This is a matrix in the original sense of "source". It is a "small-world" network, meaning that the nodes (people) inside it are — mirroring human society — within a few steps of everybody else inside it. The matrix was built to allow regional Brazilian musicians to be discoverable steps away from everybody else in the arts world, and by logical necessity this m.o. requires not only that the great Brazilians be matrixed, but so far as possible, all working artists in our time. Ergo:
THIS MATRIX, THOUGH BRAZIL-BORN, IS UNIVERSAL
This Gerald Clayton matrix node is steps away from the entire planet by the well-known small-world ("6 degrees") phenomenon dictating that in human society you yourself are within several degrees of Gerald Clayton.
1 DEGREE FORWARD: Gerald Clayton (node) ROUTES TO THESE ARTIST NODES
Are these Gerald Clayton's personal recommendations?
CURATION STATUS
- → Routes by The Matrix via ↴
Who & Where
- Name: Gerald Clayton
- City/Place: Los Angeles, California
- Country: United States
Current News
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What's Up?
Piedmont Blues is a live concert presentation led by celebrated jazz pianist / composer / bandleader Gerald Clayton that explores the essence and impact of the Piedmont blues. The project features The Assembly — a nine-piece band led by Clayton and including vocalist René Marie and tap dancer Maurice Chestnut. The presentation has been conceived and developed by Clayton working in close collaboration with award-winning theater director Christopher McElroen. Entwined throughout the live concert is an assemblage of projected film, new and archival photography, and folklore underscoring the verdant cultural landscape of the Piedmont region. Included amongst the footage are performances by some of the last of the living original Piedmont blues musicians: NEA National Heritage Fellow bluesman John Dee Holman, as well as Piedmont songsters Algia Mae Hinton and Boo Hanks (the latter passed in April 2016).
Using songs, lyrics, and imagery from the Piedmont blues, Piedmont Blues makes a testimony of the struggle endured by African Americans in the Southeast during Jim Crow and chronicles the efficacy of the Piedmont Blues as a salve for suffering.
Taking its name from the Piedmont plateau region — the area that lies between the Atlantic Coastal Plain and the Appalachian Mountains from central Georgia to central Virginia centered in the Carolinas — the Piedmont blues is distinguished by its ragtime rhythms, fingerpicking guitar style, and understated vocals. From the late 1920s through the early 1940s, artists such as Blind Boy Fuller, Reverend Gary Davis, Blind Blake, and Sonny Terry made the Piedmont blues popular through a series of top-selling recordings. Women were also masters of Piedmont guitar style, including Etta Baker and Elizabeth “Libba” Cotten, whose “Freight Train” is one of the best-recognized tunes of the genre. The tobacco factories and warehouses of Durham, North Carolina — home to the American Tobacco Company (the world’s largest cigarette manufacturer) — were the epicenter for the Piedmont blues — the landscape from which the music was invented.
“My first connection to the Piedmont tradition came when I heard Elizabeth Cotten’s ‘Freight Train,’” says Clayton. “What struck me was the humility in her expression. There was no interest in showing off. Not trying to wow the listener, or even herself. It was the most honest delivery of the melody and its lyrics I could imagine. On the surface her sound described elements of ragtime, folk, and even country music, but at its core it sounded like a proper blues song. There's a tone of sadness throughout — the lyrics speak of a yearning towards death as a long awaited escape from life's woes. This sense of profound reflection and the desire to transcend pain and suffering described in this song sits at the essence of all blues expression.”
Clayton’s approach to translating the Piedmont blues focuses on extracting harmonic, melodic, and rhythmic ideas directly from traditional Piedmont blues tunes and stitching them together into new compositions for his nine-piece jazz ensemble. Using this process, Clayton is aiming to produce a series of songs that knowingly nod to the past, but insist on being fundamentally contemporary.
Life & Work
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Bio:
Gerald Clayton searches for honest expression in every note he plays. With harmonic curiosity and critical awareness, he develops musical narratives that unfold as a result of both deliberate searching and chance uncovering. The four-time GRAMMY-nominated pianist/composer formally began his musical journey at the prestigious Los Angeles County High School for the Arts, where he received the 2002 Presidential Scholar of the Arts Award. Continuing his scholarly pursuits, he earned a Bachelor of Arts in Piano Performance at USC’s Thornton School of Music under the instruction of piano icon Billy Childs, after a year of intensive study with NEA Jazz Master Kenny Barron at The Manhattan School of Music. Clayton won second place in the 2006 Thelonious Monk Institute of Jazz Piano Competition.
