Clayton Doley
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Clayton Doley

Sydney, New South Wales, Australia | INDIE

Sydney, New South Wales, Australia | INDIE
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"Clayton Doley - Desperate Times"

Mr Doley hails from Australia and started to play music at a very early age. He was attracted to the B3 Hammond Organ and taught himself to use the bass pedals (which for the uninitiated, allow a keyboard top line, to be accompanied by a bass part created by the musician. The double keyboard and an array of knobs and buttons (called ‘drawbars’) to allow the player to alter and adjust the dynamics of the emitted sound. Invented in the 1930s, the instrument became a favourite of jazz musicians (like Jimmy Smith) and was to the fore front of 1960s and 1970s rock with artists like Alan Price, Gregg Allman, Rick Wakeman, and Booker T. Jones of Booker T. & the M.G.'s who used the Hammond, on the song "Green Onions".

Clayton Doley is a master of his instrument. He has a fine jazzy touch and cab take a song like the famous Misty, written by Errol Garner and weave it into an intricate sound picture. Not only that, Clayton has a fine voice too, reminding me occasionally, but not too often, of the vocal stylings of Mose Alison but with a deeper more resonant touch than Allison.

Other, more blues based tracks include, Willie Dixon’s Seventh Son and a very nice rendition of Chicken Shack coupled with the Feather’s How Blue Can You Get? A word here about the excellent guitar work by Champagne James Robertson, some of his licks are simply outstanding. A constant an inspiring presence throughout the CD

The CD includes five Doley originals including the punningly titled Chester Drawers (which I take to be a tribute to B3 player Chester Thompson of Santana) which is a wonderful example of Doley’s nifty footwork on the bass pedals, as well as some atmospheric drawbar work. Take a listen too to the outstanding drum work by Davide Di Renzo

But a word of warning…This is not a blues album, it is much more like a beautifully recorded (in Toronto, Canada) jazz album. Nevertheless, that caveat aside, strongly recommended..

Ian McKenzie - Blues Blast Magazine


"Clayton Doley - Desperate Times"

Mr Doley hails from Australia and started to play music at a very early age. He was attracted to the B3 Hammond Organ and taught himself to use the bass pedals (which for the uninitiated, allow a keyboard top line, to be accompanied by a bass part created by the musician. The double keyboard and an array of knobs and buttons (called ‘drawbars’) to allow the player to alter and adjust the dynamics of the emitted sound. Invented in the 1930s, the instrument became a favourite of jazz musicians (like Jimmy Smith) and was to the fore front of 1960s and 1970s rock with artists like Alan Price, Gregg Allman, Rick Wakeman, and Booker T. Jones of Booker T. & the M.G.'s who used the Hammond, on the song "Green Onions".

Clayton Doley is a master of his instrument. He has a fine jazzy touch and cab take a song like the famous Misty, written by Errol Garner and weave it into an intricate sound picture. Not only that, Clayton has a fine voice too, reminding me occasionally, but not too often, of the vocal stylings of Mose Alison but with a deeper more resonant touch than Allison.

Other, more blues based tracks include, Willie Dixon’s Seventh Son and a very nice rendition of Chicken Shack coupled with the Feather’s How Blue Can You Get? A word here about the excellent guitar work by Champagne James Robertson, some of his licks are simply outstanding. A constant an inspiring presence throughout the CD

The CD includes five Doley originals including the punningly titled Chester Drawers (which I take to be a tribute to B3 player Chester Thompson of Santana) which is a wonderful example of Doley’s nifty footwork on the bass pedals, as well as some atmospheric drawbar work. Take a listen too to the outstanding drum work by Davide Di Renzo

But a word of warning…This is not a blues album, it is much more like a beautifully recorded (in Toronto, Canada) jazz album. Nevertheless, that caveat aside, strongly recommended..

Ian McKenzie - Blues Blast Magazine


"Clayton Doley - Desperate Times - Salty Dog Podcast"

If ya need yer fix of Hammond B3, then Clayton Doley is your man. The goto organ grinder, singer/songwriter and world renowned session maestro talks about 'Desperate Times'. Think jazz/blues fusion, soul. Think Jimmy Smith and yer on the scent. Hearing is believing. (Released 22 Oct 12) - Salty Dog Blues N Roots Podcast


"Clayton Doley - Desperate Times - Salty Dog Podcast"

If ya need yer fix of Hammond B3, then Clayton Doley is your man. The goto organ grinder, singer/songwriter and world renowned session maestro talks about 'Desperate Times'. Think jazz/blues fusion, soul. Think Jimmy Smith and yer on the scent. Hearing is believing. (Released 22 Oct 12) - Salty Dog Blues N Roots Podcast


"Clayton Doley Interview - The Joy of Music"

Interview by Michael Limnios

Clayton, when was your first desire to become involved in the music and Hammond organ?

