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Legacy Projects

The song, “Rain Down,” from Beyonce’s, the Fighting Temptations was co-written J4U Entertainment.

Rain Down (Film Version)
By Rex Rideout, David Harper and Terri Harper
Performed by Angie Stone and Eddie Levert (as Eddie Levert Sr.) (of The O’Jays)
Additional vocals by Beyonce, Walter Williams Sr. (of The O’Jays), Melba Moore, Montell Jordan,
Lil’ Zane (as Zane) and T-Bone
Produced by Rex Rideout and Loretha Jones
Angie Stone performs courtesy of J Records
Melba Moore performs courtesy of Shout Glory! Music
Zane performs courtesy of Priority/Capitol Records
T-Bone performs courtesy of Flicker Records

I’m Getting Ready
By Shirley Caesar
Performed by Ann Nesby
Produced by Bubba Smith
Ann Nesby performs courtesy of It’s Time Child Records/Universal Records

The Stone
By Shirley Caesar
Performed by Shirley Caesar and Ann Nesby
Produced by Bubba Smith
Shirley Caesar performs courtesy of Word Records
Ann Nesby performs courtesy of It’s Time Child Records/Universal Records

Heaven Knows
By Pete Bellotte, Giorgio Moroder and Donna Summer
Performed by Faith Evans
Produced by Jimmy Jam & Terry Lewis and Big Jim Wright (as James “Big Jim” Wright) for Flyte Tyme Fylms Inc.
Faith Evans performs courtesy of Bad Boy Entertainment

Kinda Kinky
By Dr. Luke and Alex Gimeno (as Alex Gimeno)
Performed by Alex Gimeno
Courtesy of ESL Music

Brighter Days
By Rex Rideout, Lauren Evans and Dwight Sills
Performed by Lauren Evans
Courtesy of Kay Jay Songs

Rhythm Box
By Dr. Luke
Performed by Dr. Luke (as Dr. Luke)
Courtesy of Kasz Money, Inc.

Like Whoa
By Dr. Luke and Alex Gimeno
Performed by Dropped
Courtesy of Kasz Money, Inc.

Come Alive
By Dr. Luke, Martin Reeves and Ed Bickley
Performed by Dr. Luke (as Dr. Luke)
Courtesy of Kasz Money, Inc.

I Won’t Quit (Till I Get Home)
Written and Performed by Carter Beauford, Butch Taylor and Robbin Thompson
Produced by Carter Beauford and Butch Taylor
Carter Beauford performs courtesy of The RCA Records Label

Bad Boy For Life
By Mark Keith Curry, Drayton Goss, Black Rob (as Robert Ross), Jamel Naquaan Fisher and Dorsey Wesley
Performed by Sean ‘Diddy’ Combs (as P. Diddy), Black Rob and Mark Curry
Courtesy of Bad Boy Records

Lil’ Mama
By James Chambers, Dr. Luke and Anthony Hamilton
Performed by Shawn Kane
Courtesy of J Records

Funeral March
By Frédéric Chopin
Arranged by Ray Davies
Courtesy of Promusic, Inc.
Fighting Temptation
Wrtten by Missy Elliott (as Missy Elliott), MC Lyte (as Lana Moorer), Free (as Marie Wright), Jonathan Burks, LaShaun Owens and Karriem Mack

Dear Mama
By Tupac Shakur (as Tupac Amaru Shakur), Joe Sample, Tony Pizarro, Joseph B. Jefferson,
Charles Simmons and Bruce Hawes (as Bruce Andre Hawes)
Performed by Tupac Shakur (as 2Pac)
Courtesy of Interscope Records
Under license from Universal Music Enterprises

The Church Is In Mourning
Written and Performed by Shirley Caesar
Produced by Bubba Smith
Shirley Caesar performs courtesy of Word Records

It’s So Hard To Say Goodbye To Yesterday
Written by Freddie Perren and Christine Yarian

Don’t Fight The Feeling
By Pharrell Williams, Solange, Derek Edwards and Rueben Nero
Performed by Solange (as Solange) featuring Papa Reu
Courtesy of Music World Music/Columbia Records

Don’t Stop
By Jonell (as Shannon Showes), Johnnie Frierson, Wendy Rene (as Mary Frierson) and Hi-Tek

Fever
Written by Otis Blackwell (as John Davenport) and Eddie Cooley
Performed by Beyoncé
Produced by Beyoncé and Damon Elliott
Beyoncé performs courtesy of Columbia Records

Do Ya Really
By Rex Rideout, Rick Watford and Willie Latimore
Performed by Willie Latimore
Courtesy of Kay Jay Songs

