As a jazz critic, Hammond's main theme was that white players couldn't match the "unbuttoned freedom and swing of a superb Negro rhythm section" - the foundation necessary for great improvisation - and for this stance he was called a "nigger lover," among juicier things. Undaunted, Hammond began to write on social issues as well as music for The Nation.

In '32 he covered the Scottsboro case in Alabama (nine black youths were framed for raping two white women in a freight car) which eventually went to four trials, the Supreme Court twice, and scored a moral victory in that none of the defendants were executed (although some died in custody). Hammond helped finance the first appeal and second trial by staging a benefit concert with Benny Carter's Orchestra and Duke Ellington playing solo in New York. Hammond soon after joined the board of the NAACP.

Returning to music, Columbia recording director Ben Selvin asked Hammond if he knew of any jazz artists who should be recorded. Hammond's first choice was Fletcher Henderson, the Father of Swing, whose arrangements were the first to allow room for his whole band to improvise. Henderson, always his own worst enemy, showed up late for the session, and only had time to record two songs - "Underneath the Harlem Moon" and "Honeysuckle Rose" - but the session remained one of Hammond's favorites.

In '33 Hammond tracked down Bessie Smith, who hadn't recorded in some time, and recorded one of her best-known songs, "Do Your Duty." Hammond again financed the session himself and integrated it by including Benny Goodman. Goodman was a tough guy from Chicago, whom Hammond called "one of the most important people in my life" in the PBS special John Hammond - From Bessie Smith to Bruce Springsteen.

Hammond thought their close relationship was odd (Goodman later married Hammond's sister Alice) because Goodman "didn't have much of a social point of view and couldn't understand why I did, but he loved black music," said Hammond.

Goodman, to become the greatest white musician in jazz history, then made his living playing as a session man and fronted an all- white band. He told Hammond that if anyone knew he played with black musicians, he would be barred from work. New York was as segregated as Birmingham in '33. Hammond's first two records with Goodman were with an all-white group, and were moderately successful.

Hammond then took Goodman to see Billie Holiday and they recorded together in late-'33 - the color line was broken, at least in the studio. Hammond then brought in black piano player Teddy Wilson from Chicago and he began to record with Goodman. Hammond encouraged the formation of a small jazz combo, and the Benny Goodman Trio with (great white drummer) Gene Krupa and Teddy Wilson was formed.

Throughout the '30s Hammond and Goodman broke barrier after barrier when first Wilson, then vibraphonist Lionel Hampton and electric guitar great Charlie Christian were added to the Goodman band, which became among the most popular in the land. Hammond brought in Fletcher Henderson to write arrangements for Goodman and the swing swung like never before.