Paul Chambers

One of the premier bassists in jazz history, Paul Chambers 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.

Paul Chambers was born in Pittsburgh in 1935, and grew up in Detroit, where he became part of the city's growing jazz scene. He moved to New York, where he played in the

J.J. Johnson

trombone
1924 - 2001

" data-original-title="" title="">J.J. Johnson-

Kai Winding

trombone
1922 - 1983

" data-original-title="" title="">Kai Winding quintet. He joined Miles Davis' first legendary quintet along with

John Coltrane

saxophone
1926 - 1967

" data-original-title="" title="">John Coltrane,

Philly Joe Jones

drums
1923 - 1985

" data-original-title="" title="">Philly Joe Jones, and

Red Garland

piano
1923 - 1984

" data-original-title="" title="">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

piano
1931 - 1971

" data-original-title="" title="">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

bass
1922 - 1960

" data-original-title="" title="">Oscar Pettiford and

Ray Brown

bass, acoustic
1926 - 2002

" data-original-title="" title="">Ray Brown, the first bassists he admired, were followed in his book by

Percy Heath

bass, acoustic
1923 - 2005

" data-original-title="" title="">Percy Heath,

Milt Hinton

bass, acoustic
1910 - 2000

" data-original-title="" title="">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.

Cannonball Adderley

saxophone
1928 - 1975

" data-original-title="" title="">Cannonball Adderley,

Sonny Rollins

saxophone
b.1930

" data-original-title="" title="">Sonny Rollins,

Bud Powell

piano
1924 - 1966

" data-original-title="" title="">Bud Powell,

Freddie Hubbard

trumpet
1938 - 2008

" data-original-title="" title="">Freddie Hubbard, and

Donald Byrd

trumpet
1932 - 2013

" data-original-title="" title="">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."

Unfortunately, Chambers died of tuberculosis at the premature age of 33. Source: James Nadal

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Kelly Blue

by C. Michael Bailey
September 3, 2025

The classic Wynton Kelly Trio comprised Kelly on piano, bassist Paul Chambers, and drummer Jimmy Cobb. Besides being Kelly's most stable trio, this rhythm section provided the underpinning for several important recordings and tours for Miles Davis in the late '50s and early '60s. These include Kind of Blue (Columbia Records, 1959) and Davis' 1960 European Tours, Someday My Prince Will Come (Columbia Records, 1961), In Person, Vol. 1--Friday Night at the Blackhawk (Columbia Records, 1961), In Person, Vol. 2--Saturday ...

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Lee Morgan: Here's Lee Morgan

Read "Here's Lee Morgan" reviewed by C. Andrew Hovan

by C. Andrew Hovan
July 5, 2025

While Craft Recordings' new OJC reissue series has largely drawn from its treasure trove of Prestige and Riverside titles, the label recently expanded its scope to include two standout jazz albums from Chicago's historic Vee-Jay Records. Founded in 1953 by husband-and-wife team James Bracken and Vivian Carter, Vee-Jay was not only one of the earliest Black-owned and woman-owned labels but also a remarkably eclectic imprint. Known for its blues releases--and even some early Beatles records--Vee-Jay also documented top-tier ...

Album Review

Kenny Dorham: Blue Bossa in the Bronx: Live from the Blue Morocco

Read "Blue Bossa in the Bronx: Live from the Blue Morocco" reviewed by Jack Kenny

by Jack Kenny
April 24, 2025

The vagaries of the jazz life are all over this release. Why Kenny Dorham should be underappreciated is a mystery. For the gig at the Blue Morocco he had assembled a great super group with a deep well of experience. Drummer Denis Charles had worked with Cecil Taylor. Kenny Dorham had accompanied Charlie Parker, at Parker's peak. Bassist Paul Chambers had supported both Miles Davis and Sonny Rollins. Pianist Cedar Walton had been in the Jazz Messengers. alto sax man ...

