Gerald Clayton’s Latest Project

http://www.artistshare.com/home/project_experience.aspx?artistID=122&projectId=203

John Clayton on the cover of JazzTimes!

John & Gerald Clayton, Sachal Vasandani Review at Sweet Rhythm.

This was one of those nights when nothing went as intended but it all worked out in the end.

Confronted by a vast array of jazz options on day 2 of my new York visit, I deferred making any plans until about 7:00 p.m., when I settled on a nice, arcing trajectory from midtown up to Harlem. It was a risk to set out without reservations on a Friday night, and sure enough the first stop on the tour was sold out. As was the backup. Stupid APAP Conference! So I scrapped everything and wandered around the West Village looking for some action (wait, that doesn’t sound quite right…)

As I was passing Sweet Rhythm on my way to another venue, I spied bassist John Clayton entering the club. I followed. As it turned out, there was an APAP showcase concert just getting underway. Serendipity!

First up was twenty-something singer Sachal Vasandani. Decked out in tie, vest and blue jeans, Vasandani swerved between smooth crooning and in-your-face belting. On his uptempo numbers, I was reminded of Bobby Darin. Some slower pieces, however, seemed to owe just as much to singer-songwriters of the Joni Mitchell school. Vasandani played nimbly with rhythm and time throughout, stretching syllables to the breaking point or twisting up phrases into tight knots. As he sang, his left hand offered a sort of running commentary to the vocals—making an expansive gesture here, jabbing a fist there, pointing skyward.

I must be honest, this sort of thing isn’t really my cup of tea. But it made a good warm-up to the evening, and the capacity crowd ate it up.

The father/son duo of John and Gerald Clayton followed, in an exuberant, infectiously swinging set. Trading off lead and comp roles, the Claytons made every cliché about the psychic interplay of family bands ring true. At the piano, Gerald displayed a hybrid style: soaked in the fullness of jazz history, but also marked by a freshness and sense of spontaneity. His father was expressive and convivial on bass, fingers crooked at a perfect 90-degree angle as they flew merrily along the strings.

“People ask me, aren’t you proud to be playing with your son?” mused the elder Clayton between songs. “Or they say they can see the pride on my face. Well that may be there, but really I’m just happy my son has found something he’s really into that gives him a means of expression.”

The depth of that expression—and a sampling of what this duo is really capable of—came in a gorgeous, unidentified piece near the end of the set, a sharp detour from the happy-go-lucky swing tunes. John opened up with a deep, lonely bass solo, followed by a glistening piano response that could have been a classical etude. When the two finally came together in a sweetly dancing stream of notes, twining and seemingly breathing through the music, the effect was rapturous.

http://www.jazzobserver.com/blog/article/review_sachal_vasandani_john_gerald_clayton/

MidwestRecord.com loves the Clayton Brothers!

CLAYTON BROS/Brother to Brother: 

These well pedigreed jazzbos made the record ‘da man’ wouldn’t understand how and why to make, but the fans were quick to gravitate to funding this set so it could be seen from conception to execution.  Based on the premise that there’s been a lot of solid jazz brother acts, this does a lot of cap tipping to the Adderleys and the Jones (saving the Heaths for V. 2?).  Playing with the freedom that comes from being able to do your own thing for the people that want it, the Claytons, with some various sidekicks, make this more than a memorable trip down memory lane.  A must session for straight ahead jazzbos that know and want the real deal.
-midwestrecord.com

Clayton at Columbia College of Chicago

Where does inspiration come from?  As present and future stars of the stage gathered in Columbia College of Chicago’s music building, we sat silent hoping to hear a whisper of genius from a true master.  John Clayton was in the building, and everyone felt his presence.

With the help of the famous Chicago club The Jazz Showcase, and the diligence of Scott Hall, director of Jazz studies at Columbia, students and faculty were treated to words of wisdom by the world renowned bassist.  Clayton, a praised teacher and mentor as well as musician, shared his thoughts on creating “truth in art”. 

Standing around six foot five with hands that resembled a lumberjack, the teacher asked the apprehensive class if there were any volunteers who would play a tune.  The brave souls who ventured to the stage performed, then waited, nervously.  Clayton approached the stage grinning.  As he began, there was a different presence about him than many of the snobby cats jazz has a habit of producing.  He spoke about honesty.  He spoke about clarity.  These were his mantras.  

