Trumpeting a Summer of Outdoor Variations

With the second season of Lexus Jazz at the Hollywood Bowl now underway (see the related review), it’s a good time to check in with John Clayton. Co-leader (with saxophone playing brother Jeff and drummer Jeff Hamilton) of the Clayton-Hamilton Jazz Orchestra, he has been the primary driving force behind the establishment of a strong jazz summer program at the Bowl, as well as the development of his orchestra as a resident jazz ensemble.

All in all, Clayton views the first season as a success, both artistically and in terms of audience reception.

“The public response to our performances last year has been large and strong,” he says. “And from an artistic standpoint, I am happy about the things that were fairly groundbreaking.”

He lists a number of specific musical examples--some subtle enough to have been overlooked by the general audience, others more immediately apparent.

Clayton also mentions the presentation of an arrangement he had written for singer Joe Williams during a German tour. Using a recording of the performance as a starting point, he had the entire orchestral accompaniment wiped from the digital tape, leaving only Williams’ voice.

“We then performed it live,” he explains, “accompanying Joe’s voice--unbelievably difficult to coordinate. But Joe’s widow was very moved by the performance, and that made it all worthwhile.”

Finally, a great deal of effort was put into retaining the actual sound of the orchestra, with all its dynamic subtleties, through the Bowl sound system--a task rarely done well by (and for) other large jazz ensembles.

“This was a major feat for us,” says Clayton. “Few can appreciate what it takes to perform outdoors. When you play in small clubs, you don’t have to work as hard since your sound comes back to you faster. You can actually play softer. In a large venue, you find yourself trying to ‘fill’ the space with your sound. Outside there is no room, no wall. So we work hard on dynamics. I love whispering pianissimos and roaring fortissimos, and we did our best to maintain them.”

Clayton’s approach to the 2000 season’s programming includes a number of specific goals:

* Louis Armstrong tributes throughout the season.

* More focused shows, with fewer guests and groups (with the exception of the final two programs, which are a tribute to Mel Torme on Sept. 6 and a tribute to Armstrong on Sept. 13).

* New compositions and arrangements will continue to be written especially for each concert.

* Australian jazz multi-instrumentalist James Morrison will be introduced to American audiences. “Too many people don’t know about his talent,” says Clayton.

* A trumpet competition will be organized for young local players. “Scholarship money and a new instrument will be the prize,” notes Clayton. “We’re hoping to have the scholarship money apply to lessons with each member of the CHJO trumpet section.”

Regarding the effect that change in management at the Los Angeles Philharmonic will have upon the jazz program, Clayton is taking an upbeat, but wait-and-see position.

“So far, so good,” he says. “They’ve shown support for us and our ideas.” But he also points out that, as with most new administrations, there is a quest to improve the bottom line.

“Unfortunately,” he adds, “this means large cuts that hurt us pretty badly. There was only one community concert this year, our education program has been eliminated, and some positions have been eliminated that were close to jazz, positions that helped make our first year a success.”

Clayton has been around long enough, however, to recognize the subtle currents that are always present in a large presenting organization.

“I am adjusting,” he says. “Looking for the water level, while forging on with my vision for jazz in Los Angeles. As long as management continues to show support, I think the music will take us where we need to go. And for me, I always stay focused on the art. Life seems better that way.”

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Riffs: Next week, Capitol Records is issuing “Rare Gems and Hidden Treasures,” an 18-song CD collection of songs by Peggy Lee, including nine previously unreleased tracks. The material dates from 1946 (a radio transcription of “All the Cats Join In,” originally written for a 1944 Disney animated feature, “Make Mine Music”) to 1962’s “Please Don’t Rush Me.” Now, if whoever controls the A&M; catalog can only be persuaded to re-release “Mirrors,” with Lee singing the offbeat songs of Jerry Leiber and Mike Stoller (including the classic, “Is That All There Is?”). . . . Todd Barkan, veteran jazz promoter, producer and club owner (San Francisco’s Keystone Korner), has been appointed creative director of 32 Records, a company that has specialized in catalog reissues. Latest releases include albums by Cedar Walton, Sheila Jordan, Charles Brown and Morgana King, and new recordings from pianist Arturo O’Farrill and trumpeter Lew Soloff.