It isn’t heralded with drums, parades, fireworks, and headlines, but sometimes the miraculous happens. Musically, I mean.
It did two Sundays ago, May 7, 2023, at The Ear Inn (326 Spring Street, Soho, New York) when a singular version of the EarRegulars assembled in the corner that has been their stage and pulpit for about sixteen years now.
They were Danny Tobias, trumpet and Eb alto horn; Dan Block, clarinet and tenor saxophone; James Chirillo, guitar; Rob Adkins, string bass. And here’s an example of their gliding lyrical mastery: the Count Basie-associated pop tune, I’LL ALWAYS BE IN LOVE WITH YOU, written in 1929 (Bud Green, Sam H. Stept, and Herman Ruby). Did the Basie musicians play and sing it in Kansas City then? I can’t say, but it certainly enjoyed a renaissance in 1936 . . . and in 2023.
But let us consider the source material, a very pretty waltz:
It came from a pioineering sound film, with an enticing one-word title:
so I assume that musicians as well as civilians went to see the film and had the song in their minds. But when Count Basie picked it up again, perhaps seven years later, it was not to be a waltz, but a swing number for the dancers. And the Basie way — sly, understated joy through swing — lives on here:
But “the Basie way” is a beautiful paradox: taking life and art with the greatest seriousness while refusing to be perceived as doing so. Literary people will recognize Castiglione’s sprezzatura, or nonchalance . . . grooving without sweating over it, making the most difficult work appear easy. Messrs. Tobias, Block, Chirillo, and Adkins know how in their cells, and show it here. Bless them as they bless us.
More to come. And you’ve never been to the Ear Inn on a Sunday night?
P.S. as of today, May 25, I am still exiled from Facebook, thanks to a hacker. So please share this with people who will get its spirit. Thank you.
The jazz histories don’t tell us that jazz came up the river to Bethlehem, Pennsylvania, but it would have been more than delightfully plausible on the afternoon of Sunday, April 23, 2023, when the Pennsylvania Jazz Society put on a rewarding program at Congregation Beth Sholom in that city.
The Stars (or perhaps the Wise Men?) who came there were Danny Tobias, trumpet and Eb alto horn; Arnt Arntzen, vocal, banjo, guitar; Randy Reinhart, trombone, euphonium (or baritone horn); Vince Giordano, vocal, string bass, tuba, bass saxophone, lowboy cymbal.
I posted the first half-dozen performances from this session here. Delicious.
And here’s more!
Vince sings TAKE YOUR TOMORROW:
Berlin’s ALL BY MYSELF:
The Twenties roar again, with CRAZY RHYTHM:
WHEN I GROW TOO OLD TO DREAM (I’ll have this band to remember):
For Bix, the ODJB, and Eddie, AT THE JAZZ BAND BALL:
I CAN’T GIVE YOU ANYTHING BUT LOVE, with our without BABY:
and finally (for this posting) a little educational interlude that I’ve titled (after Danny) SHOW AND TELL:
There will be a Part Three — just as lovely as this. Stay tuned. And thanks to the generous people of the Pennsylvania Jazz Society for making this happen.
Yes, the title of this post may seem a blasphemy. But it’s true.
On April 23, 2023, four musical stars came — thanks to the Pennsylvania Jazz Society — to Congregation Brith Sholom on West Macada Road in, yes, Bethlehem Pennsylvania, and filled the room with lovely joyous sounds. They are Danny Tobias, trumpet and Eb alto horn; Arnt Arntzen, vocal, banjo, guitar; Randy Reinhart, trombone, euphonium (or baritone horn); Vince Giordano, vocal, string bass, tuba, bass saxophone, lowboy cymbal.
I caught all the sights and sounds in my video camera, and will share them with you in three installments. My hope is that you follow the pleasant activities of the Pennsylvania Jazz Society, and that you follow these eminent musicians.
Here are a half-dozen beauties.
