Some context: 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.
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).
Are there any other interesting aspects about this article?
A: 1955 he appeared in The Benny Goodman Story, also working with Goodman in New York at the Waldorf-Astoria Hotel two years later.
Some context: Black Sabbath were an English rock band, formed in Birmingham in 1968, by guitarist and main songwriter Tony Iommi, bassist and main lyricist Geezer Butler, singer Ozzy Osbourne, and drummer Bill Ward. Black Sabbath are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970) and Master of Reality (1971). The band had multiple line-up changes, with Iommi being the only constant member throughout its history.
The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".  Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list.  The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained:  We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into.
How did the band react to the bad reviews by critics?
A:
called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".