Visitation – Paul Chambers
Paul Chambers' classic line on the changes of All God's Chillun Got Rhythm. In addition to our lead sheet editions and transcription of Paul's bass solo, we have two separate Minus You versions available, both featuring young bass star Daryl Johns.
- Recording: Paul Chambers - Chambers' Music
- Recorded on: March 2, 1956
- Label: Blue Note (CDP7-84437)
- Concert Key: F
- Style: Swing (medium)
- Piano - Kenny Drew
- Bass - Paul Chambers
- Drums - Philly Joe Jones
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Though conceived for the bass and is most commonly played as a bass feature, this line over the changes of the standard All God's Chillun Got Rhythm works just as well for any other melody instrument. It is a classic example of Paul Chambers' phrasing and melodic vocabulary in an easy going hard-bop style.
Our audio excerpt starts with the four-measure drum intro that sets up the melody. Paul plays the whole melody alone on bass, accompanied only by Philly Joe's brush work, which works great, but other instrumental artists have enjoyed doubling the melody in octaves with the bass.
The first measure of the B and D sections has often been misinterpreted with a couple of different notes, notably D instead of E on the "and" of the fourth beat; our lead sheet presents the melody as played by Chambers on the original recording. Paul's recording was on a small label, and therefore not widely distributed. Bassist Sam Jones was the next to record it, and he arranged Paul's melody differently in places. Paul's publisher for this composition was initially Horace Silver, and he gave us a copy of the manuscript that was filed for copyright in 1956. However, many times there's a difference between how a song is written down on paper and how it's actually played. That's what happened here.
A transcription of Chambers' bass solo is available; click on the Solos tab for more details.
Click on the other album covers for our two Minus You versions.
Our audio excerpt starts with the four-measure drum intro that sets up the melody. Paul plays the whole melody alone on bass, accompanied only by Philly Joe's brush work, which works great, but other instrumental artists have enjoyed doubling the melody in octaves with the bass.
The first measure of the B and D sections has often been misinterpreted with a couple of different notes, notably D instead of E on the "and" of the fourth beat; our lead sheet presents the melody as played by Chambers on the original recording. Paul's recording was on a small label, and therefore not widely distributed. Bassist Sam Jones was the next to record it, and he arranged Paul's melody differently in places. Paul's publisher for this composition was initially Horace Silver, and he gave us a copy of the manuscript that was filed for copyright in 1956. However, many times there's a difference between how a song is written down on paper and how it's actually played. That's what happened here.
A transcription of Chambers' bass solo is available; click on the Solos tab for more details.
Click on the other album covers for our two Minus You versions.
Paul Chambers' first album as a leader, "Chambers' Music" was recorded in Los Angeles, where Miles Davis' quintet with Chambers, John Coltrane (who is present on most of the "Chambers' Music" album), Philly Joe Jones and also Red Garland was visiting. The second part of the album title see on some releases (A Jazz Delegation From The East) refers to the fact that Chambers, Coltrane, Jones and Kenny Drew were all based on the East Coast.
The trio heard on this track recorded again in September of the same year on Drew's trio album for Riverside (check out Weirdo from this album), recorded at Rudy Van Gelder's studio in Hackensack, New Jersey. Drew, Chambers and Jones were also the rhythm section for three additional widely revered albums: Coltrane's "Blue Train" in 1957, and in 1961 Kenny Dorham's "Whistle Stop" and Dexter Gordon's "Dexter Calling."
The trio heard on this track recorded again in September of the same year on Drew's trio album for Riverside (check out Weirdo from this album), recorded at Rudy Van Gelder's studio in Hackensack, New Jersey. Drew, Chambers and Jones were also the rhythm section for three additional widely revered albums: Coltrane's "Blue Train" in 1957, and in 1961 Kenny Dorham's "Whistle Stop" and Dexter Gordon's "Dexter Calling."