AS LONG AS I LIVE:
LOVE ME OR LEAVE ME:
Arnt sings WHEN YOUR LOVER HAS GONE:
ROSETTA:
Randy’s feature, ON THE SUNNY SIDE OF THE STREET:
And, to make a neat half-dozen, HAPPY FEET:
Unpretentious swinging music, whatever name you wish to hang on it (mostly the “Great American Songbook” treated with love and heat). And there will be more to come: watch this space.
Oh, The Ear Inn . . . shrine for swing among friends.
The Glorious Past (June 19, 2016) —
DIGA DIGA DOO, with Danny Tobias, cornet; Dan Block, clarinet; James Chirillo, guitar; Kelly Friesen, string bass:
The Recent Past (April 9, 2023) —
HAPPY FEET, with Jon-Erik Kellso, Puje trumpet; Scott Robinson, bass saxophone AND trumpet; James Chirillo, guitar; Russell Hall, string bass:
and!
this coming Sunday, May 7, the EarRegulars will be Messrs. Tobias, Block, Chirillo, and the wonderful bassist Pat O’Leary . . . wow, yeehaw, and hot damn!
It was advertised as a duet — a dynamic duo without superhero costumes — in concert, presented on October 30, 2022, by the Pennsylvania Jazz Society (at Brith Sholom Synagogue in Bethlehem, Pennsylvania). Rossano Sportiello, piano; Danny Tobias, trumpet, flugelhorn, Eb alto horn.
But the concert ended with a trio jam session when trombonist Peter Reichlin joined them for an Ellington classic and a hot jazz spectacular. Thanks to the PJS [its gracious volunteers!] for having the foresight to present these two friend-heroes; thanks to Peter for tuning the piano and many other generosities; thanks to the good people who filled the hall.
MOOD INDIGO:
I couldn’t resist Clark Terry’s jape about the cow who swallowed ink and then moo-ed indigo.
From cows to wilder beasts:
If you liked that (and, frankly, how could you not?) join us tomorrow, Sunday, April 23, at the same place for more hot hi-jinks:
Satisfaction guaranteed, and two pairs of trousers with the purchase of every suit. See you there!
The Pennsylvania Jazz Society will be presenting these four heroes in concert on Sunday, April 23, 2023, from 2 to 4:30, at Congregation Brith Sholom, 1190 West Macada Road, Bethlehem, Pennsylvania 18017. Admission is $15 for PJS members and first-timers; students always free. Cash and check, no credit cards. Snacks and beverages available.
Danny Tobias will bring his trumpet, Eb alto horn, and possibly his flugelhorn; Arnt Arntzen will bring his banjo and guitar and will sing; Vince Giordano will have his aluminum string bass and perhaps assorted instruments, and he may also be persuaded to sing . . . and they will bring an esteemed friend, Randy Reinhart, with trumpet and trombone.
It will be glorious. How do I know? Well, I’ve heard Danny, Randy, and Vince since 2004 and 2005; Arnt is a recent treasure but no less splendid. I don’t have evidence of this particular quartet, but you can extrapolate from the videos I offer here.
Arnt, Danny, and Vince have a working group — Arnie and his Rhythm — that performs in the tri-state area. I caught them at Giovanni’s Brooklyn Eats and brought back this lovely music.
MARGIE:
WABASH BLUES:
ALWAYS:
This sunny multifaceted trio also has come out with its debut CD, so prepare yourself to go home with gifts that can be replayed many times.
Now, here’s Danny and Randy — at another PJS gig, with Mark Shane, Pat Mercuri, Joe Plowman, and Jim Lawlor. Great friends who complement each other so well:
TEA FOR TWO:
TIGER RAG:
If you think you might have something better to do on Sunday, April 23, I leave you to your illusions. But you might want to reconsider.
