by Bob Osborne
Great new albums on this edition with Joe Chambers back at Blue Note and in fine form. There is also the progressive jazz of Francesca Remigi, new sounds from Diego Rivera on Posi-tone, Lisa Hilton with a stunning trio, cutting edge music from Argentina courtesy of Nacho Szulga, and, the sophomore outing on ECM from Shai Maestro. Playlist Joe Chambers Samba De Maracatu" from Samba De Maracatu (Blue Note) 00:00 Francesca Remigi Archipélagos The Shooting" from Il Labirinto ...read more
by Chris May
Drummer Joe Chambers was unusual among the drummers who emerged on the Blue Note label in the mid 1960s in that not only did he generate a powerful beat, he wrote strong tunes, too. He played on, and often composed pieces for, albums by such Blue Note luminaries as saxophonists Wayne Shorter and Joe Henderson, vibraphonist Bobby Hutcherson and pianists McCoy Tyner and Andrew Hill, among others. From 1970, with the decline of Blue Note, Chambers led a peripatetic existence ...read more
by Larry Reni Thomas
Drummer/vibraphonist/composer/educator Joe Chambers' Horace to Max is an awesome display of versatility and master musicianship; that's impossible to put away, it gets better with each listen. The distinctive blue-and-black colored cover design is similar to those fine Blue Note records of the 1960s and 1970s. The disc possesses a subtle suggestive theme that can only be described as plain old protest music, showing that times have not really changed; despite being written decades ago, the music's lyrics, meaning and intended ...read more
by Edward Blanco
In this follow up to the critically-acclaimed The Outlaw (Savant 2006) recording, Joe Chambers tips his hat to colleagues Horace Silver and Max Roach with Horace To Max, paying tribute to mentor Roach and recognizing Silver as one of the most important composers of the post-bop era of jazz. A highly-regarded session drummer of the '60s appearing on many of Blue Note's greatest jazz recordings, Chambers builds on the foundation of The Outlaw--where he was featured prominently on mallet instruments ...read more
by John Kelman
Though best known for his drum work on key 1960s Blue Note sessions with artists including vibraphonist Bobby Hutcherson, pianist Andrew Hill and saxophonist Wayne Shorter, Joe Chambers has gradually built a reputation as an equally distinctive composer and mallet player. Horace to Max is more heavily weighted towards cover material from Shorter, bassist Marcus Miller, pianist Thelonious Monk and trumpeter Kenny Dorham--and, of course, its two titular legends, pianist Horace Silver and drummer Max Roach--but it does maintain an ...read more
by Jim Santella
Combining hip-hop gestures with straight-ahead trends, Joe Chambers pushes the modern mainstream envelope toward broader acceptance. Logan Richardson's alto saxophone and Chambers' vibraphone share most of the lyrical duties on The Outlaw, where Chambers establishes a comfortable groove and never lets go. At times mesmerizing and at times refreshingly pure, the session relies on a powerful, driving rhythmic influence.
Nicole Richardson adds a lovely vocal to I Think it's Time to Say Goodbye, which is supported by a ...read more
by Stephen Latessa
The Outlaw is an adventurous recording which finds veteran drummer Joe Chambers focusing on vibraphone, piano and marimba as much as the drum kit. In the liner notes, Chambers comments, I'm not interested in playing drums behind anybody now. On this album, I'm trying to reestablish myself as a mallet player. Unfortunately, the album also reveals an interest in synthesizers that lend the music an artificial sheen which comes perilously close to smooth jazz.
The version of the ...read more