I met and admired the trombonist and singer Todd Londagin several times in 2005 and onwards; he was one of the crew of cheerful individualists who played gleeful or dark music with the drummer Kevin Dorn. A fine trombonist (with a seamless reach from New Orleans to this century) and an engaging singer, Todd is someone I have faith in musically. But when I received his second CD, LOOK OUT FOR LOVE, I hardly expected it to be as remarkable as it is.
On it, Todd sings and plays (occasionally doing both simultaneously, through an Avakian-like graceful use of multi-tracking . . . even sounding like Jay and Kai here and there), with a splendid small band: Pete Smith, guitar; Matt Ray, piano, Jennifer Vincent, string bass; David Berger, drums. Singer Toby Williams joins in on BRAZIL. The presentation is neither self-consciously sparse or overproduced. With all due respect to Todd, the foursome of Pete, Matt, Jennifer, and David could easily sustain their own CD or gig. I had only met Matt (unpredictable) and Jennifer (a swing heartbeat) in person, but this “rhythm section” is a wonderful — and quirky — democratic conversation of singular voices, each one of them a powerful yet gracious rhythm orchestra.
But I keep returning to Todd. And his “extraordinary range” doesn’t refer to the notes he can hit on trombone or sing. It’s really a matter of a deep emotional intelligence, and I can’t think of anyone who can equal him here. (That’s no stage joke.)
Consider these songs: LOOK OUT FOR LOVE / BYE BYE BABY / SOME OF THESE DAYS / BRAZIL / I CONCENTRATE ON YOU / LONG AGO AND FAR AWAY / PENNIES FROM HEAVEN / YOU GO TO MY HEAD / I CAN’T HELP IT / BUST YOUR WINDOWS. The first two songs show off Todd’s sly, ingratiating self — witty and wily on the first (with a neo-Basie rock) and endearing on the second. Those who have to think of Echoes might hear Chet Baker, Harry Connick, Jr., a young Bob Dorough, or Dave Frishberg. I thought on the first playing and continue to think that if there were aesthetic justice in the world, the first two songs would be coming out of every car radio for miles. (Todd would also be starring on every enlightened late-night television show, or do I dream?)
The pop classics that follow are always served with a twist — a slightly different tempo, a different rhythmic angle, a beautiful seriousness (I’ve never heard CONCENTRATE interpreted so well).
Maybe Todd is understandably afraid of being pigeonholed as Another Interpreter of The Great American Songbook — with all the attendant reverence and dismissal that comes with that assessment — so the closing songs are “more modern.” I think he does Stevie Wonder’s I CAN’T HELP IT justice in his own light-hearted, sincere, swinging way.
I am not attuned to contemporary pop culture, except to cringe when I hear loud music coming from the car next to mine, so I had no historical awareness with which to approach BUST YOUR WINDOWS.
In fact, I thought the title would herald some exuberant love song, “My love for you is so strong, it’s going to bust your windows,” or something equally cheerful.
Thus I was horrified to hear Todd sing, “I had to bust the windows out your car,” and all my literate-snobbish-overeducated revulsion came to the surface, as I called upon the shades of Leo Robin and Yip Harburg to watch over me.
But then I calmed down and reminded myself just how much fun the preceding nine tracks had been, and that I would be very surprised if Todd — bowing to whatever notion of modernity — had gone entirely off the rails. And I listened to BUST YOUR WINDOWS again. And again. For those who don’t know the song, it was an immense hit for one Jazmine Sullivan in 2008, and there’s a YouTube video of her doing it. The premise is that the singer finds her lover has been untrue with another (not a new idea) but (s)he then takes a crowbar to her lover’s car so that her lover will know what faithlessness does to others. Tough love, indeed. I researched Sullivan’s music video — where she is threatening to unzip herself to a tango / rhythm and blues beat — and disliked it.
But I had no patience for her rendition of her own song because I had been struck so powerfully by Todd’s — almost a stifled scream of brokenhearted passion worthy of a great opera’s finish before the grieving one, betrayed, commits suicide. Todd’s performance has no tango beat, no intrusive orchestration: he merely presents the lyrics and melody as if he is showing us his bleeding heart . . . as if he has used the crowbar on himself. It is a performance both bone-dry and powerful, understated and unforgettable. I can’t forget it, just as I keep on wanting to replay LOOK OUT FOR LOVE.
You can find out more about Todd here, and after you’ve heard the three samples, I hope you will chase down a copy of this CD. It is wildly rewarding and beautifully-textured music, and it will stay with you when other CDs by more “famous” players and singers have grown tedious. I don’t like “best” or “favorite,” but this CD is magnificently musical in so many ways that it will astonish.
May your happiness increase!