Where else would it be?
Johnny Thursday | NYC Metro Area | 07/06/2006
(5 out of 5 stars)
"Compared to the chaotic "Whims of Chambers" and the insouciant "Quintet" this LP is Paul's most focused and conceptually driven. He really wants this one! And gets it! If the playing sometimes sounds forced, it is never less than brilliant. Though often emotionally ostentatious, his prodigious technique ensures things aren't too far past his grasp. Dope cover. I'm eternally waiting for that fourth blue note from Mr. P.C."
Bass is boring? Think again!
JoeyD | los gatos, ca | 11/04/2007
(5 out of 5 stars)
"The legendary Paul Chambers following in the footsteps of the great, albeit short-lived career of the Duke's Jimmy Blanton (he died tragically at the age of 22), completely transcends the range of his instrument on this amazing 1957 recording. Again, thanks go out to Blue Note and Rudy V.G. for rereleasing this beauty. If you think that the bass is exclusively used as a tool for the rythm section, think again. Chambers shows off his chops like never before as he lead this all-star quartet which also includes Kenny Burrell (guitar), Hank Jones (piano) and Art Taylor (drums).
It is very difficult to describe Chambers magnificent performance, let's just say that it's right up there with his best ever and no amount of superlatives can quite do it justice. Also, it's definitely his most unique (that I've heard) for both his use of irregular amount of space and the wonderful way this one has a chamber music type feel to it (at times, his bass sounds a lot like a violin and/or cello). From the moment we hear the first piece "Yesterdays" and Chambers opens with a bowed work on a haunting, harrowing solo you will know you are in for something unique and provocative. This first song might be the toughest to get through for those non-jazz purists for it's eerie, macabre feel. However, the rest of the album is much more upbeat and will have more of a universal appeal.
The rest of the quartet is superb as well. Burrell's presence more than makes up for the albums lack of horns. He is, as seemingly always, brilliant, and he really stands out on Bird's "Chasin the Bird" and to me completely dominates on the next song, the upbeat, spirited "Dear Old Stockholm". The always durable Art Taylor is solid througout and his work while understated, is a perfect fit for this set (and when he does let it rip a while, i.e. "Chamber Mates" - it's a thing of beauty). Hank Jones, like Taylor, is a complete team player, and although he seems to savor in the role of feeding the solos for Chambers and Burrell, when the spot light shines on him, his solos far from disappoint. He has a light, buoyant, harmonious style of playing (ala Wynton Kelly and Tommy Flanagan) that is perfect for this particular album's placid mood.
"Bass On Top" is truly something special. Chambers wanted to prove he wasn't just Miles' perfect time keeper, and it took a lot of courage to lead this quartet sans horns and making the featured player a bassist. One hell of a great job! One hell of a great recording!"
Track Listings (7) - Disc #1