Here’s a seventy-five minute swing session by some improvising heroes: Danny Tobias, cornet, flugelhorn; Vinnie Corrao, guitar; Ed Wise, string bass; Jim Lawlor, drums and vocal. THREE LITTLE WORDS / SOME OF THESE DAYS / THE ONE I LOVE (Belongs To Somebody Else) / AM I BLUE? / LADY BE GOOD / EXACTLY LIKE YOU (Lawlor, vocal) / GOOSE PIMPLES / THE SHADOW OF YOUR SMILE (Corrao) / MY GAL SAL / Danny’s line on LIMEHOUSE BLUES / PICK YOURSELF UP // I don’t know the original recordist, but they have my gratitude.
I don’t know which branch of the Ocean County Library system this took place in (perhaps Mancini Hall in Toms River?) but it is a find: relaxed, sophisticated, melodic jazz. Thanks to Danny for passing a copy of the recording to me, and thanks to all the players for giving me permission to post this. And thanks to librarians wise enough to invite jazz into the room: art thrives on community support.
A personal note. I met Danny at the Cajun in downtown New York in 2005, and I’ve had friendly time with Ed in New Orleans and Jim in California and New Jersey. But Vinnie was only a name to me, the man who replaced Wayne Wright in the last days of the George Barnes-Ruby Braff Quartet. Hear him with George, Ruby, and Benny Carter here.
In this video, you see what a fine guitarist he is, a swinging soloist, not just a reliable rhythm player. And in conversation, a truly gracious person: an honor to know.
Wonderful music, by local heroes with world-wide reputations.
The most rewarding music, no matter its age, feels fresh and familiar at once, durable and new. SOUTH, composed by Thamon Hayes and Bennie Moten, was a hit for Moten’s Kansas City Orchestra almost a century ago, so much so that the Victor recording stayed in print into the microgroove era. And when the EarRegulars counted it off on a Sunday night at The Ear Inn, that being November 6, 2022, it felt like an old friend dressed up sharp for an evening out.
The happy masterful quartet that night was Danny Tobias, trumpet; Jay Rattman, clarinet and alto saxophone; James Chirillo, guitar; Rob Adkins, string bass. South of Fourteenth Street, doing honor to Hayes and Moten:
I’m prejudiced, because I was there and (once in a while unsteadily) holding the camera. But I love this performance, and the players.
Joy, continued. I’ve posted the first half of this concert here and here and here. But wait! There’s more!
I described them as a dynamic duo without superhero costumes — in concert, presented on October 30, 2022, by the Pennsylvania Jazz Society (at Brith Sholom Synagogue in Bethlehem, Pennsylvania). Rossano Sportiello, piano; Danny Tobias, trumpet, flugelhorn, Eb alto horn. Thanks to the PJS [its gracious volunteers!] for having the foresight to present these two friend-heroes; thanks to Pete Reichlin for tuning the piano and many other generosities; thanks to the good people who filled the hall.
The song Claude Hopkins took as his theme — co-composed by Alex Hill, an anthem of love-submission:
Check your watches, check your hearts:
The falling leaves converse in French:
James P. Johnson’s melody of devotion put into action:
“Did I make a mistake?”:
Delicious, profound, playful, sweet. And if that weren’t enough, a little jam session, scored for three, ensued. I’ll share those joys in a post to come.
Rossano Sportiello is the Maestro, no questions about it. Classically trained with a deep jazz feeling and impeccable technique, he astonishes us. Here’s his solo version of Nicolo Paganini’s Caprice # 24, which rocks all the way through . . .from the Milan conservatory to Harlem stride to super-Tatum without a quiver.
Rossano performed this as one of his solo features in a duet concert with brass wizard Danny Tobias put on by the Pennsylvania Jazz Society (October 30, 2022).
I suggest that you play and watch this several times, so that you can assure yourself it actually happened, the creation of Maestro Sportiello.
Just what it says: the second installment of joys created for us on the spot by Danny Tobias, trumpet, flugelhorn, Eb alto horn, and Rossano Sportiello, piano –at Brith Sholom Synagogue in Bethlehem, Pennsylvania — made possible by the gracious people of the Pennsylvania Jazz Society.
