Paul Chambers

Paul Laurence Dunbar Chambers, Jr. (April 22, 1935 – January 4, 1969) was a jazz double bassist. A fixture of rhythm sections during the 1950s and 1960s, his importance in the development of jazz bass can be measured not only by the length and breadth of his work in this short period but also his impeccable time, intonation, and virtuosic improvisations.

Biography
Born in Pittsburgh, Pennsylvania on April 22, 1935, Chambers was raised in Detroit, Michigan following the death of his mother. He began playing music with several of his schoolmates; the baritone horn was his first instrument. Later he took up the tuba. "I got along pretty well, but it's quite a job to carry it around in those long parades, and I didn't like the instrument that much." Chambers became a string bassist around 1949. His formal bass training got going in earnest in 1952, when he began taking lessons with a bassist in the Detroit Symphony Orchestra. Chambers did some classical work himself, with a group called the Detroit String Band that was, in effect, a rehearsal symphony orchestra. Studying at Cass Technical High School off and on from 1952 to 1955, he played in Cass' own symphony, and in various other student groups, one of which had him playing baritone saxophone. By the time he left for New York at the invitation of tenor saxophonist Paul Quinichette, he had absorbed a working knowledge of many instruments.

Jazz bass players were largely limited to timekeeping with drums, until Duke Ellington's bassist Jimmy Blanton began a transformation in the instrument's role at the end of the 1930s. Chambers was about 15 when he started to listen to Charlie Parker and Bud Powell, his first jazz influences. Oscar Pettiford and Ray Brown were the first bassists he admired, and these were followed by Percy Heath, Milt Hinton and Wendell Marshall for their rhythm section work, and Charles Mingus and George Duvivier for their technical prowess and for their efforts in broadening the scope of jazz bass. Blanton was his all-time favorite. Playing his first gig at one of the little bars in the Hastings Street area, he was soon doing club jobs with Thad Jones, Barry Harris and others.

From 1954 on through 1955, he gained significance touring with such musicians as Bennie Green, Quinichette, George Wallington, J. J. Johnson and Kai Winding. In 1955 he joined the Miles Davis quintet, staying on with the group until 1963 and appearing on many classic albums, including Kind of Blue. One of Chambers's most noted performances was on that album's first track, "So What", which opens with a brief duet featuring Chambers and pianist Bill Evans. The sessions for Kind of Blue were difficult for all of the musicians, working to the peak of their musical abilities. Chambers' playing on Kind of Blue are considered some of the most patient and thought out bass lines in the history of jazz. From 1963 until 1968 Chambers played with the Wynton Kelly trio. He freelanced frequently as a sideman for other important names in jazz throughout his career. During the course of his lifetime Paul Chambers developed addictions to both alcohol and heroin. On January 4, 1969 he died of tuberculosis aged 33.

Influence
Chambers' accompaniment and solos with Davis and other leaders remain distinctive and influential. He and Slam Stewart were among the first jazz bassists to perform arco or bowed features. From his role in the Davis band, Chambers was the bassist in two rhythm sections. The first, with Red Garland on piano and Philly Joe Jones on drums, came to be known as "the rhythm section," that name featured on a celebrated album by saxophonist Art Pepper, Art Pepper Meets the Rhythm Section. The second, with Wynton Kelly and Jimmy Cobb, made many sessions as a unit, recording albums with John Coltrane, Wes Montgomery, and by themselves under Kelly's name in albums such as Kelly Blue.

Paul Chambers was in great demand as a session musician, and played on numerous albums during the period he was active including such landmarks as Thelonious Monk's Brilliant Corners, Coltrane's Giant Steps, and Oliver Nelson's The Blues and the Abstract Truth. Many musicians wrote songs dedicated to Chambers. Long-time fellow Davis bandmate, pianist Red Garland, wrote the tune "The P.C. Blues", and Coltrane's song "Mr. P.C." is named after Chambers. Tommy Flanagan wrote "Big Paul", which was performed on the Kenny Burrell and John Coltrane Prestige 1958 LP. Max Roach wrote a drum solo called "Five For Paul", on a 1977 drum solo LP recorded in Japan, and Sonny Rollins wrote "Paul's Pal" for him as well.

