Gerald Clayton : Ones & Twos

L.A.-based jazz pianist and composer Gerald Clayton has had quite the music career at just 41-years old. He’s released five solo albums between 2009 and 2022. He’s collaborated with everyone from John Scofield to Kendrick Scott to Diana Krall to Roy Hargrove. He’s also the son of famous jazz bassist John Clayton. His style is more a restrained, conservatory-type of playing. He blurs the lines between jazz, film scores, and more classical approach to composing. His sound is a contemporary one.

But on his newest and sixth LP(and second on the legendary Blue Note Records) Ones & Twos, Clayton expands his sound and sonic palate. It still has the contemporary approach heard on albums like Two-Shade and Bells On Sand, but there’s a funkier, groovier side here. Touches of Herbie Hancock, Chick Corea, and Joe Zawinul come thru, making Ones & Twos one of the best jazz albums you’ll hear this year.

Prior to Ones & Twos I was not familiar with Gerald Clayton. It was some algorithm-fueled ad that hit my feed which led me to this record. In-particular, when I’d read that vibraphonist Joel Ross was on this record was when I hit the ‘buy now’ button immediately. Ross is one of the premier jazz musicians/composers working today, and a fellow Los Angeles artist. If he was on this album then I knew I was going to dig it.

And dig it I did. Sublime album opener “Angels Speak” feels both contemporary and culled from some long gone era. Intellectual, heady, and deeply moving if you let it wash over you. Claytons keys, Elena Pinderhughes flute, and Ross’ subtle vibraphone gives the track a very dreamy feel, blurring the line between 60s Euro arthouse film and modern jazz composition. Single “Cinnamon Sugar” has a subtle funk to it, with drummer Kendrick Scott and trumpeter Marquis Hill pushing this one over the top. And of course Gerald Clayton lays down some seriously sublime piano here. “Sacrifice Culture” has an almost chaotic vibe, with wonky electronics hovering over the groove.

Tracks like “How Much Love?” and “Just Above” come across almost like mood pieces written for a film, while “Rush” gives off serious Herbie and the Headhunters vibes. Think Fat Albert Rotunda meets “Watermelon Man”. Groove for miles(or Miles?). And album closer “Endless Tubes” has a very noir-ish feel. Ross’ vibes gives the proceedings an L.A. at night mood to it. Sublime.

Now that Gerald Clayton is on my radar I plan to follow where he goes. Ones & Twos feels like a real triumph and a huge step forward to legendary status.