{"id":171,"date":"2011-02-14T08:43:33","date_gmt":"2011-02-14T15:43:33","guid":{"rendered":"http:\/\/josephachambers.com\/?page_id=171"},"modified":"2017-03-24T06:55:14","modified_gmt":"2017-03-24T13:55:14","slug":"press-release-of-%e2%80%9cmoving-pictures%e2%80%9d-for-carolina-jazz-festival","status":"publish","type":"page","link":"https:\/\/www.josephachambers.com\/?page_id=171","title":{"rendered":"Press release of \u201cMoving Pictures\u201d for Carolina Jazz Festival"},"content":{"rendered":"<p>Press release of \u201cMoving Pictures\u201d for Carolina Jazz Festival at University of North Carolina of Chapel Hill, February 16<sup>th<\/sup> \u2013 February 19<sup>th<\/sup>, 2011.<\/p>\n<p>MOVING PICTURES is a four part suite composed by Joe Chambers for the Lincoln Center Orchestra in New York City.\u00a0 The work premiered in 2003 under the direction of Wynton Marsalis.<\/p>\n<p>It was conceived as a kind of \u201cConcerto for Drums (Percussion) and orchestra synthesizing poly-rhythms, \u201cstraight ahead\u201d swing, and Afro-Cuban rhythms with lush orchestration.<\/p>\n<p>The piece begins with a prelude tribute to Duke Ellington; a re-harmonization of the ballad movement to \u201cA Drum Is a Woman\u201d.\u00a0 The second movement \u201cIrina\u201d is a post-bop era excursion reminiscent of the Thad Jones-Mel Lewis Orchestra of the 60\u2019s, 70\u2019s and early 80\u2019s.\u00a0 It utilizes modern harmony and shifting rhythms mixing swing and Latin grooves.<\/p>\n<p>The third movement \u201cRuth\u201d is a ballad featuring Joe Chambers on vibraphone.\u00a0 Movement four, \u201cCaravanserai\u201d, is a multi-layered Afro-Latin (Cuban) extended piece, a kind of tone-poem movement in itself.<\/p>\n<p>Joe Chambers established himself as a drummer and composer in the early 60\u2019s as a member of the 1960\u2019s fraternity that recorded some of the Blue Note Record Label\u2019s greatest music.\u00a0 Chambers can lay claim to a place alongside such innovative artists as Freddie Hubbard, Wayne Shorter, McCoy Tyner, Bobby Hutcherson and Chic Corea.\u00a0 Some of his recording credits include:<\/p>\n<p>Hubbard\u2019s BREAKING POINT<\/p>\n<p>Shorter\u2019s ADAM\u2019S\u00a0 APPLE; ALL SEEING EYE; SCHIZOPHRENIA; AND ETCETERA<\/p>\n<p>McCoy Tyner\u2019s\u00a0 TENDER MOMENTS<\/p>\n<p>Andrew Hill\u2019s COMPULSION\u00a0 and ANDREW<\/p>\n<p>Bobby Hutcherson\u2019s DIALOGUE; COMPONENTS; TOTAL ECLIPSE, and NOW<\/p>\n<p>Chic Corea\u2019s TONES FOR JOAN\u2019S BONES; INNER SPACE; and THREE PIANOS<\/p>\n<p>Compositions by Joe Chambers have been recorded by Bobby Hutcherson, Freddie Hubbard, Max Roach, and Donald Byrd.<\/p>\n<p>Most recently he has released two recordings on the Savant Record Label:<\/p>\n<p>THE OUTLAW in 2006 (Savant\u00a0 SCD2069); HORACE TO MAX IN 2010 (Savant 2017)<\/p>\n<p>Joe Chambers was selected as the first Thomas S. Kenan Distinguished Professor of Jazz in the Department of Music at the University of North Carolina Wilmington.\u00a0 Tenure began in the fall of 2008.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Press release of \u201cMoving Pictures\u201d for Carolina Jazz Festival at University of North Carolina of Chapel Hill, February 16th \u2013 February 19th, 2011. MOVING PICTURES is a four part suite composed by Joe Chambers for the Lincoln Center Orchestra in New York City.\u00a0 The work premiered in 2003 under the direction of Wynton Marsalis. It [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":10,"menu_order":3,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-171","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=\/wp\/v2\/pages\/171"}],"collection":[{"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=171"}],"version-history":[{"count":2,"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=\/wp\/v2\/pages\/171\/revisions"}],"predecessor-version":[{"id":340,"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=\/wp\/v2\/pages\/171\/revisions\/340"}],"up":[{"embeddable":true,"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=\/wp\/v2\/pages\/10"}],"wp:attachment":[{"href":"https:\/\/www.josephachambers.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}