Maurice McIntyre - 1979 - Peace and Blessings

Kalaparusha Maurice McIntyre Quartet

1979

Peace and Blessings

01. J & M

02. African Procesion

03. Any Way You Want It

04. N° 39

05. Not This

06. Hexagon

Bass – Leonard Jones

Drums – King L. Mock

Tenor Saxophone, Flute, Clarinet, Bass Clarinet, Flute [Woodcarved Flute], Shenai, Bells, Tambourine, Monkey stick [Monkey Drum] – Kalaparusha Maurice McIntyre

Trumpet, Flugelhorn, Flute, Recorder [Sopranino Recorder], Recorder [Soprano Recorder], Alto Recorder – Longineu Parsons

Recorded at Barigozzi Studio in Milano, Italy on June 18, 1979

Multi-reedist Kalaparusha Maurice McIntyre was one of the founding members of Chicago's AACM (Association for the Advancement of Creative Musicians). McIntyre had the ability to not only play "free jazz" but he also spent many years playing rhythm & blues with musicians including J.B. Hutto and Little Milton. It was his blues roots mixed with avant-garde technique that shaped the sound of McIntyre's tenor playing. McIntyre was born in Clarkville, Arkansas, but his family moved to Chicago when he was very young. Music was an integral part of his upbringing; his parents insisted he play an instrument. He started on drums at age seven and switched to saxophone shortly after. Upon high-school graduation, McIntyre attended the Chicago College of Music. Instead of copying the strict hard bop tenor sound prominent at the time, he developed his own musical concept based on freedom instead of molded restriction. Luckily, McIntyre hooked up with like-minded musicians in bassist Malachi Favors and multi-reedist Roscoe Mitchell. In the early '60s the first AACM configuration was formed. Originally called the Experimental Band, this community-based movement was mentored by pianist Muhal Richard Abrams. In 1966 the first document of this new music was unleashed; Sound, under the leadership of Roscoe Mitchell, signaled the initial documentation of the free jazz movement out of Chicago. Chicago's Delmark Records began documenting this new sound, releasing classic works including Abrams' Level and Degrees of Light and Humility in the Light of the Creator, McIntyre's first solo effort released in 1969. In the late '60s McIntyre continued to play original music and worked as a session musician for Delmark with appearances on guitarist George Freeman's Birth Sign and J.B. Hutto's Hawk Squat. McIntyre's second project, Forces and Feelings, featured his band the Light and was released in 1970. By that time many of the AACM musicians had moved out of the Windy City with hopes of conquering Europe and New York and being able to play more frequent gigs. While making his home in New York City throughout the '70s, McIntyre played the burgeoning loft scene with many dates taking place at Riveba studios, opened by tenor saxophonist Sam Rivers. He also spent time teaching at vibraphonist Karl Berger's Creative Music Studio and occasionally traveled to Europe playing with Abrams, where they gained a large following. In 1979 McIntyre released his third album, Peace and Blessings, on the Black Saint label. While maintaining his skills as a multi-instrumentalist and percussionist, his recorded activity slowed down immensely for the next several years. Ram's Run, a live date for the Cadence label in 1981, was his only issued date as a leader in that decade. During this dry period McIntyre spent most of his time trying to play live as often as possible, which included the streets and subways of New York. He finally reappeared on disc in 1998 with the strong CIMP release Dream Of... featuring drummer Pheeroan Ak Laff and bassist Michael Logan. The following year Delmark issued the collaborative Bright Moments CD, reuniting McIntyre with AACM members Joseph Jarman, Malachi Favors, Steve Colson, and Kahil El'Zabar. McIntyre died of heart failure in the Bronx on November 9, 2013; he was 77 years old.

This obscure set features passionate blowing by Kalaparusha Maurice McIntyre (heard on tenor, flute, clarinet, bass clarinet and percussion) along with the little-known Longineu Parson on trumpet, flugelhorn, flute, sopranino and recorders, bassist Leonard Jones, and drummer King Mock. The quartet performs five McIntyre originals and one by Parsons, and the emphasis is on intense solos and very free improvising. There is plenty of fire displayed on this spirited set.