When students are learning a new language, it is important to be very clear.  They may not have the same vocabulary as a novelist, but they are capable of communication.  At the same rate, the novelist should not put the student down for his lack of knowledge, he should encourage him instead.  Clayton agreed this approach should be applied to music.  Jazz is a highly nuanced language.  It revolves around command of time, articulation, sound, rhythm and pitch choice.  His mantra revealed his approach to making worthwhile art.  “You must communicate honestly and clearly”.  It is often easy to think of someone like John Coltrane as a great artist because of his unbelievable control of his instrument.  But when it comes to a songwriter like Kurt Cobain, his artistry can be questioned.  Clayton believed both artists put their hearts into their music, and communicated very clearly within the language they chose to speak.  

“You will never play a bad solo”, Clayton exclaimed.  “You will never play a good solo”, he followed.  He was reaching the level of musical philosophy within twenty minutes of his arrival.  It is hard to believe this Grammy winning, composer, arranger, teacher and artist does not believe he will ever hear or play a good solo.  His approach is based on his first mantra of clarity and honesty.  These should be the only judges of a solo or a composition.  The rest is up to interpretation.  One could judge if a solo was clear in terms of cohesiveness with the band, but could anyone ever tell another person that they were not playing from their heart?  Enter: the second mantra.

John Clayton has played on records with big names.  BIG names.  He has also ascended the slippery musical totem pole made great by the big names that came before him.  Being a part of something as beautiful as music, and creating it with peers is one of the most astonishing human endeavors.  When Clayton was coming up as a youngster, he often wondered why some of those BIG names chose him as their bassist.  “Why was I worthy of such a position when there were so many others who deserved it more than me”, he asked the class.  He paused, and in a very serious, yet joyful tone he answered, “I may not be worthy, but I belong here”.  A collective gasp was let out by the audience.  In one sentence he empowered an entire room.  Moments passed as we breathed deep the air of a new life, a new lease on artistry.  

As a performer Clayton lived by his two mantras.  He also seemed to live by these two mantras a man.  His approach towards his students is patient and direct.  His approach towards music is clear and honest.  He stands as a truly great musician, and an inspiring man to be around.  

Although John Clayton did not play a single note in our presence, those who could transcribe just a taste of his style, were on a new path towards artistic freedom.  People are the ones creating art.  If a person does not feel it in their heart, they will never get anyone else to feel it in theirs.  If they are unclear in life, their audience will feel confused.  Honesty and clarity are the basis of artistry.  Speak up, or forever hold your peace.    

Oct. 2008

Benny Golson at the Kennedy Center

The Eisenhower Theater is the smallest on the main floor of the John F. Kennedy Center for the Performing Arts in Washington, but that’s not to say it’s modest: the three-tiered theater seats 1,100 and is as grandiose as any stage in the venue. This was the site of the equally grandiose “Benny Golson at 80” on Saturday night, January 24.

Even by the Kennedy Center’s opulent standards, Golson’s performance was no mere concert, but a full-on gala. Hosted by Danny Glover, the evening featured the legendary tenor saxophonist and composer performing with the Clayton-Hamilton Jazz Orchestra (CHJO) and leading two small combos—his new lineup for the Jazztet and an all-star quintet featuring trombonist Curtis Fuller, pianist Cedar Walton, bassist Ron Carter, and drummer Al Harewood—plus guest appearances by classical pianist Lara Downes, vocalist Al Jarreau, and the Uptown String Quartet. Not to allow a humdrum moment, sections of a specially produced documentary of Golson’s life were screened during transitions between bands. The performance of the program easily matched its ambition – oddly, however, its weakest element turned out to be Golson himself.

Partly the problem was a technical one. Through the first half of the show, Golson (who wore a snappy suit and a large, contented smile) was poorly miked; his levels were so muffled that he was barely distinguishable from the CHJO on the opening “Along Came Betty.” His quiet was a surprise, but not terribly disconcerting given “Betty’s” gentle arrangement. It wasn’t until Golson joined the all-star quintet to play “Love, Your Magic Spell is Everywhere” and “Five Spot After Dark” that something was clearly amiss: the volume on the microphones was too low.