As a leader

 * Chambers' Music (Aladdin/Jazz West, 1956)
 * Whims Of Chambers (Blue Note, 1956)
 * Paul Chambers Quintet (Blue Note, 1957)
 * Bass on Top (Blue Note, 1957)
 * Go (Vee-Jay, 1959)
 * High Step (Blue Note, 1956) (w/John Coltrane)
 * The East/West Controversy (Xanadu, 1957) (w/Hampton Hawes)
 * We Three (Prestige/New Jazz, 1958) (w/Roy Haynes & Phineas Newborn)
 * Just Friends (Charly/Le Jazz, 1959) (w/Julian "Cannonball" Adderley)
 * 1st Bassman (Vee-Jay, 1960)

As sideman
Cannonball Adderley
 * Julian "Cannonball" Adderley (EmArcy, 1955)
 * Cannonball Adderley Quintet in Chicago (Mercury, 1959)
 * Cannonball Takes Charge (Riverside, 1959)

Nat Adderley
 * Introducing Nat Adderley (Mercury/Wing, 1955); reissued as Them Adderleys (Limelight, 1966)
 * Naturally! (Jazzland, 1961)

Toshiko Akiyoshi
 * The Toshiko Trio (Storyville, 1956)
 * Toshiko Mariano and her Big Band (Vee-Jay, 1964)

Lorez Alexandria
 * Alexandria the Great (Impulse!, 1964)

Gene Ammons
 * Jammin' in Hi Fi with Gene Ammons (Prestige, 1957)

Chet Baker
 * Chet (Riverside, 1959)

Walter Benton
 * Out of This World (Jazzland, 1960)

Tina Brooks
 * Back to the Tracks (Blue Note, 1960)

Kenny Burrell
 * Jazzmen of Detroit with Kenny Burrell, Tommy Flanagan, Pepper Adams, Kenny Clarke (1956; Savoy Records)'''
 * Introducing Kenny Burrell (Blue Note, 1956)
 * John Jenkins with Kenny Burrell (Blue Note, 1957)
 * Kenny Burrell and John Coltrane (Prestige, 1958)

Jaki Byard
 * On the Spot! (Prestige, 1967)

Donald Byrd
 * Byrd's Word (Savoy, 1955)
 * Motor City Scene (Bethlehem, 1960)

Sonny Clark
 * Sonny's Crib (Blue Note, 1957)
 * Sonny Clark Trio (Blue Note, 1957)
 * Cool Struttin' (Blue Note, 1958)
 * Blues In The Night (Blue Note, 1958)
 * My Conception (Blue Note, 1959)

Jimmy Cleveland
 * Introducing Jimmy Cleveland And His All Stars (EmArcy, 1955)

John Coltrane Sonny Criss Miles Davis
 * Blue Train (Blue Note, 1957)
 * Coltrane (Prestige, 1957)
 * Bahia (Prestige, 1958)
 * Black Pearls (Prestige, 1958)
 * Lush Life (Prestige, 1958)
 * Settin' The Pace (Prestige, 1958)
 * Traneing In (Prestige, 1958)
 * Soultrane (Prestige, 1958)
 * Stardust (Prestige, 1958)
 * The Believer (Prestige, 1958)
 * The Last Trane (Prestige, 1958)
 * (w/Milt Jackson) Bags and Trane (Atlantic, 1960)
 * Giant Steps (Atlantic, 1960)
 * (w/Julian "Cannonball" Adderley) Cannonball and Coltrane (Phillips, 1965)
 * This is Criss! (Prestige, 1966)
 * Portrait of Sonny Criss (Prestige, 1967)
 * Miles (Prestige, 1955)
 * 'Round About Midnight (Columbia, 1955)
 * Cookin' (Prestige, 1956)
 * Relaxin' (Prestige, 1956)
 * Steamin' (Prestige, 1956)
 * Workin' (Prestige, 1956)
 * Collectors' Items (Prestige, 1956)
 * Miles Ahead (Columbia, 1957)
 * Milestones (Columbia, 1958)
 * Porgy and Bess (Columbia, 1958)
 * Kind of Blue (Columbia, 1959)
 * Sketches of Spain (Columbia, 1960)
 * Someday My Prince Will Come (Columbia, 1961)
 * In Person Friday and Saturday Nights at the Blackhawk, Complete (1961)
 * Quiet Nights (Columbia, 1962)

