Tag Archives: Danny Tobias

EMBRACED WARMLY BY MUSIC: DANNY TOBIAS, GEORGE RABBAI, PHIL ORR, PAT MERCURI, JOE PLOWMAN (Part Three): March 24, 2018

THIS JUST  IN: Danny and George will be back at the 1867 Sanctuary on Saturday, September 22, from 2-4 PM.  Mark it down.)

Here are the closing performances — the second set — from a lovely afternoon of rewarding music.  Those who missed the first two segments may savor them here.


That picture gives all the needed details, but it can’t convey the genial loving spirit that animated the music: friendly conversations among players who deeply respect and value each other, on and off the bandstand.  And you would have to be at the 1867 Sanctuary to hear how fully it welcomes creativity.

A feature for the rhythm section, led by the lyrical Mr. Plowman — from GUYS AND DOLLS:

The great Fifties Basie groove on a composition by Freddie Green:

Danny’s romp on familiar chord changes (test yourself!) which is also the title of his latest CD, COMPLETE ABANDON:

Danny’s feature — THESE FOOLISH THINGS — on his special new / old cornet:

A gorgeous bouquet of sound, scored for two fluegelhorns, EMILY:

And the brief closing selection, IT’S YOU OR NO ONE:

What wonders!  I believe that Danny and George have talked of doing another afternoon performance at the unique 1867 Sanctuary and I hope this comes to fruition soon.  All I can tell you is that I left the address in my car’s GPS and I will keep it there.  “Worth a trip from anywhere!” as a radio commercial used to tell us.  Thank you, Danny, George, Joe, Phil, Pat, Bob and Helen Kull, Caroline Roth, Lynn Redmile, and everyone else who made this possible.

May your happiness increase!

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EMBRACED WARMLY BY MUSIC: DANNY TOBIAS, GEORGE RABBAI, PHIL ORR, PAT MERCURI, JOE PLOWMAN (Part Two): March 24, 2018

If you haven’t savored the lovely music these five players made in their first four performances, please click here.  The occasion was an afternoon concert at the lovely and welcoming 1867 Sanctuary Arts and Culture Center in Ewing, New Jersey, and the artists were Danny Tobias and George Rabbai on trumpets, fluegelhorns, cornet, and a basketful of mutes, with Phil Orr, piano; Pat Mercuri, guitar; Joe Plowman, string bass.

As Joe Venuti used to say, “This must be the place!”

And this was the banner for the occasion:

Here are four more memorable offerings.

What George called “the human condition,” I WANT TO BE HAPPY:

Pat Mercuri’s touching evocation of Eddie Lang, APRIL KISSES:

STARDUST, played as if brand-new:

And the closing number of the first set, Danny’s HOW’S IT GO?:

There’s a whole delightful second set that I will share with you, soon.

May your happiness increase!

EMBRACED WARMLY BY MUSIC: DANNY TOBIAS, GEORGE RABBAI, PHIL ORR, PAT MERCURI, JOE PLOWMAN (Part One): March 24, 2018

It’s lovely to see and hear indebtedness, art, and gratitude all combined into a glowing musical gift.  I’m not at all being hyperbolic, as you will understand.

But before I get wrapped up in the music, let me point out that this all happened yesterday, Saturday, March 24, at a place you should know about — the 1867 Sanctuary Arts and Culture Center at Ewing, New Jersey.


And what was “this”?

Now you know.  But in all fairness to the graphic designer and the copywriter here, that advertisement might have made people who didn’t know Danny, George, Pat, Phil, or Joe leap to incorrect conclusions.  “Pops to Bop” might have suggested a-history-of-jazz-trumpet, or an afternoon vacillating between WHAT A WONDERFUL WORLD and DIZZY ATMOSPHERE.  But these musicians meet on common ground; they love one another, and the music was so warmly played and presented that there was not even a thirty-second note of the formulaic here.  It wasn’t a battle of genres: quite the contrary, if you squinted in just the right way through the stained glass windows, you could see Buck, Louis, Sweets, Basie, and Dizzy grinning like mad.

And although the brass instruments displayed and played here are often quite assertive, there was none of that signifying stuff, no “I can play higher, I can play louder,” so the sound was resonant, glowing, and in its own way serene, even at faster tempos.  

Introducing the second song, HALF NELSON, Danny talks about how George was and is his inspiration, and even if he hadn’t explained that, we could hear it in the air.

Let me share the first four performances with you.

Danny’s original (in the spirit of the season to come) PASS OVER:

Following that thread, I’M CONFESSIN’:

HALF NELSON, credited (I think) to Miles, but who can tell?

And to close off this segment, George’s lovely reading of BODY AND SOUL:

It was a nearly six-hour round trip by car from my place to Ewing: I’d do it every weekend ti hear this band.  Aren’t they wonderful?  Savor this quartet of beauties: there are ten more to come.

May your happiness increase!

AFTER HOURS AT MEZZROW (September 3, 2017): JOHN MERRILL, DANNY TOBIAS, JOE LEPORE

I’ve been listening to the fine understated guitarist John Merrill for a few years now, almost always at the West Tenth Street shrine Mezzrow.  We’ve talked of capturing him on video when the cosmic forces were properly aligned, and they were on the evening of September 3, 2017, for what is billed as “after hours.”  In deference to people like myself who are — as Jo Jones termed us, I think dismissively — “nine to fivers,” the set started at eleven o’clock (after two wonderful sets by a Tad Shull trio, which you may admire here).

John had with him Danny Tobias, trumpet, and Joe Lepore, string bass.  They created two performances that are, for me, Instant Classics.

I SURRENDER, DEAR:

CHEEK TO CHEEK:

I look forward to another appearance by this trio.  Who knows, I could take off a Monday . . .

May your happiness increase!

