The organ was once universally known as the "King of Instruments", be it pipe or electronic. This was especially true in the 1950's, when organ became a significant voice in pop and 'easy listening' music. The moniker was due to the fact that the organ could serve as a one-person orchestra and simulate many different sounds, and the player could play all instrumental parts, including the bass parts with his/her feet. The organ had the ability to take many pieces of music popular in the day (e.g., film, show, and TV themes, popular orchestral pieces, etc.), and enable one person to replicate them or rearrange them. It could also alleviate the necessity to have an orchestra or full band on hand in many situations, because one player could create such a full sound.
So, in addition to becoming wildly popular in homes throughout the world, where amateur organists by the score could create miraculously full sounds with only a modicum of ability (especially when all of the 'auto-play' features came around), the organ developed its own roster of 'stars'; virtuosos who could really play, could extract the most out of this mighty instrument, and dazzle audiences and become celebrities in the process.
Among the first major organ stars in the 1950s were Jesse Crawford and Ken Griffin, who usually played in a very melodramatic and not very rhythmically propulsive style. They were big influences on the next generation, whose major stars were probably Lenny Dee and Klaus Wunderlich. The market was flooded with LPs of organists playing major pop hits of the day and orchestral adaptations, some really good, many execrable. A great many of the lesser quality ones on minor labels by no-name players were touted as "In The Style Of Ken Griffin" – buyer beware any album that has these words! This is usually hideous stuff.
Eddie Layton may not have been the biggest star, but he was a bright one, and was surely one of the most imaginative organists of all in the 1950s. After childhood study of music and subsequent study of meteorology, he enlisted in the Navy, where he met the Hammond Organ for the first time. He was drawn to it immediately, and after the war he sought out the esteemed Jesse Crawford to study with. He landed a gig playing at Radio City Music Hall frequently, and then at CBS, where he spent years playing the typical slushy musical backdrops for soap operas, most notably "The Secret Storm".
This led to his meeting a gentleman named Michael Burke, who ran the New York Yankees after CBS bought the team. Burke offered Layton a job playing the organ at Yankee Stadium starting in 1967. Layton knew nothing about baseball at the time, stating that he thought "a sacrifice fly was an insect". He nonetheless decided to give it a shot; even after Eddie's objections that he didn't drive or own a car, Burke countered with an offer of permanent limo service to and from the games from his home in Queens.
It worked out pretty well. Layton held the job for 37 years until the end of the 2003 season, and became as nearly as indelible a part of the Yankee Stadium experience as anyone. In the process, he forged new ground through his (as he put it) "cheering with my music". He claimed to invent the now de rigueur bugle-esque "Charge" (F-Bb-D-F---D-F!), although this is open to debate, as someone who frequented Shea Stadium a few years prior with a trumpet lays claim to it also.
No matter. Layton, along with Gladys Gooding, Jane Jarvis, and many others, helped put the sound of the organ in everyone's ears as part of the baseball game fabric, and it exists to his day, although not as prevalently as in the past. Layton also played for the Knicks, Rangers, and Islanders along the way, making him the answer to an oft-bantered trivia question about who 'played for' all these teams. He was not the first baseball organist, and not even the first at Yankee Stadium (a gentleman named Toby Wright apparently played there in 1965-66), but Layton is probably the most recognizable name and a true pioneer in stadium organ.