Kenny Dorham
 * Blue Spring (Riverside, 1959)
 * Quiet Kenny (Prestige, 1959)
 * Whistle Stop (Blue Note, 1961)

Kenny Drew
 * Kenny Drew Trio (Riverside, 1956)

Teddy Edwards
 * Nothin' But the Truth! (Prestige, 1966)

Bill Evans
 * On Green Dolphin Street (Riverside, 1959)

Gil Evans
 * Gil Evans & Ten (Prestige, 1957)
 * ''The Complete Pacific Jazz Sessions' (Pacific Jazz, 1958)
 * The Individualism of Gil Evans (Verve, 1964)

Curtis Fuller
 * Curtis Fuller with Red Garland (Prestige, 1957)
 * The Opener (Blue Note, 1957)
 * Sliding Easy (United Artists, 1959)
 * The Curtis Fuller Jazztet (Savoy, 1959) - with Benny Golson

Red Garland Dexter Gordon
 * A Garland of Red (Prestige, 1956)
 * Red Garland's Piano (Prestige, 1957)
 * Groovy (Prestige, 1957)
 * Red Garland Revisited! (Prestige, 1957 [1969])
 * P.C. Blues (Prestige, 1957)
 * Dig It! (Prestige, 1958)
 * Can't See For Lookin' (Prestige, 1958)
 * It's a Blue World (Prestige, 1958)
 * Manteca (Prestige, 1958)
 * The Red Garland Trio (Moodsville, 1958 [1960])
 * All Kinds of Weather (Prestige, 1959)
 * Red in Bluesville (Prestige, 1959)
 * Dexter Calling (Blue Note, 1961)

Benny Golson Bennie Green
 * Benny Golson's New York Scene (Contemporary, 1957)
 * The Modern Touch (Riverside, 1958)
 * Groovin' with Golson (New Jazz, 1959)
 * Pop + Jazz = Swing (Audio Fidelity, 1961) - also released as Just Jazz!
 * Turning Point (Mercury, 1962)
 * Bennie Green Blows His Horn (Prestige, 1955)
 * The 45 Session (Blue Note, 1958)
 * Glidin' Along (Jazzland, 1961)

Grant Green
 * First Session (Blue Note, 1960)

Johnny Griffin
 * A Blowing Session (Blue Note, 1957)
 * 'The Congregation' (Blue Note, 1957)

Herbie Hancock
 * Inventions and Dimensions (Blue Note, 1963)

Barry Harris
 * Bull's Eye! (Prestige, 1968)

Jimmy Heath
 * The Thumper (Riverside, 1959)
 * On the Trail (Riverside, 1964)

Joe Henderson
 * Four (Verve, 1968)
 * Straight, No Chaser (Verve, 1968)

Ernie Henry
 * Last Chorus (Riverside, 1956–57)

Richard "Groove" Holmes
 * Get Up & Get It! (Prestige, 1967)

Elmo Hope
 * Here's Hope! (Celebrity, 1961)
 * High Hope! (Beacon, 1961)

Freddie Hubbard
 * Here to Stay (Blue Note, 1962)

Milt "Bags" Jackson
 * Bags' Opus (United Artists, 1958)
 * Bags and Trane (Atlantic, (w/John Coltrane) 1960)
 * Statements (Impulse!, 1961)

John Jenkins
 * John Jenkins with Kenny Burrell (Blue Note, 1957)

J. J. Johnson With Elvin Jones Philly Joe Jones Thad Jones Clifford Jordan
 * The Eminent Jay Jay Johnson Volume 2 (Blue Note, 1955)
 * Trombone For 2 (w/Kai Winding) (Columbia, 1955)
 * The Great Kai & J. J. (w/Kai Winding)(Impulse!, 1960)
 * And Then Again (Atlantic, 1965)
 * Philly Joe's Beat (Atlantic, 1960)
 * Together! (Atlantic, 1961) - with Elvin Jones
 * After Hours (Prestige, 1957)
 * Cliff Jordan (Blue Note, 1957)