Amazing Grace
Written by John Newton
Performed by LaTanya Richardson Jackson, Mitchah Williams, Melba Moore, Lou Meyers and Dave Sheridan
Melba Moore performs courtesy of Shout Glory! Music

Everything I Do
Wrtten by Jimmy Jam, Terry Lewis and Big Jim Wright (as James “Big Jim” Wright)
Performed by Beyoncé and Bilal
Produced by Jimmy Jam & Terry Lewis and Big Jim Wright (as James “Big Jim” Wright) for Flyte Tyme Fylms Inc.
Beyoncé performs courtesy of Columbia Records
Bilal performs courtesy of Moyo Music, Inc./Interscope Records

Bounce
By Louis Brown, Scott Parker and T-Bone (as Rene Sotomayer)
Performed by T-Bone
Produced by Buster and Shavoni
T-Bone performs courtesy of Flicker Records

Amazin’
By Pharrell Williams, Chad Hugo and LL Cool J (as James Todd Smith)
Performed by LL Cool J and Kandice Love
Courtesy of Def Jam Recordings
Under license from Universal Music Enterprises

One Name Under Heaven
Traditional
Arranged by Michael John Clement
Performed by Justin Mark Caudill and Steven Patrick Huie

Isn’t She Lovely
By Stevie Wonder
Performed by D’Wayne Gardner (as Karl D’Wayne Gardner)

Angry Rap
Written and Performed by Roger Greene Jr.
Roger Greene, Jr. performs courtesy of Hendu Entertainment

Roof Garden
By Thomas Canning, Jay Graydon and Al Jarreau
Performed by Mike Epps

Loves Me Like A Rock
By Paul Simon
Performed by The O’Jays
Produced by Bubba Smith

Swing Low Sweet Chariot
Written by Wallis Willis
Arranged by Wayburn Dean and Keith Lancaster
Performed by Beyoncé
Produced by Loretha Jones and Beyoncé
Beyoncé performs courtesy of Columbia Records

Down By The Riverside/To Da River
By Louis Brown, Scott Parker, T-Bone (as Rene Sotomayer) and Lil’ Zane
(as Zane Copeland,Jr.)
Performed by The O’Jays, T-Bone, Lil’ Zane (as Zane) and Montell Jordan
Produced by Buster and Shavoni
T-Bone performs courtesy of Flicker Records
Zane performs courtesy of Priority/Capitol Records

Cornbread, Fish and Collard Greens
By Anthony Hamilton, James Poyser and Diedra Artis
Performed by Anthony Hamilton
Courtesy of So So Def Recordings/Arista Records, Inc.
I Know
Wrtten by Beyoncé, LaShaun Owens, Karriem Mack, Corte Ellis and Jully Black
Performed by Destiny’s Child
Produced by Beyoncé and Soul Diggaz
Destiny’s Child performs courtesy of Columbia Records
Back Again
By Mr. Cheeks (as Terrance Cocheeks Kelly), Norman Whitfield (as Norman Jesse Whitfield) and Bink (as Roosevelt Harrell)

Waiting
Written by James Moss
Performed by Ramiyah
Produced by Rex Rideout and PAJAM (Paul Allen & James Moss)
Ramiyah performs courtesy of Music World Music/Columbia Records

Soldier
Traditional
Arranged by Clarence Fountain, Jimmy Carter, Joey Williams, Eric McKinnie,
John Chelew and Chris Goldsmith
Performed by The Blind Boys of Alabama
Produced by Loretha Jones and Joe Neil
The Blind Boys of Alabama perform courtesy of Real World Records

Won’t Ever Change
By Warryn Campbell, Erica Campbell and Tina Atkins
Performed by Mary Mary
Produced by Warryn Campbell

Mary, Mary performs courtesy of Columbia Records
He Still Loves Me
Written by Jimmy Jam, Terry Lewis and Big Jim Wright (as James “Big Jim” Wright)

Come Back Home
Written by Jimmy Jam, Terry Lewis and Big Jim Wright (as James “Big Jim” Wright)

Time To Come Home
Written by Jimmy Jam, Terry Lewis and Big Jim Wright (as James “Big Jim” Wright)
Performed by Beyoncé, Angie Stone and Melba Moore
Produced by Jimmy Jam & Terry Lewis, Jimmy Jam & Terry Lewis and Big Jim Wright (as James “Big Jim” Wright) for Flyte Tyme Fylms Inc.
Beyoncé performs courtesy of Columbia Records
Angie Stone performs courtesy of J Records
Melba Moore performs courtesy of Shout Glory! Music

