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:
Classic songs, played with expertise and feeling, by Danny Tobias, trumpet, Eb alto horn; Jim Lawlor, drums; Mark Shane, piano; Randy Reinhart, trombone, euphonium; Pat Mercuri, guitar; Joe Plowman, string bass; (guest) Mary Lou Newnam, tenor saxophone . . . thanks to the Pennsylvania Jazz Society.
SOMEONE TO WATCH OVER ME (Randy) / BODY AND SOUL (Mary Lou) / MOOD INDIGO (Danny):
Charlie Shavers’ UNDECIDED:
ONE HOUR, or, for the pedantic among us, IF I COULD BE WITH YOU ONE HOUR TONIGHT:
And a lovely swinging beverage, TEA FOR TWO, from which I draw my title:
A wonderfully rewarding afternoon . . . and you haven’t seen or heard all of it yet.
I was only fooling. No need to call 911 or hide the children. I’m celebrating the closing performance of Danny Tobias and the Safe Sextet at the Pennsylvania Jazz Society’s June 13, 2021 concert in Hellertown, Pennsylvania. The Safe Sextet is Danny, trumpet and Eb alto horn; Randy Reinhart, trombone and euphonium; Mark Shane, piano; Pat Mercuri, guitar; Joe Plowman, string bass; Jim Lawlor, drums. And they play TIGER RAG — without devouring the song or the audience. This one’s for my friend / friend of the music Joan Bauer:
Anyway, should an escaped tiger have burst into the hall, we had our secret weapon / protector: Clyde Beauregard Redmile-Tobias, who would have pacified it with wags and licks:
More to come from this delightful afternoon, with no wild beasts in sight. (However, the photograph of the tiger caught my attention because of its lovely coat and shining teeth. Is there a Tiger Spa, and does this one floss?)
The reedman-raconteur Leroy “Sam” Parkins used to say that certain performers and performances “got” him “right in the gizzard.” I only know the gizzard from chickens, but I know what he meant: when a vocal or instrumental performance makes it hard to breathe because of an inrush of emotion. I feel that way when I hear Louis perform THAT’S MY HOME, or see the clip of Fred Astaire singing to soapily-coiffed Ginger Rogers THE WAY YOU LOOK TONIGHT. Very quietly, I will begin to cry, because too much feeling is coursing through me.
The 1931 sheet music.Photograph by Lynn Redmile.
WRAP YOUR TROUBLES IN DREAMS is a song I’ve had a long relationship with, through my early attachment to Bing Crosby, also because its optimistic lyrics suggest that travail is finite, that recovery is possible . . . if only we are able to envision a happier future. (I am also moved by Eddy Howard’s version where Bennie Morton caresses the melody as only he can.)
But when Danny Tobias looked at his song list last Sunday and called this as the next tune, I did not expect to be in tears. I was. I haven’t heard Jim Lawlor sing frequently enough to expect that he would “get” me as he did, but he did, as did everyone in this performance. Heartfelt, expert, plain, superb. Every note, every turn of phrase or nuance.
Lucky for me, I was sitting close to a doctor, who asked me if I was all right, and I could tearfully nod my head yes. See if you don’t feel emotions coursing through you. And I hope the performance reminds you that you might just “dream your troubles away”:
Dreams do come true, and the transformation from wish to reality can be expressed in music like this.
If you enjoyed this band — a silly rhetorical question, no? — there are more performances to be shared with you as well as this delicious plateful of sounds (where you can also learn more about the Pennsylvania Jazz Society and their upcoming jazz concerts):
I asked my friend, the most admired Danny Tobias, what he wanted the band name to be for me to write about the session and annotate the videos: quickly, he came up with what you see above. Just another reason to admire him!
From left, Jim, Danny, Randy, and, keeping order, Mike Kuehn.
This was glorious jazz on a Sunday afternoon: a wonderful post-pandemic concert sponsored by the Pennsylvania Jazz Society and presented in Hellertown, Pennsylvania, featuring Danny Tobias, trumpet and Eb alto horn, Randy Reinhart, trombone and euphonium, Pat Mercuri, guitar; Mark Shane, piano; Joe Plowman, string bass; Jim Lawlor, drums, vocal; Mary Lou Newnam, tenor saxophone (guest star).
The whole band in their Sunday-casual splendor, thanks to photographer Lynn Redmile.
Here are the first four selections from the concert. I apologize (as videographer) for giving Randy less than his due, visually, but he comes through loud and clear.
WASHINGTON AND LEE SWING:
LOUISIANA:
SOLITUDE:
FIDGETY FEET:
What a delightful way to gather with the faithful and celebrate. You should know that the Safe Sextet has a mascot — Clyde Beauregard Redmile-Tobias, and he’s safe, too. In later videos, you will see a wagging tail bottom right: Mark Shane commented on what good time Clyde keeps. No surprise.
