Daily Dose Of Jazz…

Kalaparusha Maurice McIntyre was born on March 24, 1936 in Clarksville, Arkansas but raised in Chicago, Illinois. He studied at the Chicago College of Music, and during the 1960s began playing with musicians such as Malachi Favors, Muhal Richard Abrams, and Roscoe Mitchell. Along with them he became a member of the ensemble Association for the Advancement of Creative Musicians (AACM) in 1965.

He recorded his first solo album in 1969. During this time he recorded as a session musician for Delmark Records, playing with George Freeman, J.B. Hutto, and Little Milton, among others. The same year, Kalaparusha was convicted for drug offences, serving his sentence in Lexington, Kentucky with fellow inmate and friend musician/composer Tadd Dameron.

Moving to New York City in the 1970s, he played at Sam Rivers’s Rivbea Studios and taught at Karl Berger’s Creative Studio. He and Muhal Richard Abrams toured Europe several times. After his 1981 live album, McIntyre recorded very little, playing on the streets and in the subways of New York. His next major appearance on record was not until 1998, with Pheeroan akLaff and Michael Logan. The following year he played with many AACM ensemble members on the album Bright Moments. He continued releasing albums as a leader into the new century.

Free jazz tenor saxophonist Kalaparusha Maurice McIntyre transitioned on November 9, 2013, in The Bronx, New York, at the age of 77.

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Requisites

Battle Stations ~ Eddie “Lockjaw” Davis & Johnny Griffin | By Eddie Carter

It happened like this; that same night after I listened to The Happy Blues, I decided to turn up the heat with my next selection. That’s what prompted this morning’s choice from the library by tenor saxophonists, Eddie “Lockjaw” Davis and Johnny Griffin. Battle Stations (Prestige PRLP 7282/PRST 7282), hit the stores in 1963 and both horns are anchored by a smokin’ rhythm section, Norman Simmons on piano, Vic Sproles on bass, and Ben Riley on drums. My copy used in this report is the 1993 Japanese Mono reissue (Prestige VIJJ-30008 – PRLP 7282) by Victor Musical Industries.

Side One takes off at a fast clip on What’s Happening by Fletcher Henderson. The quintet speeds through the melody collectively, then Eddie erupts into an energetic opening statement. Norman steps up next with a spirited performance, then Johnny wails for a bit on the third reading. Both saxes move with considerable agility on a vigorous exchange into the quintet’s speedy ending. Abundance by Norman Connors slows the group’s pace just a few notches with a soulful melody in unison. “Lockjaw” goes first and gives a charming performance. Connors takes the reins next for an easy, flowing solo and Griff extends the mood on the finale with a satisfying statement succeeded by the ensemble’s reprise and climax.

If I Had You by Jimmy Campbell, Reginald Connelly and Ted Shapiro is up next. “Lockjaw” leads the rhythm section at a relaxing tempo on the melody and exhibits a simple beauty in the opening chorus. Norman is simply enchanting on the second reading. Johnny adds a delightful depth of emotion to the closing solo complemented by Vic and Ben’s supplement. Johnny Griffin’s 63^rd Street Theme begins Side Two at mid tempo with a Latin flavor established by the rhythm section’s introduction and ensemble’s opening chorus. Davis approaches the lead solo with unhurried pacing and inspired lines. Connors packs plenty of feeling into the second presentation, then Griff is very smooth on the closing statement preceding the finale.

Pull My Coat by Richard Evans is a blues that comes to life with a brief bass introduction by Vic preceding the ensemble’s collective theme. Eddie opens anchored by just bass and drums, segueing into a splendid performance with full rhythm. Norman moves leisurely into the second solo with some down-home cooking. Johnny serves some succulent soul food on the closer. The quintet ends the set with a fun original by Babs Gonzales and James Moody, Hey Jim! Connors and the rhythm section opens with a happy introduction that grows into the ensemble’s unison theme. “Lockjaw” gives the first solo some swinging excitement, then Connors rises to the occasion on the second solo. Griffin follows with a perfectly executed statement, then both horns share a final exchange ahead of the group’s exit.

