Título: Buck Clayton
Seção: Mainstreamer
Background: Wilbur Dorsey "Buck" Clayton (November 12, 1911 - December 8, 1991) was an American jazz trumpet player who was a leading member of Count Basie's "Old Testament" orchestra and a leader of mainstream-oriented jam session recordings in the 1950s. His principal influence was Louis Armstrong. The Penguin Guide to Jazz says that he "synthesi[zed] much of the history of jazz trumpet up to his own time, with a bright brassy tone and an apparently limitless facility for melodic improvisation". Clayton worked closely with Li Jinhui, father of Chinese popular music in Shanghai.

Conteúdo: 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 col

user: Was he a mainstream musician?

assistant: Clayton was precisely one of the players to whom this appellation most applied.

user: When did his music become mainstream?

assistant: 1953 Clayton embarked on a series of jam session albums for Columbia, which had been the idea of John Hammond,

user: Were these sessions well received by critics?

assistant: CANNOTANSWER

user: What did it mean to be a mainstreamer?

assistant: 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.

user: Was Clayton one of the artists that fit into this category?

assistant: Clayton was precisely one of the players to whom this appellation most applied.

user: How did he feel about this label?

assistant: CANNOTANSWER

user: Are there any other interesting aspects about this article?

assistant: 1955 he appeared in The Benny Goodman Story, also working with Goodman in New York at the Waldorf-Astoria Hotel two years later.

user: How long did he work with Goodman at the hotel?

assistant: CANNOTANSWER