Carr’s Beach Music Legacy

“When Anne Arundel County in Maryland was segregated, there was a place called Carr’s Beach (now Chesapeake Harbor), a summer haven for African Americans where the coolest people on the planet in music came: soul musicians Little Richard and James Brown, jazz legend Billie Holiday. Carr’s Beach was a major stop for these legendary artists.” – Annapolis Mayor Gavin Buckley

THE BEACH

Carr’s Beach, at one time one of the leading beaches for east coast African Americans, was known affectionately called, “The Beach.” Although “The Beach” no longer exists as a vacation getaway spot, Carr’s Beach and its neighboring Sparrow’s Beach were two of the major Chesapeake Bay resorts that catered exclusively to African Americans between the 1930s and the 1960s. Owned by sisters, Elizabeth Carr Smith and Florence Carr Sparrow, the beaches were a vacation retreat for black families in the Mid-Atlantic region.

ORIGINS OF CARR’S BEACH

The origins of Carr’s Beach can be traced back to 1902 when Frederick and Mary Wells Carr purchased 180 acres of farmland on the Annapolis Neck Peninsula. While the family farmed the land as early as 1909, the Carr family hosted picnics and church outings and took in boarders. In 1926, two years before Frederick Carr’s death, the family founded Carr’s Beach.

In 1931, Florence Carr Sparrow, one of the daughters who inherited the family’s land, created Sparrow’s Beach just north of Carr’s Beach, and the two resorts operated side by side but as separate businesses. Carr’s and Sparrow Beaches attracted thousands of visitors from Philadelphia, Pennsylvania; New York; Baltimore, Maryland; Wilmington, Delaware; Pittsburgh; and Washington, D.C. who frequented the beach for swimming. During the week, the Beach hosted summer day camps, church picnics, and other family and community-centered events. By three o’clock, however, many visitors made their way to Carr’s Beach Pavilion to dance to the latest hit songs by locally or regionally popular entertainers.

Following the death of Elizabeth Carr in 1948, Carr’s Beach came under the control of William L. “Little Willie” Adams, a businessman/numbers operator who formed Carr’s Beach Amusement Company and infused badly needed capital into the resort’s operations. With his resources, Adams expanded both the entertainment and recreation opportunities for old and young alike. He insured that by the 1950s Carr’s Beach was one of the major stops for major African American artists and musicians on the Chitlin’ Circuit, a group of venues throughout the East and South which catered to black audiences. Among the entertainers who performed on weekends during the summer months were jazz legends such as Billie Holiday, Duke Ellington, Count Basie, Ella Fitzgerald, Dinah Washington, and Lionel Hampton, as well as soul artists Ray Charles, James Brown, Jackie Wilson, Little Richard, Otis Redding, the Supremes, the Commodores, Cab Calloway, The Temptations, Ike and Tina Turner, The Shirelles, and Wilson Pickett. Rock ‘n’ Roll pioneers Fats Domino and Buddy Holly also performed at Carr’s Beach. On July 21, 1956, an estimated 70,000 people traveled to Carr’s Beach to hear Chuck Berry perform, although only 8,000 made it past the gates because the grounds were filled beyond capacity. By the early 1960s, the list of popular entertainers included Little Richard, Lloyd Price, Etta James, Aretha Franklin, the Shirelles, the Coasters, and the Drifters.

In addition to the annual rival dance contests held between African American beachgoers from Washington, D.C. and Annapolis, local residents recalled that whites also visited the beaches, making them two of the first venues in Maryland which developed a sizeable interracial clientele. Because of the crowds, the beaches organized their own special police force. As a safe and welcoming vacation destination, Carr-Sparrow Beach attracted the attention of people from diverse racial backgrounds who enjoyed good black music. Carr’s Beach was often the last stop for the entertainers who played the Howard Theatre in D.C. and/or the Baltimore Royal Theatre before they headed Down South to perform.

By the early 1960s, the black freedom movement ended Jim Crow and the popularity of Carr-Sparrow Beaches. A 1962 performance by James Brown drew 11,000 fans, but it marked the last of the major crowds drawn to the area. In the late 1960s, new owners attempted to revive the heyday of the resort (and appeal to a new audience) by inviting groups like Led Zeppelin or Rare Earth. In 1973, the beaches hosted their last show, a performance by Frank Zappa.