Thanks to the PJS for having the foresight to present these two friend-heroes; thanks to Peter Reichlin for tuning the piano and many other generosities; thanks to the good people who filled the hall.
In my first post, I shared LADY BE GOOD, EMILY, I GOT IT BAD, and IF DREAMS COME TRUE — a wonderful assortment. Here’s more.
First, a solo interlude by Rossano, connecting Ralph Sutton, Fred Chopin, and Willie “the Lion” Smith — pianists who had much in common when it came to melody and drama:
A completely tender SOMEONE TO WATCH OVER ME:
and Rossano’s sweet commentary on it:
I’LL CLOSE MY EYES:
and the concluding performance of the concert’s first half, I WANT TO BE HAPPY:
It was an extraordinary afternoon. And there’s a whole second half to be shared.
Although I can calculate the tip without problems, math did not come easily to me in school, and at this late date, I couldn’t easily concoct an equation. But one occurs to me on a regular basis: let X equal travel and inconvenience, balanced against Y, the amount of pleasure I will get from hearing live jazz face-to-face. It is a very rare instance where I can say to myself, returning home, “That was not worth the trip.”
The equation came into play last Sunday. 2 1/2 hours in the car to get to Bethlehem, Pennsylvania; 4 1/2 hours (Sunday-night traffic from New Jersey) returning, balanced against 2 hours of music, friendly community, emotional-aesthetic pleasures. What I and others heard and saw from Danny Tobias, trumpet, flugelhorn, and Eb alto horn; Rossano Sportiello, piano, was beyond delightful. The time in the car didn’t matter.
I know both hero-friends since we met, in different places, in 2005, and admire them greatly. But I’d never heard them in duet, and a fraternal playfulness and joy was immediately evident: two minds and hearts going down the same path, creating, laughing, striving. A harmony of individual energies.
Here are the first four performances from that duo-concert.
When in doubt, play LADY BE GOOD:
Johnny Mandel’s lovely EMILY:
a performance of I GOT IT BAD where Danny becomes an Ellington trumpet section:
and IF DREAMS COME TRUE, which could have been re-titled WHEN:
Look up SYNERGY online: the link will lead you to this concert. More music to come in future posts, I promise you.
Attentive readers will note that it is not yet Sunday, so this post is to inform or remind you that a wonderful duo-concert is about to happen, featuring Danny Tobias, trumpet and perhaps Eb alto horn, with Rossano Sportiello, piano. It’s given by the Pennsylvania Jazz Society at Congregation Brith Sholom, 1190 West Macada Road, Bethlehem, Pennsylvania. I believe the times are 2 to 4:30. I don’t know the admission price, but my previous experience with the PJS has shown they are reasonable people; should any JAZZ LIVES readers show up and find themselves short of a few dollars, I will be happy to offer the official Blog-Subsidy.
In announcing and promoting concerts, I’ve always tried to offer musical evidence — the equivalent of the tasting table at Trader Joe’s — but here I am slightly at a loss. One of the most exciting aspects of this concert is that, although I know Rossano and Danny have played together, they have not yet recorded in duet. So I cannot say to you, “This is what it will sound like on Sunday!” However, Danny’s newest CD, SILVER LININGS, features himself and Rossano along with Scott Robinson, reeds and brass; Joe Plowman, string bass; Kevin Dorn, drums — so I present two delightful musical interludes as somewhat larger versions of the blisses to come our way on Sunday.
I know there will be Pretty:
and I know there will be Swing:
As Elizabethan-era bloggers used to write c. 1604, “Get thee hence.” “Thee” means you; “hence” means 1190 West Macada Road, Bethlehem, Pennsylvania.
