{"id":390,"date":"2019-11-05T12:02:08","date_gmt":"2019-11-05T19:02:08","guid":{"rendered":"http:\/\/www.josephachambers.com\/?page_id=390"},"modified":"2019-11-05T12:47:28","modified_gmt":"2019-11-05T19:47:28","slug":"joe-chambers-from-the-jfk-quintet-to-the-kennedy-center-by-way-of-mboom","status":"publish","type":"page","link":"https:\/\/www.josephachambers.com\/?page_id=390","title":{"rendered":"Joe Chambers: From the JFK Quintet to the Kennedy Center, by way of M’Boom"},"content":{"rendered":"\n

By Majeedah Johnson<\/a> \u00b7 October 4, 2019<\/p>\n\n\n\n

During the 1960s, a select group of masters helped redefine the traditions and artistic standards contained within the genre of jazz. Musicians like Freddie Hubbard, Donald Byrd, Wayne Shorter, Eric Dolphy, Andrew Hill and Bobby Hutcherson released dozens of momentous recordings that combined\n rhythms and instruments from Africa and Latin America with a new style \nand vigor, experimenting with free improvisation along the way.<\/p>\n\n\n\n

Among that list of musicians is the \ndrummer Joe Chambers, mallet percussionist and composer who appeared as a\n sideman on many pivotal Blue Note Records albums from the era \u2014 some by\n the names listed above. Before that, as an student of music composition\n and theory at American University, Chambers was a rising star on the \nWashington, D.C. scene. He played with the JFK Quintet, a group that \nfeatured the esteemed area saxophonist Andrew White, and was in \nresidence at Bohemian Caverns during its bop-era heyday, when the club \nwas a destination for out-of-town greats like Miles Davis and John \nColtrane. After relocating to New York City, Chambers contributed to \nsome of the most remarkable jazz LPs of all time, starting with Freddie \nHubbard\u2019s Breaking Point<\/em> in 1964.<\/p>\n\n\n\n

Even then, Chambers was writing original music \u2014 Breaking Point <\/em>features his tune \u201cMirrors\u201d<\/a> \u2014\n and would later make a number of albums as a bandleader that showed off\n his own expansive compositional vision. But before any of those \nrecords, in 1970 he joined the charter class of M\u2019Boom, a percussion \nensemble founded by Max Roach. The group featured a wide array of \ninstruments from across musical traditions, including marimba, timbale\n and timpani; following Roach\u2019s death in 2007, Chambers and fellow \noriginal members Ray Mantilla and Warren Smith have kept the troupe \nalive.<\/p>\n\n\n\n

This Friday, Joe Chambers will lead a version of M\u2019Boom\n in concert at the Kennedy Center, performing in a hybrid ensemble with \nthe D.C.-based version of his Moving Pictures Orchestra (directed by \nBrad Linde). Earlier this week, \nafter a guest lecture at the University of the District of Columbia, \nChambers \u2014 who taught for years at the college level \u2014 sat down to talk \nabout his upcoming performance, his friendship with Max Roach and his \nstart in D.C. This interview has been edited for length and clarity.<\/em><\/p>\n\n\n\n

CapitalBop:<\/strong> \nWashington, D.C. holds a special place for you in getting a start in \njazz and even more. You have a lot of roots here with school, studying \nat American and also working at Bohemian Caverns. Can you share more on \nthat? <\/em><\/p>\n\n\n\n

Joe Chambers:<\/strong> I was \nstudying but also, I had worked at The Caverns for three years, six \nnights a week with the JFK Quintet. That was with Andrew White \n(saxophone), Ray Codrington (trumpet), Walter Booker (bass) and Harry \nKillgo (piano). Performing was the main focus. The studying was good. \nBut doing that, I met all these people. In those days, there were 2-3 \nother clubs, including Howard. At one time, jazz was very prominent \u2014 \nthose days, Howard was bringing in jazz shows too \u2026 Miles, Trane, and \nCannonball. <\/p>\n\n\n\n

Freddie [Hubbard] was one of the \npeople coming through telling us to come to New York. I recorded with \nFreddie and Eric [Dolphy] came and played with us, minus Andy White. \nEric Dolphy came and played with us for 3 weeks; he told me to come to \nNew York. <\/p>\n\n\n\n

Eric Dolphy was the one who took the \nsong \u201cMirrors,\u201d and he was introducing me to the Blue Note people. I \ndidn\u2019t know, I just showed up and brought the music. Freddie Hubbard \nliked the tune and he recorded it. From that point on, they were calling\n me for the dates. And that\u2019s what it was. <\/p>\n\n\n\n