Paul Chambers

Paul Laurence Dunbar Chambers Jr. grew up in Detroit after family moved there at age thirteen, studying baritone horn and tuba in preteen years before taking up bass in 1949. Detroit jazz scene involvement included work with Kenny Burrell, Thad Jones, and Barry Harris in Hastings Street area clubs, plus classical work in Detroit String Band rehearsal symphony orchestra studying under Detroit Symphony Orchestra bassist. Professional road work began April 1954 touring eight months with saxophonist Paul Quinichette, settling in New York City with first recording November 4, 1954 for EmArcy on Quinichette’s “Moods” featuring Quincy Jones arrangements, documenting more than 620 total releases.

Jackie McLean brought Chambers to Miles Davis’s attention in 1955. Davis immediately hired twenty-year-old bassist for First Great Quintet with John Coltrane, Red Garland, and Philly Joe Jones after hearing his playing, opening at Cafe Bohemia. Chambers fitted in immediately with rhythm section of great potential, described by Davis as “playing like he had been around forever.” Prestige sessions in 1956 produced “Cookin’,” “Relaxin’,” “Workin’,” and “Steamin’” with Chambers’s precise, swinging walking bass lines providing rhythmic foundation. Columbia recordings included “‘Round About Midnight” (1956), “Miles Ahead” (1957) with Gil Evans, “Milestones” (1958) blending hard bop with modal elements, and landmark “Kind of Blue” (1959). Sextet expansion with Cannonball Adderley in 1958 continued through 1963. Down Beat Magazine “New Star Award” in 1956 recognized emergence, appearing on almost 100 recordings that year including Thelonious Monk’s “Brilliant Corners,” Sonny Rollins Quartet’s “Tenor Madness,” and first solo album “Whims of Chambers” (Blue Note). Only member to remain with Davis quintet through entire eight-year span participating in virtually all classic recordings.

Leader albums highlighted innovative bass techniques including walking bass lines and bowed solos, with “Chambers’ Music: A Jazz Delegation from the East” (Jazz West, 1956) featuring Coltrane, Kenny Drew, and Philly Joe Jones, “Whims of Chambers” (Blue Note, 1956) with Donald Byrd, Coltrane, Horace Silver, and Kenny Burrell, “Bass on Top” (Blue Note, 1957) spotlighting unaccompanied bass performances with Kenny Burrell and Hank Jones, and “Go” (Vee Jay, 1959) with Freddie Hubbard and Cannonball Adderley. Coltrane’s “Blue Train” (Blue Note, 1957), “Giant Steps” (Atlantic, 1960) featuring “Mr. P.C.” named for Chambers, and extensive Prestige sessions documented partnership. Virtual house bassist for Prestige label working dozens of sessions with Red Garland trio from 1955 to 1959. Departure from Davis in 1963 alongside Wynton Kelly over money and creative freedom led to formation of critically acclaimed trio with Kelly and Jimmy Cobb working frequently with Wes Montgomery through mid-1960s. Final years included 1965 album “The Turnaround” with Hank Mobley and Art Blakey, 1967 sessions with Sonny Criss, and work with Barry Harris at New York’s West Boondock Club. Years of heavy substance abuse preceded death from tuberculosis January 4, 1969 at age 33. Legacy includes beautiful tone, fluid technique, impeccable time, magnificent swing sense, pioneering bowed bass approach continuing Jimmy Blanton’s innovations, and profound influence on subsequent bassists particularly Ron Carter who succeeded him in Davis’s second great quintet.