Buck Clayton - The Chronological Classics: 1945-1947 '1997

Artist	Buck Clayton Related artists
Album name	The Chronological Classics: 1945-1947
Country
Date	1997
Genre	Jazz
Play time	71:01
Format / Bitrate	Stereo 1420 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	169 MB(+3\%)
Price	Download $1.95
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Tracks list

Tracklist

01. Im in the Mood for Love (2:41)
02. Sugar Hips (2:47)
03. Diga Diga Doo (4:04)
04. Love Me or Leave Me (4:02)
05. Were in the Money (3:52)
06. B.C. Blues (4:31)
07. Why Do I Love You (2:37)
08. All My Life (3:00)
09. Groovin with J.C. (3:18)
10. Whats the Use? (3:16)
11. Dawn Dance (3:13)
12. Well-A-Poppin (3:14)
13. On the Sunny Side of the Street (3:29)
14. Its Dizzy (3:08)
15. Basies Morning Bluesicale (3:22)
16. Saragota Special (2:39)
17. Sentimental Summer (3:23)
18. Harlem Cradle Song (2:41)
19. My Good Man Sam (2:39)
20. I Want a Little Girl (2:53)
21. Jazz Band (3:13)
22. Jazz Band (2:59) 

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
Basies rhythm guitarist, Freddie Green. After Lucky Thompson introduces Im 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 Wilsons 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.
Recorded exactly one month later for the small-time Melrose label, the Buck
Clayton Quintet session introduces tenor man Flip Phillips, with Teddy Wilson
appearing as Theodocius, roundly supported by Slam Stewart and Danny Alvin.
After a snappy romp through Diga Diga Doo, Love Me or Leave Me is taken at a
much more relaxed tempo than usual. This gives everyone a chance to savor the
melody rather than chasing about. Were in the Money bounces along in an updated
groove, much hipper than the Busby Berkeley original. Flip is exceptionally
helpful here. The date closes with a stunningly solid piece of blues bearing
Buck Claytons initials. Slam bows his bass in an uncharacteristically low
register, and the combination of horns and piano during the out chorus is really
amazing. The only thing that could top it is the J.C. Heard Quintet session
recorded for Keynote on August 17, 1945. Buck and Flip are now backed by three
of the best rhythm section mates in all of early modern jazz: Johnny Guarnieri,
Milt Hinton, and the immaculate J.C. Heard. The quintets approach to Jerome
Kerns Why Do I Love You is refreshingly brisk and inventive. All My Life is
still sometimes associated with Fats Waller; in 1945 a lot of people probably
thought that he had written it. What you get here is a magnificent sensitive
rendering, beautifully phrased. Groovin With J.C. begins with jaunty walking
bass and eases into a steady lope, very groovy as the title implies. Whats the
Use further demonstrates the perfect balance of this little band, wherein the
rhythm section is so strong that the horns fit in uncommonly well. Nobody ever
gets stepped on or overshadowed. As for the Hot Record Society sessions, there
was always a lot of original material on these dates, and some of the melodies
sound like attempts at modernity without a whole lot of innovation. This is not
to imply that the music is inferior. Its just a bit short on genuine melodic
substance. The Big Four session is mostly memorable for Tiny Grimes and his
electrified guitar, while the Big Eight date is notable for the combined
presence of trombonists Dicky Wells and Trummy Young. Funny thing: Sentimental
Summer has a bridge identical to that of I Dont Want to Set the World On Fire. A
fascinating addition to this CD is a childrens record narrated by the actor
Canada Lee. This 1947 recording traces the root system of jazz back to Africa
(with authentic African drumming and chanting!) describing abduction,
enslavement, emancipation, and the development of jazz in the 20th century.
During part two of the story, Buck Clayton, Ed Hall, Teddy Wilson, and Jimmy
Crawford provide a blues and a hot stomp. This is an uncommonly hip kiddie
record, infinitely more accurate and intelligent than anything else on the
market in its day. How thoughtful of the producers to include it on Buck
Claytons CD.

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