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| 4.670 Ft
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| 1. | Asiatic Raes
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| 2. | Ecaroh
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| 3. | Man From South Africa
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| 4. | Mendacity
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| 5. | Portia
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| 6. | Water Babies
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| 7. | Lonesome Lover
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| 8. | Evidence
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| 9. | Afreeka
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Jazz
Bill Milkowski Liner Notes
Dwayne Burno Bass
Eric Alexander Sax (Tenor)
Eric Elterman Engineer
Helen Sung Piano
Joe Chambers Arranger, Marimba, Vibraphone, Drums, Producer
Keiji Obata Design
Kevin Blackler Mastering
Nicole Guiland Vocals
Richie Goodes Bass
Steve Berrios Drums, Percussion
Xavier Davis Piano
Joe Chambers is back -- 37 years past his breakthrough solo project, The Almoravid -- with his follow-up to the fine 2006 album The Outlaw. Though the title Horace to Max does signify influences and peers (Horace Silver and Max Roach specifically) Chambers has enjoyed, Miles Davis is also somewhere in between. Playing the drum kit and lots of marimba and vibraphone -- at times overdubbed -- Chambers offers Afrocentric polyrhythms with Latin underpinnings, and loads of hard-swinging jazz. Sonny Rollins is also feted on his great composition "Asiatic Raes," bright as the sun in Latin, off-minor tenor sax from Eric Alexander and swift bop. With the mysterious "Portia" and "Water Babies," a full decade of Davis from his latter period of work is represented in more subtle tones. Nicole Guiland sings faithfully in the stoic, pointed style of Abbey Lincoln during the politically charged "Mendacity" and the pensive "Lonesome Lover," while Thelonious Monk is also recognized during the fleet, staccato-accented version of "Evidence." Alexander is his usual reliable and occasionally brilliant self, with pianist Xavier Davis right there every step of the way. The mallet work of Chambers has been downplayed for decades, but here emphasizes what a complete musician and especially unique arranger he is, not just a drummer or timekeeper. Steve Berrios also deserves credit and high praise as a support drummer and primary percussionist. Though you have to wait until the last track, "Afreeka," to hear Chambers as a composer, it's well worth it in a cooking modal form via bassist Dwayne Burno, which identifies the bandleader's personal style. With complete vision of sound and sensory perception in an African-American perspective, Chambers hits several grand slam home runs on this vital and exciting album that comes highly recommended. ~ Michael G. Nastos, All Music Guide
Joe Chambers
Active Decades: '60s, '70s, '80s and '90s
Born: Jun 25, 1942 in Stoneacre, VA
Genre: Jazz
Styles: Modern Creative, Post-Bop, Contemporary Jazz, Mainstream Jazz, Progressive Jazz
Joe Chambers is an extremely versatile and tasteful master of all post-bop idioms. Chambers drives an ensemble with a light hand; his time is excellent and his grasp of dynamics superb. He's not a flashy drummer by any means, but he's a generous collaborator who makes any group of which he's a part as good as it can possibly be. Chambers worked around Washington, D.C., in his late teens. After moving to New York in 1963, he played with Eric Dolphy, Freddie Hubbard, Jimmy Giuffre, and Andrew Hill. In the mid-'60s, Chambers played with a number of the more progressively inclined musicians associated with the Blue Note label, such as vibist Bobby Hutcherson and saxophonists Joe Henderson, Wayne Shorter, and Sam Rivers. In 1970, Chambers joined Max Roach's percussion ensemble, M'Boom, as an original member. During the '70s, Chambers played with a great many of jazz's most prominent elder statesmen, including Sonny Rollins, Tommy Flanagan, Charles Mingus, and Art Farmer. With Flanagan and bassist Reggie Workman, Chambers formed the Super Jazz Trio. In the late '70s, he co-led a band with organist Larry Young. Chambers recorded with bands led by trumpeter Chet Baker and percussionist Ray Mantilla in the early '80s. He's maintained his association with Roach into the '90s. Chambers has recorded infrequently as a leader; his output as a sideman, however, continues to be sizable.
---Chris Kelsey, All Music Guide |
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