« Press :: Ill Sound: Out of the Orchestra, by Brandyn Muller
B·Informed Magazine
Philadelphia's Magazine for Urban Art, Culture & Lifestyle
Bluesolaz, Monica McIntyre's album debut, contains the description of the album in its name. The name is a synthesis of blues, soul, and jazz, as is the music included on the album. Monica uses her smooth, rich voice to narrate tales of sorrow and hope. This in and of itself may sound pleasant but mundane. What makes Monica McIntyre's music standout from Philadelphia's stock of soulful singers is the instrumentation in her music. Monica is a cellist who uses her instrument in a non-traditional manner. She often plucks the instrument as if an upright bass, or hits the frame for a sound reminiscent of an acoustic guitar. Her instrument of choice, which distinctly stands out, both in live settings and within the local music scene, instantly grabs your attention. Her technique, voice, and intricate lyrics hold that spell.
B. INFORMED spoke with this up and coming musician about her recent release and plans for the future.
BM: What drew you to the cello?
MM: I started playing at the age of seven. My sister, who was nine at the time, and I were both going to play the violin. However, at the District of Columbia Youth Orchestra (DCYO) there were lines for each instrument, and the line for seven-year-old violin players was out the door. There was no line for the cello, so by default that's what I started playing.
BM: When did you realize that you really liked the instrument?
MM: At first I played at my mother and fathers insistence‹I was this little kid dragging this big cello around. But I knew by the time I left elementary school that I loved the instrument. I would be the only one in the orchestra dancing with her instrument, dancing to my part. My sister and I both express ourselves through our instruments. It feels like I've always had this instrument. I've been playing for nineteen years, so it's second nature to me.
BM: How did you make the transition from playing classical music to the work you do now?
MM: In Maryland I played classical music- playing in orchestras and string quartets. It got to the point that I realized that if I went to school for music, I would be bored because the conductor decides what is played. There are lots of rules to being a classical musician. For me, music is not rigid. I didn't realize that I would go in this direction musically, but I knew that I would not seek to play in any more orchestras after I left Maryland.
When I moved to Philadelphia, I started playing with a group called the psalters around '99. They mix Christian psalms with Middle Eastern music- with drums. There was a lot of chantingŠIt was my first experience not playing classical music- playing without written music. It grew me so fast. It was like taking a language I knew, but learning it differently. I love Middle Eastern music now. It shows up in a lot of the music I do.
After that experience, I played a lot of open jams, and would make things up with different types of bands.
BM: Describe your present musical style.
MM: My CD is called Blusolaz, which combines the words of blues, soul, and jazz. The album is a combination of gospel and blues vocals. The next album will be all blues. I see myself doing soulful blues. It's where I feel the most comfortable. It's totally moody music.
My sister sings and plays violin on Blusolaz. My sister and I work well together musically. She was the highlight of this album for me. It was a tough week recording. Like with any project, you don't realize what can come up - what can happen - until it does. It was the highlight, her being there for me, and just understanding. That synthesis comes across, I think, on the album. The gospel harmonies are what separate Blusolaz from a jazz album.
BM: What is the subject matter of your songs?
MM: I'm talking about love. None of it is talking about love for love's sake, but love gone wrong- or post-love. ³Bruised Fruit² is a transition song. I can't be ³uncrushed³, but how can I reclaim my beauty? ³Love's Bed² says ³can we promise to not crush each other when love goes wrong?² ŒDon't take my whispered secrets and use them as daggers with which to impale me.'
It runs the gamut, but mainly I talk about post-love and what you do in that state- about reclaiming of self.
BM: You play with other bands in the area. How do you decide who you will collaborate with? And what are the primary differences working with other musicians versus being a solo artist?
MM: One of the bands I play with now, Natural Selection, is an R&B act. That collaboration came about when I used to play open mic nights at the Khyber. Some members from Natural Selection also played there every week. Alesia Dessau is the lead singer. I had some suggestions for vocals, and was invited to a rehearsal. I've been working with them ever since then- since about last January.
The primary difference with working with other people is that you learn what works and what doesn't work for you. You see what elements you can take back with you, and identify what to revise. You can see how you don't want to run things.
I love music, and I want to play. But more than that, I have to do it. I don't see the same desire in some people. Some wouldn't say that they seek to help people in their music, change lives, raise the bar on writing. But that's what I seek to do.
There is a passion, a drive for your own things that happens when working on your own project. You work to sincerely highlight your own strengths. In a group your talents may be subdued a bit.
Playing in a group helps you grow. Through Natural Selection, I've learned a lot about R&B that I wouldn't have learned if I was not in an R&B group.
BM: What are your goals, musically and otherwise? What are you ultimately working towards?
MM: I'd like to have a steady group of musicians that I work with in the long term. I could take care of them. They and I could have health insurance. I would like to help other up-and-coming musicians, and be able to make charitable donations.
Lately, I've been thinking about writing a book. I have characters developing in my head that have stories to tell. I would like to be visible in the art community, not just in music. I've worked with Jim Lafferty doing music for a film called ³Synesethesia,² featured in the 2003 Philadelphia Fringe Festival.
Ultimately, being expressive is what's important. I would like to grow as an artist and help others if I can help them. I would love if I could have enough pull to start being a political mover and activist. I'd like to be in a place where people can hear your voice, and be able to really make a difference.
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