I was probably about 10 when I first discovered the music that I felt the most connection to, and it was the piano players of the late 50’s and early 60’s rock and roll like Little Richard and Jerry Lee Lewis that I was drawn to. I loved that it was more about the energy than the skill and you could teach yourself how to play by playing along. From there, as I got better I played along to Chicago Blues records like Muddy Waters and tried to copy his piano player Otis Span. I discovered Hammond Organ soon after.

From whom have you have learned the most secrets about the Hammond? Who were your first idols?

Booker T. Jones for me is the absolute master of the Hammond organ, not so much for his technical ability but the range of tones and his use of the Leslie speaker and the volume pedal. He is my first idol and the player that I studied the most. Then all of the American jazz organists from the 60’s, such as Jimmy Smith and “Groove” Holmes for the Bass pedal playing and fast lines.

What does the BLUES mean to you and what does offer you?

From the very beginnings of Blues music you can hear the pain and hardship but you can also feel the hope and optimism. Personally, I have not seen pain and hardship like the early African Americans but I can relate to that feeling that Blues music can bring you happiness when all you feel is sorrow.

What do you learn about yourself from the blues music?

I have learned to really appreciate what I have in life, I have great friends and family and the gift of music. It do not worry about material wealth, what matters to me is finding joy in life. Music brings me joy.

How do you describe Clayton Doley’s sound & your progress? What characterize your music philosophy?

I would say that my music philosophy is to play the music that you want to play and ignore the popular trends. When I first started to play the Hammond Organ it was very unpopular, people thought I was crazy for playing a heavy beat up old organ when the lightweight synths were making new sounds. But I stayed true to myself and carried my Hammond to gigs in my old van. As times changed, and Hammond Organ started becoming popular again, I had already had a head start on my peers.

From the musical point of you what is the difference and similarity between the piano/keyboards and organ?

They are both Keyboard instruments but that is where the similarities end. The piano is an acoustic instrument that has it’s own overtones and the player gets expression from the touch of the fingers on the keyboard. On an organ each note is a switch that turns on a synthesized tone, basically just sound on and sound off. All the expression comes from the volume pedal and the use of the Leslie, and the overtones can be dialed in with the drawbars. I love to play both organ and piano but I feel like the playing the organ is where I can express myself the most.

Do you remember anything funny or interesting from your tours?

Touring is always funny and interesting but it also has its challenges and stresses, I love it and hate it at the same time. It is always great to visit new places and meet new people and it is always interesting being so close to your fellow band members. You really get to know someone when you are on the road and you share pretty personal experiences, similar to being in a relationship.

What are some of the most memorable gigs and jams you've had?

I like big gigs, bigger the better. I especially like music festivals where you get to share the stage with your idols and meet them back stage.

What advice would you give to young blues musician? What is the best advice a bluesman ever gave you?

I was really lucky when I was first starting playing. I somehow ended up playing with musicians much older and much better than me and that was the best way to improve quickly.

Probably the post important thing anyone taught me was to be a team player, respect your fellow musicians and respect your audience. When you first start playing, all you want to do is show off how good you are, but it is more important to create a feeling and tell a story that the listener can relate to. Take your time and draw everyone in and then once you have their attention you can dazzle them with something tricky or fast.

Are there any memories from Eugene 'Hideaway' Bridges, Steve Cropper & Donald 'Duck' Dunn, and David Garibaldi, which you’d like to share with us?

Playing with these amazing musicians is an absolute honor and I feel humbled and privileged to be in their company. In the case of Steve Cropper and ‘Duck’ Dunn, I loved listening to the stories about how they made my favorite records in the Stax studio. And in the case of David Garibaldi, I loved getting the chance to do the Organ and Drums breakdown that David Garibaldi and Chester Thom - BLUES.GR


"Clayton Doley Interview - The Joy of Music"

Interview by Michael Limnios

Clayton, when was your first desire to become involved in the music and Hammond organ?

I was probably about 10 when I first discovered the music that I felt the most connection to, and it was the piano players of the late 50’s and early 60’s rock and roll like Little Richard and Jerry Lee Lewis that I was drawn to. I loved that it was more about the energy than the skill and you could teach yourself how to play by playing along. From there, as I got better I played along to Chicago Blues records like Muddy Waters and tried to copy his piano player Otis Span. I discovered Hammond Organ soon after.

From whom have you have learned the most secrets about the Hammond? Who were your first idols?

