Kit Clayton: Nek Sanalet

This live Boston summit meeting between Ray Brown, Christian McBride and John Clayton was the logical outcome of several joint appearances, as well as an extension of a one-off bass troika track that McBride included on his first solo album. The idea of a bass trio on records probably would have been unthinkable in the primitive days of recording when Brown was coming up, but Telarc's fabulously deep yet clear engineering makes it seem like a natural thing to do. Whether pizzicato or bowed, whether taking the melodic solo or plunking down the 4/4 bottom line, all three perform with amazing panache, taste, humor, lack of ego, and the sheer joy of talking to and against each other beneath the musical staff.

These recordings came about because the directors of Club Francais du Livre decided to go into the record business. Their plan was to record the top French musicians of the time, each session having an American visiting guest star. One suspects that the documentation of each session was sketchy, for instance there is an unlisted Bass player on the Buck Clayton set and there are other similar anomalies. This in no way detracts from the music, the Buck Clayton session is a classic of the great and often underrated Mainstream Trumpet Man. Michelle de Villiers acquits himself very well on both Tenor and Baritone and the rhythm section is clean and swinging. Andre Persiany is a class act on keyboards and it sounds like a session where everyone was enjoying themselves…

It wasn't until Buck Clayton made the European scene in 1949 that he had a chance to begin making records as a leader. Clayton cooked up 13 exceptionally fine tracks before heading back to New York. "High Tide" was a modern notion of Count Basie's. "Swingin' at Sundown" is immediately recognizable as "At Sundown," an old Walter Donaldson tune dating from the 1920s. The composer does not receive credit. Saxophonist Don Byas interacts busily with Clayton on "Who's Sorry Now" and the venerable "Sugar Blues." The trumpet is solely featured on "Blues in First," while "Blues in Second" is taken at almost exactly the same tempo, amounting to little more than a second take. "Don's Blues" is based on "Lester Leaps In"…

Count Basie veterans Buck Clayton and tenorman Buddy Tate teamed up during 1960-61 for a pair of Swingville recordings. This CD reissues the first one, a quintet outing with pianist Sir Charles Thompson, bassist Gene Ramey and drummer Mousie Alexander. The repertoire is split between three standards (including "When a Woman Loves a Man") and three Clayton originals. The melodic music consistently swings and practically defines "mainstream" jazz.

Buck Clayton played smooth trumpet, warm and precise every step of the way. The first session included here appeared under the nominal leadership of Count Basie's rhythm guitarist, Freddie Green. After Lucky Thompson introduces "I'm in the Mood for Love," Sylvia Sims sings the lyric in attractive, easygoing tones. The flip side, an uncredited original called "Sugar Hips," is a typical mid-1945 exercise in what was at the time called both "rebop" and "bebop." Swing was now ready to morph into music of greater rhythmic and harmonic complexity. This track provides a fine example of Shadow Wilson's superb handling of hi-hat and drums. Sammy Benskin demonstrates a fine, muscular pianism. Dicky Wells seems to enjoy riding along on a tide of what were at the time decisively modern changes…

The first of the famous Buck Clayton jam sessions, the exciting music on this long out-of-print LP has been reissued as part of a Mosaic box set. Two songs ("Sentimental Journey" and "Moten Swing") are from a December 1953 session in which the trumpeter/leader is teamed with trumpeter Joe Newman, trombonists Urbie Green and Benny Powell, altoist Lem Davis, Julian Dash on tenor, baritonist Charlie Fowlkes, pianist Sir Charles Thompson, guitarist Freddie Green, bassist Walter Page and drummer Jo Jones. However it is "How Hi the Fi" (cut along with "Blue Moon" on March 31, 1954) that is most memorable…

Clayton-Thomas’ new album, Mobius is an ambitious work that sees the former Blood, Sweet &Tears' frontman wearing a variety of musical hats. Co-produced with his long-time compadre and musical director George Koller, Mobius takes the listener on a stylistic journey, with Clayton-Thomas’ iconic voice serving as the star around which the songs revolve. Mobius is a stunning collection of songs, with Clayton-Thomas collaborating on writing with each of his four band members. With a lineup that includes drummer Larnell Lewis, keyboardist Lou Pomanti, guitarist Eric St-Laurent, and Koller on bass, the songs are well served by the incredible talent of these musicians.