Here, in the welcoming ambiance of The Ear Inn (326 Spring Street, Soho, New York City) on July 31, 2022, are two welcoming improvisations by The EarRegulars for that night: Danny Tobias, trumpet; Chris Flory, guitar; Scott Robinson, tenor saxophone and alto clarinet; Pat O’Leary, string bass.
The composers of the lines are, I hope, well-known to those who know: Sidney Bechet and Bud Freeman, but the memorable lines aren’t often played: Bechet’s KANSAS CITY MAN BLUES and Bud’s THAT D MINOR THING.
The jazz lineage from Bechet to Coltrane is seamless: Scott quotes A LOVE SUPREME in his trading phrases with Danny (thanks to Alessandro King for the catch).
And here’s Bud’s riff from his days with the World’s Greatest Jazz Band:
And as for the talkers in the audience: pity them their self-absorption, waste no energy berating a video-recording.
Have you ever visited the Ear Inn on a Sunday night? Talk about life-affirming! And before you write in to say, “It’s so far away and I wish I could,” which I do understand, have you seen some live jazz in 2022? I do hope so.
I don’t know the Latin name for this delightful malady, but the lay population calls it this:
You might also know recorded versions by the Wolverine Orchestra, Fletcher Henderson, Eddie Condon, Joe Sullivan, Sidney Bechet, Humphrey Lyttelton, Doc Evans, Panama Francis, Mutt Carey, Johnny Wiggs, Kid Ory, Lu Watters, Turk Murphy, Miff Mole, Willie “the Lion” Smith, Graeme Bell, Jack Teagarden, Red Nichols, Jimmy McPartland, Ken Colyer, Chris Barber, Albert Nicholas, Buck Clayton, Earl Hines, Red Allen, Art Hodes, Dave McKenna, Kevin Dorn, Dick Wellstood, Alex Welsh, Wild Bill Davison, Kenny Davern, or other luminaries. And those recordings are in the last hundred years or so.
As I write this, some band or solo pianist is getting FIDGETY.
And I can now present to you a previously unseen performance from 2017, by the EarRegulars at The Ear Inn on a Sunday night. These luminaries are Danny Tobias, cornet; Scott Robinson, baritone saxophone, taragoto; James Chirillo, guitar; Frank Tate, string bass. Watch them go!
Thank goodness for these players; thank goodness for The Ear Inn.
Maybe that’s hyperbole, but The Ear Inn (326 Spring Street, Soho, New York City) on Sunday nights — since summer 2007 — has given me and others much joy. Here’s a previously unseen document of that feeling, provided by Danny Tobias, cornet; Scott Robinson, taragoto; James Chirillo, guitar; Frank Tate, string bass. W.C. Handy’s BEALE STREET BLUES taken at a groovy lope.
Look at those faces: three happy creative people, making music, spreading joy for a crowd enjoying their eggs and mimosas to an inspired soundtrack. That’s Giovanni’s Brooklyn Eats on a Sunday brunch-afternoon, and the three swing Muses are Arnt Arntzen, banjo, voice, and occasional comedy; Danny Tobias, trumpet; Vince Giordano, bass saxophone, string bass, voice. They’re that wondrous thing, a working band. Arnt calls them ARNIE AND HIS RHYTHM, but I think they need a more exalted name, like SPLENDID MEMBERS OF THE SOCIETY FOR THE PROMULGATION OF JOY, although that’s too long to fit on a gig announcement. DELEGATES OF PLEASURE is also in the running. But I digress.
Here’s some joy.
When I walked into Giovanni’s last Sunday, this trio was concluding their first song, a hot number. I said hello, was taken to a seat, and began to set up my camera while hearing Arnt say to Danny and Vince, “Do you know THE VERY THOUGHT OF YOU”? — that very heartfelt Ray Noble ballad that “bands” don’t always play. I was very excited and managed to begin filming about one-quarter through this very tender offering:
Romance of a different sort (“I have bought / the home and ring / and everything!”) as Vince sings and plays MARGIE:
Something very sweet — SUGAR by Arnie — “She’s vaccinated!”:
MUSKRAT RAMBLE, so often smudged, here with all its different strains treated with hot reverence:
And finally (for this set) my national anthem, WHEN IT’S SLEEPY TIME DOWN SOUTH, rendered with love, not caricature:
What a glorious group: harmony not only of notes, but of spirit.