Wynton Kelly
 * ''Piano (Riverside, 1958)
 * Kelly Blue (Riverside, 1959)
 * Kelly at Midnight (Vee-Jay, 1960)
 * Kelly Great (Vee-Jay, 1960)
 * Wynton Kelly! (Vee-Jay, 1961)
 * Comin' in the Back Door (Verve, 1963)
 * It's All Right! (Verve, 1964)
 * Undiluted (Verve, 1965)
 * Blues on Purpose (Xanadu, 1965)
 * Last Trio Session (Delmark, 1968)

Abbey Lincoln
 * That's Him! (Riverside, 1957)
 * It's Magic (Riverside, 1958)

Hal McKusick
 * Triple Exposure (Prestige, 1957)

Jackie McLean
 * McLean's Scene (Prestige/New Jazz, 1957)
 * Jackie's Bag (Blue Note, 1959)
 * New Soil (Blue Note, 1959)
 * Capuchin Swing (Blue Note, 1960)

Blue Mitchell
 * Out of the Blue (Riverside, 1958)

Hank Mobley
 * Tenor Conclave (Prestige, 1956)
 * Peckin' Time (Blue Note, 1958)
 * Roll Call (Blue Note, 1960)
 * Soul Station (Blue Note, 1960)
 * Workout (Blue Note, 1961)
 * Another Workout (Blue Note, 1961)
 * The Turnaround (Blue Note, 1965)

Thelonious Monk
 * Brilliant Corners (Riverside, 1956)

Lee Morgan
 * Lee Morgan Sextet (Blue Note, 1956)
 * Lee Morgan Vol. 3 (Blue Note, 1957)
 * City Lights (Blue Note, 1957)
 * The Cooker (Blue Note, 1957)
 * Lee-Way (Blue Note, 1960)
 * Here's Lee Morgan (Vee-Jay, 1960)
 * Charisma (Blue Note, 1966)
 * The Rajah (Blue Note, 1966)

Wes Montgomery
 * Full House (Riverside, 1962)
 * Smokin' at the Half Note (Verve, 1965)
 * Willow Weep for Me (Verve, 1969)

Oliver Nelson
 * The Blues and the Abstract Truth (Impulse!, 1961)

Phineas Newborn, Jr.
 * A World of Piano (Contemporary, 1961)

Art Pepper
 * Art Pepper Meets the Rhythm Section (Contemporary, 1957)
 * Gettin' Together (Contemporary, 1960)

Houston Person
 * Trust in Me (Prestige, 1967)

Bud Powell
 * Bud! The Amazing Bud Powell (Vol. 3) (Blue Note, 1957)
 * The Scene Changes: The Amazing Bud Powell (Vol. 5) (Blue Note, 1958)

The Prestige All Stars
 * Interplay for 2 Trumpets and 2 Tenors (Prestige, 1957)

'''Ike Quebec
 * Blue And Sentimental (Blue Note, 1961)

Paul Quinichette
 * Moods (EmArcy, 1954)

Sonny Red
 * Out of the Blue (Blue Note, 1960)

Freddie Redd
 * Shades of Redd (Blue Note, 1960)
 * Redd's Blues (Blue Note, 1961)

Sonny Rollins
 * Tenor Madness (Prestige, 1956)
 * Sonny Rollins: Volume 2 (Blue Note, 1957)
 * Sound of Sonny (Riverside, 1957)

Louis Smith
 * Smithville (Blue Note, 1958)

Sonny Stitt
 * Sonny Stitt - Previously Unreleased Recordings (Verve, 1960 [1973])

Frank Strozier
 * Fantastic (Koch Jazz, 1960)

Art Taylor
 * A.T.'s Delight (Blue Note, 1960)

Clark Terry
 * Serenade to a Bus Seat (Riverside, 1957)

Kai Winding
 * The Trombone Sound (Columbia, 1955)
 * Trombone For 2 (w/J. J. Johnson)(Columbia, 1955)
 * The Great Kai & J. J. (w/J. J. Johnson)(Impulse!, 1960)