Gerald Clayton’s Ones and Twos is a two-part project; the first installment is revealed here. Clayton calls it an experiment inspired by the art of turntablism where the A side can be played simultaneously with the B side, that moment in the club when the DJ transitions from one song to the next when you hear two separate pieces simultaneously. Just the same, these twelve highly conceived pieces stand on their own. Later this year we will hear the overlaid pieces.
Here, we find Clayton playing, in addition to piano, Rhodes, organ, synths, and vocals. That alone should give some clues as to the nature of the music, which incorporates hip hop, neo-soul, post-bop, chamber music, ‘60s avant-garde, and R&B ‘70s fusion. A project of this nature requires considerable thought as to the harmonic relationships between notes and chords, connections between meters and rhythms, and a variation of the soloists throughout. It all works with the forthcoming overlaid version. That makes this somewhat difficult to opine on, given that it is only half of the complete project.
Clayton was the musical director for the Blue Note Quintet tour celebrating the label’s 85th anniversary. That same group recorded Out of/Into late last year (covered here). Naturally, he taps a couple of those group members for this endeavor – Joel Ross on vibraphone and Kendrick Scott on drums. Joining them are Elena Pinderhughes on flute and Marquis Hill on trumpet. Notice the conspicuous absence of a bassist, indicating how generally light the music is. While Clayton produced most of the record, Kassa Overall, the jazz and hip-hop maestro, contributes to post-production and percussion. The emphasis here is on blended sound, combining vibes, flute, trumpet, and keys, creating stunningly colorful harmonics. As one can tell, especially with the presence of Overall, many of the grooves are thick and infectious too. Clayton points out that the project poses questions on whether it’s possible for two melodies to exist simultaneously or whether they’ll settle into the conventional point-counterpoint. In the end, he is not only trying to blend instruments but to extend the continuity of ostensibly different Black music forms.
Listen to the opener, “Angels Speak,” and you’ll center on everything from chamber music to mesmerizing electronica enveloping a basic melody. Scott is brilliant on “Cinnamon Sugar,” which filters a Latin tinge through music that’s both kinetic and serene at the same time, and is led by that combination of vibes, flute, trumpet, and keys. The interplay of Clayton’s piano and Ross’s vibes is especially arresting. The music thrives on group interplay as opposed to a series of solos. You can detect Overall’s influence in the hip-hop beats and soundscape of the dreamy “Sacrifice Culture” and on the latter half of the album (Side B) on “For Peace” and “Space Seas.” The rather ominous tones of “How Much Love?” belie the title, with Pinderhughe’s solid tone on the alto flute leading the way, embellished by the vibes and keys, until dissonant piano chords finish the piece. “Count M” is buoyant and angular, with unison lines between trumpet and flute underpinned by Scott’s hyperactivity and clusters of keys and synths.
“Just Above” begins lush and soothing, almost hymn-like, as Pinderhughes carries the melody. The piece gradually builds into an explosion of kaleidoscopic colors with piano, vibes, and electronics.
“Lovingly” begins Side B, with a similar tonality to “Just Above” but at a more vigorous tempo, with Pinderhughes shining brightly again, until Hill joins, blowing agitated lines. “Rush” bubbles along to Overall’s percussion and Scott’s insistent beats, punctuated with vocal yelps as if listening to an African drum circle. The two Overall produced pieces are understandably more rhythmic, especially the ” Space Seas ” start-stop rhythms. The major stunner, though, is “More Always,” a piece for a small choir, set to a marching rhythm where the heavenly wordless vocals of the choir soar over Clayton’s dissonant organ. The ethereal, hypnotic “Endless Tubes” has us imagining what the overlaid version will add.