Booker T. Jones for me is the absolute master of the Hammond organ, not so much for his technical ability but the range of tones and his use of the Leslie speaker and the volume pedal. He is my first idol and the player that I studied the most. Then all of the American jazz organists from the 60’s, such as Jimmy Smith and “Groove” Holmes for the Bass pedal playing and fast lines.

What does the BLUES mean to you and what does offer you?

From the very beginnings of Blues music you can hear the pain and hardship but you can also feel the hope and optimism. Personally, I have not seen pain and hardship like the early African Americans but I can relate to that feeling that Blues music can bring you happiness when all you feel is sorrow.

What do you learn about yourself from the blues music?

I have learned to really appreciate what I have in life, I have great friends and family and the gift of music. It do not worry about material wealth, what matters to me is finding joy in life. Music brings me joy.

How do you describe Clayton Doley’s sound & your progress? What characterize your music philosophy?

I would say that my music philosophy is to play the music that you want to play and ignore the popular trends. When I first started to play the Hammond Organ it was very unpopular, people thought I was crazy for playing a heavy beat up old organ when the lightweight synths were making new sounds. But I stayed true to myself and carried my Hammond to gigs in my old van. As times changed, and Hammond Organ started becoming popular again, I had already had a head start on my peers.

From the musical point of you what is the difference and similarity between the piano/keyboards and organ?

They are both Keyboard instruments but that is where the similarities end. The piano is an acoustic instrument that has it’s own overtones and the player gets expression from the touch of the fingers on the keyboard. On an organ each note is a switch that turns on a synthesized tone, basically just sound on and sound off. All the expression comes from the volume pedal and the use of the Leslie, and the overtones can be dialed in with the drawbars. I love to play both organ and piano but I feel like the playing the organ is where I can express myself the most.

Do you remember anything funny or interesting from your tours?

Touring is always funny and interesting but it also has its challenges and stresses, I love it and hate it at the same time. It is always great to visit new places and meet new people and it is always interesting being so close to your fellow band members. You really get to know someone when you are on the road and you share pretty personal experiences, similar to being in a relationship.

What are some of the most memorable gigs and jams you've had?

I like big gigs, bigger the better. I especially like music festivals where you get to share the stage with your idols and meet them back stage.

What advice would you give to young blues musician? What is the best advice a bluesman ever gave you?

I was really lucky when I was first starting playing. I somehow ended up playing with musicians much older and much better than me and that was the best way to improve quickly.

Probably the post important thing anyone taught me was to be a team player, respect your fellow musicians and respect your audience. When you first start playing, all you want to do is show off how good you are, but it is more important to create a feeling and tell a story that the listener can relate to. Take your time and draw everyone in and then once you have their attention you can dazzle them with something tricky or fast.

Are there any memories from Eugene 'Hideaway' Bridges, Steve Cropper & Donald 'Duck' Dunn, and David Garibaldi, which you’d like to share with us?

Playing with these amazing musicians is an absolute honor and I feel humbled and privileged to be in their company. In the case of Steve Cropper and ‘Duck’ Dunn, I loved listening to the stories about how they made my favorite records in the Stax studio. And in the case of David Garibaldi, I loved getting the chance to do the Organ and Drums breakdown that David Garibaldi and Chester Thom - BLUES.GR


"Clayton Doley - Desperate Times"

Drawn to the Hammond B3 organ from an early age, Clayton Doley is not only one of Australia’s finest exponents of the instrument, he is quickly gaining recognition as a top new player on the world stage, having performed at jazz and blues festivals at home and in Canada leading his own band and supporting internationally acclaimed artists. An in-demand session musician, songwriter and producer of long standing, Doley also has a long history as a television musical director. On Desperate Times he returns to the classic bluesy soul/jazz organ trio tradition of Jimmy Smith and Jack McDuff, exploring the B3’s full potential and utilising its dynamics, depth of tone and bass pedals. Recorded in Toronto where in 2011 Doley immersed himself in the city’s vibrant local scene, the CD offers non-originals and a half dozen Doley compositions combining modern structure and harmony with thoughtful, sensitive lyrics. Canadian guitarist Champagne James Robertson and drummer Davide Di Renzo cook up an aural feast behind the organ and deep, rich vocals of Doley who delivers a funkified rework of Willie Dixon’s ‘Seventh Son’, a sumptuous reading of Smith’s ‘Chicken Shack’, a soulful version of BB King’s ‘How Blue Can You Get’ and a swinging bebop-tinged instrumental workout on Errol Garner’s timeless ‘Misty’.

