon and the New Animals in 1968. An avid session player, Money would go on to work in television, doing everything from scoring music, playing sessions and directing/producing for radio and television.
As a youth, Matt Zeiner was taught piano by Al Anderson’s mother. Zeiner’s father, Ray, played with Anderson in The Wildweeds. The Windsor-based band was regional favorites and flirted with national exposure before breaking up with Anderson joining NRBQ. Matt’s first experience with the famed organ was getting an electrical shock as a three-ear-old from his father’s B-3 set-up in the family living room. He says that only boosted his interest in the unique instrument. He cut his teeth touring with Matt “Guitar” Murphy before joining Dickey Betts’ Great Southern for four years. Following a stretch of time that he balanced between leading his own band and doing session work, Zeiner joined The Weight Band nearly three years ago, Zeiner’s primary role in the band is to conjure the sound of the famed Gath Hudson who played a vital role in creating the unique sound of The Band. Since Hudson mainly played a Lowrey organ, Zeiner gives a great comparison between the Lowrey and B-3.