|
|
 |
 |
 |
Groove on the move - the latest NY Jazz style
Urban Grooves / Joe Chambers
VRCL 6003(CD)\3,045(tax in)
VRGL 8803 (SACD)\3,360(tax in)
VRJL 7003(LP)\3,360(tax in)
|
|
|
1. Third Street (Joe Chambers) 
2. Softly as in a Morning Sunrise (Sigmund Romberg)
3. Sid's Ahead (Miles Davis)
4. In a Sentimental Mood (Duke Ellington)
5. Stella by Starlight (Victor Young)
6. Surrey with the Fringe on Top (Richard Rodgers)
7. Irina (Joe Chambers)
8. Portia (Marcus Miller)
9. Afreeka (Joe Chambers)
Recorded at Avatar Studio, New York on March 8 and 9, 2002
Produced by Yasohachi "88" Itoh
Recorded by David Baker
Eighty-Eight's will record all master tapes using both Direct Stream Digital (1-bit digital), the latest technology which is completely different from PCM system, and traditional analog formats simultaneously. In addition, in a first for the recording industry, three audio formats - SACD (Super Audio CD), analog LP, and traditional CD - will be released simultaneously for every item in the catalog. Analog LP masters will be cut from 2 track half inch master tapes. Each master will be created based on the format in which it will be heard, to produce the highest quality sound and best recreate the recording studio environment. The Eighty-Eight's label is the perfect answer to the audiophile's needs.
click for vinyl (analog) LP song sequence |
|
Personnel:
Joe Chambers (drums, vibraphone and marimba)
Gary Bartz (alto and soprano saxophone)
Eric Reed (piano and synthesizer)
Rufus Reid (bass)
Bobby Sanabria (congas and percussions) |
|
|
| Versatile multi-instrumentalist expands his world of art |
Joe Chambers has been described as one of great drummers to come out of the sixties: the "Post-Bop" period. The modal-jazz which Miles Davis (tp) or Gill Evans (arr) experimented in late 50's has continued in the bebop mold with more experimental aspects in 60's. Wayne Shorter and Herbie Hancock become one of the most significant musicians emerging at that time. Joe Chambers has contributed to the scene not only as a drummer, but also as composer and arranger since then.
Chambers has recorded infrequently as a leader, but he is not the one to become stagnant and tries to keep surprising the music world. On this album he performs not only drums but vibraphone and marimba, and on "Sid's Ahead and "Afreeka" he stunts on switching the instrument in a instant from marimba to drums. Please note that this recording was direct to 2 track - no overdubs. Saxophonist Gary Bartz is a long friend of Joe Chambers since 60's - when they started playing in New York. They recall playing together many times at the jam session since then, but seldom had a chance to record together until today. You can hear how are they enjoying playing together through the music.
The tunes vary from standard tunes such as "In a Sentimental Mood," "Stella by Starlight" to Joe Chamber's own compositions. The standards are surprisingly refreshed with new arrangements, with a mixture of avangard, free, mode, Latin - which might represent the "post-boppish" idioms. His own compositions, "Third Street," "Irina," and "Afreeka" are very good example of Joe Chamber's talent in composing.
This album contains every essence in today's music scene, especially in New York - the melting pot. It is not an exaggeration to say that all the aspects of the music, which is expanding every day is captured through the music of Joe Chambers. |
|
|
Joe Chambers
Born on June 25, 1942, Stoneacre, Virginia. His parents loved the music, and he listened from R&R to classical music such as Wagner. Lester Young and Lionel Hampton emerged his interest in jazz, and when he first listened to Miles Davis at age of 13, his started to check the music more intensily. In the summer of '61, his first year at college, he went on the road with R&B artist Bobby Charles and landed in Washington D.C. working at the famous Bohemian Caverns. There he had many opportunities to meet outstanding jazz artists who performed in the club. He was urged to come to New York by Eric Dolphy, Freddie Hubbard and Wayne Shorter, and moved in '63. In the mid-60's, he played with a number of the more progressively inclined musicians associated with the Blue Note label. In 70, he joined Max Roach's percussion enselble "M'Boom" as the original member. Since then, he has performed with many notable jazz musicians, including Sonny Rollins, Tommy Flanagan, Charles Mingus and Art Farmer, just to name a few. He is not only a multi-instrumentalist who can handle mallet instruments but also pianist and a composer and arranger.
|
|
|
|