Even so, in the small combos Golson seemed the only one not to compensate for the amplification. On “Five Spot,” for example, Fuller’s trombone was aggressive and swaggering, and Walton, though steely as ever, launched a galloping piano solo. The same proved true of the Jazztet pieces: In particular, trumpeter Eddie Henderson and drummer Carl Allen were consistently loud and energetic, and Steve Davis met their verve on his own “Grove’s Groove.” Golson, though perfectly deft and inventive in his solos, somehow felt detached—as though he’d just as soon be watching TV in his hotel room.

The technical glitch was fixed in the second act, the tenor in its rightful place as the dominant sound onstage. Its practitioner, however, still seemed uninspired, though less so, when the Jazztet returned for “Uptown Afterburn” (likely the best performance of the night, with the rest of the sextet firing on all thrusters) and were joined by Al Jarreau for “Whisper Not.” It wasn’t until Golson returned to the CHJO for “I Remember Clifford” that he was truly engaged—mindful of the tragedy of the song’s namesake, Clifford Brown (which had been recounted in the film), Golson’s horn suddenly bore all of the nostalgic sadness along with his standard virtuosity and imagination. This was the Benny Golson we’d been hoping to see.

If the honoree was having an off night, it wasn’t spreading. The other musicians were nimble, some downright stellar: Henderson and Allen went above and beyond in their performances, the trumpeter fierce but radiant in his lines and the drummer turning in strong and unendingly happy solos and fills. Another drummer, CHJO’s Jeff Hamilton, also did a superlative job, notably with his beautiful brushwork on “Clifford.” The guests’ performances were likewise difficult to impeach; Downes’ performance of Golson’s “On Gossamer Wings” was an anomaly—a throwback to Romantic-era piano solos—but beautiful, and Jarreau’s delivery of “Whisper Not” was even more clever and expressive than usual. The highlight of the entire concert, however, was the unannounced guest: Golson’s fellow Philadelphian, Bill Cosby, who joined the show to present Benny with a special performance at the piano, a few hilariously dissonant minutes of gibberish. (“I wrote this when I was four years old!” Cosby shouted off-mike.)

If anything, the other musicians’ enthusiasm should have been contagious, which makes Golson’s non-engagement that much more puzzling.

As a friend noted later, Golson is at his most comfortable when building a rapport with his audience, joking and telling stories. He’s a gentleman and a people person. This evening’s program, however, was tightly controlled; between the film, Glover’s speaking parts, and the transition between bands, Golson had little room to play to the crowd. “I Remember Clifford,” on the other hand, allowed him to share a personal moment with us, and may thus have provided the connection he (and we) sought.

At 80 years old, however, Golson’s chops are still beyond question, and there’s no doubt that in a venue more suited to his persona—an intimate venue—his performance would be incandescent. The venerable jazzman has plenty more to stories to tell.

-Michael J. West, http://www.jazz.com/jazz-blog/2009/1/27/golson-kennedy-west

2009 JOYCE AWARDS PROGRAM SUPPORTS MIDWEST CULTURAL INSTITUTIONS TO COMMISSION NEW WORKS BY ARTISTS OF COLOR

 Since 2003, the Joyce Awards program has been the only award exclusively supporting artists of color in major Midwestern cities. This year’s outstanding arts organizations will each receive grants of $50,000 to support new works in dance, music, theater, and visual arts.

Winners in each artistic category include:

DANCE: Ravinia Festival (Chicago) to support “Fondly Do We Hope, Fervently Do We Pray…,” a full‐evening dance production commissioned from African‐American choreographer Bill T. Jones

MUSIC: Detroit International Jazz Festival-(Detroit) to support a new jazz composition that would pay tribute to two Detroit jazz icons: the Guardian Building in downtown Detroit and the music family dynasty of the Jones Brothers by African American bassist, composer, and arranger John Clayton.

*Goodman Theatre-(Chicago) to support a new play that draws on the cultural heritage of traditional Jibaro music by Latin American playwright Quiara Alegría Hudes.

