As we write this, we don’t know the future of the fabled jazz shrine, The Village Vanguard. The venue has begun airing live performances sans audience, but it is unclear, like many things, when and if its historic red double doors will open again. Given that situation, Gerald Clayton’s live offering, Happening: Live at the Village Vanguard may be one of the last or may just fall in live with memorable recordings from John Coltrane, Sonny Rollins, Joe Lovano, Kenny Burrell, Bill Evans, Horace Silver, Thelonious Monk, and so many more. Its hallowed stage and intimate environs typically have performers bringing their best. Often performers have a weeklong residency as did four-time Grammy-nominated pianist Gerald Clayton’s quintet, from which seven tracks were culled from 12 sets over six nights for this Blue Note debut, and his fifth album as a leader.
Joining the pianist are a formidable front line of altoist Logan Richardson and tenorist Walter Smith III and the rhythm tandem of bassist Joe Sanders and drummer Marcus Gilmore that perform on five of the seven tunes – four Clayton originals and the finale, Billy Strayhorn’s “Take the Coltrane.” Bud Powell’s “Celia” and the standard “Body and Soul” are rendered in trio format. Standards are an essential part of the Village Vanguard’s lore as the late venue matriarch, Lorraine Gordon, would insist upon at least one in the artist’s set.
These lengthy tracks give plenty of room for the soloists to stretch out and the band is at its most fiery peak with the opening “Patience Patients” which features burning solos form Richardson and Smith III before Clayton holds sway with his own inventive passages which take the piece into calmer waters before exiting quietly. “A Light” begins with Clayton noodling alone at the piano before Gilmore sets a churning rhythm that invites the horns for the theme. From there the tune proceeds in complex patterns with Smith III soloing first and then joined in dialogue by Clayton who plays in a Monk-like percussive style. Richardson takes his exuberant turn, flanked by furious Clayton runs and more urgings from Gilmore. The piece eventually reaches explosive levels before ending more structurally, and again quietly.
Clayton renders Powell’s “Celia” imaginatively, eschewing some of the conventional bebop patterns in favor of his own. The cohesive of the trio speaks to their many years of playing together. Midway, Sanders and Gilmore engage in a spirited call and response kind of dialogue before Clayton rejoins with flurries of notes, the piece evoking strong applause from the packed-in audience. “Rejuvenation Agenda” follows, beginning in ballad-like tempo before gathering momentum. Clayton is the principal soloist with the horns in tandem bookending the swaying theme.
“Envisionings” begins contemplatively with Clayton’s piano-making way for a gentle ensemble entry from Smith III and Richardson, signaling a more lyrical piece than some the preceding, with Richardson delivering the first melodic statement followed by Smith III as Gilmore kicks up a storm that stirs the blowing to the boiling point before Clayton steps back in with his deft touches. Clayton interprets “Body and Soul” elegantly and faithfully in a sublime 12-minute rendition that will have echoes of his lush notes, Sanders’ mellifluous caresses, and Gilmore’s brushwork lingering in your head for hours. Naturally, “Take the Coltrane” is a well-chosen finale for the New York based performance. Strayhorn’s tune was made famous on the 1963 Duke Ellington & John Coltrane, and given more than its due here with swinging declarative statements from both Smith III and Richardson, their lengthiest, free-flowing solos on the disc. Momentum eases for Sanders’ plucking bass solo and Gilmore’s skittering turn on the traps before the full quintet jumps aboard for one last ride.
Clayton grew up under the tutelage of his dad, the legendary bassist, John Clayton in Los Angeles and is also the nephew of saxophonist Jeff Clayton – musical partners in The Clayton Brothers. With access to his dad’s bandmates and his record collection, as well as opportunities to travel and perform, he took to the music at an early age. He met Sanders and Gilmore in high school, at the famous Los Angeles County High School for the Arts. He studied at USC with pianist Billy Childs before moving to Harlem and studying under Kenny Barron. During his ten years in New York he performed with Kendrick Scott, Terri Lyne Carrington. Gretchen Parlato and Ambrose Akinmusire before moving back to L.A. Notably, he’s held the piano chair in Charles Lloyd’s band for seven years now, and has performed with the late Roy Hargrove, Dianne Reeves, Ravi Coltrane, and Dayna Stephens, among many others.
In 2012 and 2013 Clayton received Grammy nominations for The Paris Sessions (Concord) and Life Forum (Concord), the former a trio album with Sanders on bass. In 2010, he was nominated for Best Instrumental Composition for “Battle Circle”, which is featured on the Clayton Brothers album, New Song and Dance. In 2009, he was nominated for Best Improvised Jazz Solo for his solo on Cole Porter‘s “All of You” from his debut album, Two-Shade. His nomination competed with established jazz musicians Terence Blanchard and Roy Hargrove, with whom Clayton toured for several years.
There’s a sacred nature to the phrase “Live at the Village Vanguard,” one that’s highly honored by Clayton and his bandmates.
.