CARR’S BEACH / ELKTONIA BEACH

Elktonia Beach, a 5-acre waterfront parcel on the Chesapeake Bay, is the last remnant of the original 180-acre property purchased by freedman, Frederick Carr, in 1902. Carr’s and Sparrow’s Beaches were privately owned and operated by Frederick Carr’s daughters, Elizabeth Carr Smith and Florence Carr Sparrow. Carr’s Beach (1930s-1970s), represented the heart of entertainment throughout the mid-Atlantic region and welcomed Blacks during a time of segregation. It has been a nearly 20-year goal of Blacks of the Chesapeake Foundation (BOCF) to preserve the remaining 5 acres of The Beaches.

PRESERVING THE LEGACY

After years of advocacy and fundraising, in 2022, the City of Annapolis, Blacks of the Chesapeake, Chesapeake Conservancy and the state of Maryland entered into an agreement with The Conservation Fund to acquire the property through a patchwork of funding including federal, state and city Program Open Space funds. Additional support was provided by Governor Larry Hogan and the Maryland Department of Natural Resources, and federal appropriations were secured by U.S. Senator Ben Cardin. BOCF also received a Parks & Playgrounds Infrastructure Grant through the efforts of State Senator Sarah Elfreth. In August 2022, a signing ceremony took place, transferring the property to the City of Annapolis and creating a new city park with beach access, Elktonia-Carr’s Beach Heritage Park.

Elktonia-Carr’s Beach Heritage Park is the last remaining vestige of the original iconic property. Preservation of Elktonia Beach as a heritage park and interpreting its history for the public will ensure its legacy is fully recognized. As a public park, now all people can visit, experience and enjoy the natural and cultural resources of the Chesapeake Bay

During the intense era of Jim Crow laws and forced racial segregation, Blacks were prohibited from visiting beaches like Ocean City or Atlantic City. In response, Carr’s Beach, Sparrow’s Beach and neighboring Elktonia Beach were vacation getaways and prominent venues that welcomed Blacks and hosted renowned Black musicians, including Billie Holiday, Count Basie, James Brown, Ray Charles, Wilson Pickett, Otis Redding and Little Richard. The route these and many other Black musicians traveled became known as the “Chitlin Circuit.”

CHJO: And So It Goes

The Clayton-Hamilton Jazz Orchestra
AND SO IT GOES

This album was years in the making and it’s a pleasure to present it to you, our listeners. It represents the laughter, thoughts, hours of discussion and experimenting, choking back of tears and just swinging hard for the sake of it, that exists in our band. I think you’ll hear some of the most intensely raw playing that this ensemble has ever done. The music covers the spectrum of colors and emotions from “letting it all hang out” (ok—I’m dating myself) to the more personal and introvertive perspective on the music.

Jeff Hamilton shines—he always does—as a player and composer. But this time he has brought some of his magical “red sparkle,” evidently left over from his pre-teen drum set.

One of my favorite tunes, BUHAINA, BUHAINA, was written by Ray Brown to feature Jeff in Ray’s trio. This definitely has that red sparkle all over it.

One could take a page out of Milt Jackson’s philosophy that if you want to be featured, contribute a tune that let’s you strut your stuff. Our bassist, Jon Hamar, did just that and the result is a wonderfully bass-centric song, THE BARN.

Our treatment of WHAT A WONDERFUL WORLD is inspired by the inner conflict that Louis Armstrong had with his hit version. He was called an “Uncle Tom,” a traitor to the black community by singing a song that seemed to ignore the wars, civil rights movement, air pollution and more. His second version of the song included a spoken rebuttal that allowed him to explain what he meant; that was my head-space when I wrote this arrangement.

We dedicate this recording to the memory of my brother, Jeff. It’s our first recording without him. His spirit and musical concepts affect our approach and interpretation of everything we play. It is beautiful and uncanny how his soul remains a loving and permanent dye that colors all that we do.
AND SO IT GOES, originally arranged to feature Jeff, gets a heart-wrenching reading by our lead alto saxophonist, Keith Fiddmont.

Brother Jeff’s composition, THE JONES BROTHERS, features our newest member, alto saxophonist, Jacob Scesney and is full of the kind of fire that my late sibling would embrace.

There’s more. Lots more. I’m proud of each of these musicians and honored to grow and swing with them.

Thanks from your fan,

John
September 2023

The Clayton-Hamilton Jazz Orchestra
AND SO IT GOES

This album was years in the making and it’s a pleasure to present it to you, our listeners. It represents the laughter, thoughts, hours of discussion and experimenting, choking back of tears and just swinging hard for the sake of it, that exists in our band. I think you’ll hear some of the most intensely raw playing that this ensemble has ever done. The music covers the spectrum of colors and emotions from “letting it all hang out” (ok—I’m dating myself) to the more personal and introvertive perspective on the music.

Jeff Hamilton shines—he always does—as a player and composer. But this time he has brought some of his magical “red sparkle,” evidently left over from his pre-teen drum set.