Battle Stations was produced by Esmond Edwards and Rudy Van Gelder was the man behind the dials of the original album. Victor Musical Industries has done a very good job with the remastering of this reissue. The album has an exquisite soundstage through the treble, midrange, and bass that’s excellent. Griff and “Lockjaw” were brilliant when working together and they’ve recorded several great studio and live albums. If you’re in the mood for some swinging Hard-Bop and are a fan of Eddie “Lockjaw” Davis and Johnny Griffin, I invite you to audition Battle Stations for a spot in your jazz library. It’s forty-two minutes of great music from one of the great tenor sax partnerships that’s sure to become one of your favorites!

~ If I Had You – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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The Quarantined Jazz Voyager

Remaining hesitant to be in crowds of people without a mask, more and more people are unmasking while we are still in the pandemic. Legislators are speaking unmask rhetoric and otherwise responsible people are listening. This Jazz Voyager is listening to my conscience and protecting myself and those around me.

This week I have chosen another quartet recording by the New York Jazz Quartet, founded by pianist Roland Hanna. The first iteration of the group consisted of flautist Hubert Laws, bassist Ron Carter, and drummer Billy Cobham. In 1974 the lineup changed to Frank Wess, bassist George Mraz, and drummer Ben Riley. Drummers Richie Pratt and Grady Tate also were enlisted to contribute their talents to the group at different times through the decade the band was together. The group recorded for the Inner City, Enja, Salvation and Sonet Records from 1972 to 1982

This album is the group’s fourth release, Blues For Sarka, recorded live on May 17, 1978 at The Domicile in Munich, West Germany. It was produced by Horst Weber and Matthias Winckelmann, recorded by Carlos Albrecht and released the same year on Enja Records. The cover photography was taken by Josef Werkmeister and the cover design was by Weber & Winckelmann

1. All Blues (Miles Davis) ~ 15:29
2. Rodney Round Robin ~ 5:44
3. I’ll Tell You Tonite (George Mraz) ~ 7:14
4. Blues for Sarka (George Mraz) ~ 7:11
5. Smelly Jelly Belly ~ 9:33

• Frank Wess ~ flute, tenor saxophone
• Roland Hanna ~ piano
• George Mraz ~ bass
• Grady Tate ~ drums

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Three Wishes

When Ernie Wilkins was approached by Nica and asked what his three wishes would be, he told her:

1. 1. “The first would be the ideal jazz club where I could use all the jazz groups I like, and where we’d never go out of business.”

   2. “The second would be a recording company the same way, where I’d could use all the musicians I like, and which would never go out of business.”

   3. “A million dollars. If I had all these I wouldn’t need to wish for anything for my wife and family, because they’d be covered and it would be Utopia.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Daily Dose Of Jazz…

Voltaire “Volly” De Faut was born March 14, 1904 in Little Rock, Arkansas but his family moved to Chicago, Illinois when he was six. He started out studying the violin, however, by fourteen switched to the clarinet and saxophone.

At seventeen he had his first professional gig at a summer resort and the next year he was playing with Sig Meyers. During the early 1920s he spent time in the New Orleans Rhythm Kings before joining Art Kassel. He also played with The Bucktown Five.

His first recordings were made with Muggsy Spanier in 1924 followed by his recording with Jelly Roll Morton the next year. The late 1920s saw Volly playing with Merritt Brunies and Jean Goldkette, and played for a time in Detroit, Michigan.

Around the end of the decade De Faut held several positions in theater orchestras in Chicago, while working as a studio musician. He started his own dog breeding business but abandoned it to join the military and play in bands there.

He returned to Chicago in the middle of the 1940s, playing with Bud Jacobson and working extensively on the local jazz scene. In the 1950s he moved to Davenport, Iowa but returned to Chicago in 1965. In the last two decades of his life De Faut worked often with Art Hodes, including on many of his recordings for Delmark Records.

Clarinetist and saxophonist Volly De Faut transitioned on May 29, 1973 in Chicago Heights, Illinois.

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