By Al Hensley

- Rhythms


"Clayton Doley - Desperate Times"

Drawn to the Hammond B3 organ from an early age, Clayton Doley is not only one of Australia’s finest exponents of the instrument, he is quickly gaining recognition as a top new player on the world stage, having performed at jazz and blues festivals at home and in Canada leading his own band and supporting internationally acclaimed artists. An in-demand session musician, songwriter and producer of long standing, Doley also has a long history as a television musical director. On Desperate Times he returns to the classic bluesy soul/jazz organ trio tradition of Jimmy Smith and Jack McDuff, exploring the B3’s full potential and utilising its dynamics, depth of tone and bass pedals. Recorded in Toronto where in 2011 Doley immersed himself in the city’s vibrant local scene, the CD offers non-originals and a half dozen Doley compositions combining modern structure and harmony with thoughtful, sensitive lyrics. Canadian guitarist Champagne James Robertson and drummer Davide Di Renzo cook up an aural feast behind the organ and deep, rich vocals of Doley who delivers a funkified rework of Willie Dixon’s ‘Seventh Son’, a sumptuous reading of Smith’s ‘Chicken Shack’, a soulful version of BB King’s ‘How Blue Can You Get’ and a swinging bebop-tinged instrumental workout on Errol Garner’s timeless ‘Misty’.

By Al Hensley

- Rhythms


"Clayton Doley Desperate Times"

Reconnu comme le meilleur joueur d’orgue Hammond B3 en Australie, Clayton Doley a participé à l’enregistrement d’une centaine d’albums à titre de musicien de session, en plus de jouer avec de grands noms de la musique de son pays natal, tels Jimmy Barnes et Jade MacRea. Lors du plus récent Festival international de jazz de Montréal, il s’est retrouvé sur la même scène que son ami Harry Manx, à l’invitation de ce dernier d’ailleurs, pour un spectacle à la Maison symphonique. Puis, Clayton Doley s’est pointé à Toronto, où il a rencontré le guitariste Champagne James Robertson et le batteur David Di Renzon avec lesquels il va former le Clayton Doley Organ Experience. Les trois musiciens ont eu le temps de peaufiner leur complicité, laquelle se traduit par un album à la fois blues et jazz. Doley, qui chante aussi sur la plupart des pièces, nous fait ici entendre, avec ses deux acolytes, neuf pièces sur lesquelles il dévoile sans équivoque toute son aisance à l’orgue Hammond B3, un instrument qu’il remet ici au goût du jour de fort belle façon! - leveil.com


"L’époque désespérée de l’organiste Clayton Doley"

Il arrive parfois qu’un critique musical effectue un saut dans l’abîme. En arrachant la pellicule plastique d’un album tout fraîchement sorti des presses et en déposant le disque compact dans le lecteur, un pari est pris: le pari que disque saura surprendre, saura étonner, saura plaire, ou encore un mélange des trois. Avec son nouvel album Desperate Times, le joueur d’orgue Clayton Doley rend non seulement un hommage en reprenant certains classiques, mais donne également libre cours à son imagination avec quelques pièces originales.

La pochette de l’album

L’orgue, cet instrument injustement délaissé? Très utilisé durant les années 1970, particulièrement chez des groupes comme les Doors – et le classique immortel Light My Fire, l’orgue est par la suite tombé quelque peu dans l’oubli, relégué aux soirées dansantes de quartier, aux sous-sols d’églises, et peut-être à l’accompagnement musical de bingos en banlieue éloignée. Sans oublier, bien sûr, les fameuses bandes sonores des films pornographiques des années 1970, avec cet aspect un peu funk, un peu psychédélique.

Clayton Doley surfe d’ailleurs un peu sur cette vague nostalgique. Son fidèle orgue Hammond B3 au bout des doigts, « le meilleur musicien d’orgue de l’Australie » s’en donne à coeur joie avec une virtuosité à la fois classique et résolument moderne. Classique, bien entendu, puisqu’il est impossible de séparer l’instrument de l’époque des pantalons à pattes d’éléphant, des moustaches et du poil de torse, mais aussi moderne, avec des arrangements de guitare électriques et une approche permettant d’innover à la fois en termes de composition et en ce qui a trait aux sonorités musicales.

L’aspect jazz est également très présent, d’autant plus que l’enregistrement de l’album s’est effectuée en trio avec uniquement un guitariste (Champagne James Robertson) et un batteur (Davide Di Renzon). Un jazz chaud, quelque peu sensuel, un jazz organique, qui accroche aux tripes, un exemple parfait de musique à écouter sous une lumière tamisée; bref, une sonorité assez lounge, sans toutefois tomber dans le convenu et l’ennuyant.