One of my favorite tunes, BUHAINA, BUHAINA, was written by Ray Brown to feature Jeff in Ray’s trio. This definitely has that red sparkle all over it.

One could take a page out of Milt Jackson’s philosophy that if you want to be featured, contribute a tune that let’s you strut your stuff. Our bassist, Jon Hamar, did just that and the result is a wonderfully bass-centric song, THE BARN.

Our treatment of WHAT A WONDERFUL WORLD is inspired by the inner conflict that Louis Armstrong had with his hit version. He was called an “Uncle Tom,” a traitor to the black community by singing a song that seemed to ignore the wars, civil rights movement, air pollution and more. His second version of the song included a spoken rebuttal that allowed him to explain what he meant; that was my head-space when I wrote this arrangement.

We dedicate this recording to the memory of my brother, Jeff. It’s our first recording without him. His spirit and musical concepts affect our approach and interpretation of everything we play. It is beautiful and uncanny how his soul remains a loving and permanent dye that colors all that we do.
AND SO IT GOES, originally arranged to feature Jeff, gets a heart-wrenching reading by our lead alto saxophonist, Keith Fiddmont.

Brother Jeff’s composition, THE JONES BROTHERS, features our newest member, alto saxophonist, Jacob Scesney and is full of the kind of fire that my late sibling would embrace.

There’s more. Lots more. I’m proud of each of these musicians and honored to grow and swing with them.

Thanks from your fan,

John
September 2023

THE TUNES

1. See See Rider – Ma Rainey, Universal Music Corp/ASCAP Lena Arant/ASCAP 5:21

2. Thelonious – Thelonious Monk, Thelonious Music Corp/BMI 5:31

3. The Jones Brothers – Jeff Clayton, Claytonomics/ASCAP 7:33

4. And So It Goes – Billy Joel, Joelsongs/ASCAP 6:03

5. The Barn – Jon Hamer, Jon Hamer/BMI – 10:02

6. Haitian Fight Song – Charles Mingus, Flying Red Rhino/BMI 6:23

7. Buhaina, Buhaina – Ray Brown, Ray Brown Music/BMI 6:47

8. What a Wonderful World – Bob Thiele, George David Weiss, Abilene Music Inc./ASCAP, Bienstock Empire Music/ASCAP, Round Hill Songs II/ASCAP 3:17

9. Sybille’s Day – Jeff Hamilton – Hammertone Music/ASCAP 7:44

THANK YOUS

This album is dedicated to the memory of Jeff Clayton.

A ginormous thanks to the Clayton-Hamilton Jazz Orchestra members for giving beyond the notes. Thank you, oh wonderful team: Terri & David Harper, Gail Boyd, Njari Sharif, and Shelley Hubbard. Russ Miller, none of this would have happened without you. Your friendship and devotion to us is invaluable. Thank you, Cathy Stone, for graciously continuing the loving support we’ve always received from you and Howard. Heartfelt thanks go out to Frank and Sue Malvezzi for your contribution to help give life to this album.

Produced by John Clayton, Jeff Hamilton

Recorded at Hitkor, LosAngeles, CA June12th and 13th, 2023
Engineered and Mixed by Russ Miller

Mastered by David Donnelly at DNA Mastering
Assistant Engineer – Michael Gorecki
Project coordination – J4U Entertainment, LLC,
Terri L. Harper, David A. Harper
Management – Gail Boyd Artist Management
Equipment manager, librarian -Jessica Ragsdale
Photo credit – Shane O’Donnell Photography
Album Art – Cassidy Douglas for RMI Music Productions Inc.
John Clayton uses Evah Pirastro strings

Jeff Hamilton plays: Mapex drums, Sabian Hammertone Series cymbals,

Innovative Percussion signature sticks and signature brushes, Remo drumheads. Canopus “Jeff Hamilton” cymbal stands,X-Percussion, Jeff Hamilton Signature X – Click accessories.

ProjectWET

Project WET: Water Education Today is dedicated to solving critical environmental challenges by teaching the world about water. We do this by providing hands-on, science-based water education resources to formal and non-formal educators around the world. These resources encourage responsible environmental stewardship and promote meaningful action to address environmental challenges, climate change, social justice, and sustainability. 

We believe that creating a water literate society will allow our communities to value precious resources and make informed decisions. Our conceptual framework of Water Literacy Principles is the foundational element of our water education curriculum and serves as the basis to creating a water literate society. Learn more about how our methodology creates materials that are hands-on, interactive and encourage critical thinking on water and science topics.

www.projectwet.org