Joe Chambers: musical style and concept, 1964 — 1973
This dissertation discusses the postbob-drumming contributions of percussionist, composer and educator Joe Chambers. The analysis of his musical style and concept will focus on the period between his 1964 recording debut with Freddie Hubbard and his first album as a bandleader in 1973. This period represents a seminal chapter in Chambers’ lengthy career, during which he developed and refined his distinct musical style and innovative concepts of modern jazz drumming. Some of the most significant components of his characteristic drumming style will be discussed and illustrated by detailed analysis and extensive commentary of selected musical performances. This analysis is integral to the understanding of Joe Chambers’ highly diverse musical aesthetics and sublime percussive soundscapes. Perhaps most significantly, the conclusions drawn from the interpretation of analytical observations are supplemented and supported by Chambers’ personal insights, historic anecdotes and critical evaluations, predominately obtained from a series of interviews with the author. The unique perspectives Chambers revealed in these conversations were vital for the validity of this study, as they shed light on a legendary musician whose musical contributions were seminal to the evolution of postbop drumming and the continuing emancipation of the instrument.
jazz, bebop, be-bop, postbop, post-bop, avant-garde, drums, drumming, drum-set, drum set, Joe Chambers, Tony Williams, Elvin Jones, Max Roach, Freddie Hubbard, Wayne Shorter, Bobby Hutcherson, Chick Corea, Joe Henderson, New York, pulse, time, circle, linear
University of Illinois - Urbana-Champaign
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University of Illinois at Urbana-Champaign