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Jazz history books of the past tended to emphasize that a new style was constantly “replacing” or an “improvement” over an older one as the music's evolution charged ahead. According to this theory, swing was an improvement on New Orleans jazz, and was logically succeeded by bebop, hard bop and fusion. But with the swing era only lasting a little over a decade, what happened to the top swing stylists? Were their styles suddenly old hat and did they merely disappear into history?
The answer is no in both cases. Many of the top soloists of the 1930s were actually at their best in the 1950s, but the work situation had drastically changed. Instead of performing in traveling big bands, the top swing players had several choices. They could play dixieland (which during that decade tended to be more popular than swing), simplify their styles to be in rhythm & blues bands, go into studio work, or do their best to fit into the worlds of bebop or cool jazz. While Buck Clayton, a star trumpet soloist with Count Basie during 1936-43, did a little bit of all of those possibilities, he actually succeeded at a fifth choice.
In the 1950s, Clayton was most often heard in small-group settings. Sometimes he would have reunions with other Basie alumni, and his series of recorded jam sessions were popular. But most of the time he was featured as the main soloist in a quartet. Clayton did not alter his style although he continued to grow as a tasteful and melodic soloist. He blazed a new mainstream jazz path that later in the decade Jonah Jones capitalized on to have his own series of big selling recordings. While Clayton did not have any hits, he remained a well respected player in the United States while often visiting Europe starting in 1949..
Tenderly matches Buck Clayton in 1953 with drummer Kansas Fields and three French musicians: Jean-Claude Pelletier on piano and organ, rhythm guitarist Jean Bonal and bassist Roland Lobligeois. The rhythm section backs the trumpet with light swing and Pelletier takes plenty of brief solos. Otherwise the spotlight is entirely on Clayton as he performs ten swing standards and two songs by Sidney Bechet.
Review
"Famous as Count Basie’s trumpet soloist, Buck Clayton had a busy post-Basie solo career. During the 1950s he grew within his swing style, widening his range and leading a series of popular jam session records. Tenderly features Clayton in 1953 in France with a supportive quintet. The spotlight is almost entirely on Clayton, who performs two Sidney Bechet songs and ten standards with taste, light swing and a beautiful tone.
Buck Clayton's tone was at its best during this era, and his range was wider than one would expect from just hearing his earlier Basie recordings. Whether on “Stompin' At The Savoy” (which climaxes with an impressive high note), “Rosetta,” or “Pennies From Heaven,” Clayton plays lyrically, keeping the melody close by while also putting his personality into the music. The results are quite exquisite." – Scott Yanow
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