“You dog, you!”
Future concerts for the Pennsylvania Jazz Society will be Sunday, July 25: Drew Nugent and the Midnight Society; September 12: Glenn Crytzer Quartet; October 10: Jazz Lobsters Big Band; November 21: Jam Session. All concerts are from 2-4:30 PM at the Dewey Hall, 502 Durham Street, Hellertown, Pennsylvania. Students may attend free; first-timers and PJS members pay $15; non-members, $20.
Here is their Facebook page; here is their webpage.
Immense thanks to Mike Kuehn, Joan Bauer, and Peter Reichlin of the PJS for their kindnesses.
I can’t speak for everyone, but the fourteen-month period after mid-March 2020 felt for me like a) being locked in the basement with very dim lighting; b) a dinner-theatre production of RIP VAN WINKLE; c) induced coma with meals, phone calls, and my computer; d) a long undefined stretch during which I could watch uplifting videos here; d) all of the above.
But I feel as if spiritual Reveille has sounded, and the way I know that is that live music has been more out-in-the-open than before. (I mean no offense to those gallant souls who swung out in the parks for months.) I’ve been to see and hear the EarRegulars three times in front of the Ear Inn on Sundays (1-3:30, 326 Spring Street, Soho, New York City) and if the sun shines, I will be there this coming Sunday to say hello to heroes Jon-Erik Kellso, Matt Munisteri, Jay Rattman, and Tal Ronen; I am going to the Morris Museum in Morristown, New Jersey, on Thursday, June 10, at 8 PM, to see Colin Hancock and his Red Hot Eight with Dan Levinson, Abanie Falletta, Arnt Arntzen, Vince Giordano, Mike Davis, Julian Johnson, and Troy Anderson (details here). On June 13 I am driving to Pennsylvania (thanks to the Pennsylvania Jazz Society) to see and hear Danny Tobias, Randy Reinhart, Mark Shane, Joe Plowman, Pat Mercuri, and Jim Lawlor (details here).
And, one week later, June 17 — Evan Arntzen and Jon-Erik Kellso, with Dalton Ridenhour, Tal Ronen, and Mark McLean, playing music from the new Arntzen-Kellso dazzler, the CD COUNTERMELODY. Details here. Important, rewarding, exciting.
First, Bennie Moten’s 18th STREET STRUT:
and this, with the verse, no less:
Now, some words of encouragement. Some of you will understandably say, “I live too far away, the pandemic is not over, and Michael will go there in my stead and bring his video camera.” Some of that is true, although I am taking a busman’s holiday and do not expect to video Evan’s concert, for contractual reasons. (And even Michael knows, although he does not wallow in this truth, that a video is not the same thing as being there.)
I know it’s tactless to write these words, but wouldn’t you like to experience some music that isn’t on this lit rectangle? More fun, and everyone is larger. And you can, after the music is over, approach the musicians and say, “We love you. Thank you for continuing on your holy quest where we can be uplifted by it. Thank you for your devotion.” If this strikes you as presumptuous, I apologize, and the Customer Service Associate will be happy to refund your purchase price plus tax.
I hope to see you out and about. We need to celebrate the fact of our re-emergence into the sunshine.
When we left our heroes — Danny Tobias, trumpet and various brass instruments, Pat Mercuri and Chris Buzzelli, guitars — they were lifting our spirits by creating beautiful sounds at the 1867 Sanctuary in Ewing, New Jersey. The evidence, easily accessed, is herein six lovely performances.
Now, I want JAZZ LIVES participants (you are more than simply “readers,” I hope) to chew slowly, to digest, to savor — even if I am not the waitperson who comes to your table, places the entree in front of you, and barks, “ENJOY!” — so I waited a short time before offering you the second half of this delightful concert. But here it is.
Berlin’s memorably sad WHAT’LL I DO?
The most cheerful admonition, LADY BE GOOD (or OH, LADY BE GOOD):
Rodgers and Hart’s vision of sweet togetherness, BLUE ROOM:
And another from Dick and Larry, DANCING ON THE CEILING:
Finally, a threatening Rodgers and Hart opus (for t hose who know the lyrics) EV’RYTHING I’VE GOT:
Danny will be back at the 1867 Sanctuary on April 19 (at 2 PM) with the brilliant pianist Conal Fowkes and string bassist Doug Drewes: details here. Thanks to these musicians and to Bob and Helen Kull — guardians of this wonderful space — for making this event possible.
On January 4, 2020, Danny Tobias (trumpet, flugelhorn, Eb alto horn), Pat Mercuri, and Chris Buzzelli (guitars) assembled at the 1867 Sanctuary, 1o1 Scotch Road, Ewing, New Jersey, for a wonderfully mellow session of music. What they created, reminiscent of the Braff-Barnes Quartet, requires no complicated explication: it’s melodic and swinging, a splendidly egalitarian conversation among three masterful improvisers. Pat’s on the viewer’s right in gray blazer; Chris has a maroon shirt.
