Ceasing a long hiatus from recording with a date for Delmark in late 1997 as part of the Bright Moments ensemble, Kalaparush seemed on the verge of a much belated renascence. Two sessions for CIMP followed, the first as leader in 1999 and the second as a member of Luther Thomas’ Quintet in 2000. Sadly all three efforts failed to fan awareness of his art much beyond the niche of a small, but dedicated audience. His sophomore effort at the helm for CIMP seeks similar ingress into larger circles of listenership and if there’s any justice he will succeed in this new foray.
McIntyre survives as one of the few musicians still active who were present at the birth of the AACM in Chicago during the latter half of the Sixties. This alone substantiates his doyen-like standing in Great Black Music. Speaking further volumes to both his passion and his tenacity, he’s continued striving for personal and musical enlightenment, all the while weathering bouts of critical lassitude and individual hardship. A lanky, effusive tone on tenor, at times akin to that of Frank Lowe, and a predilection for phrasings that are at once ropy and billowy mark McIntyre’s modus most of the time, but he can turn acerbic when the mood strikes him. Abolishing register restraints on the trio’s titular track he slides easily from churlish throaty gusts that scrape the lower reaches to more melodious strands that sing through the higher pitches of his sax. Dulman commemorates the early role of his instrument in jazz ensembles as a brass surrogate for bass, but also refracts the influence of more modern stylists like the ill-fated Ray Draper through his own creative monocle. His belt-busting girth on “Baby Babasin” perfectly captures the bodily bulk of the tune’s dedicatee as he blurts out corpulent notes around which the drummer’s rhythms skitter and dart. In concert with Momin’s peripatetic sticks the horns create a surprisingly spacious blending of sonic vernaculars.
Several of McIntyre’s tune titles err on the loquacious side, but the musical candy beneath their elaborate wrappers is near uniformly sweet to eat. The swaying certainty of “My Girl Comes to See Me All the Time” is but one example where a shuffle beats support an oscillating melodic volley between tuba and tenor. One truth stands self evident in the final wash of these tonally rich tracks. McIntyre’s light of inspiration is far from extinguished- he will continue to burn the midnight lamp for all those seeking succor from all that is mendacious in music.
Track Listing: Boston Baked Beans – Florida Sam – The Seminole/ MMMAHJAE/ Baby Babasin/ Arrival of the Midnight Sun/ Antoinette/ Antoinette- take 2/ Kalaparush and The Light/ My Girl Comes to See Me All the Time/ Respectful Anarchy/ Homeless Alcoholic Female Vietnam Vet Who Once Played Sax/ Big John Coltrane – Indian Man/ Boston Baked Beans – Florida Sam – The Seminole- take 4.
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.