Album Review

Kenny Dorham: Blue Bossa in the Bronx: Live from the Blue Morocco

Read "Blue Bossa in the Bronx: Live from the Blue Morocco" reviewed by Thierry De Clemensat

by Thierry De Clemensat
April 21, 2025

Another remarkable chapter in contemporary music comes to life once again, thanks to Resonance Records. It was from 1967 that Blue Bossa In The Bronx: Live from the Blue Morocco emerged, an unreleased performance by the legendary jazz trumpeter Kenny Dorham, recorded live at the Blue Morocco jazz club in the Bronx, NY. The session features Sonny Red, Cedar Walton, Paul Chambers and Denis Charles. Transferred from the original tape reels captured by the renowned engineer Bernard Drayton, ...

Album Review

Kenny Dorham: Blue Bossa in the Bronx: Live from the Blue Morocco

Read "Blue Bossa in the Bronx: Live from the Blue Morocco" reviewed by Pierre Giroux

by Pierre Giroux
April 18, 2025

Trumpeter Kenny Dorham's stature in jazz history is undeniable, yet he remains one of music's most under-appreciated masters. Despite being a vital presence among the great innovators of his era, Dorham never achieved the star power his talent deserved. In conjunction with Record Store Day, Resonance Records is releasing Blue Bossa in the Bronx: Live from the Blue Morocco as a deluxe CD edition that captures Dorham in fiery form during a never-before-heard live performance. The package includes Bob Blumenthal's ...

Album Review

Kenny Dorham: Blue Bossa in the Bronx: Live from the Blue Morocco

Read "Blue Bossa in the Bronx: Live from the Blue Morocco" reviewed by Troy Dostert

by Troy Dostert
April 17, 2025

On their 1955 live recording At the Cafe Bohemia (Blue Note), the Jazz Messengers' Art Blakey introduced his trumpet player, Kenny Dorham, as the “Uncrowned King," a title that was perhaps fitting at the time given Dorham's still-rising trajectory. But even in his prime, Dorham arguably never received his proper accolades, and he would typically be regarded as more of a “musician's musician" than some of the more celebrated trumpeters like Clifford Brown, Lee Morgan or Freddie Hubbard. Hence, the ...

Album Review

Art Pepper: Gettin' Together

Read "Gettin' Together" reviewed by Richard J Salvucci

by Richard J Salvucci
December 25, 2024

Roughly about a year before Art Pepper was sentenced to 3 to 20 years in San Quentin State Prison on heroin charges, he made this recording. Miles Davis' rhythm section was briefly available in Los Angeles. So Pepper had a chance to reprise his wonderful performance in Art Pepper Meets the Rhythm Section (Original Jazz Classics, 1957), albeit with different personnel and with the addition of Conte Candoli on trumpet. The recording was a kind of coda to the first ...

135

Interview

Listen to the Bass Player: Part 4, Paul Chambers

Source: Rifftides by Doug Ramsey
November 5, 2009

For the new segment of our adventure in letting bassists be our guides, author, critic and sometime Rifftides commentator Larry Kart has a fine idea.

May I suggest, for Part 4, Paul Chambers behind Miles Davis, John Coltrane, Wynton Kelly and Jimmy Cobb on “So What." Like Heath and LaFaro in their various ways, where Chambers puts “one" is a place where no one who's playing with him literally is, but it's a place that all can touch and play ...
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140

Recording

Mosaic Select Series: Paul Chambers & John Patton

Source: All About Jazz
October 15, 2003

Mosaic Records Announces Two New Releases in Its Mosaic Select Series Featuring the Work of Paul Chambers and John Patton

Following up on its first four releases in its Mosaic Select series (Grachan Moncur, Carmell Jones, Bennie Green and Randy Weston), Mosaic Records is proud to showcase two more great artists, Paul Chambers and John Patton.

Chambers emerged from the fertile Detroit scene and came to New York at age 19. A year later, he was a member of Miles ...
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523

Music Industry

Mosaic Records The Complete Vee Jay Paul Chambers & Wynton Kelly

Source: All About Jazz

Mosaic Records Returns to The Classic Vee Jay Catalogue Chronicling the '59-'61 Sessions of Post Bop Pioneers Paul Chambers & Wynton Kelly

Mosaic Records is proud to announce the release of The Complete Vee Jay Paul Chambers-Wynton Kelly Sessions 1959-1961. The material included in the 6-CD set contains all of the recordings pianist Wynton Kelly and bassist Paul Chambers did together under their own leadership, as well as their sessions as sidemen with the excellent altoist Frank Strozier that features ...
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