L’époque est-elle si désespérée, d’un point de vue musical, pour que ce disque passe sous le radar? Le titre de l’album semble le laisser croire, mais la réalité est toute autre. Clayton Doley signe un disque enjôleur qui s’installe dans une mouvance musicale plus qu’agréable, et le résultat est innovateur et audacieux à tous points de vue. - Pieuvre


"Clayton Doley Desperate Times"

Si on se fie à la photo qui orne ce digipack, on peut s’attendre à ce que ce fringuant jeune homme en costard cravate nous propose de la pop music suave. Que nenni non point. Son registre à lui, c’est l’orgue. Le Hammond B3. Autant dire un sacré monument, avec sa pléiade de tirettes, ses pédales et ses deux claviers. Le type en a si bien assimilé le fonctionnement qu’il est le meilleur du genre en Australie et qu’il est une gloire montante sur la scène internationale. C’est du Hammond, certes, mais pas du Rhoda Scott, tout cela grâce à un guitariste vraiment dynamique voire parfois furieux comme sur cette composition à tendance jazz rock baptisée ‘Chester Drawers’ où ses chorus déchirent. Le garçon joue en trio (un guitariste et un batteur, lui-même se réservant les parties de basse). La palette des styles est large. Le CD débute avec un morceau qu’aurait pu créer Donald Fagen ‘Dealing With The Devil’ Un truc qui te fait battre instinctivement la mesure avec une belle mélodie mise en valeur par la voix juste et claire de Clayton Doley. On enchaîne avec le ‘Seventh Son’ de Willie Dixon, gentiment rock, toujours avec la guitare de Champagne James Robertson qui électrise le truc. Et puis il y a aussi ce morceau lent et intense ‘Friday The 13th’ où il dit être né un vendredi 13 et il s’en prend plein les dents. Le don de super mélodiste est confirmé avec le titre qui clôture cet album ‘Permanent Holiday’. Voui, voui, on est en vacances permanentes avec ce CD.
César - Blues Again - Le Blues Dans Tous Ses Etats


"Clayton Doley Desperate Times Blues/Roots"

Agé de 38 balais, Clayton Doley est un spécialiste de l'orgue Hammond B3. Originaire de Melbourne, il est capable de tirer le maximum de son instrument. Cet Australien séduit tout autant le public jazz que blues. Il est également compositeur, chanteur, producteur et directeur musical de séries TV. Il est devenu très populaire au Canada, où il s'est produit dans le cadre de différents festivals. Notamment à Montréal et Toronto. Il avait été invité par l'artiste local, Harry Manx. Il drive son propre trio, qu’il a baptisé The Clayton Doley Organ Experience, un backing group impliquant un batteur et un guitariste. Il assure, à l’aide des pédales de son orgue, les parties de basse. Il répond souvent présent, quand il s’agit de collaborer aux sessions d’enregistrement de ses pairs. Il a ainsi apporté sa contribution à Margie Evans, les Mighty Reapers, Jimmy Barnes, Eugene Hideaway Bridges, Harry Manx et j’en passe. Pour concocter son elpee, Doley a reçu le concours du guitariste Champagne James Robertson et du batteur Davide Di Renzo.

L'orgue Hammond, c'est un son différent, tout de suite identifiable. Doley ouvre l’elpee par son "Dealing with the devil", une compo qui évolue à la fois dans la tradition blues et jazz. Tout en délicatesse, son toucher à l'orgue nous transporte. Surtout lorsqu’il épouse la voix. Et pourtant, elle est plutôt terne. Sa version du "Seventh son", un classique du blues écrit par le fabuleux Willie Dixon, est excellente. L’envol sur l’orgue est superbe. Cette adaptation me fait penser à Georgie Fame, un artiste anglais particulièrement doué dans le style qui avait récolté un succès certain au cœur des sixties. Le titre maître est incontestablement le meilleur morceau du long playing. Introduite par de jolies phrases dessinées par les claviers, elle constitue une belle promotion pour cet instrument! Signé Eroll Garner, "Misty" est un instrumental très jazzyfiant. Manifestement une des sources d’inspiration de Mr Doley, Jimmy Smith et Jack McDuff ! Et les échanges opérés entre l'orgue et les cordes de Champagne évoluent à un excellent niveau. "Friday the 13th" est une autre composition d'envergure. Sans doute autobiographique, elle reflète les difficultés rencontrées par l’artiste au cours de sa jeunesse. Un blues illuminé une nouvelle fois par la prestation des deux solistes, Doley et Robertson. L’elpee épingle encore quelques petites perles instrumentales, dont "Crooked crawl", "Chester drawers", caractérisé par des sonorités plus rock et l'hommage à son maître, Jimmy Smith, à travers "Chicken shack", un morceau couplé avec "How blue can you get", un titre issu du répertoire de BB King. De bonne facture, ce disque s’achève par le délicat "Permanent holiday". - MusicZine - Actualité musicale © 2012