Mathematiques Modernes - 1981 - Les Visiteurs Du Soir

Mathematiques Modernes 

1981

Les Visiteurs Du Soir

01. Paris Tokyo 4:14

02. TV Night 3:23

03. A + B = C 3:53

04. Jungle Hurt 7:12

05. Disco Rough 4:14

06. Boy Be My Toy 3:12

07. Réponds-Moi 4:02

08. Athletical Mystery 3:21

09. TV Night (Instrumental) 3:15

Drums – Hervé Zenouda

Keyboards – Claude Arto

Saxophone – Bruce Grant

Trombone – Glenn Ferris

Trumpet – Longineu Parsons

Vocals – Edwige Braun-Belmore

Two well-dressed young people gaze with determined eyes in a direction that escapes us. Behind, the image of a Paris destroyed by an imaginary war, having beheaded the Eiffel Tower in a dry black and white. Above, a terrible and unstoppable group name: Modern Mathematics. We are in 1981, in France, and synth-pop lives more or less long hours, depending on whether we look from the good (Elli & Jacno) or from the bad side (Taxi Girl). So here is the adventure of synthesizers embarked on a couple formed by Edwige Belmore, icon of trendy parties of the time, and a certain Claude Arto, who, with the help of a producer who is none other than Jacno , had released in 1980, a first Devo single, stupid, repetitive and perfect, entitled Disco-Rough, single of the week for the NME. A year later, it is therefore their only album which comes out, entitled Les Visitors Du Soir, which finally comes out, and yet today forgotten in the dust. And yet, and yet, what a great album.

Far from being naive and silly in their attempt to make pop - like others in their time - Modern Mathematics have succeeded in creating a disc that is both surprisingly ambitious and whose careful production has not aged a bit. in 30 years. Everything is said from the first track "Paris-Tokyo", electro-pop pearl with a thousand ideas, between curious dissonances, rhythmic that break and brass under cocaine - all held by the cold but so French voice of Edwige, somewhere between sweet recitation and robotic singing. Right after "TV Night" diffracts in full of strange structures, under incredible synthetic sounds, of which Vangelis would be proud. At the end, the strange mutant groove of Athletical Mystery explodes with strident violins with curious rhythms and plays on a disturbing falsehood, while speaking of intersidereal sportsmen making shine the Olympic torch "above all the satellites". And then when it comes to being just plain pop, nothing beats the coldness of "A + B = C", making them depressed Elli & Jacno. And then always this Disco-Rough, on kraut drums but with a brain made of molasses, which honestly sounds as if French people with synthesizers were playing again (fifteen years before ...) the music of Crash Bandicoot with the drummer of Neu ! saying bullshit. And it is beautiful. And that's stupid. And it is elegant. And that is modern mathematics. And that’s perfect. while speaking of intersidereal sportsmen shining the Olympic torch "above all the satellites". And then when it comes to being just plain pop, nothing beats the coldness of "A + B = C", making them depressed Elli & Jacno. And then always this Disco-Rough, on kraut drums but with a brain made of molasses, which honestly sounds as if French people with synthesizers were playing again (fifteen years before ...) the music of Crash Bandicoot with the drummer of Neu ! saying bullshit. And it is beautiful. And that's stupid. And it is elegant. And that is modern mathematics. And that’s perfect. while speaking of intersidereal sportsmen shining the Olympic torch "above all the satellites". And then when it comes to being just plain pop, nothing beats the coldness of "A + B = C", making them depressed Elli & Jacno. And then always this Disco-Rough, on kraut drums but with a brain made of molasses, which honestly sounds as if French people with synthesizers were playing again (fifteen years before ...) the music of Crash Bandicoot with the drummer of Neu ! saying bullshit. And it is beautiful. And that's stupid. And it is elegant. And that is modern mathematics. And that’s perfect. them depressed Elli & Jacno. And then always this Disco-Rough, on kraut drums but with a brain made of molasses, which honestly sounds as if French people with synthesizers were playing again (fifteen years before ...) the music of Crash Bandicoot with the drummer of Neu ! saying bullshit. And it is beautiful. And that's stupid. And it is elegant. And that is modern mathematics. And that’s perfect. them depressed Elli & Jacno. And then always this Disco-Rough, on kraut drums but with a brain made of molasses, which honestly sounds as if French people with synthesizers were playing again (fifteen years before ...) the music of Crash Bandicoot with the drummer of Neu ! saying bullshit. And it is beautiful. And that's stupid. And it is elegant. And that is modern mathematics. And that’s perfect.

Released in 1981 on the famous Celluloid imprint, this masterpiece has been out of print since its initial pressing. Mathématiques Modernes was the project of keyboardist Claude Arto and vocalist/lyricist Edwige Braun-Belmore. Arto has also worked with French bands Artefact and Spions. Also, to note, the late French producer Jacno also worked on the Mathématiques Modernes record. This gem needs no introduction to the fans who have enjoyed the classics from this era. The record is a very diverse blend of new wave, almost progressive arrangement, baroque melodies, complex rhythmic structures, and plenty of so called “cold wave” sprinkled in. The addition of horns was not a common finding during these times and is also represented on this eclectic record. Probably the most well known track, “Disco Rough” was a single as well as was later included on the popular comp, “So Young But So Cold, Underground French Music 1977-1983” released in 2004 on Tigersushi Records. It is staple in many DJ sets with its sassy lyrics and jagged synth hooks. The album features string arrangements which was somewhat unique to the new wave scene. Most notably, the track “Jungle Hurt” displays the wonderful arrangements that interface well with the synth textures and percussion. The track “A + B = C” has also been featured on various “Flexi-pop” comps and has a quirky melody accented by xylophone. The final track on the LP is an interesting medley of various tracks on the LP with interesting transitions. This LP has become very collectable for original copies and (when rarely found) is quite expensive. The original tape masters have been restored and remastered by Gilbert Castro of Celluloid Records. The sound quality is unparalleled. This project has been the collaboration between Mathématiques Modernes, Gilbert Castro, and Medical Records. The jacket features original reproduction artwork on the front and back. This record will surely need to make a mandatory arrival in the collections of fans of French new wave, early synthpop, and lovers of all things late 70s/early 80s.

