Jazz

Buck Clayton - How Hi The Fi (1954)

2019-10-11T14:54:27Z

Buck Clayton - How Hi The Fi (1954)


A1 	How Hi The Fi	13:40
A2 	Blue Moon	14:00
B1 	Sentimental Journey	14:45
B2 	Moten Swing		13:30

Alto Saxophone – Lem Davis
Baritone Saxophone – Charlie Fowlkes (tracks: B1, B2)
Bass – Walter Page
Clarinet – Woody Herman (tracks: A1, A2)
Drums – Jo Jones
Guitar – Freddy Green (tracks: B1, B2), Steve Jordan (tracks: A1, A2)
Piano – Jimmy Jones (tracks: A1, A2), Sir Charles Thompson (tracks: B1, B2)
Tenor Saxophone – Al Cohn (tracks: A1, A2), Julian Dash
Trombone – Benny Powell (tracks: B1, B2), Trummy Young (tracks: A1, A2), Urbie Green
Trumpet – Buck Clayton, Joe Newman (tracks: B1, B2), Joe Thomas (tracks: A1, A2)

A cornerstone of jazz culture has been the jam sessions. Many groups (regardless of stature) that appeared in the same town concurrently gathered for late-night, jam festivities. Amid the aura of improvisation and camaraderie, legends (and future legends) refined their craft as soloists and ensemble performers. Unfortunately, the results of these collaborations were rarely preserved on vinyl (adding to the legend). But in the early fifties, Columbia Records captured all-star glory with its Buck Clayton jam catalog. Now, Pure Pleasure Records has re-mastered How Hi The Fi to 180-gram vinyl.

Following the success of Buck’s first jam session, Huckle-Buck And Robbins’ Nest (Columbia CL 548), producer George Avakian (with the help of John Hammond) assembled a veteran cadre of musicians. Many of these players were part of Count Basie’s band and the group dynamics are present. A last-minute surprise addition (on two sides) was clarinetist Woody Herman, in town on his way to Europe. How High The Fi was recorded in two dates, with an emphasis on spontaneity.

Pure Pleasure Records has brought this mono fidelity session to life on 180-gram vinyl. The original, meticulous engineering sounds flawless. The instrumentation (both individual and combined) is pristine in clarity and mixing. All of the horns and reeds sound great, without a trace of shrillness. The reproduction of the original gatefold is top-notch (including the plug for Columbia needles). [Interesting how the audiophile vinyl reissues often look so much like the original LP release (if someone has it) that even the name of the repressing label doesn’t appear anywhere, even on the vinyl’s center label…Ed.] How Hi The Fi is jazz at its best! ---audaud.com

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Buck Clayton - The Classic Swing Of Buck Clayton (1946)

2011-04-27T18:40:58Z

Buck Clayton - The Classic Swing Of Buck Clayton (1946)


1.Harlem Cradle Song (2:37)
2.Sentimental Summer (3:19)
3.Dawn Dance (3:08)
4.It's Dizzy (3:05)
5.Well-A-Poppin' (3:12)
6.Basie's Morning Bluesicale (3:19)
7.I Want A Little Girl (2:49)
8.Blue Triste (3:01)
9.Fruitie Cuties (3:02)
10.Johnson Rock (3:12)
11.Lucky Draw (2:42)
12.My Good Man Sam (2:38)

Buck Clayton - trumpet
Trummy Young,Dicky Wells - trombone
Scoville Brown,Buster Bailey - clarinet
George Johnson - alto saxophone
Billy Taylor,Jimmy Jones - piano
Tiny Grimes,Brick Fleagle - guitar
Al McKibbon,Sid Weiss,John Levy - bass
Cozy Cole,Jimmy Crawford – drums

This limited-edition CD features small-group swing originally issued on the H.R.S. label from three different sessions in 1946. On one date, the great trumpeter Buck Clayton heads an octet with both Trummy Young and Dicky Wells on trombones; on another occasion he leads an unusual pianoless quartet that also includes clarinetist Scoville Brown, guitarist Tiny Grimes and bassist Sid Weiss. In addition, Clayton is heard as a sideman with Trummy Young's septet, which also features clarinetist Buster Bailey. Swing was going very much out of style at the time, and these somewhat obscure dates can be considered among the final small-group swing sessions of the classic era. More importantly, all of the principals sound creative and full of spirit. ---Scott Yanow, Rovi

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Buck Clayton And Friends – Jazz In Paris (1966)

2009-10-15T20:41:46Z

Buck Clayton And Friends – Jazz In Paris (1966)


01. Groovy Sunday
02. I can't think
03. Juggi buggi
04. Georgia on my mind
05. Boo boo
06. Just you, just me
07. One for Bonnie
08. Blue boy
09. Pat's party
10. Rosetta
11. These foolish things

Buck Clayton - Trumpet
Mickey Baker - Guitar
Wallace Bishop 	- Drums
Roland Lobligeois - Double Bass
Hal Singer - Sax (Tenor)

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published. --- Ron Wynn, Rovi

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