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MR 5064 


Line Chamberlantf: electric guitar/* Dave Liebman: tenor saxophone( + ), soprano soxophone(+ + ) 

Lyn Christie: boss/ Dob Leonard: drums 

15. This led to a lengthy stint with on RGB big 
band known os "The Orchids” that yielded one 
album and a chance for Line to hone his writing 
and arranging skills. This bond toured almost 
constantly, a fact that explains Line's current 
reluctance to travel. At one point, this bond 
was reduced to eating mustard sandwiches 
in Hawaii no less! Other groups followed, with 
some fairly unique names: "Gasmask,” 
"Gotham,” and "Sawbuck.” Line began to put 
in a lot of studio time and worked with the 
jazzy version of Felix Caviliere's "Rascals” (Alice 
Coltrane, Joe Farrell, and .Richard Davis were 
also along.) Line started playing .at Rapson's 
soon after and says the long running gig has 
"helped me find out a lotabout myself.” 

Line now makes his living from teaching. His 
reputation is deservedly strong; Chamberland 
alumni perform with Alphonse Mouzon, Judy 
Collins, Wishbone Ash, and ^believe it or not) 
Alice Cooper. He has over 40 students and 
finds the work "a constant creative challenge.” 

The musicians on this album are veteran 
associates of the guitarist. Lookout Farm leader 
Dave Liebman has been a regular Rapson's 
jammer. Australian Dr. Lyn Christie (a medicdl 
doctor in addition to his bass talents) only- 
recently left the Chamberland fold and the 
young Bobby Leonard is Line's current drummer. 

An attempt to get Line to talk about his 
music drew a dismissive wave. "It speaks for 
itself,” he said, and indeed it does. I con only 
call attention to some highlights: Liebman's 
possessed soprano on Lyn Christie's "Place 
Within,” Christie's tense, brooding areo bass on 
Chamberland's "1957” and Leonard's sensitive 
accompaniment on the trio feature "What's 
New.” Chamberland's guitar holds it all to¬ 
gether with rhythm ploying that offers firm 
footing and solos that just don't stop. The 
music offers no compromise and holds back 

Dave Liebman, tracked down in Wethers¬ 
field, Connecticut, offered the following as¬ 
sessment of Line: "He's a great musician and a 
fine human being." Further elaboration is 
unnecessary. Listen to the record. M 


INDEED 3 55 

WHAT'S NEW 2:12 


A PLACE WITHIN 8 02 + + 

1957 7:45 + + 



Recorded June 16 817, 1976 
at Dimensional Sound, NYC. 

Recording Engineer: Skip Juried 

Art Direction/Design/Photography: Hoi Wilson 

Dave Liebman/ *Courtesy of A & M/Horizon Records 

It's been some time since the jazz guitar 
was freed from the rhythm section and allowed 
to become the creative, improvising instrument 
its potential warranted. What Jimmy Blanton 
did for the bass, Charlie Christian did for the 
guitar and his efforts helped to create a whole 
nation of plectrum devotees. We are now 
faced with a generation that can embrace as 
folk heroes men as diverse as Jimi Hendrix, 
Larry Coryell, and Jim Hall. The guitar has 
become a symbol of protest and liberation. 
Its six strings hold the key to fame and fortune, 
a chance to see the world on three chords a 
day. The least skilled practitioners are frequently 
the most successful. Today's garage rock band 
can be tomorrow's mascaraed superstars. The 
flash and the wah-wah pedal can overshadow 
a brilliant technique. 

There have been plenty of spectacular 
near misses. George Benson's brief fling with 
Miles Davis was fascinating and hinted at 
greater things that never materialized. Wes 
Montgomery was asked to join John Coltrane 
but the connection was never made. One can 
only imagine the fireworks hod Charlie Christian 

The release of this LP helps to insure that 
a great talent does not get overlooked. Line 
Chamberland has been playing the guitar for 
over twenty years and this is his first record as a 
leader. If justice is to be had, his name will 
soon be listed among the greats of the 

I first stumbled upon Line at one of his 
Tuesday night Rapson's gigs in Stamford, 
Connecticut. I had long heard of him from 
admiring friends who couched their descriptions 
in adjectives fit for "the one that got away.” 
Rapson's is a tiny club but it was packed like 
Reverend Ike's sermons the night I finally 
made it down. There was a devoted hush in 
the room that is all too rare in nightclubs. 
Line entered, a black bearded, intense looking 
fellow in his mid 30's, and soon proved the 
rumors correct. Notes and ideas flew so fast 
that it was hard to believe they were issuing 
from the man on the stool in the corner. I recall 
a version of Chick Corea's "500 Miles High” that 
continued for 30 minutes and threatened to 
levitate the room with its intensity. All this 
achieved without attachments, pedals, or 
gimmicks of any kind and only a small amplifier 
to project that incandescent souhd. 

Much time has passed since that night and 
now Muse Records is as excited as I am about 
Line Chamberland. This record is his own story, 
told in his own terms. The music is not unlike 
what transpires still at Rapson's. It is pure, 
honest, and refreshingly alive. 

Line, of course, did not emerge fully 
formed. He is a native of Norwalk, Connecticut 
and still lives there. The guitarist admits to first 
picking up the instrument because he "wanted 
to be a singing cowboy.” He joined his first 
group, "The Rhythm Chords,” when he was 

Jim Motavalli 

"Jazz Challenge 
Bridgeport, Ct. 

.,Fgr fre.e catalog sendgoJSAUSE RECORDS, a division of BlanchrisJ^c. 

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