Paul Chambers' Transcribed Bass Solo Paul takes four choruses and is the only soloist. His solo is characteristically melodic, with notably horn-like phrasing. This solo is particularly significant as it is the earliest recording to feature Chambers both playing his own original melody and soloing in a trio setting. For more details about the transcription click on the Bass Corner tab.
Visitation is a fantastic bass feature, but you'd expect nothing less from Paul Chambers. Ranking at 6.5-7 out of 10 for difficulty, on this piece you'll be testing your dexterity, intonation and rhythmic prowess, but you'll definitely be having fun. To get this really under your fingers, break it up into sections and master each eight-bar phrase before trying to put the whole thing together and play it uptempo.
The solo transcription also includes the in and out heads. Check out the Miinus You version!
Notable fingerings have been added to provide clarity in regards to how to tackle this piece. When boldface letters D G A and E are seen under the fingering, this indicates that the notes over these letters are to be performed on that string.
The solo transcription also includes the in and out heads. Check out the Miinus You version!
Notable fingerings have been added to provide clarity in regards to how to tackle this piece. When boldface letters D G A and E are seen under the fingering, this indicates that the notes over these letters are to be performed on that string.
- Recording: Don Sickler - Don Sickler Quartet featuring Daryl Johns
- Recorded on: January 31, 2010
- Label: jazzleadsheets.com (JLS 1001)
- Concert Key: F
- Style: Swing (medium)
- Trumpet - Don Sickler
- Piano - Michael Cochrane
- Bass - Daryl Johns
- Guitar - Steve Johns
This quartet version presents the melody played by a horn (in this case, trumpet) as well as the bass. As on the original recording, the piano comps lightly behind this melody, but on both the in and out heads; the original version has the piano only comping on the out head while the bass plays the melody.
This track is available in a Minus You format so any instrument can play along with the audio—click on the Minus You tab for more details. Drummers should get the C lead sheet.
This track is available in a Minus You format so any instrument can play along with the audio—click on the Minus You tab for more details. Drummers should get the C lead sheet.
"Don Sickler Quartet Featuring Daryl Johns" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
This track comes from the same session as our other bass feature Minus You quartet recordings: The Plain But The Simple Truth, Ease It, and Bet.
Though Paul Chambers only recorded Visitation in a trio setting with solo bass melody, some other songs from his albums have him playing the melody in octaves with horns as in this version, including Charlie Parker's Dexterity from "Chambers' Music" as well as Ease It from Paul's "Go" album. Bassist Sam Jones recorded Visitation in this setting, playing the melody in octaves with tenor saxophonist Bob Berg on his album Visitation
.
Our quartet version is melodically slightly more similar to Jones' version, especially with regard to the first measure of the B and D sections (click on the Description tab for the first recording pictured above for more details).
This track comes from the same session as our other bass feature Minus You quartet recordings: The Plain But The Simple Truth, Ease It, and Bet.
Though Paul Chambers only recorded Visitation in a trio setting with solo bass melody, some other songs from his albums have him playing the melody in octaves with horns as in this version, including Charlie Parker's Dexterity from "Chambers' Music" as well as Ease It from Paul's "Go" album. Bassist Sam Jones recorded Visitation in this setting, playing the melody in octaves with tenor saxophonist Bob Berg on his album Visitation
.Our quartet version is melodically slightly more similar to Jones' version, especially with regard to the first measure of the B and D sections (click on the Description tab for the first recording pictured above for more details).
As with the other tracks from this session, this recording is a workout for the bass player to play the melody along with a horn. In this case, the melody is two octaves below the trumpet. Click on the Minus You tab for more details.