A seminal example of French "cold wave" music from the early 80s. Jungle Hurt is the most beautiful track that nobody has ever heard - an intoxicating mix of synth & strings. Lost the original LP decades ago - so glad to have it back again!

Dou - 1979 - Conscientiousness

Dou

1979

Conscientiousness

01. Iruption

02. Black Conscientiousness

03. Eyibim Mani

04. Etna

05. Any Funky Now

06. Kwanza

07. Managua Children

Bass, Bells – Dou Kaya

Drums, Percussion [Congas] – Agyman

Guitar – Joe Tongo

Flute, Percussion, Clarinet, Tenor Saxophone – Jeff Sicard

Trombone – Alphonse Leboucher

Flute, Trumpet – Longineu Parsons

Saxophone – Sulayman Hakim

Vocals – Nimon Toki Lala

Gong, Performer [Sopralino], Flute – Didier Malherbe

Recorded At – Studio Cybernis

Recorded At – Studio Johanna

Didier Malherbe with kind authorisation of Sonopresse.

This is the second album of the group Dou, whose name comes from the bassist, singer and percussionist who is none other than Dou Kaya. This one also played the saxophone, the balafon, the tuba and the horn on the first album of the formation, but "guests", newcomers of luxury, integrate themselves here and there, over the titles of the album. .

We note, among others, Didier Malherbe on flute and gong, Sulayman Hakim on saxophones, Alphonse Le Boucher on trombone, Joe Tongo on guitar, Steve McCraven on drums, Jeff Sicard on flute, clarinet and saxophone ...

The album was released in 1979 on "Corelia" an independent French label making private prints, which is to say if vinyl is not very common, in terms of curiosities we can also add that the song is in Haitian Creole. , as evidenced by the lyrics on the inner sleeve, in fact the album comes in the form of a very beautiful "gatefold".

The formations vary according to the pieces, the styles also, slipping from spiritual music to post bop pre-free, even to funky rhythms and reggae colors, and even to the repertoire inspired by Haitian folklore ... We are thus tossed about by a boat without a compass, but that does not harm the unity of the album which maintains a very warm and balanced color throughout.

Dou Kaya and Alphonse le Boucher are the pillars of the album, present on all the tracks. There is a lot of room for improvisation around structures, and this spirit of listening, in a fairly free impetus, helps make this album a very pleasant listening moment.

French Bassist Dou Kaya, his band with Guitarist from Cameroon and French musicians. Sound like mix African rhythm, Jazz Rock, Psychedelic mood. Mysterius Psychedelic Traditional Jazz Rock like Embyro.

It's like a fusion of African rhythm, jazz rock and psychedelic fairy, with a Cameroonian guitar player and a French musician united around the French bassist Dou Kaya (the participating African disco 12-inch pieces are also wonderful). An exciting piece. Psychedelic jazz rock A3 full of fairy, B1 reminiscent of Embyro with a wonderful flowing performance.

Longineu Parsons - 1999 - Spaced Collected Works 1980-1999

Longineu Parsons

1999

Spaced Collected Works 1980-1999

01. Take The High Road 7:57

02. Funkin' Around 4:11

03. Emerald Paradise 4:20

04. It Will Be Better 9:58

05. Spaced 6:14

06. The Gathering 7:00

07. Hannibal's March 6:11

08. Party In Morocco 5:24

09. Search For The New Land 7:11

10. Soyuz Dance 5:50

11. Passing Moment 2:46

12. Funkin' Around (The Amalgamation Of Sounds Remix) 5:42

13. Take The High Road (P'taah Remix) 4:58

Alto Saxophone – Longineu Parsons (tracks: 1, 4, 5, 12, 13)

Alto Saxophone – Sulaiman Hakim (tracks: 1, 4, 5, 12, 13)

Bass – Jack Gregg (tracks: 1, 4, 5, 12, 13)

Bass – Lawrence Buckner (tracks: 3, 6 to 11)

