The Musical Journey of Jan Hammer
Early Life
Jan Hammer was born on 17 April 1948 in Prague, Czechoslovakia. His mother was a well-known Czech singer, and his father was a doctor who worked his way through school playing vibraphone and bass guitar. Hammer began playing the piano at the age of four, and his formal instruction started two years later. He aspired to follow his father into medicine until a family friend convinced him to develop his musical talents instead.
Formative Years
Hammer formed a jazz trio in high school, performing and recording throughout Eastern Europe at the age of fourteen. Upon entrance to the Prague Academy of Musical Arts, he completed many compulsory classes including harmony, counterpoint, music history, and classical composition. When the Warsaw Pact invaded Czechoslovakia on 20 August 1968, Hammer’s studies at the Academy were cut short.
Moving to the United States
Hammer decided to move to the United States and resolved to become a citizen after receiving a scholarship at Berklee School of Music in Boston. Upon completion of his studies, Hammer spent a year touring with Sarah Vaughan, recorded with Elvin Jones and Jeremy Steig, then moved to New York City.
Joining the Mahavishnu Orchestra
In New York City, Hammer joined the original lineup of the Mahavishnu Orchestra with guitarist John McLaughlin, violinist Jerry Goodman, bassist Rick Laird, and drummer Billy Cobham in 1971. He rose to prominence while playing keyboards with the Mahavishnu Orchestra during the early 1970s.
Success with Miami Vice
Hammer is also known for his film scores for television and film including “Miami Vice Theme” and “Crockett’s Theme”, from the 1980s television program Miami Vice. He has composed and produced at least 14 original motion picture soundtracks, the music for 90 episodes of Miami Vice and 20 episodes of the television series Chancer.
Collaborations and Achievements
Hammer has collaborated with some of the era’s most influential jazz and rock musicians such as John McLaughlin, Jeff Beck, Billy Cobham, Al Di Meola, Mick Jagger, Carlos Santana, Stanley Clarke, Tommy Bolin, Neal Schon, Steve Lukather, John Abercrombie and Elvin Jones. His compositions have won him two Grammy Awards.
Present Day
Today, Hammer continues to work as both a musical performer and producer. His musical career is as firmly rooted in the fundamentals of classical, jazz and rock as it is committed to the future of electronics, synthesized sound, the possibilities of interactive media, television, film and animation.
- “Miami Vice Theme” – This is perhaps Jan Hammer’s most famous composition, serving as the theme song for the 1980s television program “Miami Vice”.
- “Crockett’s Theme” – Another well-known piece from “Miami Vice”, this track is a testament to Hammer’s ability to create atmospheric and memorable melodies.
- “The Talk” – A track from the “Miami Vice The Complete Collection” album, it showcases Hammer’s unique blend of electronic and jazz influences.
- “Theresa” – Also from the “Miami Vice The Complete Collection” album, this piece is a beautiful example of Hammer’s melodic sensibilities.
- “It’s Time” – This track is from Jan Hammer’s 2018 album “Seasons Pt.1”. It’s a testament to Hammer’s continued creativity and innovation in his later career.
- “Country and Eastern Music” – A track from the album “Like Children” which he released with Jerry Goodman in 1974. It’s a great example of his fusion of different musical styles.
- “Darkness/Earth In Search Of A Sun” – The opening track from his 1975 album “The First Seven Days”, it’s a showcase of Hammer’s compositional skills and his ability to create evocative musical narratives.
- “Oh, Yeah?” – The title track from his 1976 album, it’s a great example of Hammer’s jazz-rock fusion style.
- “Magical Dog” – A track from his 1977 album “Melodies”, it’s a showcase of Hammer’s melodic creativity and his skill as a keyboardist.
- “Jetstream” – The opening track from his 1979 album “Black Sheep”, it’s a high-energy piece that showcases Hammer’s skill in creating dynamic and exciting compositions.