MP3 minus melody [clip] (this track works for any solo instrument) minus you for the entire original track
-- count off 2 measures
-- pick up into melody—play melody in unison with bass
-- solo instrument break (2 measures at end of head) into solo
-- solo (accompanied by piano, bass and drums) [2 choruses]
-- solo (accompanied by bass and drums) [2 choruses]
-- solo (accompanied by piano and brushes) [2 choruses]
-- out melody—play in unison with bass
MP3 minus piano [clip]
-- count off 2 measures
-- comp for the melody
-- comp for the trumpet solo [2 choruses]
-- solo (accompanied by bass and drums) [2 choruses]
-- comp behind bass solo [2 choruses]
-- play the head out
MP3 minus bass [clip] (there is a separate Bass part edition)
-- count off 2 measures
-- play the melody in unison with trumpet
-- walk for the trumpet solo [2 choruses]
-- walk for the piano solo [2 choruses]
-- solo (accompanied by piaho and brushes) [2 choruses]
-- play the head out in unison with trumpet
MP3 minus drums clip Drummers should get the C lead sheet.
-- count off 2 measures
-- comp for the melody - brushes (switch to sticks during the solo break at the end of the head)
-- comp for the trumpet solo [2 choruses]
-- comp for the piano solo (sticks) [2 choruses]
-- comp for the bass solo (brushes) [2 choruses]
-- play along with trumpet and bass on the head out—stay on brushes
As recorded by Don Sickler Quartet featuring Daryl Johns CLIP
-- melody
-- instrumental solo (trumpet on recording) [2 choruses]
-- piano solo [2 choruses]
-- bass solo [2 choruses]
-- out melody
-- count off 2 measures
-- pick up into melody—play melody in unison with bass
-- solo instrument break (2 measures at end of head) into solo
-- solo (accompanied by piano, bass and drums) [2 choruses]
-- solo (accompanied by bass and drums) [2 choruses]
-- solo (accompanied by piano and brushes) [2 choruses]
-- out melody—play in unison with bass
MP3 minus piano [clip]
-- count off 2 measures
-- comp for the melody
-- comp for the trumpet solo [2 choruses]
-- solo (accompanied by bass and drums) [2 choruses]
-- comp behind bass solo [2 choruses]
-- play the head out
MP3 minus bass [clip] (there is a separate Bass part edition)
-- count off 2 measures
-- play the melody in unison with trumpet
-- walk for the trumpet solo [2 choruses]
-- walk for the piano solo [2 choruses]
-- solo (accompanied by piaho and brushes) [2 choruses]
-- play the head out in unison with trumpet
MP3 minus drums clip Drummers should get the C lead sheet.
-- count off 2 measures
-- comp for the melody - brushes (switch to sticks during the solo break at the end of the head)
-- comp for the trumpet solo [2 choruses]
-- comp for the piano solo (sticks) [2 choruses]
-- comp for the bass solo (brushes) [2 choruses]
-- play along with trumpet and bass on the head out—stay on brushes
As recorded by Don Sickler Quartet featuring Daryl Johns CLIP
-- melody
-- instrumental solo (trumpet on recording) [2 choruses]
-- piano solo [2 choruses]
-- bass solo [2 choruses]
-- out melody
- Recording: Daryl Johns - Tribute to Paul Chambers
- Recorded on: May 29, 2010
- Label: jazzleadsheets.com (JLS 1002)
- Concert Key: F
- Style: Swing (medium)
- Multiple Basses - Daryl Johns
This arrangement for four basses by jazzleadsheets.com's Don Sickler is a new twist on Paul Chambers' original song. The melody, played in the first bass part, is punctuated by "hits" and harmonized melodic answering phrases in the other parts outlining the changes. In the C section the second part initially introduces the melody before playing it in octaves with the first part, then the fourth part doubles the first part an octave higher. The D section melody is played together by all four basses before moving into four-part harmony that sets up a solo break for the first soloist, or the climactic four-bass ending.
This track is also available in a Minus You setting—a unique opportunity to play along with multiple basses and to practice soloing over a walking bass. Click on the Minus You tab for details.
This track is also available in a Minus You setting—a unique opportunity to play along with multiple basses and to practice soloing over a walking bass. Click on the Minus You tab for details.