Drums – Benta Fischer (tracks: 3, 7, 11)

Drums – Chris Henderson (tracks: 1, 4, 5, 12, 13)

Drums – Von Barlow tracks: 6, 8 to 10)

Flugelhorn – Longineu Parsons (tracks: 3, 7)

Percussion – Adewole O Kulu Mele (tracks: 6, 8 to 10)

Percussion –Roger Raspail (tracks: 1, 4, 5, 12, 13)

Piano – George Eduard Nouel (tracks: 1, 4, 5, 12, 13)

Piano – Kevin Bales (tracks: 6, 8 to 10)

Piano – Lindsey Sarjeant (tracks: 3, 7)

Recorder – Longineu Parsons (tracks: 6, 8 to 10)

Recorder [Bass] – Longineu Parsons (tracks: 1, 4, 5, 11 to 13)

Sopranino Saxophone – Longineu Parsons (tracks: 1, 4, 5, 12, 13)

Soprano Saxophone – Longineu Parsons (tracks: 1, 4, 5, 12, 13)

Soprano Saxophone – Sulaiman Hakim (tracks: 1, 4, 5, 12, 13)

Tenor Saxophone – Sam Rivers (tracks: 8, 10)

Trumpet – Longineu Parsons (tracks: 1, 4 to 6, 8 to10, 12, 13)

A long-overdue collection spanning the career of an admittedly minor but often fascinating trumpeter, Spaced is a fine introduction to Longineu Parsons' distinctive style. The closest comparison to Parsons, who worked with avant-garde pianist Cecil Taylor in the '70s before striking out on his own, is the British-born trumpeter Jon Hassell, a frequent collaborator of Brian Eno whose music balances world music forms and ambient mystery. Parsons is a considerably more forceful and funkier player than Hassell, with a stronger rooting in the free jazz and post-bop scenes, but the two share a fascination with the rhythms and melodies of other lands. From the North African-influenced "Party in Morocco" to an Afro-Cuban-tinged version of Lee Morgan's "Search for the New Land," the songs subtly introduce ethnic rhythms, but they're never allowed to become the focal point of the piece, an important point that keeps Parsons from being a Paul Simon-style appropriator. Parsons solos tremendously on a variety of instruments (flügelhorn and various recorders besides his usual trumpet), crafting lead lines that both maintain the forward motion of the rhythm section and add intriguing counterpoints to the stated melodic themes. Fans of the more adventurous side of ECM Records will find much to admire.

Longineu Parsons - 1980 - Longineu Parsons

Longineu Parsons

1980

Longineu Parsons

01. Take The High Road

02. Spaced

03. It Will Be Better

04. Quiet Nights

05. Funkin Around

06. Beverly's Song

07. McCraven's Walk

Alto Saxophone, Soprano Saxophone – Sulaiman Hakim

Bass – Jack Gregg

Drums – Chris Henderson

Percussion – Roger Raspail

Piano – Georges Eduard Nouel

Trumpet, Recorder – Longineu Parsons

I think when musicologists look back on the 20th century, they will say that the last third was about funk as being the dominant rhythm for the whole world,” says trumpeter Longineu Parsons, a paid-up member of the jazz avant garde. “That means that James Brown is one of the most important musical figures in the whole world for the last third of the 20th century.”

Born in 1950, Parsons studied classical trumpet and played R&B in “all the cut ’em up-shoot ’em up joints in Alabama, Georgia, south Florida.” At 19, Parsons went jazz 24-7 (“I was hearing a sound that wasn’t restricted by meter or anything else.”) and by the late ’70s he was gigging with Sun Ra. In 1980, Parsons recorded a self-titled album that few outside of the Parisian underground heard. Discouraged, he went back to school, earning a Masters degree in classical composition from the University of Florida, where he is now an assistant professor.

He lived in Europe for four years during the late 1970s and early 1980s. After a brief stint in New York, he accepted a teaching position at the Centre D'Etudes Musicales in Guadalupe. Upon moving back to the U.S. in 1986, he was selected in a national audition to perform in the production Satchmo as understudy to the leading roles of Louis Armstrong and Joe "King" Oliver.

Longineu Parsons has a B.S. degree in music from Florida A&M University, a Master of Music from the University of Florida and has studied at the Berklee College of Music in Boston. He is on the faculty at Florida A&M University and continues to perform internationally with his own ensemble and with Nancy Wilson, Billy Harper, the Louis Armstrong Legacy Band, and the Cannonball Adderley Tribute Band. In addition he appears frequently as a soloist with symphony orchestras.

Chaotic funk jazz and beyond from this fellow who is hard to pigeonhole. This is a collection that I continue to pull off the shelf every few years and it never disappoints. Would somebody please reissue this man's music in full, properly?