"Clayton Doley - Desperate Times (Hi-Fi-Doley-T)"

Australian Clayton Doley is a respected Hammond organist, with a résumé that's impressive and long. As a session musician he's played on, produced or written songs for hundreds of albums. As a sideman, he tours regularly with Harry Manx and Eugene `Hideaway' Bridges, and previously he's hit the road with Cropper and Dunn, A Camp, Silverchair, Divinyls, etc. He works on a number of TV shows as musical director, and provides the same service for various special events, award shows and their ilk. He also finds the time to play with his own bands, the Organ Donors, and latterly, the Organ Experience. In 2018 he's having a day off, whether he needs it or not.

In 2011 Doley headed out to Toronto, primarily to record and tour with Harry Manx, but he quickly found a whole other group to play with. "Desperate Times" is the first fruit of their labour, a nine-track collection of new tracks and tasteful covers that showcase Doley's prowess with his chosen instrument, and as a bandleader. Blues and jazz provide the musical core of the material, but lyrically there are a host of subjects touched upon. On "Dealing With the Devil" green issues are the theme, the title track covers the perennial blues topic of luck, and the lack of it, and "Permanent Holiday" extols the virtues of getting away from it all. Hardly surprising given his workload. There's great playing throughout, and if the Acid Jazz roster gives you as much pleasure as it does me, I suggest you check out Clayton Doley - before he has that day off and never comes back. - Leicester Bangs Review (2012):, October 1, 2012


"CLAYTON DOLEY´S ORGAN DONORS, HAMMOND DE PRIMERA"

Otro fantástico disco que nos llega de Australia es Tension!, el debut de Clayton Doley's Organ Donors, un cuarteto liderado por el teclista Clayton Doley quien ha compartido escenario con músicos de la talla de Steve Cropper y Donald "Duck" Dunn de los Booker T and the MG's (entre otros) y no nos extraña esa relación porque este disco lo podrían haber firmado los propios MG´s en sus buenos tiempos.

Jazz soul - groove de altísima calidad en los 8 temas que contiene el vinilo (9 en el CD) con el hammond como indiscutible protagonista arropado de manera notable por el resto de la banda. Grabado con equipos e instrumentos vintage el sonido que obtienen realza todavía más un disco imprescindible para cualquier seguidor de Jimmy Smith, Booker T. o los grandes nombres de este tipo de música. - Publicado por modgeneration


"CLAYTON DOLEY´S ORGAN DONORS, HAMMOND DE PRIMERA"

Otro fantástico disco que nos llega de Australia es Tension!, el debut de Clayton Doley's Organ Donors, un cuarteto liderado por el teclista Clayton Doley quien ha compartido escenario con músicos de la talla de Steve Cropper y Donald "Duck" Dunn de los Booker T and the MG's (entre otros) y no nos extraña esa relación porque este disco lo podrían haber firmado los propios MG´s en sus buenos tiempos.

Jazz soul - groove de altísima calidad en los 8 temas que contiene el vinilo (9 en el CD) con el hammond como indiscutible protagonista arropado de manera notable por el resto de la banda. Grabado con equipos e instrumentos vintage el sonido que obtienen realza todavía más un disco imprescindible para cualquier seguidor de Jimmy Smith, Booker T. o los grandes nombres de este tipo de música. - Publicado por modgeneration


"The Hands- Everything Is Wonderful"

It’s time to wave The Hands in the air and rejoice in the soul, 'cos Everything is Wonderful!

All-round happy brothers Lachlan and (David Bowie lookalike) Clayton Doley are rare species in the Australian modern, music industry – organic soul musicians.

With Lachlan fingering a “hohner d6 clarinet” and Clayton on a variety of keys from organ to Wurlitzer to the good old glockenspiel (thankfully reinvigorating my “save the glock” campaign), along with fellow Hands, bassist Tim Curnick and drummer Dave Hibbard, pay tribute to soul and funk with this joyous offering.

The guys between them, already have a credible CV, having played with the likes of everyone from the Divynyls to Billy Thorpe to Guy Sebastian and Barnsey (well, I guess you might question the credibility of the latter two).

And their experience shines through with this polished, well produced album, which, the boys are proud to proclaim “is real music made with real musicians, no digital effects, auto tune, computer generated or digital instruments used”.