"Tribute To Paul Chambers" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Also from this session with Daryl Johns are Ease It and Tempo Di Max.
Don Sickler: Daryl had recorded Visitation with me a few months before, when we played it at a faster medium swing tempo, almost the same tempo that Paul originally used. For the four basses arrangement, I wanted to create a different groove. As I started hearing three-bass answering figures for the spaces in the melody, I started feeling a slower tempo. An absolutely amazing thing about the then-thirteen-year-old Daryl was his ability to lock into a given tempo immediately. I'd just sing him the first three bars of the tempo I was hearing, and he'd immediately lock it right in. We never used a click track on any of these recordings. Playing with a click track wouldn't work with the ebb and flow necessary for this arrangement. All I needed to give Daryl was a "scratch track" part, and he'd lay down the whole initial track then build the arrangement around it, part by part.
Saxophonist Adam Kunsberg videotaped the Tempo di Max session at the Van Gelder Recording Studio—it's fun to see young Daryl doing the multiple overdubs on split screen.
Also from this session with Daryl Johns are Ease It and Tempo Di Max.
Don Sickler: Daryl had recorded Visitation with me a few months before, when we played it at a faster medium swing tempo, almost the same tempo that Paul originally used. For the four basses arrangement, I wanted to create a different groove. As I started hearing three-bass answering figures for the spaces in the melody, I started feeling a slower tempo. An absolutely amazing thing about the then-thirteen-year-old Daryl was his ability to lock into a given tempo immediately. I'd just sing him the first three bars of the tempo I was hearing, and he'd immediately lock it right in. We never used a click track on any of these recordings. Playing with a click track wouldn't work with the ebb and flow necessary for this arrangement. All I needed to give Daryl was a "scratch track" part, and he'd lay down the whole initial track then build the arrangement around it, part by part.
Saxophonist Adam Kunsberg videotaped the Tempo di Max session at the Van Gelder Recording Studio—it's fun to see young Daryl doing the multiple overdubs on split screen.
A full score is available as well as the four parts.
You can have a lot of fun playing any of the parts along with Daryl on the recording. So far, we're only making the full audio track available. However, since these were recorded one track at a time, we could make Minus You Bass 2, Bass 3 and Bass 4 tracks available. Would you be interested? Give us some feedback.
You can have a lot of fun playing any of the parts along with Daryl on the recording. So far, we're only making the full audio track available. However, since these were recorded one track at a time, we could make Minus You Bass 2, Bass 3 and Bass 4 tracks available. Would you be interested? Give us some feedback.
You play the melody in octaves with the bass melody. The Minus You version has only walking bass for the solo section. This gives you great practice learning how to lock in with just walking bass accompaniment CLIP. This track, coupled with our Minus You quartet track, gives you two very different backgrounds for soloing exploration. They are also at different tempos. The quartet track is ♩ = ca. 162, while Daryl's multiple bass track is ♩ = ca. 136.
Here is the format:
-- count off (2 measures)
-- melody—play in unison with bass(es)
-- break (2 measures) into 2 choruses of solo accompanied by walking bass
-- out melody
Here is the format:
-- count off (2 measures)
-- melody—play in unison with bass(es)
-- break (2 measures) into 2 choruses of solo accompanied by walking bass
-- out melody
Paul Chambers
April 22, 1935 – January 4, 1969
Bassist Paul Chambers was a leading rhythmic force in the 1950s and 1960s. He became one of the signature bassists in jazz history. Born in Pittsburgh but raised in Detroit, Chambers initially took up the baritone horn as a child. He followed suit with the tuba and didn't become interested in the string bass until 1949. Listening to Charlie Parker and Bud Powell and studying under a bassist of the Detroit Symphony Orchestra, Chambers began making headway in small bars of Hastings Street area and doing club jobs with Kenny Burrell, Thad Jones and Barry Harris. He did classical work in a group called the Detroit String Band, a rehearsal symphony orchestra. Read more...