Paul Chambers Albums (8)
What The Critics Say
Rare 1959 and 1960 sessions Chambers led for Vee Jay label. These were once available as poorly remastered bootleg; they are tough to locate. ~ Ron Wynn, All Music Guide
What The Critics Say
The first of two Vee Jay label dates by the acclaimed modern jazz bassist Paul Chambers is a fine exercise in hard bop, split between showcasing his compositions and famous standards. Alto saxophonist Cannonball Adderley and trumpeter Freddie Hubbard are on the front line, perhaps for the only time in their storied careers, and work well for the most part. Pianist Wynton Kelly and either drummers Philly Joe Jones or Jimmy Cobb complete the quintets. The advantage in buying this reissue is that the second CD is comprised exclusively of outtakes from the originally issued tracks, and many of them have extended solos. Of the covers, "There Is No Greater Love" features a chuckling and cajoling Adderley, very happy for the fortune smiling on him, while "Just Friends" has the two horns playing this chestnut pretty much straight, with counterpointed stop-start techniques chirping at the rhythm section, and a young Hubbard offering his best solo. "I Got Rhythm" brings Cobb to the team, as a modal base from Kelly and Chambers buoys the wailing horns. Of the originals, Hubbard and Adderley sound mismatched on the 6/8 to 3/4 calypso-swing "Julie Ann," where their harmonics don't quite synch up. Their teamwork pays off royally during "I Heard That" and the classic hard bopper with Cobb "Ease It," where the tempo persists, but the horns grow quieter and quieter in mezzo piano range to near nothingness -- the epitome of cool. There's another classic here, as "Awful Mean" is emotionally neither, but instead cures Adderley's brief once-through melody statement into a vintage shuffle. The alternate take of this one is two-and-a-half minutes longer. "I Heard That" is called a "remake" though the original is just fine, and the second "remake" of the ballad "Dear Ann" (one of three attempts included) extends Chambers on his arco bowed bass melody, both pieces adding a ramped uptempo. This recording and 1st Bassman offer different aspects of Chambers as a leader, with the latter album having him take on more responsibility as a lead melodicist. After having played with the game changing bands of Miles Davis and John Coltrane, Chambers died far too young ten years hence in January of 1969, but left behind a memorable 15-year legacy, well represented by this recording where he was in his early prime. ~ Michael G. Nastos, All Music Guide
What The Critics Say
As a lead instrument in jazz, the acoustic bass was in many ways liberated by Paul Chambers, and paved the way for many others to follow. Though Pops Foster, Jimmy Blanton and Ray Brown also deserve credit, Chambers was allowed to put his bass on top, become a leader in his own right, and play lead melodies with a clear, ringing, well enunciated tone. 1st Bassman is anchored by rising stars from Detroit such as Yusef Lateef, Curtis Fuller, and adopted (from Pittsburgh) car city resident Chambers, with trumpeter Tommy Turrentine, pianist Wynton Kelly, and drummer Lex Humphries evenly balancing the session. Interestingly enough, it was recorded not in New York or the Motor City, but Chicago. Lateef wrote all of the material, save for Cannonball Adderley's slow jam "Who's Blues?" which was included only on the CD re-release. The emphasis on the compositions of Lateef all display a spare construct, rearing the horns to a marginal level except for solos, allowing Chambers to take care of business and control the shaping of the melodies, with little unison play involved. The small horn inserts of "Melody" give sway to the big bass strut of Chambers, with solos from Turrentine's stoic trumpet, Lateef's advanced tenor, and Fuller's wanton but mushy trombone included. "Bass Region" is even more spare, a one note horn punctuation setting up lengthy solos. The slightly dour post-bopper "Retrogress" gives Kelly's piano his due diligence, "Mopp Shoe Blues" completely offers Chambers his freedom to work out, and the ballad "Blessed" features the arco bowed bass of the leader in a mournful mood, brightened up by the effervescent and hopeful flute of the brilliant Lateef. This CD and its companion piece Go complement the preceding Blue Note sessions, comprising a small but potent body of work that few bassists have produced in modern jazz. If you are a student or lover of jazz bass, the complete Paul Chambers Vee Jay sessions, of which this is one, belongs in your home. ~ Michael G. Nastos, All Music Guide
'Paul Chambers Quintet'
Release Date 1/1/1959
Tracks 7
Label Blue Note
See Album Tracklist and Review
What The Critics Say
