In the late 1970s, New York City seemed to be on its last legs. Faced
with economic stagnation, industrial decline and the threat of financial
bankruptcy, the city was forced to lay off employees and cut municipal
services, affecting waste disposal and schools. The already high
unemployment rates in the city continued to rise. Violence increased, the
crime rate rose rapidly, arson and theft were commonplace. Manhattan was
not the gentrified playground for the super-rich like today, prostitution
and open drug dealing dominated even the area around Times Square. The
Lower East Side was actually a no-go area. Crime series and films such as
Kojak, Shaft and Superfly depicted this
atmosphere, the action always supported by soundtracks that are sometimes
iconic today. But if a director had made an unsparing film about the city,
his soundtrack would have had to be music from the loft scene, which was
emerging at the time – wild free jazz, uncompromising and raw. The center
of the storm was Sam Rivers’ Studio Rivbea located at 24 Bond Street. On
July 12, 1975 saxophonist Kalaparusha Maurice McIntyre played there with
his quartet comprised of trumpeter and AACM alum Malachi Thompson,
drummer Alvin Fielder, and electric bassist Milton Suggs – and their music
would have been the ideal imaginary soundtrack for that film.
McIntyre began his musical career in Chicago and became a member of the
Association for the AACM, he was even one of its public voices in the
1960s. In the 1970s, he moved to New York City and played frequently at
Rivbea Studios, as well as teaching at Karl Berger’s Creative Music
Studio. This album here also dates from this period. His career seemed to
be on the rise, as in 1974 he received the Rising Star Award in the
clarinet category of the Down Beat Polls.
Rivbea Live! Series, July 12, 1975Volume 1 consists
of three untitled pieces and begins with a melody line by the two reedists
that displays a quirky funkiness. However, McIntyre and Thompson quickly
lose themselves and play around each other. McIntyre’s style is
definitely reminiscent of the late John Coltrane, spiritual themes shimmer
through, but they are repeatedly broken up. Added to this are Fielder’s
free playing and, above all, Suggs’ pumping, wobbly electric bass. The
cleverly arranged rhythmic chaos is always cut through by razor-sharp brass
solos, creating a harsh tension in the music that reflects the violence
present in the city. This is countered by rare, calm melodic heads,
which only feign harmony for a short time. Staccato chords, arpeggios,
solo appearances and dry funk rhythms destroy the idyllic scenes. The music
then drives forward again, it’s restless and nervous. All three
compositions on this album are robust vehicles that have to withstand the
hard centrifugal force of the improvisations of all four. Sadly, this band
was relatively short-lived, although the musicians were passionate and
eager to play, masters of their craft to boot – McIntyre’s and Thompson’s
solos alone are worth listening to it closely in their sheer brilliancy
and captivity.
Unfortunately, Kalaparusha McIntyre did not have the career that was
actually predicted for him, most likely prevented by his drug addiction.
With his contribution to the opening track of the first of the legendary
Wildflowers compilations, he once again had the opportunity to take
off. Between 1977 and 1984, he recorded seven albums, four of them as a
leader. On the last one he is a member of the wonderful Ethnic Heritage
Ensemble. All these albums are excellent. After 1984, Kalaparusha Maurice
McIntyre disappeared for almost 15 years. From 1998 onwards, new recordings
emerged every now and then, unfortunately never quite at the same level as
before, his musical power seemed to have died out. He passed away
impoverished in 2013. These recordings from his best period in the early
70s are a surprise and a treat. The fact that this is Volume 1 gives hope
for a Volume 2 in the not too distant future.
Rivbea Live! Series, July 12, 1975Volume 1 is
available as a CD and as a download. You can listen to “Unidentified Title
1“ and order the album here.