Originally released in 1969, ‘Hammond Organ Dynamite’ is a crate-digger’s dream—a Dutch rarity packed with fiery grooves, cinematic moods, and the unmistakable pulse of a Hammond B3 organ.

Long lost to dust and under-the-bed boxes, this spontaneous session is finally getting the shine it deserves thanks to Milkcow’s official reissue, still sounding explosive 56 years later.

The story behind it is as surprising as the music. At just 18, Van Zegveld was handed a last-minute studio slot at Soundpush Studios. He’d never played solo before, but jumped in headfirst, calling up famed bassist Ruud Jacobs and drummer Louis Debij for backup. With a weekend to write, he improvised most of the material, including the title track ‘Dynamite.’

The result? A lightning-in-a-bottle LP of funky dancefloor burners and smoky jazz interludes that somehow never found its audience—until now. Released in a run of just 2,000 copies on Park Records, it faded into obscurity. But this Milkcow reissue revives that spark, giving new life to a Hammond-heavy gem born out of pure chance and youthful nerve.

<a href="https://milkcowrecords.bandcamp.com/album/dynamite">Dynamite by Fred van Zegveld</a>

“When I was 16 years old, I started playing in a band—not because I was a particularly good musician at the time, but simply because I owned a portable Farfisa organ. That alone was enough to get me in. Two years later, I was asked to join Roek’s Family, which was a big step up. Around that time, my mother bought me a Hammond B3 organ. That changed everything.

My great hero was Jimmy Smith. I must’ve played his tune ‘The Cat’ a million times. I just couldn’t get enough of that sound.

One Friday, we were recording with Roek’s Family at the famous Soundpush Studio in Blaricum, in the Netherlands. The producer, Wil Luikinga, told me that someone had cancelled a session booked for the following Monday. He asked, “Do you want to record a solo album on the B3?” I was stunned. I’d never played solo before—not on stage, not in clubs, nowhere. I had zero experience as a soloist.

Still, I said yes. I was allowed to pick my own band for the session, which was a bit of a challenge, because I didn’t know any jazz musicians personally. The only name I was familiar with was Ruud Jacobs, a well-known Dutch bassist. I decided to call him, not expecting much—but to my surprise, he said yes. He even brought along drummer Louis Debij, who was fantastic.

That weekend, I scrambled to find material for the session. I composed a few pieces myself, including ‘Dynamite.’ When Monday came, we hit the studio. A lot of what you hear on Hammond Organ Dynamite was improvised on the spot, with huge support from Ruud Jacobs. His playing gave me confidence.

The album was released in a small run of just 2,000 copies on the Amsterdam-based Park label. They gave me a few boxes of records, which ended up gathering dust under my bed for years.

After that, I worked as a studio musician for a while. I kept playing, though not full-time. I also ran a music store in Rotterdam, my hometown, selling pianos and organs. These days, I’m still in the business—but now I sell Italian accordions. I don’t play anymore, though.

As for my time with Roek’s Family, we had one hit: ‘Get Yourself a Ticket.’ With Ginger Ale, we had ‘The Flood.’ Those were good times.

Looking back, I never expected to make a solo album, let alone one that people would be interested in decades later. But I’m grateful it happened—and grateful it’s getting a second life on vinyl.”

Klemen Breznikar

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