Blacksmith Concert Series: Erik McIntyre, Mike Karoub, Chris Tabaczynski

Musician bios:

Mike Karoub, cello

Cellist Mike Karoub has been a mainstay of the traditional jazz scene in Southeast Michigan and throughout the United States for the last 45 years. He attended Wayne State Eastern Michigan University while touring with Banu Gibson’s New Orleans Hot Jazz and James Dapogny’s Chicago Jazz Band. In addition to performing at renowned venues including Hollywood Bowl, Smithsonian, and Kennedy Center, he has made several appearances on NPR’s “Prairie Home Companion” and has contributed to Disney television specials. In greater Detroit, he has made several appearances at the Detroit Jazz Festival, has maintained 20-year engagements for Chuck Muer restaurants and the Detroit Athletic Club, and he has performed on the soundtracks of the Detroit Institute of Arts’ TV commercials. Karoub currently maintains a cello studio, teaching at Detroit Violin Co. in Troy and teaching cello and chamber music at Cranbrook Academy in Bloomfield Hills.

Chris Tabaczynski, clarinet/saxophones

Christopher Tabaczynski graduated with honors from the University of Michigan with a bachelor’s degree in jazz studies in 2017. At this time, he also received certification to teach in the state of Michigan. At the University of Michigan, Christopher studied with Andrew Bishop, Ellen Rowe, Dennis Wilson, Benny Green, Robert Hurst, Ralphe Armstrong, and Miles Okazaki.

Christopher is also a graduate of the Interlochen Arts Academy where he studied and played in ensembles under the direction of Bill Sears. He is an active freelance musician who plays a wide variety of music from early Jazz music of the 1920s to current billboard hits.

Erik McIntyre, guitar

Erik McIntyre is a guitarist based in Flint, Michigan. He is a lifelong student whose education so far has included years of individual study, private lessons, nationwide music retreats, and “on-the-job” training. He performs regularly with friends who share an affinity for music of the 1920s and 30s and who embrace the spirit of collective improvisation that permeates scratchy 78rpm records of Louis Armstrong’s Hot Five & Seven, Joe Venuti’s Blue Four, Jimmie Noone, Fats Waller and his Rhythm, Bix, Tram, and Lang, and many more. As a soloist, his playing is steeped in a variety of genres—showcasing his familiarity with the fretboard and his ability to synthesize several influences into a distinct voice.

Whether as sideman or soloist, his arrangements, improvisations, and compositions weave a tapestry that is filtered through a warm lens of nostalgia and invites listeners to his inner world.

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