Well, take that Presets!

You may have already heard these “real musicians” previously, with that catchy lil' number, More and More and More .

You know, that one where developing feelings for some lucky gal (or guy??) are being declared with a touch of jazz fusion?

With those token soul backing vox very suitably provided by the sassy Juanita Tippens and maniacal accompaniments, courtesy of the wurlitzer and funky jazz bass, you know the one..?

Well, the rest of the album pretty much follows suit: a vintage fusion of funk, jazz and soul.

It also boasts an impressive entourage of guest musos, providing a range of instrumentals including double bass, violin and cowbell and vocals and a variety of women providing backing vocals like Ray Charles and his gospel girls.

Personally, I was most excited to hear the familiar vocals of up and coming Sydney “it” girl, Melanie Horsnell, who features on the title track.

Other jazzy numbers, include Positivity - which has the definite undertone of an 80s porno – definitely incites its namesake upon its listener.

So, take note, don’t listen to this in a crappy mood. When Everything is Wonderful for others, it can be a little overwhelming to be hearing the likes of: “I say no to depression/and yes to passion”.

Either that or it will serve as the perfect antidote, with you up on the floor, swaying to the funky beats. In any case, I say, sing, Hallelujah boys and girls, 'cos everything is wonderful! - thedwarf.com.au


"CD Reviews"

What a great sound. Who needs electric guitars when Clayton Doley combines his mighty Hammond B3 organ with his brother Lachlan's clavinet to such fat, chunky effect? Between them the Doleys' keyboards have fuelled the music of the late Jackie Orszaczky, the Mighty Reapers, Renee Geyer, the Whitlams, Powderfinger and Jimmy Barnes. Now they deservingly take centre stage on this convincing batch of originals. - The Sydney Morning Herald


"Review"

Australia’s Organ Donors, led by Hammond B-3 whiz Clayton Doley and joined by Jak Housden on guitar, James Haselwood on bass, and Dave Hibbard on drums, reproduce the funky groove sound of late-'60s instrumental R&B and soul-jazz, although nearly all of the group’s material consists of original compositions. It’s a neat trick, and recording with vintage equipment from the era in question, the Donors sound like nothing so much as a reconstituted Booker T. & the MG's on Tension!, their debut album. The rhythm section plays with the same crisp simplicity that made the MG's so universal, and that gives Doley and guitarist Housden a lot of room to expand the sonic architecture with their lead lines and riffs, which can range from spare and smoky to jazzily psychedelic and progressive by turns -- although everything here sounds like it came out of the Stax studios 50 years ago. That isn’t a bad thing, by any means. Highlights include the leadoff track, “Booker Table” (dedicated, no doubt, to Booker T. Jones, who one could swear was playing on this cut); the rhythmic percussion richness of the title tune, “Tension”; the undeniably funky homage to organist Jack McDuff called “Up the McDuff”; and the mildly psychedelic “Mosquito,” which gives Housden room to stretch out on electric guitar. Soul is soul, even if it comes from Australia, and the Organ Donors understand the groove of it to a T -- Booker T., that is. - Allmusic


"The Hands"

When the annals of Australian music are compiled, one surname will surface an astonishing number of times.

Keyboard maestros Clayton and Lachlan Doley, who perform together as the Hands, have between them played on more than 100 albums and performed on stage with the biggest names in Australian music.

Older brother Clayton, 32, has played with everybody from Guy Sebastian to Silverchair, from the Divinyls to the Whitlams, the Badloves to Kasey Chambers. Lachlan, 29, meanwhile, has toured with Powderfinger, Jimmy Barnes, Billy Thorpe and the Beautiful Girls, to name a few.

As the Hands, the Doleys are among the country's finest players of classic rock and soul keyboards. Clayton tames a swirling, growling Hammond organ with consummate ease, while Lachlan attacks the keys of a Hohner clavinet with a funk-fuelled ferocity reminiscent of Stevie Wonder's Higher Ground.

Raised in Adelaide ("not exactly a haven for soul music in the '80s," Clayton Doley says), the brothers abandoned classical piano lessons as kids, inspired instead to learn by ear the sounds of Jerry Lee Lewis and Little Richard.

Clayton spent his youth trying to put a name to the rich, fat organ sound he heard playing on Booker T and the MGs' hit instrumental Green Onions. Unsatisfied with digital synthesisers, he eventually found his first Hammond organ, owned by an old hippie living in the Adelaide Hills. James Brown had borrowed this beastly sounding B3 organ on his last Australian tour. In Clayton's eyes, God had touched this instrument. "'This is heaven,' I thought. 'This is the sound.' Then it took me 10 years to get one."

