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| 4.881 Ft
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| 1. | Third Street
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| 2. | Softly, As in a Morning Sunrise
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| 3. | Sid's Ahead
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| 4. | In a Sentimental Mood
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| 5. | Stella By Starlight
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| 6. | Surrey With the Fringe on Top
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| 7. | Irina
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| 8. | Portia
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| 9. | Afreeka
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Jazz / Post-Bop
Akihiro Tanaka Coordination
Akira Tanaka Coordination
Aya Takemura Assistant Engineer
Bobby Sanabria Conga, Percussion, Drums
David Baker Engineer
Eric Reed Piano, Synthesizer
Gary Bartz Sax (Alto), Sax (Soprano)
Hiroko Umezawa Design
Joe Chambers Drums, Vibraphone, Marimba
John Abbott Photography
Kazumi Kurigami Cover Photo
Keiji Uyeda Design, Art Direction
Kiyoko Murata Coordination
Koji Suzuki Mastering Engineer
Kyoko Aikawa Assistant Producer
Mikio Aoki Executive Producer
Nobumasa Takai Liner Notes
Peter Doris Assistant Engineer
Rufus Reid Bass
Woody Pornpitaksuk Assistant Engineer
Yasohachi "88" Itoh Producer
The liner notes for Urban Grooves describe Joe Chambers as "a good jazz drummer." Actually, he's more than good; he's an excellent jazz drummer who also knows his way around the vibraphone and the marimba. Not every album that Chambers has appeared on is great, but his skills as a musician certainly are. One thing Chambers isn't, however, is a terribly forceful drummer; he knows when to hold back. Chambers doesn't have quite as gentle a touch as Shelly Manne, but he isn't as aggressive as Art Blakey or Art Taylor either. Recorded in March 2002 -- when Chambers was three months away from his 60th birthday -- Urban Grooves underscores his intuitive, insightful nature. This acoustic-oriented post-bop date finds Chambers leading an all-star quintet that boasts Gary Bartz on alto and soprano sax, Eric Reed on piano, Rufus Reid on bass, and Bobby Sanabria on percussion -- and Chambers, true to form, knows exactly what to play when one of his colleagues takes a solo. When Bartz or Reed is stretching out, Chambers is never the least bit intrusive -- he's always sympathetic, encouraging, and helpful rather than heavy-handed. In fact, Urban Grooves is the opposite of heavy-handed; the performances tend to be on the introspective side whether the group is embracing "Sid's Ahead" (one of Miles Davis' lesser-known compositions), Marcus Miller's "Portia," or Chambers' own material. The CD's least introspective track is "Afreeka," an exuberant Chambers piece that incorporates Caribbean, African, and latin elements. But most of the time, a reflective mood defines Urban Grooves, which falls short of exceptional but is a pleasing, solid demonstration of Chambers' skills as both a drummer and a vibist/marimba player. ~ Alex Henderson, 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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