(Back in 2007, I had the honor of interviewing Joe Chambers for the Stop Smiling Jazz Issue. In retrospect, I knew very little about the man’s wide breadth of work but I was always fascinated by his very out compositions, which appeared on a lot of Bobby Hutcherson sessions. Hutcherson I was familiar with through Eric Dolphy’s Out to Lunch. Via Chambers, I would soon go into deeper exploration of Andrew Hill, Joe Henderson, and the like. It would be years before I even realized that Chambers’ exploratory duo date with Larry Young yielded that famous Nas sample. On the occasion of his first release as a leader for Blue Note, Samba de Maracatu, I’m re-posting our chat here).
The drummers who manned the throne during Blue Note sessions out at Van Gelder’s studio read instead like a roll call of the form’s finest: Art Blakey, Max Roach, Elvin Jones, Anthony Williams. In that pantheon sits Joe Chambers, who thundered behind Blue Note’s post-bop new bucks: pianist Andrew Hill, trumpeter Freddie Hubbard, saxmen Wayne Shorter and Joe Henderson, vibist Bobby Hutcherson. Brought up in a musical household (though of no relation to Mr. PC, Paul Chambers), as Chambers came of age in Philly, where he saw swing’s giant jazz armies pare down to the lean post-World War II into bebop quartets, as rhythm and blues was crescent.Continue reading “Joe Chambers interview”