“SWIGGLE” TURNS SIXTEEN! WITH A BAND.

My little friend “Swiggle” Murchison had her Sweet Sixteen party this summer, and it was a blast.  I should explain that the Murchisons are dear friends of mine — musical and otherwise — and that everyone in their family has pet names.  Dad is “Hoppy,” Mom is “Luscious,” and “Swiggle” got her name as an especially wiggly infant who more than once nearly flew off the changing table.  Now she dances to jazz.

For her Sweet Sixteen, they hired a band — four of the finest — Danny Tobias, trumpet; Jay Rattman, reeds; Chris Flory, guitar; Joe Plowman, string bass.  But that’s not all.  Hoppy is a Broadway stage designer and Luscious is a realtor who stages houses for her clients, so they transformed (for one afternoon only) a large room in their house into a simulated jazz club. And the music was lovely. They allowed me to share a few selections.

What a delight to know Swiggle, Hoppy, Luscious, Danny, Jay, Chris, and Joe. And to have a jubilant audience to share joys with.  That’s you.

ALL BY MYSELF:

HOW’S IT GO? (Danny’s composition on the harmonies of SHINE):

LULLABY OF THE LEAVES:

IT COULD HAPPEN TO YOU:

Sadly, the cake is all gone, so there’s no point in asking me for the Murchisons’ address.  But the lovely memories remain.

May your happiness increase! 

A SHRINE FOR JOY: DANNY TOBIAS, SCOTT ROBINSON, JAMES CHIRILLO, FRANK TATE: The EarRegulars at The Ear Inn, August 6, 2017

You won’t find 326 Spring Street, Soho, New York City, on any ecclesiastical register of shrines, but that’s their omission, one I am working to correct.  On Sunday nights, from about 8-11 PM, joy reigns when the EarRegulars are in their sacred space.  I am not being impious: many nights at The Ear Inn have left me deeply reassured, even consoled, with the feeling that beauty is possible and within our reach if we can only pay attention to it.  For me, it’s about ninety minutes away; for those of you in close connection to computers and phones, it’s even easier to find.

On August 6, 2017, the EarRegulars were Danny Tobias, trumpet; Scott Robinson, taragoto, alto clarinet, baritone saxophone; James Chirillo, guitar; Frank Tate, string bass.

Here are two swinging benedictions for us all.

Irving Berlin’s ALL BY MYSELF:

And a song often turned in to vaudeville patter but with a big swinging heart, BLUES MY NAUGHTY SWEETIE GIVES TO ME:

and it was late in this evening when James Chirillo created this beautiful interlude, if you haven’t already delighted in it:

The moral of all of this, which you are free to accept or reject, is that if each of us felt free to spread joy as generously and without pretension as the EarRegulars do, we would be living in a paradise of our own making now.

May your happiness increase!

A MASTER AT PLAY: JAMES CHIRILLO at THE EAR INN (August 6, 2017)

Drawing by Dan Christoffel

I have been enjoying the art of guitarist / composer / arranger James Chirillo (and I know I have company in this) for some years now on discs, all the way back to 1985, when he appeared as a member of the Loren Schoenberg jazz orchestra then led by Benny Goodman. I browsed his discography and was amazed but not surprised to find how many of my favorite discs he is on, for musicians knew a long time ago that he had a deep yet playful intelligence.

I don’t know when I first encountered him in person (finding him serious, witty, surprising, and kind) but I can say that he allowed me to point a video camera at him a good many years ago, beginning in 2009.  He is a very serious judge of his own work but has been generous and gracious about getting captured and shown off for free, possibly because he understands the depth of my admiration (and, again, I am not alone in this.)

James has always been a peerless soloist — offering delightful surprises mixed in with a fine respect for sound and for melodies — and a wonderful team player, someone who works seriously yet with a light heart to keep the band trotting in the right direction.  I’ve written elsewhere about James’ deadpan penchant for weird notes and tones and spaces, something I cherish, but there is nothing weird about what I can present here.

Often, The Ear Inn, my intermittent Sunday-night shrine, on 326 Spring Street, home of the blessed EarRegulars, has been crowded and noisy.  Although it plays hell with my goals of a) appreciating music in a near-reverent hush and b) recording it for this audience, I understand the throng as a good thing.  People who have read about The Ear in a guidebook that calls it one of the secret New York City places that tourists don’t know about (is that a whiff of irony burning in that skillet?) keep these Sunday soirees going — as they have been for ten years.  But two Sundays ago, The Ear was wonderfully serene, and the band of Danny Tobias, Scott Robinson, Frank Tate, and James (with an early-evening guest appearance by the lyrical violinist Valerie Levy) had a good time in the peaceful admiration and pleasure.

About two-thirds of the way through the evening, after a very pleasing EarRegulars performance of a song had concluded, James turned to the band and to us, and said (low-key, wry yet plainly) that since he hadn’t taken a solo on the previous tune, he was going to take one now, and play something he had worked on, Johnny Smith’s arrangement / recomposition / improvisation on GOLDEN EARRINGS, a composition by Victor Young — the title theme of a 1947 film starring Marlene Dietrich and Ray Milland (an autographed copy of the sheet music is here just because it seems a shame not to share it):

and the movie poster:

Here is James’ tender virtuoso interlude, and it is a marvel — you don’t have to be a guitarist to understand that:

James is also that rare entity, a functioning adult: some hours after I posted the blog, he wrote to me, “Would you be surprised if I told you I consider my performance around a 7.8 compared to Johnny Smith’s 10.0? I’m not trying to be unduly self-effacing, it’s just the fact of the matter.”  I admire someone for whom realistic self-assessment is second nature, no matter that we might disagree about the numbers.

Thank you, Master Chirillo, for offering us, without fanfare, a multicolored respite from this modern world.

May your happiness increase!