Clayton learned to play the piano from the age of six.[1] His father was an amateur musician associated with the family's local church, who was responsible for teaching his son the scales on a trumpet which he did not take up until his teens.[2] From the age of seventeen, Clayton was taught the trumpet by Bob Russell, a member of George E. Lee’s band. In his early twenties he was based in California, and was briefly a member of Duke Ellington’s Orchestra and worked with other leaders. Clayton was also taught at this time by trumpeter Mutt Carey, who later emerged as a prominent west-coast revivalist in the 1940s. After high school, he moved to Los Angeles. He later formed a band named “14 Gentlemen from Harlem” in which he was the leader of the 14-member orchestra.[3]
From there, there are multiple sources claiming different ways in which Clayton ended up in Shanghai. Some claimed that Clayton was picked by Teddy Weatherford for a job at the Canidrome ballroom in the French Concession in Shanghai.[3] Others claimed he escaped the US temporarily to avoid racism.[4]
From 1934 or 1935 (depending on the sources), he was a leader of the "Harlem Gentlemen" in Shanghai. Some of the bureaucratic social groups he was with included Chiang Kai-shek's wife Soong Mei-ling and her sister Ai-ling, who were regulars at the Canidrome.[4] Clayton would play a number of songs that were composed by Li Jinhui, while adopting the Chinese music scale into the American scale. Li learned a great deal from the American jazz influence brought over by Clayton.[citation needed][4] A 1935 guidebook in Shanghai listed Clayton and Teddy Weatherford as the main jazz attraction at the Canidrome. He would eventually leave Shanghai before the 1937 Second Sino-Japanese War.[4] Clayton is credited for helping to close the gap between traditional Chinese music and shidaiqu/mandopop. Li is mostly remembered in China as a casualty of the Cultural Revolution.
Later that year he accepted an offer from bandleader Willie Bryant in New York, but while moving east he stopped off in Kansas City and was persuaded to stay by Count Basie,[3] whose orchestra had a residency at the Reno Club, and took the trumpet chair recently vacated by Hot Lips Page. From 1937, the Count Basie orchestra was based in New York, giving Clayton the opportunity to freelance in the recordings studios, and he participated in recordings sessions featuring Billie Holiday and was also present on Commodore (and later Keynote Records) sessions with Lester Young. Clayton remained with Basie until he was drafted for war service in November 1943. Based at Camp Kilmer near New York, Clayton was able to participate in various all-star sessions, some of which were led by Sy Oliver.
After his honorable discharge in 1946 he prepared arrangements for Count Basie, Benny Goodman and Harry James and became a member of Norman Granz’s 'Jazz at the Philharmonic' package, appearing in April in a concert with Young, Coleman Hawkins and Charlie Parker, and in October participated in JATPs first national tour of the United States. He also recorded at this time for the H.R.S. label. In 1947 he was back in New York, and had a residency at the Café Society, Downtown, and the following year had a reunion with Jimmy Rushing, his fellow Basie alumnus, at the Savoy Ballroom. Clayton and Rushing worked together occasionally into the 1960s.
From September 1949 Clayton was in Europe for nine months, leading his own band in France. Clayton recorded intermittently over the next few years for the French Vogue label, under his own name, that of clarinetist Mezz Mezzrow and for one session, with pianist Earl Hines. In 1953, he was again in Europe, touring with Mezzrow; in Italy, the group was joined by Frank Sinatra.
The English critic Stanley Dance coined the term "mainstream" in the 1950s to describe the style of those swing era players who fell between the revivalist and modernist camps. Clayton was precisely one of the players to whom this appellation most applied. In December 1953 Clayton embarked on a series of jam session albums for Columbia, which had been the idea of John Hammond, though George Avakian was the principal producer. The recording sessions for these albums lasted until 1956. The tracks could last the length of an LP side, and it had been the new format that had given Hammond the idea, but sometimes this led to unfortunate anomalies. The title track on the Jumping at the Woodside album was compiled from two takes recorded four months apart, each with a completely different rhythm section. Clayton's Jazz Spectacular album from this series (with Kai Winding, J. J. Johnson and vocals by Frankie Laine) is loved by jazz and pop fans alike. Clayton also recorded at this time for Vanguard, with Hammond producing, under his own name and on dates led by Ruby Braff, Mel Powell and Sir Charles Thompson.
In 1955 he appeared in The Benny Goodman Story, also working with Goodman in New York at the Waldorf-Astoria Hotel two years later. In 1958 he was at the World Fair in Brussels for concerts with Sidney Bechet, and toured Europe the following year and annually through the 1960s. For the Swingville label (a subsidiary of Prestige Records) he co-led two albums with former Basie colleague Buddy Tate and supported Pee Wee Russell on his own outing for the label.
