[SACD-R][OF] Paul Chambers - Whims Of Chambers - 1957/2010 (Hard Bop)

Paul Chambers Whims Of Chambers Формат записи/Источник записи: [SACD-R][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 1957/2010 Жанр: Hard Bop Издатель(лейбл): Blue Note / Analogue Productions Продолжительность: 00:38:17 Наличие сканов в содержимом раздачи: Да Треклист: 1. Omicron 2. Whims Of Chambers 3. Nita 4. We Six 5. Dear Ann 6. Tale Of The Fingers 7. Just For The Love Kenny Burrell, guitar Donald Byrd, trumpet Paul Chambers, bass John Coltrane, sax (tenor) Philly Joe Jones, drums Horace Silver, piano Контейнер: ISO (*.iso) Тип рипа: image Разрядность: 64(2,8 MHz/1 Bit) Формат: DSD Количество каналов: 2.0 MONO Доп. информация: Analogue Productions CBNJ 1534 SA (2010) This APO version mastered by Kevin Gray & Steve Hoffman, & authored by Gus Skinas. Originaly Blues Note BLP 1534 (1957) Recorded on September 21, 1956 at Van Gelder Studio, Hackensack, New Jersey. Producer – Alfred Lion Design [Cover] – Reid Miles Источник (релизер): ManWhoCan't (PS³SACD) http://sa-cd.net/showtitle/6525 http://store.acousticsounds.com/d/49142/Paul_Chambers-Whims_of_Chambers-Hybrid_Mono_SACD   Об альбоме (сборнике) Paul Chambers’ first album features an amazing lineup of John Coltrane, Donald Byrd, Kenny Burrell, Horace Silver & Philly Joe Jones. A classic Blue Note session of what might be considered “cerebral” jazz. Bassists have rarely assumed the role of bandleader. Primarily, they blend into the rhythm section supporting horns, pianos, & nearly every other instrument. It wasn’t until 1939 that Jimmy Blanton revolutionized the use of bass in Duke Ellington’s band, opening doors for the likes of Ray Brown, Red Mitchell, Oscar Pettiford, Percy Heath, & Paul Chambers. After moving to Detroit as a teenager, Chambers abandoned baritone horn & became a string bassist. He began training with a bassist in the Detroit Symphony, & worked in assorted student bands. From there, he went on the road with Paul Quinichette, also performing with George Wallington, Joe Roland & the renowned dual trombone combo, Johnson & Winding. A steady gig with Miles Davis not only refined his jazz technique, but introduced him to eventual sextet members, innovative saxophonist John Coltrane & drummer extraordinaire, Philly Joe Jones The Blue Note session that produced Whims of Chambers would be transcendental. Adding fellow Detroit players, Donald Byrd (trumpet), Kenny Burrell (guitar), & Blue Note rising star Horace Silver (piano), a musical alchemy would emerge. Fierce & relentless, these 7 pieces are hard bop masterpieces, showcasing individual brilliance & a discernable cohesion. The opening song, “Omicron’ features rollicking solos from all 6 members. Philly Joe Jones’ ferocious drumming fuels the chemistry in this energetic, Latin–flavored romp. The title cut, a blues piece, starts with an extended bass line, that subtle relaxes into fluid piano & guitar solos. Coltrane’s composition, “Nita”, swings with a bold arrangement that offers intermittent rhythm breaks around inspired runs on trumpet, tenor sax, guitar & piano. Possibly the most dynamic track is the scintillating “We Six”. After a dual horn lead intro, trumpet & tenor segue effortlessly, sustaining the unyielding tempo. Chambers demonstrates his deft touch with an amazing bowed solo. A rare change of place comes on “Dear Ann” a sophisticated slow tempo opus, entwined with a groove oriented texture to the guitar & piano parts. A nimble pizzicato bass gives the song nuance. The total ensemble percolates on “Just ForThe Love”, beginning with Coltrane’s uncanny mixture of dissonance & melody. Subsequent individual play by the rest of the band underscores the groundbreaking harmonics of this all star congregation. The spontaneity of “Tale Of The Fingers” is galvanized by the sharp tuneful piano by Silver & the graceful bowed bass of Chambers. The abundance of mutual respect & support was essential in making an album that still resonates more than 50 years after its debut. Each of these musicians would develop as dominant musicians, but this cooperative effort stands on its own. The SACD gives the music cleaner, less muddled acoustics, with a penchant for detailed instrument separation. The ascetic mono fidelity is rendered intact. ~ Robbie Gerson, Audiophile Audition