The Clayton/Hamilton Jazz Orchestra: The L.A. Treasures Project

Capri Records
By Ric Bang
Buy CD: The L.A. Treasures Project

We could choose from many great jazz orchestras during the big band days, and most of them featured vocalists who became as famous as the groups with whom they worked. Remember the days when you could catch them at ballrooms, theater stage shows and jazz clubs, and in movies? Sadly, as time passed, the costs associated with large orchestras (and famous singers) became prohibitive; dancing became less popular; and jazz-related entertainment was packaged in smaller doses at smaller  venues. 

Concert halls and festivals replaced ballrooms, and road tours disappeared almost completely; albums and DVDs took their place. That said, musicians occasionally have formed “special” groups to deliver and record a few concerts. Once in awhile, such units would become popular enough to carry on for years. The Clayton/Hamilton Jazz Orchestra (CHJO) is one such organization.

It came to life in 1985, thanks to drummer Jeff Hamilton and brothers John (bass) and Jeff Clayton (sax). Their interpretation of “big” was truly big: five trumpets/flugelhorns, four trombones, five saxes and woodwinds, and a rhythm section of piano, bass, guitar and drums. The individual members have varied over time, but Hamilton and the Claytons have remained a constant. Let it be said: The CHJO is the best big band orchestra in existence today.

This particular release is made special by the inclusion of two vocalists: Ernie Andrews and Barbara Morrison. Andrews was born in 1927, Morrison in 1950; both are jazz icons.  Almost all of this album’s tunes feature vocals by these two artists, and their treatment is wonderfully bluesy. It brings back memories of decades past.

These 13 tracks include both old and new melodies, and everything swings like crazy! Too much time has passed since I’ve heard the likes of “Beautiful Friendship,” “Time after Time” and “I Ain't Got Nothin' but the Blues.” 

Hamilton, simply put, is the best drummer working, for organizations of any size. Back in the day, the drummer always was key in the swingingest bands. And I’m not thinking only of his ability to solo; Hamilton drives his wonderful band, and hits every emphasis. He’s a master.

This album reminds me of the  time when the patrons wouldn’t dance; they’d gather around the stage and just listen to the band. The CHJO is that kind of orchestra.

Graham Dechter: Taking' It There

Capri Records
By Ric Bang
Buy CD: Takin' It There

This album, the second released by Graham Dechter and the Jeff Hamilton Trio, is every bit as great as the first, Right on Time.

What makes this group so good? Well, all the musicians are members of the famous Clayton/Hamilton Jazz Orchestra (CHJO), one of best big bands active today. Bassist John Clayton, his brother Jeff — who plays alto sax and flute — and drummer Jeff Hamilton formed the CHJO in 1985, and that group has remained at the top of the jazz world ever since. That big band, and combos composed of CHJO members, have delivered numerous releases that help keep jazz alive.

Hamilton and John Clayton are the “elder” members of this quartet; Israeli-born Tamir Hendelmen is in mid-career; and Graham Dechter, in his 20s, is the youngest. All four are musician’s musicians, and they’re also composers, arrangers and teachers. Each had college/university training and experience in both the classical and jazz genres, and each is an in-demand accompanist for famed vocalists. And that’s always an excellent indicator of skill and taste.

This session’s 10 tracks cover a broad musical spectrum. Half were written by other guitarists, including Wes Montgomery’s “Road Song,” Barney Kessel’s “Be Deedle, Dee Do.” Two are Dechter originals, and you’ll also hear lovely covers of two standards: Cole Porter’s “Every Time We Say Goodbye” and Arlen/Mercer’s “Come Rain or Come Shine.” 

The operative descriptor? Everything swings like crazy! In my mind, the only thing better than a classic jazz trio is the quartet obtained a guitar is added; that instrument contributes a tremendous drive to the unit.

Let’s have more great jazz from these guys!

Bill Cunliffe: The Blues and the Abstract Truth, Take 2

Resonance Records
By Ric Bang • Originally published in The Davis Enterprise, 4.2.09
Buy CD: The Blues and the Abstract Truth, Take 2

Oliver Nelson lived, and performed, during the key years of jazz.

Like many of his peers, he left us all too soon — born in 1932, died in '75 — but his contributions during that short span made him a legend. He played sax as an instrumentalist, but he was better known as a composer and arranger. He worked with many name bands during his life — Quincy Jones, as a notable example — but the classic album he released in 1961 made him famous: The Blues and the Abstract Truth.

Jazz musicians consider it in the same light as the tablets Moses brought down from the mountain. Nelson's album contained just six of his blues compositions, and they all became standards.

Pianist Bill Cunliffe, famous in his own right, is one of Nelson's disciples. Some time ago, Paul Lines, who runs the Pasadena Jazz Institute, suggested that Cunliffe should write some charts based on Nelson's album; the pianist did so, and he performed them at The Vic, a Santa Monica jazz club.

That session was taped by George Klabin, who later started Resonance Records. This album is the result; Cunliffe rearranged the six original blues and added two of his own compositions.

He has wrought a new classic.

The Take 2 band consists of trumpeters Terell Stafford and Larry Lunetta; trombonist Andy Martin; saxists Jeff Clayton, Bob Sheppard and Brian Scanlon; bassist Tom Warrington; drummer Mark Ferber; and Cunliffe on piano. It's a truly delightful group. The arrangements are excellent, as are all the instrumentalists.

The unit swings wonderfully, and Cunliffe has a lot to do with that; his solos are great, but the way he lays down chords — to back the melodic lines and other soloists — is exceptional.

This is the best album I've reviewed so far this year.