We use cookies to personalise content, serve ads, and analyse traffic.
Lesson time: (1min 58sec)
Joe Glossop explains what sets a good Hammond player apart: understanding how the organ's role in a band differs from piano or keyboards, rather than just transferring what you already know.
This lesson is part of the course Authentic Hammond Language for Soul & Jazz
Watch a preview of the full course below.
Lesson transcript:
I think what makes a good Hammond player is a fundamental understanding in the difference between keyboard instruments and a Hammond organ.
It's the approach, I think, that differentiates your role in an outfit. In any kind of context, your role is usually quite different, and what you can contribute is quite different.
You've got to take on a different role and understand that role. Rather than trying to recreate what you might already know on a piano or a keyboard, it's that fundamental understanding that is essential.
Not everyone should learn to play the Hammond organ. People that really love it should. Hopefully, they're going to get the tools to truly understand the instrument, get the best out of it, and approach it in a way that utilizes all the amazing sounds you can get from this thing.
I think people sometimes don't make the most of it when they don't have that fundamental understanding. So hopefully they'll get that.
All the tunes I've chosen, I chose because I love them.
This music is very much from, I would say, the late 50s to the early 70s.
I mean, the Hammond, really, Jimmy Smith is the obvious kind of guy that popularized it in jazz before rock existed, you know, in the mid-50s, along with Bill Doggett and people like that before that.
But, yeah, I think this music very much is from the mid to late 50s until the early 70s sort of thing. And then synthesizers took over more and fell out of popular use.

Joe Glossop is a keyboard player from Sheffield who has made his name on the Hammond organ. He currently holds the organ chair in Tom Jones's touring band, and has played with Van Morrison and James Hunter, as well as on piano and Rhodes. His courses get the real Hammond sound out of any keyboard - drawbar registration, the Leslie, the walking-bass left hand, and the comping and soloing vocabulary of the soul-jazz, blues and rock organ traditions, from Jimmy Smith to Booker T. read more