Tag Archives: Danny Tobias

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!

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“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!

A SANCTUARY FOR MUSIC: DANNY TOBIAS, JOE HOLT, and MAX DONALDSON (Ewing, New Jersey: June 11, 2017)

Beautiful music doesn’t always get a suitable place to grow and shine, but on June 11, 2017, it did, for a few hours.

The place is the  1867 Sanctuary at Ewing at 101 Scotch Road in Ewing, New Jersey, and the lovely music was created by Danny Tobias (trumpet, Eb alto horn), Joe Holt (piano), and guest Max Donaldson (tenor saxophone).  Here are several of the highlights of that most rewarding concert.

Think of Fred and Ginger, or of Ella and Louis — but let us all bow low to Irving Berlin, without whom we’d have no CHEEK TO CHEEK:

For ALL THE THINGS YOU ARE, Danny invited up young Mister Max Donaldson, who certainly played splendidly.  Max told me, “I am a 17 year old junior in high school and have been playing saxophone since the 5th grade. I discovered jazz in the 7th grade and found my passion. Some of my favorite jazz greats to listen to are Dexter Gordon, Benny Golson, and Sonny Rollins, though I listen to and appreciate all types of jazz.”  Watch out for this young man: I predict a creative future for him.

For his first feature, Joe chose to improvise on Beethoven’s Minuet in G Major, WoO 10, No. 2.  To which I could only say (under my breath, politely), “WoO!”:

Here’s Danny’s own romping variations on a jazz classic, which he has titled HOW’S IT GO?:

Danny has picked up another brass horn, the neglected but beautiful Eb alto horn — think of Dick Cary and Scott Robinson — and here the duo improvises a BLUES FOR MAX in honor of their tenorman:

Holt meets Joplin, with happiness, for MAPLE LEAF RAG:

And finally, Richard Rodgers – Lorenz Hart’s moody SPRING IS HERE, a song Joe hadn’t known before — how beautifully he finds his way:

Gorgeous music in a serenely beautiful place.  Thanks to Danny, Joe, Max, Lynn Redmile, and to Bob Kull for making this all happy and possible.

May your happiness increase!

DESIRE (SUPPRESSED) and PASSION (SECRET), THEN and NOW

Does popular art follow high art, or the reverse, or are the coincidences simply coincidental?  In 1915, Susan Glaspell and George Cram Cook premiered a play, SUPPRESSED DESIRES; 1924, Eugene O’Neill’s DESIRE UNDER THE ELMS; 1929, Dali’s THE ACCOMODATIONS OF DESIRE.  PASSION had always been part of the cultural vocabulary, so no need to search out appearances in the Twenties.  A graduate student in early modernist popular culture would probably trace some of this to Havelock Ellis, Theodoor Hendrik Van de Velde, and others writing for a curious public.  I don’t doubt that Dr. Freud is behind all this in some way, also.

I know that the stereotypical idea of pop songwriters is cigar-smoking fellows looking to make money off the latest craze, but it is possible that some of those brilliant tunesmiths read something in the paper besides the sports pages.  Make what you will of the synchronicity or the coincidence, these two songs, HE’S MY SECRET PASSION and MY SUPPRESSED DESIRE enjoyed some fame in that year, the second creation even featured in a film where I would think little was suppressed.

I’ve known MY SUPPRESSED DESIRE for years through the Bing Crosby – Harry Barris – Al Rinker recording, a series of small hot comedic playlets unfolding one after another:

Bing’s “Tell it!” at 1:35 is a favorite moment, and I like the way the recording morphs through moods and tempos — a whole stage show in miniature, with the introduction coming around as the conclusion, and the rocking intensity of Bing’s last bridge.

Here’s a very pleasing Goldkette-styled version by Abe Lyman’s California Orchestra:

There are several excellent contemporary dance band versions of this song — by Coon-Sanders Nighthawks, Verne Buck, and Lud Gluskin — which I leave to you to find on YouTube, because for me the Rhythm Boys’ version blots all the others out.

Now (thanks to Jonathan David Holmes) I have a new recording of HE’S MY SECRET PASSION by The Four Bright Sparks, my favorite new band name, to share with you.  I find the instrumental combination of clarinet, xylophone, guitar, drums, and piano entrancing, and Queenie Leonard’s slightly emphatic singing is also charming.  Discographer Tom Lord sniffs, “The above was a studio group but they played straight dance music and nearly never featured hot solo work,” a classic example of jazz-snobbery:

And here is Marion Harris’ impossibly tender reading of PASSION:

Showing that passion has living validity in this century also, Barbara Rosene and friends (among others, Conal Fowkes, Michael Hashim, Pete Martinez, Brian Nalepka, and Craig Ventresco) in 2007:

Barbara, Conal Fowkes, and Danny Tobias will be performing at Mezzrow on West Tenth Street in New York City on June 13.  Her shows are always delightful, and, yes, attendance will be taken.

Attentive textual explicators will note that these are not the same song at all: the singer of PASSION is wistful and hopeful that an introduction can be arranged and great things will result, where the singer of SUPPRESSED notes accurately that the Object of Desire belongs to someone else, which is an entirely different situation.  But these recordings and the songs are atypically cheerful — no one is lamenting that the opportunity has passed forever.  For listeners, we hope for the best: gratified passion, reciprocated desire.

May your happiness increase!

“WILD REEDS AND WICKED RHYTHM” (Part Two): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, BOB RINGWALD, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

The Cajun Restaurant, no longer extant but the vibrations and sights still exist here and in our memories.

Eddy Davis, “The Manhattan Minstrel”

A little more than a week ago, I posted the first of a three-part series on this wonderful band, with videos from 2006 that I rediscovered.  I am taking the liberty of reprinting the text from that post here.  And the music from that first post is also here.  (For those impatient with prose — and some have told me this in ungentle terms — the new video is at the bottom of this posting.)

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.  [Update to this posting: pianist / singer Bob Ringwald of California and father of Molly, sits in for this set.]

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

The songs are AFTER YOU’VE GONE / OLD BONES / YOU TOOK ADVANTAGE OF ME / TROUBLE IN MIND, all with vocals by Bob.

It’s so lovely to be able to reach back into the past and find it’s not only accessible but glowing.  There’s more to come.

May your happiness increase!