At 18, Clayton was lured to Sydney by blues band the Bondi Cigars with promises of salary and regular session work, after he was denied entry into Adelaide's Conservatorium of Music. "I didn't get in because I couldn't read music," he says. "I thought, 'Stuff this, I am going to get good on my own.'"

In Sydney, he met his greatest mentor, music legend and funk bass player Jackie Orszaczky, who died in February.

"We didn't really get schooling," Clayton says. "But Jack is responsible for any learning we had."

Through Orszaczky, Clayton started getting session work - at first being recommended to Deborah Conway, in turn to the Rockmelons, then Jimmy Barnes, then everybody.

Soon Clayton couldn't meet the demand. Enter Lachlan, on a break from uni in Adelaide, to fill his brother's shoes. "But once I got here I thought, 'This is fantastic,'" Lachlan says. "I dropped out of uni and stayed." Lachlan would get more work when Clayton shifted to New York in 1999. This eventful stint, at its best during European club tours and worst during desperate, scrappy $US20 ($22) gigs in Greenwich Village, lasted four years.

"I would come home for Christmas and everyone would be pleased to see me. Jack [Orszaczky] would give me a gig and it would be harder and harder to go back to New York."

The brothers, both single, reunited in Sydney in need of some direction. They decided to form their own band, kicking off a residency at the Excelsior in Glebe. The Hands became an immediate novelty - guitarless and fronted by two keyboard players.

"We didn't try to be so unconventional," Lachlan says. "We just found we didn't need it - the clav sits in the same frequency range. Guitar would only clutter the sound."

The band's debut album, Live And Breathe, was made up of songs Clayton penned in New York, and sung by guest soul vocalists Jade MacRae, Kara Grainger and Mahalia Barnes. The band struggled to afford to tour with guest vocalists and so narrowed their act to a four-piece (the brothers backed by drums and bass). By necessity, the brothers took to singing themselves.

"We realised the vibe was better when it was just the four of us," Lachlan says.

"Not for the singing - just that it was more energetic, looser."

The band has taken that energy to their new co-written album, Everything Is Wonderful, which is music to get happy to.

Clayton says playing a club show as the Hands is more exciting than the biggest stadiums they played as backing musicians.

"Everybody thinks those [bigger] gigs are great," he says. "They are, for the good conditions, good venues, good money ... but in the end you are playing someone else's music," he says. "That's what it comes down to. Nothing beats playing your own stuff."
- The Sydney Morning Herald


Discography

The Hands - Live and Breathe - 2004
The Hands - Everything Is Wonderful - 2008
Clayton Doley's Organ Donors - Tension! - 2010
Clayton Doley - Desperate Times - 2012

Photos

Bio

Clayton Doley is Australia's finest Hammond organist and is quickly gaining international recognition as one of the top new players on the world stage.
His fiery bluesy virtuosity has earned him spots on on some of the worlds biggest festivals including Montreal International Jazz Festival, Byron Bay Blues Festival, Toronto Jazz Festival and Tremblant International Blues Festival to name a few.

Drawn to the Hammond B3 organ from a very early age, he is a master of the instrument. He has dedicated his life to exploring the full potential of the B3 and utilising it's dynamics, depth of tone and it's bass pedals. Not just an organist, Clayton has a deep and rich and soulful singing voice and his bluesy songwriting combines modern structure and harmony with thoughtful and sensitive lyrics.

His new album "Desperate Times" has been embraced by the international blues community and has received worldwide critical acclaim. It made an impressive debut in the month of it's release by charting at number 2 in the Australian Blues and Roots charts and coming in at number 9 in the US Roots Music Report Blues Chart.

As well as fronting his own bands, Doley is a very experienced and versatile session musician and has either played on, produced or written songs for hundreds of Australian albums including many ARIA award winning releases.

He's primarily a blues player but his versatility sees him in demand in wide variety of genres. He joined UK violinist Nigel Kennedy for a series of shows performing the songs of Jimi Hendrix, opened for Aerosmith with a band featuring members of Guns'n'Roses, Thin Lizzy and INXS and performed with rock bands The Divinyls, Silverchair and Jimmy Barnes.

He is constantly in demand for touring projects, even with his own busy touring commitments he manages to tour with artists such as Harry Manx (Canada) and Eugene 'Hideaway' Bridges (USA), and has in the past toured with Steve Cropper and Donald 'Duck' Dunn (USA), David Garibaldi (USA), A Camp (Sweden), Nigel Kennedy (UK), Silverchair pictured (Australia), The Divinyls (Australia), and Jimmy Barnes (Australia).