But wait! There’s more!
Arnt has just announced a Thursday-night residency for this trio and other versions of it, at Barbes in Brooklyn: on December 30, 10 PM to midnight, he and brother Evan will play together; on January 6, the trio above, from 7 to 9:30; on January 13, the multi-talented Colin Hancock and Tal Ronen will join Arnt; and more to come. I’m looking forward to this and hope some JAZZ LIVES readers will join me. Without being too didactic, venues with music but without audiences soon drop the music: as you know.
Three lyrical cats making great music al fresco in Brooklyn, New York: Arnt Arntzen, banjo, vocal; Danny Tobias, trumpet; Vince Giordano, bass saxophone, string bass, lowboy cymbal, vocal. Those venerable pop classics feel fresh yet familiar in their hands.
I’M CONFESSIN’:
STARDUST:
WABASH BLUES:
As the weather gets colder, the trio has moved inside. And the food is good.
An easy rendition of a classic — popular as well as jazz — LAZY RIVER, by Sidney Arodin and Hoagy Carmichael . . . performed on a lazy Sunday afternoon by Arnt Arntzen, banjo and vocal; Danny Tobias, trumpet; Vince Giordano, bass saxophone, string bass, lowboy cymbal:
Want melodic lyricism with your eggs Benedict? These fellows know just how to provide it.
And a side-note about Arnt’s singing: I caught him between sets and said how much I liked his sweet, unadorned, open-hearted approach. He smiled and said, “That’s the only approach I have,” which is both charming and true.
I promise more video evidence from this delightful trio. But better yet — if you can, get yourself there to savor these brunch joys in person. Restorative as all get-out. And this gig happens on a Sunday. Monday and Tuesday nights, Vince and Arnt can be found at Bond 45, making merry with the full Nighthawks’ aggregation. If you’ve allowed yourself to forget how happy live music can make us, it is time to shake the dust from your shoes and remember, in person.
From left: Danny Tobias, trumpet; Vince Giordano, string bass, bass saxophone, vocal; Arnt Arntzen, banjo, vocal. Giovanni’s Brooklyn Eats, 1657 8th Avenue, Brooklyn, New York. Sunday, October 24, 2021. Juniperus communis, at center, said only, “I want to plant myself close to the music.”
Last Sunday was my second visit to Giovanni’s — reachable from the F train — and I had a wonderful time. I know the three luminaries above, and so I was encouraged to set up my camera and I was able, through decades of experience, to eat and film at the same time without my camera descending into the soup or pasta. (By the way, the food is excellent, and I am fussy.)
The band played three sets from noon to 3, with jazz classics, Berlin, Carmichael, Waller, Shelton Brooks, and more: a hugely entertaining trio. Passers-by danced on the sidewalk; people applauded, and money was placed in the tip jar, which all combined to suggest that Western civilization is not moving into the abyss in fourth gear.
I have only one performance to share with you at the moment, but there will be more.
It was the first tune of the afternoon, and I was slightly unready, so the camera sniffs around before it finds the best spot, but I am so charmed by this rendition of Irving Berlin’s ALWAYS that I wouldn’t want a second take.
Arnt is a very discerning banjoist — no flash and smash for him — a “one-man rhythm gang,” and a sweet candid elegant singer. If you don’t know the excellence of Vince Giordano, on display in so many ways for a number of years, I have to ask (in the words of Cole Porter) “Where have you been?” with the emphasis on the second word. He drives any band with his gleaming aluminum string bass; he is Rollini-eloquent on the bass saxophone, and a fine swinging singer. (Incidentally, the Nighthawks have been performing for several Monday and Tuesday nights at Bond 45, so you now have a place to go to for Vince’s full orchestra, which has been greatly missed.) Danny is a brassman other trumpet players praise for his direct melodic lyricism: quite a band!
