There are some stories in the Paul Chambers book about how the musicians loved the freedom that Alfred Lion and Francis Wolff gave them and even named some tunes they wrote with the name 'Lion' in the titles. Chambers was the only musician who cared enough about the sound that he got out of his bass in Rudy van Gelder's studio, that he'd spend hours of his precious time going there on Saturday and Sunday mornings working with Rudy about how they could get the best possible sound out of his bass on the Blue Note recordings that took place there, without asking for any pay.
Another story about PC that showed what a great person he was, besides being a great musician, was when the Miles Davis band used Sonny Stitt to replace Coltrane on a tour in Europe. They were sharing a bus with Jazz Five, a British jazz group that had the great bass player Malcolm Cecil in it. PC walked into the bus and immediately took the seat next to Cecil and after complimenting him about how great he sounded in the concert the night before, got into a deep conversation with him about topics concerning bass playing.
Stitt came aboard the bus, and almost banged his sax case on the head of one of the Jazz Five, and didn't even apologize, and then stared at Chambers and Cecil having such an intense conversation together, getting more and more upset. In Cecil's words:
'Stitt glared at me, leant down and said said ito Paul's earin a stage whisper, "What the fuck do you think you're doing sitting next to that motherfuckin' honky?
Paul looked him straight in the eyes and said calmly and quietly, "Mind your own motherfuckin' business asshole, I'll sit wherever I goddamn want. This guy's my buddy" Then he turned to me and winked and said, "Don't pay him no never mind" and picked up our conversation just where we left off as if nothing happened. Stitt's face was thunderous and he stomped off all the way to the back seat and never said another word to anyone during that journey'.
Chambers and Cecil became firm friends, and PC was responsible for encouraging Cecil to work on his bowing technique, leading Cecil to become the the principal bassist with the BBC Radio Orchestra, and later perform bass and cello conciertos as a solo bass virtuoso. He never would have gone down that path without Paul's influence and encouragement.