Recorded at a single session on May 19, 1957, the simply titled Quintet features one of bassist Paul Chambers' rare outings as a bandleader, and it teams him with Detroiters Donald Byrd (trumpet), Tommy Flanagan (piano), and Elvin Jones (drums), and Chicagoan Clifford Jordan (tenor sax). It's a low-key affair, with the quintet running through a couple of standards ("Softly, as in a Morning Sunrise," "What's New"), a pair of compositions from Chambers ("The Hand of Love," "Beauteous"), and two pieces by the prolific Benny Golson ("Minor Run-Down," "Four Strings"). The Golson tunes are the most striking, really, with "Minor Run-Down" starting things off with an easy, gliding swing, and "Four Strings" (an alternate take is also included here) gives Chambers a chance to show off his abilities bowing the bass. Jordan is impressive here as well, sounding a bit like Dexter Gordon as he rounds out these tracks nicely on the tenor. Nothing is particularly innovative with this set, but these tracks don't push or pull against themselves, either, and there's a clear joy coming off of the floor as these musicians, all in the early phases of their careers, do what they do with comforting assurance. ~ Steve Leggett, All Music Guide
What The Critics Say
Bass on Top is another thoroughly engaging set of straight-ahead, mainstream jazz from Paul Chambers. The bassist leads a quartet comprised of guitarist Kenny Burrell, pianist Hank Jones, and drummer Art Taylor through a selection of standards, including "Yesterdays," "You'd Be So Nice to Come Home To," and "Dear Old Stockholm," as well as a handful of contemporary jazz numbers and originals. There's a relaxed, friendly atmosphere to the music, both in its tone and in the fact that Chambers lets Jones and Burrell have some time in the spotlight. The result is a warm, entertaining collection of mainstream jazz that nevertheless rewards close listening. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Of the seven songs on this Blue Note CD reissue, four are more common than the other three because they contain solos by tenor saxophonist John Coltrane and have therefore been reissued more often. Actually there are quite a few solos in the all-star sextet (which includes the bassist-leader, Coltrane, trumpeter Donald Byrd, guitarist Kenny Burrell, pianist Horace Silver and drummer Philly Joe Jones) and all of the players get their chances to shine on this fairly spontaneous hard bop set. Coltrane's two obscure compositions ("Nita" and "Just for the Love") are among the more memorable tunes and are worth reviving. "Tale of the Fingers" features the quintet without Coltrane, the rhythm section stretches out on "Whims of Chambers" and "Tale of the Fingers" is a showcase for Chambers bowed bass. This is a fine effort and would be worth picking up by straightahead jazz fans even if John Coltrane had not participated. ~ Scott Yanow, All Music Guide
What The Critics Say
This CD reissues bassist Paul Chambers' first sessions as a leader, recorded while he was a member of the Miles Davis Quintet. The first six selections feature Chambers with pianist Kenny Drew, drummer Philly Joe Jones and (on four numbers) the immortal tenor saxophonist John Coltrane. This somewhat obscure date includes such jazz standards as "Dexterity" and "Stablemates" along with "Easy to Love" and three straightahead group originals. Coltrane dominates the numbers he is on although his sound was not quite mature yet. The final three numbers (not on the original LP) are listed on the CD as being from April 20, 1955 but logic says that it must be exactly a year later. Chambers, Jones and Coltrane welcome two young musicians recently transplanted from Detroit: baritonist Pepper Adams and trombonist Curtis Fuller. In addition, pianist Roland Alexander is on the lengthy "Trane's Strain." Although none of this music (even the oddly titled "Nixon, Dixon and Yates Blues") is classic, it does give listeners a valuable early look at these important jazzmen. ~ Scott Yanow, All Music Guide
What The Critics Say
While Paul Chambers and John Coltrane get top billing, this collection is valuable for strong performances from each member of the elite company on this 1974 Blue Note two-fer that compiles tracks from three Chambers-led sessions. Coltrane, Chambers, and drummer Philly Joe Jones are the common denominators on these mid-'50s hard bop dates. They are joined by pianist Kenny Drew on six tracks recorded in Los Angeles. There are also the four tracks from Whims of Chambers that included Coltrane. Trumpeter Donald Byrd, pianist Horace Silver, and guitarist Kenny Burrell are all at the top of their games on these sextet performances. The remaining tracks are pure blowing sessions. A sextet with Pepper Adams on baritone sax, Curtis Fuller on trombone, and Roland Alexander on piano makes interesting work of Barry Harris' title track and the 11-minute "Trane's Strain." The long, slow "Nixon, Dixon and Yates Blues" is a wonderful opportunity to hear just the trio of Trane, Jones, and Chambers up close. These three tracks and the six with Drew have been reissued on the CD Chambers' Music. Chambers, naturally, is featured prominently. His bowed and pizzicato work here is among his best. Jones is a dynamo -- powerful, swinging, creative, a source of energy and inspiration for the others. ~ Jim Todd, All Music Guide
