In der aktuellen Ausgabe der „Wire“ ist ein sechsseitiger Joe-Chambers-Artikel von Daniel Spicer, in dem Chambers u.a. erzählt, wie er bei Blue Note Fuß fasste:
In 1963, only just into his twenties, Chambers moved to New York, drawn like so many to the allure of the jazz capital of the world.
He continued his studies in musical theory with composer and pianist Hall Overton, but his first real break in the Big Apple came from multi-instrumentalist Eric Dolphy, an established star 14 years his senior who had already toured Europe with John Coltrane. Chambers and Dolphy had worked together in Washington and, when Chambers arrived in New York, Dolphy offered him the drum stool in a group with Hutcherson, trumpeter Freddie Hubbard and bassist Richard Davis for a gig at the Brooklyn Academy of Music.
Chambers remembers Dolphy’s thoughtful generosity of spirit: “When I was in DC I wrote this student piece called “Mirrors”. When I moved to New York and we did that Brooklyn gig, the next thing I know, [Dolphy] called me – he had a recording with Blue Note called Out To Lunch. I’m not playing drums on that but he told me to come to the rehearsal [in February 1964] and bring music. I came, I brought the piece “Mirrors”. Freddie Hubbard looked at it and said, ‘I like this, I’m-a play this.’ So, we recorded it [in May 1964], with Freddie Hubbard on his first date, Breaking Point!. Looking back on it now, I realise Eric was trying to set me up. He was introducing me to them.”
März 2021, ebenfalls aus dem Artikel:
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A Kiss in the Dreamhouse