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3 x CD |
| 10.301 Ft
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| 1. CD tartalma: |
| 1. | Dexterity (A)
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| 2. | Stablemates (A)
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| 3. | Easy To Love (A)
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| 4. | Visitation (A)
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| 5. | Trane&
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| 6. | Eastbound (A)
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| 7. | Omicron (C)
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| 8. | Whims Of Chambers (C)
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| 9. | Nita (C)
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| 10. | We Six (C)
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| 11. | Dear Ann (C)
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| 12. | Tale Of The Fingers (C)
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| 13. | Just For The Love (C)
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| 2. CD tartalma: |
| 1. | Trane&
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| 2. | High Step (B)
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| 3. | Nixon, Dixon And Yates Blues (B)
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| 4. | Minor Run-Down (D)
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| 5. | The Hand Of Love (D)
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| 6. | Softly As In A Morning Sunrise (D)
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| 7. | Four Strings (D)
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| 8. | What&
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| 9. | Beauteous (D)
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| 10. | Four Strings (D)
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| 3. CD tartalma: |
| 1. | Yesterdays (E)
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| 2. | You&
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| 3. | Chasin&
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| 4. | Dear Old Stockholm (E)
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| 5. | The Theme (E)
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| 6. | Confessin&
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| 7. | Chamber Mates (E)
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| 8. | I've Got My Love to Keep Me Warm (F)
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| 9. | What Is This Thing Called Love (F)
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Jazz
(A) John Coltrane, tenor sax; Kenny Drew, piano, Paul Chambers, bass, Philly Joe Jones, drums.
Coltrane does not appear on "Easy To Love" and "Visitation".
Recorded at Western Recorders, Hollywood, California on March 2, 1956.
Originally issued as CHAMBERS' MUSIC (Jazz West LP 7)
(B) John Coltrane, tenor sax; Pepper Adams, baritone sax; Curtis Fuller, trombone; Roland Alexander, piano (on "Trane's Strain" only); Paul Chambers, bass; Philly Joe Jones, drums.
Recorded in Cambridge, Massachusetts on April 20, 1956.
#1 originally issued JAZZ IN TRANSITION (Transition TRLP 30). #2 & 3 originally issued on HIGH STEP (Blue Note BNLA 451-2)
(C) Donald Byrd, trumpet; John Coltrane, tenor sax; Kenny Burrell, guitar; Horace Silver, piano; Paul Chambers, bass; Philly Joe Jones, drums
Originally issued as WHIMS OF CHAMBERS (Blue Note BLP 1534)
Recorded at the Van Gelder Studio, Hackensack, New Jersey on September 21, 1956.
(D) Donald Byrd, trumpet; Clifford Jordan, tenor saxophone, Tommy Flanagan, piano; Paul Chambers, bass; Elvin Jones, drums
Originally issued on PAUL CHAMBERS QUINTET (Blue Note BLP 1564), except alternate take of “Four Strings” and the stereo masters, which were issued on the first CD release of this album (CD 8-52441-2).
Recorded at the Van Gelder Studio, Hackensack, New Jersey on May 19, 1957.
(E) Kenny Burrell, guitar; Hank Jones, piano; Paul Chambers, bass; Art Taylor, drums.
Originally issued on BASS ON TOP (Blue Note BST 81569), except "Chamber Mates", which was issued on the first CD release of this album (CD 7-46533-2). Recorded at the Van Gelder Studio, Hackensack, New Jersey on July 14, 1957
(F) Paul Chambers, bass; Art Blakey, drums.
Recorded at the Van Gelder Studio, Hackensack, New Jersey on March 29, 1959
"I've Got My Love To Keep Me" was originally issued on the compilation BLUE BERLIN (CD 7-99095-2). Both selections were issued on Art Blakey's DRUMS AROUND THE CORNER (CD 5-21455-2).
Limited Edition: 5000 copies
THE CONSUMMATE MUSICIAN.
Paul Chambers emerged from the fertile Detroit scene and came to New York at age 19. A year later, he was a member of Miles Davis's quintet. And why not? He had it all: a beautiful tone, a fluid technique, a great choice of notes, impeccable time and a magnificent sense of swing. He could even take a bowed solo and keep it interesting and in tune.
His fruitful associations with Davis bandmates John Coltrane, Red Garland and Philly Joe Jones spread well beyond the confines of the quintet. In fact, the threesome of Coltrane, Chambers and Philly Joe formed the core for many great '50s projects, including the first three Chambers-led sessions.
CHAMBERS, TRANE & PHILLY JOE!
On March 2. 1956, just seven weeks shy of his twenty-first birthday, he made his first album as a leader for Aladdin's Jazz West label while the Miles Davis Quintet was ensconced at Jazz City in Los Angeles. For Chambers' Music, he used Coltrane, pianist Kenny Drew and Philly Joe. Two days before his April 22 birthday, Chambers, Coltrane, Jones, Curtis Fuller and Pepper Adams went into a Boston studio for the fledgling Transition label; of the three extended pieces made that day only "Trane's Strain" was released at the time.
That September, Paul signed with Blue Note and recorded the compositionally-rich Whims Of Chambers with Donald Byrd, Coltrane, Kenny Burrell, Horace Silver and Jones. His next album Paul Chambers Quintet was a Detroit reunion with Byrd, Tommy Flanagan and Elvin Jones plus Chicagoan Clifford Jordan.
With his third Blue Note album Bass On Top, Chambers made a career masterpiece. With the sensitive, swinging support of Burrell, Hank Jones and Art Taylor, he moved the bass to the forefront in its role in the arrangements as well as solo space and proved himself to be consistently creative and exceptionally equipped. This set closes with two equally extraordinary duet tracks by Chambers and Art Blakey, made at the beginning of a Sonny Clark session. Chambers's bowing on Irving Berlin and Cole Porter standards is astounding.
***PRODUCER'S NOTE***
I have a special fondness for the Transition session included in this set. "Trane's Strain" was the sole item from this session issued on the label's sampler in 1957. No leadership was indicated. Because of John Coltrane's featured presence, the track generated lots of postulation about more material. Discographies generally listed this as the Paul Chambers Sextet, but it is just as likely that this was for an intended Pepper Adams-Curtis Fuller album listed a Transition pocket catalog.
Whatever the circumstances, I knew that Aflred Lion had purchased a healthy portion of the Transition catalog for Blue Note in 1958. During my first day of access to the Blue Note vaults Los Angeles in 1975, I stumbled over a large cardboard box which contained a stack of 10" tape reels; they were the purchased Transition masters. I pulled out three yellow 7" tape boxes with APR. 20 scribbled on the front in red grease pencil from the bottom of the box. Some sixth sense told me I had unissued Coltrane in my hands. I ran down the street to the studio and put on the first reel. Sure enough, this was the mystery session and it yielded two more lengthy performances.
This set also contains another odd early find in the Blue Note vaults. I was systematically going through every reel of every unissued session. When I put on the first reel of an unissued March 29, 1959 Sonny Clark session, which was ultimately released as My Conception, there was not a piano note to be heard. The first two takes were spectacular performances of I've Got My Love To Keep Me Warm and What Is This Thing Called Love by what could be none other than Paul Chambers and Art Blakey. I never did find out why these came about (perhaps the rest of the band was late), but I'm glad they did. Few bassists in jazz created such a beautiful and in-tune sound with a bow. For me, these are highlights of Chambers’ considerable recorded output.
- Michael Cuscuna |
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