pale in comparison to his charisma when you just hear him swing! And swing he does. Seven-time Grammy nominated bassist/composer/conductor John Clayton's talents are consistently requested by the movers and shakers in the jazz industry, such as Quincy Jones and Tommy Lipuma. Clayton says, "When composing or arranging for the Clayton-Hamilton Jazz Orchestra, I am a disciple of Duke Ellington, Thad Jones, Oliver Nelson, Quincy Jones and Gil Evans, to name just a few." Regarding his bowing techniques, he cites the radically different techniques of Slam Stewart, Major Holley and Paul Chambers as influences. There is no doubt, however, that John has created a niche for himself wherein he stands alone.
As a testament to his immense talent and broad ranging appeal, John Clayton served as the Artistic Director of Jazz for the Los Angeles Philharmonic from 1999 through 2001. In addition, he is Artistic Director for the Centrum Jazz Workshop in Port Townsend, Washington and was also appointed Artistic Director for the Lionel Hampton International Jazz Festival in 2006. John has written and arranged music for Diana Krall, DeeDee Bridgewater (including her Grammy award winning CD "Dear Ella"), Natalie Cole, Milt Jackson, Nancy Wilson, Quincy Jones, George Benson, Dr. John, Gladys Knight, Regina Carter, Queen Latifah and many others. He has been commissioned by many ensembles, including the Northwest Chamber Orchestra, the American Jazz Philharmonic, The Iceland Symphony, The Metropole Orchestra, The Carnegie Hall Big Band, The Richmond Symphony, the WDR Orchestra, and the Amsterdam Philharmonic. On the other hand, John was awarded a platinum record for his stirring arrangement of "The Star-Spangled Banner" performed by Whitney Houston during the Super Bowl in 1990. He has won numerous awards such as the Golden Feather Award given to him by the legendary Leonard Feather and the Los Angeles Jazz Society's Composer/Arranger award.
John has served as the musical director of several jazz festivals including the Sarasota Jazz Festival and the Santa Fe Jazz Party. As Artistic Director of the Vail Jazz Workshop, he participates in choosing talented students from across the nation in an intensive week of learning jazz. Last year, he was also appointed as Artistic Director for the Lionel Hampton International Jazz Festival. Clayton's serious study of the double bass began at age 16 when he studied with famed bassist, Ray Brown. At age 19, John was the bassist for Henry Mancini's television series "The Mancini Generation". Later he completed his studies at Indiana University in 1975, graduating with a Bachelor of Music in Double Bass. Touring with Monty Alexander and the Count Basie Orchestra followed. He held the principal bass position in the Amsterdam Philharmonic Orchestra for more than five years.
The Clayton-Hamilton Jazz Orchestra is co-led by John, his brother, saxophonist, Jeff Clayton, and drummer, Jeff Hamilton. Also, John co-leads with Jeff, the Clayton Brothers Quintet.
In an effort to sum up John Clayton's unique expertise, "the man just does it all". He is equally comfortable in jazz and classical music, and hits the mark, whether it is as composer, arranger, conductor, teacher, in addition to his magnificence when he plays his bass.
Festival Miami concluded with a swinging party Friday that brought jazz greats John Clayton and Jeff Hamilton to the Miami's Gusman Concert Hall stage. Leaders of their acclaimed Clayton-Hamilton Jazz Orchestra, the duo collaborated with talented students of the Frost Concert Jazz Band and the Henry Mancini Institute Orchestra.
From his opening ``It's great to be in Orlando,'' Clayton's witty commentary and repartee with the audience was a constant delight. His arrangements were skillfully inventive, often veering from standard big-band charts with spiky harmonic twists. Hamilton is a jazz drummer with few peers. His mastery of the trap set propelled both solo and ensemble pieces.
A HARD BOP SOUNDWith the Frost band in top form, Clayton led heated arrangements of jazz firecrackers by Horace Silver and Johnny Hodges, spotlighting a hard bop sound. Terrific solo turns on trumpet, trombone and saxophone featured playing far above the student level. A gentler side of Clayton's musical personality came to the fore with a beautiful swing arrangement of For All We Know. Clayton initially played the melody straightforwardly on his double bass, making the instrument sound remarkably like a cello.
Turning to the avant-garde jazz of Thelonious Monk, Clayton's version of Evidence preserved the composer's offbeat, astringent harmonies and quirky rhythms. Only in a slow, overly slick rendition of the Hoagy Carmichael classic Heart and Soul did Clayton briefly falter (after a lovely introductory duet for flute and bass).
Hamilton took the honors with a brilliant, lengthy percussive riff as introduction to an unabashedly sweet orchestration of Back Home Again in Indiana. A native Hoosier, Hamilton pounded away at lightning pace in an upbeat rhythm fest.
The program's second half was considerably more ambitious, melding classical and jazz traditions with the combined jazz band and Mancini Institute Orchestra. Clayton's Open Me First was commissioned by the late composer-conductor Jack Elliott, founder of the Mancini Institute (in its first incarnation in Los Angeles). Initially, Open Me First seems like another big-band score with strings added. However, Clayton's piece takes on a life of its own with lively string and elegant wind invention that recalls the perfumed scores of Jacques Ibert and Jean Francaix.
MUSICAL BLENDThe C Zone, also written for the Mancini ensemble, is a mini piano concerto. By not attempting a lengthy, overly ambitious work, Clayton has succeeded where numerous other composers have failed in the attempt to blend jazz piano with large-scale orchestral concepts. This blues-oriented score is filled with sensuous melodies and spirited flights of pianistic exuberance. Angelo Versace, a fleet-fingered keyboard dynamo, dazzled in his solo turn. This University of Miami student is a major talent. Clayton's Jubilation Celebration is a joy-filled, New Orleans-flavored feast, abetted by great brass playing and lustrous, agile strings under the composer's meticulous direction. For an encore, Hamilton returned with his own composition Max -- definitely (in the words of a Mancini song) ``le jazz hot.''