CURATION
-
from this page:
by Augmented Matrix
The Integrated Global Creative Economy
-
Name:
Joe Chambers
-
City/Place:
New York City
-
Country:
United States
-
Hometown:
Philadelphia, Pennsylvania
Current News
-
What's Up?
Samba de Maracatu marks the notable Blue Note Records return of a significant figure in the label’s history: multi-instrumentalist, composer, arranger, and educator Joe Chambers. Although his Blue Note debut, Mirrors, came out in 1998, his association with the label is much deeper.
In the mid-to-late 1960s, Chambers played drums for numerous Blue Note luminaries appearing on some of the decade’s most progressive albums including Wayne Shorter’s Adam’s Apple and Etcetera, Bobby Hutcherson’s Components and Happenings, Freddie Hubbard’s Breaking Point, Joe Henderson’s Mode for Joe, Sam Rivers’ Contours, Andrew Hill’s Andrew!!!, Donald Byrd’s Fancy Free, and many more.
The label’s owners – Alfred Lion and Francis Wolff – offered Chambers a chance to record his own album for the imprint during this fertile period. Chambers, however, was riding so high on recording and touring with so many jazz greats that he declined the opportunity. He nevertheless etched a legacy as a distinguished and versatile jazz artist, capable of playing with Max Roach’s groundbreaking, percussion-only ensemble, M’Boom, as well as recording his own acclaimed albums as a leader on the Muse, Candid, Savant labels.
Samba de Maracatu shares similar characteristics with his previous 2016 album, Landscapes (Savant), on which Chambers overdubbed himself playing drums, vibraphone, marimba, piano, congas, bongos, and synthesizers while interacting with bassist Ira Coleman and pianist Rick Germanson. While crafting Landscapes, Chambers took inspiration from Bill Evans’ 1963 LP, Conversations with Myself, on which he created multiple contrapuntal piano lines by overdubbing himself. On Samba de Maracatu, Chambers’ applied a similar approach this time with the accompaniment of pianist Brad Merritt and bassist Steve Haines — two exceptional North Carolina-based jazz musicians.
On Samba de Maracatu, Chambers asserts himself more as a mallet player, particularly on the vibraphone. Throughout the album, he uses the vibraphone as the lead melodic and improvisational voice that often converses with Merritt’s remarkable piano accompaniments and solos. The title track, a Chambers original, highlights both his mastery on the vibraphone and his affinity for Brazilian rhythms. The song’s title references the syncretic Afro-Brazil rhythms, originated from Brazil’s Pernambuco province. The rhythm also has roots in the Afro-Brazilian Candomblé religion.
While Samba de Maracatu isn’t a Brazilian jazz album in this strictest sense, Chambers utilizes various rhythms and indigenous Brazilian percussion instruments on several pieces. On the sterling revisit of “Circles,” a suspenseful composition he wrote for M’Boom in the early-70s, Chambers drives the momentum with an abstraction of Brazil’s bione rhythm, while on the adventurous take on Wayne Shorter’s “Rio” he employs an infectious bossa nova rhythm toward the end.
Elsewhere, Chambers illuminates his artistry with standards. The album begins with a delightful reading of Arthur Schwartz and Howard Dietz’s Broadway standard, “You and the Night and the Music.” Later, Chambers invites New Orleans-based vocalist Stephanie Jordan to sing lead on a lovely rendition of Jay Livingston and Ray Evans’ “Never Let Me Go,” an enduring classic, made famous by Nat King Cole. Then there’s the cinematic take on Karl Ratzer’s 1998 modern jazz composition, “Sabeh el Nur.”
The album also features a glowing interpretation of Bobby Hutcherson’s “Visions.” Chambers recorded the original version with Hutcherson in 1968 (released on the vibraphonist’s album Spiral), and his sensuous reading pays close attention to Hutcherson’s dreamy melody and haunting rhythm.
Chambers tips his hat to another Blue Note icon – Horace Silver – with his makeover of “Ecaroh,” one of Silver’s more experimental composition that has been a fixture of Chambers’ repertoire over the past decade. Episodic in nature, the pulse gracefully moves between slow balladry, mid-tempo Latin shuffle and sauntering blues, while the harmony shifts between minor and major chords.