 VISUAL ARTS: Museum of Contemporary Art-(Cleveland) Iona Rozeal Brown. “We are proud to honor the talent and vision of these artists and the vibrant cultural institutions that will present these works,” stated Ellen S. Alberding, president of the Joyce Foundation.

“On behalf of the Joyce Foundation, we are pleased that our Joyce Awards provide us the opportunity to promote such a diverse collection of artistic expression in our region.”

Since its inception in 2003, the Joyce Awards has supported cultural institutions in Chicago, Cleveland, Detroit, Indianapolis, Milwaukee, and Minneapolis/St. Paul. Award winners have not only presented their works to the institutions’ traditional audiences; they have also worked with community groups, school children, and public art projects. The goal is for these commissions to produce vivid, new works of art that strengthen cultural venues and draw people of diverse backgrounds to experience the rewards of participating in the arts as well as elevate the visibility of creative works by minority artists.

 

This year’s competition drew 50 entries from around the Great Lakes region. Entries are reviewed by independent arts advisors from outside the Midwest and reviewed and approved by the Foundation’s board of directors.

 

2009 Joyce Awards winners are:

 MUSIC

John Clayton

Detroit International Jazz Festival

 

Founded in 1980, the Detroit International Jazz Festival has entertained millions of fans with jazz legends such as Herbie Hancock, Dave Brubeck, Poncho Sanchez, and Dianne Reeves. The mission of the Detroit International Jazz Festival is to foster the history and nurture the development of jazz; perpetuate Detroit’s significant jazz legacy through educational and collaborative programs; and present a world class signature event that makes Detroit a tourist destination. Annually, the Festival showcases over 100 local, national, and international artists performing blues, gospel, R&B, and jazz on six stages, presents educational events, parades, fireworks, and rare opportunities to meet the artists over Labor Day weekend.

John Clayton has gained prominence in both the jazz and classical fields. After studying bass under the esteemed Ray Brown, Clayton performed with Count Basie and his orchestra, and as principal bass with the Amsterdam Philharmonic Orchestra. He has been commissioned by, among others, the Northwest Chamber Orchestra, American Jazz Philharmonic, Iceland Symphony, Metropole Orchestra (Holland), Tri‐C Jazz Fest Cleveland, Monterey Jazz Festival, Hollywood Bowl Orchestra, and the Carnegie Hall Big Band. As a conductor, he has led the Israel Philharmonic, Munich Radio, Northwest Chamber and Iceland orchestras, and numerous professional big bands. Clayton has been nominated for seven Grammy awards, winning a Grammy in 2008 for his work on Queen Latifah’s recording Travelin’ Light, and was bestowed a platinum record for his arrangement of The Star Spangled Banner for Whitney Houston. He co‐leads both the Clayton‐Hamilton Jazz Orchestra and the Clayton Brothers Quintet and is a bass professor at the University of Southern California, Jazz Studies Department. Clayton also serves as artistic director for the Lionel Hampton International Jazz Festival, for which he received a National Medal of the Arts in 2008, and the Centrum Jazz Workshop in Port Townsend, Washington, and the Vail Jazz Camp.

 

The Joyce Award will support Clayton in writing a new full‐scale concerto grosso for big band and jazz combo as well as a teaching residency in Detroit. Clayton will conduct music workshops for Detroit youth through the Detroit Symphony’s Civic Jazz Orchestra and other high school and college musicians in the area, and work closely with the Detroit‐based bandleader Scott Gwinnell, a young pianist, trombonist, composer, and arranger, and his 16‐piece modern‐jazz big band; Gwinnell’s band will premiere the commissioned piece at the Jazz Festival with the Clayton Brothers Quintet as the group soloists, on the closing night of the 2009 Detroit Jazz Fest, Labor Day Weekend.  

  http://www.joycefdn.org/pdf/Joyce%20Awards%20press%20release%20FINAL%20-%201%2023%2009.pdf

 

 

 

