O baterista de jazz Joe Chambers nasceu no 25 de junho de 1942 e muito cedo começou a ser influenciado, não só pelos sons do rock “n” roll de Louis Jordan e Slim Gaillard mas também pela musica clássica de Vivaldi,Wagner, Beethoven e Mahler. O amor pela bateria nasceu bem cedo. Ele declarou certa vez que quem escolhe o musico é o próprio instrumento. Aos quatro anos de idade, tirava sons de panelas e frigideiras dispostos em conjunto, de forma bem instintiva.
A atração maior sobre si, foi exercida através dos sons de Lionel Hamptom e Lester Young que acabaram prevalecendo. Apesar disso, integrou-se a uma banda de R&B que tocava house rock.
Foi somente depois de ouvir Miles Davis que ele foi fisgado definitivamente, para o jazz, aos treze anos.
Os pastores pregavam contra o jazz e as pessoas pararam de dançar e, conseqüentemente, as “big bands” desapareceram. O bebop elevou o jazz da condição folclórica para de um gênero musical mais “cult” e intelectualizado. Foi então que a R&B se popularizou para preencher a lacuna causada pela ausência de um ritmo mais ao gosto do proletariado. O bebop se tornou musica Cult , e Chambers foi personagem de todo este processo revolucionário.
Apesar de toda a sua brilhante trajetória e legado musical, Joe Chambers permanece sem receber, tanto da mídia especializada, quanto do grande público, o devido reconhecimento pelo conjunto de sua obra.
Ao ouvir o CD “ Mirrors”, o leitor vai entender melhor a veracidade desta infeliz realidade.
Clique para ouvir e ver Paul Chambers em ação.
http://www.youtube.com/watch?v=4_GskCCFBnI
A atração maior sobre si, foi exercida através dos sons de Lionel Hamptom e Lester Young que acabaram prevalecendo. Apesar disso, integrou-se a uma banda de R&B que tocava house rock.
Foi somente depois de ouvir Miles Davis que ele foi fisgado definitivamente, para o jazz, aos treze anos.
Os pastores pregavam contra o jazz e as pessoas pararam de dançar e, conseqüentemente, as “big bands” desapareceram. O bebop elevou o jazz da condição folclórica para de um gênero musical mais “cult” e intelectualizado. Foi então que a R&B se popularizou para preencher a lacuna causada pela ausência de um ritmo mais ao gosto do proletariado. O bebop se tornou musica Cult , e Chambers foi personagem de todo este processo revolucionário.
Apesar de toda a sua brilhante trajetória e legado musical, Joe Chambers permanece sem receber, tanto da mídia especializada, quanto do grande público, o devido reconhecimento pelo conjunto de sua obra.
Ao ouvir o CD “ Mirrors”, o leitor vai entender melhor a veracidade desta infeliz realidade.
Clique para ouvir e ver Paul Chambers em ação.
http://www.youtube.com/watch?v=4_GskCCFBnI
Born and raised near Philadelphia to a musical family, Joe Chambers heard not only the rock and roll of Louis Jordan and Slim Gaillard, but the classical of Vivaldi, Wagner, Beethoven and Mahler. Drums came early. “I think an instrument picks you. I used to play on post and pans when I was little. I was setting them up like a kit at four years of age, so the instincts were there.”
More taken with Lester Young and Lionel Hampton than Little Richard, Chambers nonetheless soon joined a band playing all the R&B hits of the day. “We played 'house rock,' horn players walking the bar like Big Jay McNeely and Tiny Bradshaw. But then I started hearing esoteric jazz like Miles Davis, and that grabbed me. When I heard that at age 13, immediately I was hooked.”
Preachers used to preach against jazz. Then the people stopped dancing, killing the big bands. Bebop moved jazz from folkoric to a more cult-oriented and intellectual sound. That's why R&B came in. There was a need for more proletarian music. Bebop became cult music. It was a revolutionary time. I witnessed all of that.”
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, Hutcherson's Components, Shorter's Schizophrenia and Etcetra, Hill's Compulsion, and Tyner's Tender Moments, as well as Archie Shepp's New Thing at Newport, Charles Mingus' Like a Bird, and Chick Corea's Tones for Joan's Bones and many others.
Chambers' legacy is not only as drummer extraordinaire. A conservatory trained musician, Chambers' compositions have been covered by Hutcherson, Hubbard, and M'Boom. More recently, folowing 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.”
His CD “Mirrors” lineup reflects Chambers' past and present: Vincent Herring, saxophones; Eddie Henderson, trumpet; Mulgrew Miller, piano; and Ira Coleman, bass. Chambers performs on both drums and vibraphone.
Like a suite, Mirrors tells a story where each tale is connected, where the musician's performances reveal deeper shades of meaning upon repeated listening.
Tradução – Humberto Amorim
Reference- Fonte – Jass.com
More taken with Lester Young and Lionel Hampton than Little Richard, Chambers nonetheless soon joined a band playing all the R&B hits of the day. “We played 'house rock,' horn players walking the bar like Big Jay McNeely and Tiny Bradshaw. But then I started hearing esoteric jazz like Miles Davis, and that grabbed me. When I heard that at age 13, immediately I was hooked.”
Preachers used to preach against jazz. Then the people stopped dancing, killing the big bands. Bebop moved jazz from folkoric to a more cult-oriented and intellectual sound. That's why R&B came in. There was a need for more proletarian music. Bebop became cult music. It was a revolutionary time. I witnessed all of that.”
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, Hutcherson's Components, Shorter's Schizophrenia and Etcetra, Hill's Compulsion, and Tyner's Tender Moments, as well as Archie Shepp's New Thing at Newport, Charles Mingus' Like a Bird, and Chick Corea's Tones for Joan's Bones and many others.
Chambers' legacy is not only as drummer extraordinaire. A conservatory trained musician, Chambers' compositions have been covered by Hutcherson, Hubbard, and M'Boom. More recently, folowing 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.”
His CD “Mirrors” lineup reflects Chambers' past and present: Vincent Herring, saxophones; Eddie Henderson, trumpet; Mulgrew Miller, piano; and Ira Coleman, bass. Chambers performs on both drums and vibraphone.
Like a suite, Mirrors tells a story where each tale is connected, where the musician's performances reveal deeper shades of meaning upon repeated listening.
Tradução – Humberto Amorim
Reference- Fonte – Jass.com
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