PAUL CHAMBERS

One of the premier bassists in jazz history, Paul Chambers,was born on April 22, 1935 in Pittsburgh, and grew up in Detroit, Michigan, where he became part of the city's fast growing jazz scene.

Paul had it all: a beautiful tone, a fluid technique, a great choice of notes, impeccable time and a magnificent sense of swing. He could even take a bowed solo and keep it interesting and in tune.
He moved to New York, where he played in the J.J. Johnson -Kai Winding quintet. He joined Miles Davis' first legendary quintet along with John Coltrane, "Philly"Joe Jones and Red Garland, at the age of 20.

As the bass player, he complimented Jones perfectly on fast songs and played just well on ballads. He spent the bulk of his prime years (1955-1963) as a member of the Miles Davis Quintet, participating in virtually all of Davis' classic recordings of the era. After leaving Davis' group, he continued working with the pianist who replaced Garland in Davis' group, Wynton Kelly, and he did freelance work in New York.

Paul was about 15 when he started to listen to Bird and Bud, his first jazz influences. Oscar Pettiford and Ray Brown, the first bassists he admired, were followed in his book by Percy Heath, Milt Hinton and Wendell Marshall for their rhythm section work, Charles Mingus and George Duvivier for their technical powers and for their efforts in broadening the scope of jazz bass. Blanton, of course, is his all-time favorite, the perennial poll winner in his ballot.

His formal bass training got going in earnest in 1952, when he began taking lessons with a bassist in the Detroit Symphony. Paul did some “classical” work himself, with a group called the Detroit String Band that was, in effect, a rehearsal symphony orchestra. Studying at Cass Tech. off and on from 1952 to '55 he played in Cass' own symphony, and in various other student groups, one of which had him blowing baritone sax. By the time he left for New York at the invitation of Paul Quinichette, he had absorbed a working knowledge of several armfuls of instruments.

Chambers made several albums as a leader, for Blue Note and Vee Jay. His Blue Note recordings were High Step, (1955) Chamber's Music, (1956) Whims of Chambers, Paul Chambers Quintet, (1957) and Bass on Top, considered his best work, also in 1957. These are reissued in the Mosaic compilation on his output for the label. In addition, he recorded as bassist with many musicians including Coltrane, Cannonball Adderley, Sonny Rollins, Bud Powell, Freddie Hubbard and Donald Byrd.

Chambers holds the unique distinction, along with Coltrane and Wynton Kelly, of participating on two of the most important albums in jazz history: Coltrane's Giant Steps, and Davis' Kind of Blue. Both albums are radically different in style, a testament to Chambers' ability. As a matter of fact, the song “Mr. P.C.” on “Giant Steps,” was written for Chambers (P.C. = Paul Chambers).

Coltrane said about him, “Chambers is one of the greatest bass players in jazz. His playing is beyond what I could say about it. The bass is such an important instrument, and has so much to do with a group and a soloist can best function that I feel very fortunate to have had him on this recording date and to have been able to work with him in Miles' band so long.”

Paul Chambers died of tuberculosis at the premature age of 33 in January, 1969.

Kind of Blue
http://www.youtube.com/watch?v=pBpLKm8vw4M

Reference - AAJ

MANAUS,DOMINGO,MEIO-DIA, 101.5, QUINZE ANOS DE JAZZ.

No programa "Momentos de Jazz" deste domingo, a partir do meio-dia em Manaus, pelas ondas da Radio Amazonas FM (http://www.amazonasfm.com.br/) vamos celebrar juntos a grande data que marca a passagem dos 15 anos de transmissão do programa que foi ar ar pela primeira vez no - 7 de abril de 1995 -.

Vou apresentar a música da Steve March Tormé que de forma versátil, comovente e com talento musical de sobra, homenageia o seu pai, o fabuloso Mel Tormé no CD "So Far". A audição inclui grandes composições da era clássica do jazz e também Steve cantando em dueto eletrônico com Mel. Imperdível.

A cantora Sarah Vaughan é indubitavelmente uma marca registrada do fenômeno jazz e na semana passada, se ainda estivesse com a gente, teria celebrado seu aniversário com muito estardalhaço, como costumava fazer. O conteúdo do CD "Sarah ao vivo at Mr. Kelly's " uma das manifestações mais espontaneas da maravilhosa Sassy, e irei destacadr.

A americana Stacey Kent que acabou de lançar um novo CD todo em françês ( Raconte Moi) participa desta audição histórica com o CD "The Morning Tram" que recebeu da crítica especializada as melhores referências. O saxofonista inglês Jim Tomlinson, marido da cantora, tem participação especial e pontifica com solos marcante s e inesquecíveis.

O dia 7 de abril é emblemático no mundo do jazz, por marcar o nascimento de Eleonora Fagan, a maravihosa Billie Holiday, grande musa inspiradora deste trabalho que desenvolvo ha 15 anos. É justamente com a versalidade, simplicidade e toda grandeza musical de Billie Holiday que encerrarei o programa, agradecido à minha familia, aos colegas, amigos e a todos que direta ou indiretamente contribuiram para a concretização deste sonho, ao longo desses anos inesquecíveis, com a plena convicção e desejo de continuar em frente até quando for permitido por Deus.

Faço minhas, as palavras de Tony Bennett:

"Sempre me perguntam se vou me aposentar ou não, e a resposta é sempre a mesma: me aposentar do que, se faço o que mais gosto no mundo"

O melhor ainda está por vir.

Obrigado a todos os meus ouvintes, com todo meu coração

Humberto Amorim

Locutor/Produtor

BILL FINEGAN

American jazz bandleader, pianist, arranger and composer William James Finegan, best known as Bill Finegan, was born on March 3, 1917 in Newark, New Jersey. Finegan grew up in a household full of piano players. He spent time studying at the Paris Conservatory and had his first professional experience leading his own piano trio.

Finegan was offered a job as a staff arranger for Glenn Miller and Tommy Dorsey bought a copy of his "Lonesome Road" and recommended him; he remained with Miller until 1942, and arranged such hits as "Little Brwon Jug", "Sunrise Serenade", and "Song of the Volga Boatmen". Finegan also arranged music for films in which the band appeared, such as Sun Valley Serenade (1941) and Orchestra Wives (1942). He then worked off and on for Tommy Dorsey from 1942 to 1952, including on the 1947 film The Fabulous Dorseys.

In 1947-48 Finegan studied with Stefan Wolpe, and lived in Europe from 1948-1950. After returning to the United States, Finegan and Eddie Sauter formed a highly successful ensemble, the Sauter-Finegan Orchestra, which remained active until 1957.

His composition "Doodletown Fifers" was one of the Sauter-Finegan Orchestra's best-known originals. Following this Finegan found work in advertising, writing music for commercials. In the 1970s he arranged for the Glenn Miller Orchestra and Mel Lewis's orchestra. He taught jazz at the University of Bridgeport in the 1980s.

Finegan passed away on June, 2008.

Eddie Sauter and Finegan performing together.
http://www.youtube.com/watch?v=Gds-jEUY5vI

Reference - Wikipédia