Kudos From the Buffalo News…

A pretty good mainstream jazz disc. But the idea behind it is a truly great one — a disc devoted to tributes to jazz’s long and altogether remarkable history of brother teams: Cannonball and Nat Adderly; Elvin, Thad and Hank Jones; Jimmy, Percy and Albert Heath; Wynton, Branford and Delfeayo Marsalis; Randy and Michael Brecker; Wes and Monk Montgomery; the list could go on and on.
The idea came from terrific alto saxophonist Jeff Clayton, whose brother John is a veteran in-demand bass player. John’s son Gerald plays piano on the disc, and his “adopted” son Obed Calvaire plays drums on the disc. Filling out the quintet is Terrell Stafford, a veteran neo-bebop trumpet player with fat tone and a blistering attack.  In practice, the disc really only pays meaningful tribute to the Adderlys and the Jones Brothers. And when it does, there’s no way of getting around theobvious fact, for instance, that drummer Obed Calvaire is a drummer with absolutely none of Elvin Jones’ thunderous polyrhythmic genius and pianist Gerald Clayton is a meat-and-potatoes pianist of the Gene Harris school who’s clearly happiest when funkifying the blues all over the place. He’s far from the exquisite taste of Hank Jones at his lapidary bebop best.
What makes this and all other Clayton Brothers discs is alto saxophonist Jeff Clayton, who has some of the big broad tone and tenor saxophonish conception of Kenny Garrett mixed with a lot of Cannonball (including some of his rotundity), which makes him a formidable player indeed. And Terrell Stafford is a powerful front line foil for him, while brother John Clayton takes care of business on the bass (he sings too on “Walking Bass,” which was written by Ella Fitzgerald’s monstrously reliable final bass player Keter Betts).How on earth did the tune for John Coltrane’s “Africa” wind up as a counter-melody to Cannonball Adderly’s “Jive Samba”? Who knows, but it’s a pretty clever idea. Jeff Clayton’s tune “Big Daddy Adderlys” is a directvariation on Sam Jones’ tune “Unit 7,” which was the Adderly Brothers’ theme song.
There’s such a wealth of popular jazz culture bursting out of this record that it’s too bad neither of John Clayton’s young sons — by blood and by adoption — are on the same roaring level as the senior Clayton brothers. It is, nevertheless, the sort of solid mainstream blues-soaked jazz that is never less than good fun.
– Jeff Simon
http://www.buffalonews.com/gusto/story/527554.html

Another great review!

What a wonderfully gifted musical family………The Clayton family!! What a compelling and totally artistic new CD project which I’m honored to review……And if I can address The Clayton’s directly: John your take on the version of ”Where Is Love” brought me to joyous, musical tears in it’s rubato beauty. It’s hard to describe the care and attention that the Clayton’s give to their music only to say: I was honored to hear John and family at an ”IAJE” conference in NY City a few years ago and I must say they are driven! And, I mean this in it’s most  kudo-istic sense (if I might coin a word)! This family is proof that true musical genius is a study in genetics as both Jeff and John & John’s wonderfully gifted savant jazz pianist son Gerald are all American treasures in the truest sense of the word. The Clayton’s have taken jazz and made it a universal language, i.e. jazz is no longer a ‘minority’ music. Through their music, the brilliance of the artistic universe is made more articulate & manifest, producinga liberation of sorts for others to follow. And, upon shoulders like these other gifted savants emerge!!

 

George W Carroll

The Musicians’ Ombudsman

 

 

http://www.cabaretexchange.com/index.php?option=com_content&task=view&id=636
&Itemid=153

Clayton Brothers: Where is Love?

Clayton Bros.: Where Is Love?

Recorded: New York, January 14-15, 2008

Album: Clayton Brothers-Brother to Brother

 

Part of me, the part that detests musicals, says that there’s just no way I should be enjoying this tune. However, the more rational side of me knows that a great melody is just that. By itself, this wouldn’t necessarily get me all the way there. I mean, we wouldn’t be here if Kenny G covered this tune. (Leonard Nimoy did a version, which isn’t really relevant but sure is funny.) No, the key is Jeff Clayton’s gorgeous run through this classic Lionel Bart melody. Even better is an arrangement that bookends Jeff’s saxophone with John Clayton’s bowed bass and Gerald Clayton’s piano. My inner show-tune snob has been won over.

 

 http://www.jazz.com/music/2009/1/1/clayton-bros-where-is-love