Expansion has become part of Clayton’s artistic identity. His music is a celebration of the inherent differences in musical perspectives that promote true artistic synergy. Inclusive sensibilities have allowed him to perform and record with such distinctive artists as Diana Krall, Roy Hargrove, Dianne Reeves, Ambrose Akinmusire, Dayna Stephens, Kendrick Scott, John Scofield Ben Williams, Terell Stafford & Dick Oatts, Michael Rodriguez, Terri Lyne Carrington, Avishai Cohen, Peter Bernstein and the Clayton Brothers Quintet. Clayton also has enjoyed an extended association since early 2013, touring and recording with saxophone legend Charles Lloyd.
2016 marks his second year as Musical Director of the Monterey Jazz Festival On Tour, a project that has featured his trio along with Ravi Coltrane, Nicholas Payton, Terence Blanchard and Raul Midón on guitar and vocals.Clayton’s discography as a leader reflects his evolution as an artist. His debut recording, Two Shade (ArtistShare), earned a 2010 GRAMMY nomination for Best Improvised Jazz Solo for his arrangement of Cole Porter’s “All of You.” “Battle Circle,” his composition featured on The Clayton Brothers’ recording The New Song and Dance (ArtistShare), received a GRAMMY nomination for Best Jazz Instrumental Composition in 2011. He received 2012 and 2013 GRAMMY nominations for Best Jazz Instrumental Album for Bond: The Paris Sessions (Concord) and Life Forum (Concord), his second and third album releases.
Capturing the truth in each moment’s conception of sound comes naturally to Clayton. The son of beloved bass player and composer John Clayton, he enjoyed a familial apprenticeship from an early age. Clayton honors the legacy of his father and all his musical ancestors through a commitment to artistic exploration, innovation, and reinvention.
In the 2016-17 year, Clayton turns his imaginative curiosity toward uncovering the essence of the Piedmont Blues experience and expression in early twentieth century Durham. A Duke University commission, Clayton’s evening-length composition will explore a mixed media performance that features some of the most resonating voices in contemporary music.
Contact Information
- Contact by Webpage: http://geraldclayton.com/contact
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Management/Booking:
Management | Booking
Chris Mees
B Natural, Inc.
O: + 1 914.968.2925
C: + 1 347.622.1775
E: chris@bnatural.nyc
European bookings
Jutta Unger
Cologne on Pop GmbH
Heliosstr. 6a
D-50825 Koeln
Fon +49 221 998 911 00
Fax +49 221 998 911 99
info@ungermusic.de
www.c-o-pop.de
Media & Markets
- ▶ Twitter: geraldclayton
- ▶ Instagram: geraldclayton
- ▶ Website: http://geraldclayton.com
- ▶ YouTube Music: http://music.youtube.com/channel/UCNvDr3MUfQX1ytBXnvtFOmg
- ▶ Spotify: http://open.spotify.com/album/4sfEFaf1chf9SCdAEQRR8U
- ▶ Spotify 2: http://open.spotify.com/album/1TVg4II9xfNCzya1NZbxgE
- ▶ Spotify 3: http://open.spotify.com/album/7Gz8HtQfjCxFNNFD67MuI2
- ▶ Spotify 4: http://open.spotify.com/album/6yb84Nl6LUx5S4LfwIn8Eh
- ▶ Spotify 5: http://open.spotify.com/album/3Uan5b7UprLANnEUYTwyvh
- ▶ Spotify 6: http://open.spotify.com/album/2zKTklChb1bbhquiKiVnnY
Clips (more may be added)
THE MATRIX WAS BUILT HERE, inspired in (the kabbalah-inspired fiction of) Borges' El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone... The Brazilian "aleph" doesn't hum...it sings!
Sprawled across broad equatorial latitudes
Stoked and steamed and sensual in the widest sense of the word
Limned in prosody and cadenced song
brəˈzɪl / from "brasa" / Latin for "ember"
w/ David Dye for U.S. National Public Radio
Given the immense untapped power of the small-world phenomenon, from Brazilians the matrix was expanded to include nodes per jazz artists, given jazz's common roots with Brazilian music (nodes based in publicly available information; some artists we informed — Bob Mintzer, Kamasi Washington, David "Fuse" Fiuczynski, Vijay Iyer, Greg Osby — and got thumbs up, others we'll get to), and moved on from there. Artists/academics/"creative people" are welcome to create their own nodes and curate (connect to other artist nodes, so that others may follow). BTW, our logo is a cortador de cana, cane cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specializes in.
MUCH MORE on all of this in the window below (which, if you are logged in, will instead contain instructions on recommending), and in the window within that window (which includes a "radio" called by The Guardian one of "10 of the best music radio stations around the world"):
