Bells on Sand (Blue Note)
Gerald Clayton
Released April 2022
AllMusic Favorite Jazz Albums 2022
YouTube:
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About:
Six-time GRAMMY nominated artist Gerald Clayton returns with Bells On Sand, his ravishing second album for Blue Note Records. Recorded at Sam First in Los Angeles and Santa Barbara Sound Design, the album features ten tracks of fresh orchestration and original music with contributions from mentor Charles Lloyd on saxophone, father John Clayton on bass, longtime friend and peer Justin Brown on drums, and new collaborator MARO on vocals. Together, they explore the impact and abstraction of time.
“Each musician on the record represents a different aspect of the axis of time and its shifting sands,” says the acclaimed pianist-composer. “My father and Charles Lloyd, who has been a mentor figure to me, reflect new permutations of my past, and the lineage of elders who have shaped my development; Justin Brown, being my contemporary and musical brother, represents my present; and MARO represents the future—she is part of the next generation, and points to a brand new collaboration.”
Unadorned intimacy shapes the music. Clayton’s desire to share more of himself with listeners and fellow artists wields heady influence over his musical choices and his thoughtful curation of the entire album. But most striking is his ability to create quiet chambers for all four artists to be themselves. Bells On Sand opens in pensive resonance with “Water’s Edge.” The slow-peeling composition first spotlights Clayton’s relationship with John’s arco, tapered and doleful, before Brown transforms the duo into a trio.
Each original tune, as well as Whiting and Chase’s “My Ideal,” honors Clayton’s journey through solitude in 2020. Both takes of “My Ideal”—two of three solo gestures—capture entirely different emotional arcs, bending in and out of time, equal in their honesty. For Clayton, their presence on the recording feels integral.
“By the water, I experienced subtle environmental shifts,” he says. “Songs I would sing, play or write were but an expression of a particular shape in the sand at that moment. Any meaning behind what I created came from viewing that creation over a temporal landscape. A song felt a certain way on a certain day, and the next day would feel and function completely differently.”
Each original tune, as well as Whiting and Chase’s “My Ideal,” honors Clayton’s journey through solitude in 2020. Both takes of “My Ideal”—two of three solo gestures—capture entirely different emotional arcs, bending in and out of time, equal in their honesty. For Clayton, their presence on the recording feels integral.
“By the water, I experienced subtle environmental shifts,” he says. “Songs I would sing, play or write were but an expression of a particular shape in the sand at that moment. Any meaning behind what I created came from viewing that creation over a temporal landscape. A song felt a certain way on a certain day, and the next day would feel and function completely differently.”
Similar textures appear on “That Roy” and “Rip,” duo pieces between Clayton and Brown. He composed the former in tribute to the recently departed Roy Hargrove—an unparalleled mentor and friend from Clayton’s early years in New York—aligning with themes of loss and gratitude; the latter serves, in part, as a vessel for Brown’s sensitive and near meditative development. “The melody is just this shape swimming around, stuck in one place,” says Clayton. “It never really breaks free. Justin understood the truth and tension of that concept—I didn’t really have to give him any direction. He just gets it.”
One pearl Clayton drops before young pianists is “Don’t sing what you play, play what you sing.” Vocalizing informs his method for approaching composed melodies and improvising new ones. The lyricism listeners have come to cherish in his music takes frank form on “Just a Dream.” With almost whispered tenderness, MARO delivers Clayton’s song—music and lyrics—about love and parenthood.
Bells On Sand culminates in sprawling duo with Lloyd on “Invocation for Peace.” The younger Blue Note artist has been a relative fixture on the elder’s tour schedule since 2013. Together, they’ve developed deep empathy and intuition for each other’s musical tendencies and spontaneous turns. Ending on a note of divinity and soul-searched resolve, Jeff Clayton’s “There is Music Where You’re Going My Friends” is a hymn to love and hope, recorded in memory of his beloved uncle. “I hope these reflections encourage people to step back and recognize that our testaments—songs, stories, intentions—lay atop an ever-shifting landscape,” says Clayton. “To look at things from this zoomed-out perspective might allow for a union between past, present, and future. It might allow us to embrace the totality of our life experience. That we may consider the lessons from our past when living the present moment in a way that serves the future.”
Track Listing:
1. Water’s Edge (Gerald Clayton) 06:39
2. Elegia (Josep Janés / Federico Mompou / Xavier Turull) 01:17
3. Damunt de tu Només les Flors (Josep Janés / Federico Mompou) 03:50
4. My Ideal 1 (Newell Chase / Leo Robin / Richard Whiting) 03:39
5. That Roy (Gerald Clayton) 02:16
6. Rip (Gerald Clayton) 03:07
7. Just a Dream (Gerald Clayton) 05:29
8. My Ideal 2 (Newell Chase / Leo Robin / Richard Whiting) 05:25
9. Peace Invocation (Gerald Clayton) 08:00
10. This Is Music Where You’re Going My Friends (Jeff Clayton) 03:19
Personnel:
Gerald Clayton: piano
John Clayton: bass
Justin Brown: drums
Charles Lloyd: saxophone
Recorded at Sam First and Santa Barbara Sound Design, by Adam Camardella (4, 5, 7, 10), David Robaire (1, 3, 7) and Dom Camardella (4, 5, 8, 10)
Mixed by Jeremy Loucas
Mastered by David Darlington, Kevin Gray
Producer: Gerald Clayton
Illustration: Philipp Igumnov
Review:
Embracing his classical influences, pianist Gerald Clayton conjures a richly soulful and dreamlike atmosphere on his second Blue Note album, 2022’s Bells on Sand. Even going as far back as his time in the 2000s with Roy Hargrove and then through his first few solo albums, Clayton has evinced a classical warmth in his playing. His measured style is marked by complex chordal harmonies, delicate arpeggiations, and a languid, poetic feeling that often evokes the work of Chick Corea. It’s also a personal sound, informed by his musical roots with his father, esteemed bassist John Clayton, as well as his work with saxophonist Charles Lloyd — both of whom appear here. He brings all of this to full flower on Bells on Sand, crafting songs that straddle the line between classical chamber music and flowing modal post-bop. The record is technically his first studio outing for the label following his 2020 concert album Happening: Live at the Village Vanguard. Where that release found him leading his adventurous quintet, here he offers spare duo and trio performances that are meant to reflect his past, present, and future as an artist. As such, he has brought together an intimate handful of collaborators, including his father, drummer Justin Brown, and Portuguese vocalist MARO. Also featured is Clayton’s former boss and mentor, saxophonist Lloyd, with whom he has worked closely since 2013. There’s a spiritual, imagistic quality to much of the album that has the feel of a ’70s ECM recording. On the opening “Water’s Edge,” Clayton frames his father’s mournful bowed bass lines with slow storm-cloud chords and the gathering rumble of Brown’s drumming before trickling in a shimmering rainbow of organ. Equally languid moments follow, as in Clayton’s take on Catalan composer Federico Mompou’s “Damunt de tu Només les Flors,” a sleepy, tango-esque lullaby sung with romantic sadness by MARO. Particularly rapturous is “Peace Invocation,” a shimmering noir daydream in which Clayton’s warm piano bakes like late-afternoon sun against Lloyd’s dusky tenor sax shadow.
Matt Collar (AllMusic)