Rapper MC Parrain makes a surprising appearance on “New York State of Mind Rain,” an intriguing mashup of Nas’ 1994 hip-hop staple, “N.Y. State of Mind” and Chambers’ 1978 piece, “Mind Rain,” from his LP Double Exposure (Muse). DJ Premiere sampled portions of “Mind Rain” to construct Nas’ classic, and MC Parrain’s rhymes provide the historic context between the two tunes while the rhythm fluctuates between straight-ahead jazz swing and hip-hop backbeat.
Indeed, Samba de Maracatu is an apt portrait of Chambers’ consummate talents as a vibraphonist, percussionist, drummer, composer, and bandleader extraordinaire. The album also reflects his cumulative musical knowledge and versatility, gained from more than 50 years as a professional musician.
Chambers was born in Stoneacre, Virginia but raised primarily in Chester, Pennsylvania. His earliest musical aspirations focused heavily on composing even while playing drums. After high school, he studied composition at the Philadelphia Conservatory and American University in Washington, D.C. His earliest professional gigs began when he was 18 years old; he started playing and touring with R&B artist Bobby Lewis. While in D.C., he started playing with the JFK Quintet, which also featured saxophonist Andrew White and bassist Walter Booker, six nights a week at Bohemian Caverns.
Freddie Hubbard heard Chambers one night at Bohemian Caverns and encouraged him to move to New York City. Chambers made his move in 1963, playing a lot with trumpeter Hugh Masekela. A year later, Chambers made his first Blue Note date playing on Hubbard’s Breaking Point, which featured Chambers’ classic composition, “Mirrors.”
Chambers would continue recording as a sideman and composer for many Blue Note artists, but his greatest collaborator would be Hutcherson, whose first two LPs – Dialogue (1965) and Components (1966) – prominently showcased Chambers’ more abstract compositions. The partnership between Chambers and Hutcherson would last into early-70s.
In 1970, Chambers took a year-long sabbatical to rehearse with Max Roach’s M’Boom ensemble. Chambers’ debut recording as leader, The Almoravid (Muse) didn’t come out in 1974. Following a couple more albums, Denon Records released 1979’s Punjab, a daring solo piano album.
Chambers continued working as a sideman for Chet Baker, David Murray, Steve Grossman, and even played on the soundtrack for Spike Lee’s 1986 breakout movie, She’s Gotta Have It. In 1990, he started a lengthy career an educator, first at the New School of Jazz and Contemporary Music in New York City, and later at the University of North Carolina Wilmington. At the latter, he became the first Thomas S. Kenan Distinguished Professor of Jazz in 2008.
Chambers no longer teaches, opting now to refocus on his career as a jazz instrumentalist, composer, and bandleader, even reconvening the M’Boom percussion ensemble for a few live performances. Samba de Maracatu makes for a splendid re-entry for Chambers as a full-time musician as he reunites with Blue Note Records, which provided him with his first recording opportunity.
Life & Work
-
Bio:
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 also maintained his association with Roach into the ’90s.
The AlmoravidAs a solo artist, Chambers has released a tidy number of albums including Almoravid (1973) with trumpeter Woody Shaw, New World (1976), New York Concerto (1981), Phantom of the City (1992), Mirrors (1998), and Urban Grooves (2002). Beginning with 2006’s Outlaw, Chambers released a steady stream of albums for Savant Records with Horace to Max (2010), Joe Chambers Moving Pictures Orchestra (2012), and Landscapes (2016), featuring bassist Ira Coleman and pianist Rick Germanson.
from www.bluenote.com/artist/joe-chambers
Contact Information
-
Record Company:
Blue Note
Clips (more may be added)
Few people know that the Bay of All Saints was final port-of-call for more enslaved human beings than any other such throughout all of human history. And few people know the transcendence these people, and their descendents, wrought. That's where this Matrix begins...
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Salvador is our base. If you plan to visit Bahia, there are some things you should probably know and you should first visit:
www.salvadorbahiabrazil.com
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL