Buck Clayton: 1949-1953

They Say...

Review by arwulf arwulf, All Music Guide

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." The second of the Parisian sessions brought in saxophonists Armand Conrad and Alix Combelle, trumpeter Bill Coleman, and the young pianist André Persiany. Clayton and Coleman interact on "Uncle Buck" and blend dazzlingly during "B.C. and B.C.," a walking blues for two in which they are billed as Duo de Trompettes. The ensemble's third-chair trumpeter, Merrill Stepter, is brought in to form the Trio de Trompettes on "Sweet Georgia Brown." Crucial support throughout all of these developments is provided by bassist Georges Hadjo. The four tracks recorded back in New York in September of 1951 seem strangely foolish by comparison. Vocalist Johnny Davis comes across as a bit of a twit, although it is interesting to hear the lyrics to "The World Is Waiting for the Sunrise." During "Whispering" he keeps whispering the word "whisper" and is loudly answered by the band hollering "Don't shout!," "Don't scream!," and "Don't yell!" It's really kind of stupid. "Sixty Minute Man" is not the R&B hit, but "The Syncopated Clock" is played by the rhythm section only. Davis tries scatting like early Babs Gonzales on "Smooth Sailing," an easygoing boppish bit of blues. The saving graces on this date are the presences of trombonist Kai Winding, clarinetist Peanuts Hucko, and pianist Bernie Leighton, who held the somewhat dubious distinction of being the leader. In February of 1953, Buck Clayton sat in with the Marlowe Morris Trio, an early modern organ combo. Morris sounds uncannily like later-period Fats Waller as he tickles the upper registers of the Hammond organ on "I Want a Little Girl." Organ and guitar devise an ostinato backdrop for Clayton's horn on "Blue Moon." The guitar handles the bridge and the organ solo is tough. The final two tracks are extended jams. "Basic Organ Blues" walks an exceedingly cool path with Clayton in fine, sassy form. The electrified guitar lays down a boogie and commences to rock. The piece even turns into "Night Train" for a while. This smart little band's take on "'S Wonderful" gradually comes to a boil as Clayton enunciates the melody with elegant precision.