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A member of the '60s fraternity that recorded some of Blue Note's greatest music, Joe Chambers can lay claim to a place alongside such innovative artists as Freddie Hubbard, Wayne Shorter, McCoy Tyner and Bobby Hutcherson. Chambers' intense drumming, a trademark blend of cymbal-driven forward motion, deep rhythmic continuity, and explosive creativity, graced many landmark albums which fostered one of the most fertile eras in recent jazz memory. Chambers' credits include Hubbard's ‘Breaking Point’ (1964), Andrew Hill's ‘Compulsion’ (1965), Hutcherson's ‘Components’ (1965), Shorter's ...read more
A member of the '60s fraternity that recorded some of Blue Note's greatest music, Joe Chambers can lay claim to a place alongside such innovative artists as Freddie Hubbard, Wayne Shorter, McCoy Tyner and Bobby Hutcherson. Chambers' intense drumming, a trademark blend of cymbal-driven forward motion, deep rhythmic continuity, and explosive creativity, graced many landmark albums which fostered one of the most fertile eras in recent jazz memory. Chambers' credits include Hubbard's ‘Breaking Point’ (1964), Andrew Hill's ‘Compulsion’ (1965), Hutcherson's ‘Components’ (1965), Shorter's ‘Etcetra’ (1965) and ‘Schizophrenia’ (1967), and Tyner's ‘Tender Moments’ (1967), as well as Archie Shepp's ‘New Thing at Newport’ (1965), Chick Corea's ‘Tones for Joan's Bones’ (1966), and Charles Mingus' ‘Like a Bird’ (1978) and many others.
A conservatory trained musician, Chambers is a superb multi-instrumentalist who can perform expertly on an array of mallet instruments, a pianist and a composer - his compositions have been covered by Hutcherson, Hubbard, and M’Boom. More recently, following a handful of fine solo recordings, Chambers scored soundtracks for several Spike Lee films, including ‘Mo’ Better Blues’. Still, for all his accomplishments, Joe Chambers is a very humble, almost self-deprecating musician. For all the profound music of which he’s played a role, Chambers views his legacy as a day in the life: "When we were making those records we weren’t thinking about making history, we were just doing it at the time. You have to realize, I was engrossed in all the subplots of the ’60s. In those days it was a different mind set. It was tied to the anti-establishment, anti-war peace and love thing. I was hooked up with that. We didn’t talk about peace and love, but we were definitely spaced out. We were making the music."
Source: duke.edu/ « hide |
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