In 1964 he performed in Japan, Australia and New Zealand with Eddie Condon, with whom he had already occasionally worked for several years. In 1965 he toured England with trombonist Vic Dickenson and blues singer Big Joe Turner accompanied by British trumpeter Humphrey Lyttelton and his Band. This group featured on Jazz 625 for BBC television (later released on DVR). He made numerous visits to England thereafter and recorded three albums with Lyttelton. In order to hoodwink the musicians' union in the UK, it was necessary to claim that these albums were recorded in Switzerland. A live audio recording made on a club date with Lyttelton was released on Lyttelton's own Calligraph Records label (CLG CD 048).
Shortly after appearing at the New Orleans Jazz Festival in 1969, Clayton underwent lip surgery, and had to give up playing the trumpet in 1972. He was able to resume playing in 1977 for a State Department sponsored tour of Africa, but had to permanently stop playing in 1979, though he still worked as an arranger. He began to teach at Hunter College, CUNY from 1975–80 and again in the early eighties.
The semi-autobiography Buck Clayton’s Jazz World, co-authored by Nancy Miller Elliott, first appeared in 1986. In the same year, his new Big Band debuted at the Brooklyn Museum in New York, and Clayton toured internationally with it, contributing 100 compositions to the band book.
Buck Clayton died quietly in his sleep in 1991.
Black and Blue
Buck Clayton Lyrics
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Pains in my head, feel like old Ned
What did I do to be so black and blue?
No joys for me, no company
Even the mouse ran from my house
All my life through I've been so black and blue
Cause I can't hide what is on my face
I'm so forlorn. Life's just a thorn
My heart is torn. Why was I born?
What did I do to be so black and blue?
I'm hurt inside, but that don't help my case
Cause I can't hide what is on my face
How will it end? Ain't got a friend
My only sin is in my skin
What did I do to be so black and blue?
Tell me, what did I do?
What did I do? What did I do?
What did I do? What did I do?
What did I do? What did I do?
What did I do? Tell me, what did I do to be so black and blue?
What did I do to be so black and blue?
The lyrics of Buck Clayton's song "Black and Blue" tell a story of a person who is experiencing the pain and isolation that comes with racial discrimination. The character in the song speaks of their cold, empty bed and physical pains, which symbolize the emotional and mental pain they feel as a result of being discriminated against. The line "what did I do to be so black and blue?" is a rhetorical question, as the character knows they have not done anything to deserve this treatment, yet still feels the weight of it.
The character also speaks of the loneliness and isolation that comes with being discriminated against. They mention that even a mouse would not want to be in their house, highlighting the intense loneliness they feel. The line "I'm white inside, but that don't help my case" speaks to the fact that they cannot change the color of their skin, even if their thoughts and feelings may not align with stereotypes associated with their race. They feel forlorn, their heart torn, and wonder why they were even born into a world that treats them this way.
Overall, this song gives voice to the pain and suffering experienced by Black people at the hands of racism. The character in the song is asking why they deserve to be treated in such a way simply because of the color of their skin. It is a powerful message that resounds to this day.
Line by Line Meaning
Cold empty bed, springs hard as lead
My bed is cold and empty, its springs feel as heavy as lead
Pains in my head, feel like old Ned
I have a headache that feels as bad as what I can imagine an elderly person would experience
What did I do to be so black and blue?
I don't understand why I'm treated so poorly because of the color of my skin
No joys for me, no company
I have no happiness or companionship in my life
Even the mouse ran from my house
There is no one or nothing that wants to be with me
All my life through I've been so black and blue
I have faced discrimination and mistreatment because of the color of my skin for my entire life
I'm white inside, but that don't help my case
I am a good, kind person on the inside, but it doesn't matter because of the color of my skin
Cause I can't hide what is on my face
I can't cover up or change the color of my skin
I'm so forlorn. Life's just a thorn
I feel very lonely and sad. Life is difficult and painful
My heart is torn. Why was I born?
I am questioning my existence and why I was brought into a world that doesn't treat me fairly
I'm hurt inside, but that don't help my case
I am emotionally hurt, but it doesn't make a difference in how I am treated because of my skin color
How will it end? Ain't got a friend
I don't know what my future holds and I don't have anyone to support me
My only sin is in my skin
The only thing that I have done wrong is being born with a certain skin color
What did I do to be so black and blue?
I am still wondering why I am treated so poorly just because of the color of my skin
Tell me, what did I do?
I am begging for an answer and explanation for why I am being mistreated
What did I do? What did I do?
I am repeating my plea for an explanation
Tell me, what did I do to be so black and blue?
I am still searching for the reason as to why I face discrimination and mistreatment because of my skin color
What did I do to be so black and blue?
I am asking once again for an explanation for why I am treated so poorly solely because of the color of my skin
Lyrics © Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC
Written by: HARRY BROOKS, ANDY RAZAF, FATS WALLER
Lyrics Licensed & Provided by LyricFind