ALWAYS. And here, children, comes the lesson. Establishments like Giovanni’s employ live musicians because they know (and hope) that music played by human beings will attract people to come and dine and spend money, thus allowing the restaurant to continue, to pay its bills, its staff, its vendors. Business, and nothing shameful about it. (I commend them: it would be so much easier to NOT employ human beings who make music.) In doing so, however, they send joy into the air. Even the people at the next table who seemed to pay no attention to the music knew in some visceral way that their eggs Benedict tasted better because of the genuine soundtrack. And they give the musicians we love funding and employment.
I trust you can see where this is heading. I write to the people who live near someplace where live music is played, who can spend money for their morning coffee, their croissant, or the like.
I think, perhaps immodestly, that in creating and posting these videos I am doing a service to the music and the musicians. (I also put money in the tip jar and I buy food and drink at any establishment I frequent.) Your watching the video is spiritually lovely; you receive the good spiritual vibrations the musicians create and transmit.
But merely watching the videos at home and never actively supporting the establishments that feature live music does little for the economic realities of the situation described above.
I do not call for moral self-flagellation if you can’t get out of the house or you can’t afford to pay for a jazz brunch: some dear friends fall into this category. But I see so few self-defined “jazz fans” actively supporting the music by their presence on a regular basis.
YouTube and Spotify do nothing for the artists. And, for better or worse, buying a CD or paying for a digital download of your departed hero does nothing for living artists who are trying to stay solvent. When some “fans” ask mournfully, “How come there’s no live jazz at X’s anymore?” the answer will be found by looking in the medicine-chest mirror. I understand “I hope to get to New York City sometime soon,” as a reality, but it doesn’t help any musician pay her rent. As Greely Walton always used to say, “You can’t drive the car if you don’t fill the tank.”
I know, I get carried away, but ask any musician if this is true. You may go now.
Roswell Rudd said, “You play your personality,” and in the case of Danny Tobias, that is happily true. Watch him off the stand: he’s witty, insightful, but down-to-earth, someone choosing to spread love and have a good time. And when he picks up the horn (cornet, trumpet, Eb alto horn) that same hopeful sunniness comes through. He can play a dark sad ballad with tender depths, but essentially he is devoted to making music that reminds us that joy is everywhere if you know how to look for it.
Photograph by Lynn Redmile.
Danny’s a great lyrical soloist but he really understands what community is all about — making connections among his musical families. So his performances are never just a string of solos: he creates bands of brothers and sisters whenever he sits (or stands) to play. His jazz is friendly, and it’s honest: in the great tradition, he honors the song rather than abstracting the harmonies — he loves melodies and he’s a master at embellishing them. When I first heard him, in 2005 at The Cajun, I told him that he reminded me of Buck Clayton and Ruby Braff, and he understood the compliment.
But enough words. How about some 1939 Basie and Lester, made fresh and new for us — with a little spiritual exhortation in the middle:
Now, that’s lovely. And it comes from Danny’s brand-new CD with his and my heroes, named above. My admiration for Danny and friends is such that when I heard about this project, I asked — no, I insisted — to write the notes:
What makes the music we love so – whatever name it’s going by today – so essential, so endearing? It feels real. It’s a caress or a guffaw, or both at once; a big hug or a tender whisper; a naughty joke or a prayer. The music that touches our hearts respects melody but is not afraid of messing around with it; it always has a rhythmic pulse; it’s a giant conversation where everyone’s voice is heard. And it’s honest: you can tell as soon as you hear eight bars whether the players are living the song or they are play-acting. If you haven’t guessed, SILVER LININGS is a precious example of all these things.
I’ve been following all of these musicians (except for the wonderful addition to the family Joe Plowman) for fifteen years now, and they share a common integrity. They are in the moment, and the results are always lyrical and surprising. When Danny told me he planned to make a new CD, I was delighted; when he told me who would be in the studio with him, I held my breath; when I listened to this disc for the first time, I was in the wonderful state between joyous tears and silly grinning. You’ll feel it too. There’s immense drama here, and passion – whether a murmur or a shout; there is the most respectful bow to the past (hear the opening of EASY DOES IT, which could have been the disc’s title); there’s joyous comedy (find the YEAH, MAN! and win a prize – wait, you’ve already won it). But the sounds are as fresh as bird calls or a surprise phone call from someone you love. Most CDs are too much of a good thing; this is a wonderful meal where every course is its own delight, unified by deep flavors and respect for the materials, but nothing becomes monotonous – we savor course after course, because each one is so rewarding And when it’s over, we want to enjoy it again.
I could point out the wonderful sound and surge of Kevin Dorn’s Chinese cymbal and rim-chock punctuations; the steady I’ll-never-fail-you pulse of Joe Plowman; Rossano Sportiello’s delicate first-snowflake-of-the-winter touch and his seismic stride; Scott Robinson’s gorgeous rainbows of sounds, exuberant or crooning, and the man whose name is on the front, Danny Tobias, who feels melody in his soul and can’t go a measure without swinging. But why should I take away your gasps of surprise and pleasure? This might not be the only dream band on the planet, but it sure as anything it is one of mine, tangible evidence of dreams come true.
They tell us “Every cloud has a silver lining”? Get lost, clouds! Thanks to Danny, Joe, Scott, Kevin, and Rossano, we have music that reminds us of how good it is to be alive.
The songs are Bud Freeman’s THAT D MINOR THING; Larry McKenna’s YOU’RE IT; EASY DOES IT; Danny’s GREAT SCOTT; DEEP IN A DREAM; LOOK FOR THE SILVER LINING; I NEVER KNEW; Danny’s gender-neutral MY GUY SAUL; YOU MUST BELIEVE IN SPRING; OH, SISTER, AIN’T THAT HOT!; I’VE GROWN ACCUSTOMED TO HER FACE; PALESTEENA; Danny’s BIG ORANGE STAIN; WHY DID I CHOOSE YOU?
On the subject of choosing. You could download this music from a variety of sources, but you and I know that downloading from some of those sources leaves the musicians with nothing but regrets for their irreplaceable art. Danny and his wife Lynn (a remarkable photographer: see above) adopted the adorable Clyde Beauregard Redmile-Tobias some months ago:
I know my readers are generous (the holidays are coming!) so I urge them to buy their copies direct from Danny, who will sign / inscribe them. Your choice means that Clyde will have better food and live longer.
They’re back! Direct from the Hellerstown Fire Department, thanks to the Pennsylvania Jazz Society: Danny Tobias, trumpet, Eb horn; Randy Reinhart, trombone, euphonium; Mark Shane, piano; Pat Mercuri, guitar; Joe Plowman, string bass; Jim Lawlor, drums.
It was a lovely, friendly, swinging afternoon — and even if you have no idea how to get to Hellerstown, you can enjoy more of the inspired music. Thanks to Mike Kuehn, Pete Reichlin, and Joan Bauer for making us all feel so welcome.
Photograph by Lynn Redmile.
Perhaps the most weighty interpersonal question, HOW COME YOU DO ME LIKE YOU DO?:
Danny and Mark honor Fats in this statement of faith, I BELIEVE IN MIRACLES:
Time for the Horace Gerlach tribute, SWING THAT MUSIC:
Irving Berlin’s ALL BY MYSELF:
“They called her frivolous Sal,” immortalized in this classic, MY GAL SAL:
Something else from Indiana, WABASH BLUES, for Danny and Mark in duet:
Gather round, children, while Professor Shane explains THE POCKET . . . and then everyone plays COQUETTE:
JAZZ LIVES 