Here’s the first half.
Arlen’s AS LONG AS I LIVE, a declaration of devotion:
CHEEK TO CHEEK, Berlin’s description of bliss in motion:
Van Heusen’s POLKA DOTS AND MOONBEAMS (and I still like Johnny Burke’s lyrics, unheard here, although some poke fun at the “pug-nosed dream”):
Ray Noble’s steadfast assertion, THERE IS NO GREATER LOVE:
Sonatina for Two Guitars, Ellington’s IN A MELLOTONE:
Gershwin’s yearning SOMEONE TO WATCH OVER ME, featuring Danny on his third or fourth brass instrument, the Eb alto horn:
If you missed this concert, you have a chance to restore and redeem yourself: on February 8, 2020, Joe Plowman and his Philadelphians will be playing: that’s Joe on string bass and perhaps arrangements / compositions; Danny Tobias; Joe McDonough, trombone; Silas Irvine, piano; Dave Sanders, guitar. Details here. Why miss out?
The proceedings, photographed from above by Lynn Redmile
I apologize to all concerned: because of being overwhelmed and a filing system that I keep in my overwhelmed head, this third part of a glorious afternoon got away from me for a bit. But all is not lost! And hereis the music created in the first and second sections.
I don’t know who took the picture of Warren (left) and Danny (right) but it is quite nice:
However, it leaves out the rest of the heroes: Philip Orr, piano; Pat Mercuri, guitar; Joe Plowman, string bass. Here are the four remaining performances — quiet mastery by artists who really know and feel what heartfelt improvisation is:
A Tobias original (based on a song about soporific nature) dedicated to the much-missed Tony Di Nicola:
Harold Arlen, always welcome, as is Danny’s playing the Eb alto horn:
A gorgeous TOO LATE NOW:
And the real national anthem:
What beautiful warm inspired music these heroes make.
I love that I live about an hour from the jazz-metropolis that is New York City, but I will drive for hours when the music beckons. It did last Saturday, when brassmen Danny Tobias and Warren Vaché joined with Philip Orr, piano; Joe Plowman, string bass; Pat Mercuri, guitar, for a wonderful afternoon of acoustic improvisations at the lovely 1867 Sanctuary Arts and Culture Centerin Ewing, New Jersey. (101 Scotch Road will stay in my car’s GPS for that reason.) Here’s some evidence — thanks to the very subtle photographer Lynn Redmile — to document the scene:
and the two Swing perpetrators:
It’s an immense compliment to the melodic swinging inventiveness of this ad hoc quintet, that their music requires no explanation. But what is especially touching is the teamwork: when portrayed in films, trumpet players are always trying to outdo each other. Not here: Danny and Warren played and acted like family, and a particularly loving branch. They have very individual voices, but if I said that the approving ghosts up in the rafters were Ruby Braff, Joe Wilder, Kenny Davern, and Tony DiNicola, no one would object. Phil, Joe, and Pat listened, responded, and created with characteristic grace. Thanks to Bob and Helen Kull, the guiding spirits of the 1867 Sanctuary, for making us all so welcome with such fine music.
It was a memorable afternoon, and I wish only that this was a regular occasion, to be documented by CD releases and general acclamation. We can hope.
I have a dozen beauties to share with you. Here are the first four.
Irving Berlin’s ALL BY MYSELF, and someone in the band breaks into song, most effectively:
Another Berlin treasure, CHANGE PARTNERS:
Edgar Sampson’s paean to hope, IF DREAMS COME TRUE:
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 Sanctuaryand 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.
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.
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.
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.
The PENNSYLVANIA JAZZ SOCIETY will present their annual JAZZFEST with a TRIBUTE TO BENNY GOODMAN on Sunday, July 11, 2010, from noon to 5:30 p.m. at the Plainfield Township Fire Company Hall, 6480 Sullivan Trail, Wind Gap, PA 18091. The two bands featured that day are THE MIDIRI BROTHERS and DAN LEVINSON’S PALOMAR QUARTET.
The Midiri Brothers will play from noon to 2:30 p.m. Their group is Joe Midiri on clarinet, Paul Midiri on vibraphone, drums, and trombone, Dan Tobias on trumpet, Pat Mercuri on guitar, Steve Kramer on piano, Ed Wise on bass, and Jim Lawlor on drums.
Dan Levinson’s Palomar Quartet will play from 3:00 – 5:30 p.m. and will feature Dan on clarinet, Mark Shane on piano, Matt Hoffmann on vibes, Kevin Dorn on drums, and Molly Ryan on vocals. In addition, because Dan believes that “One Good Twin Deserves Another,” he has invited the Anderson twins (Will and Peter Anderson) to be part of his group, playing clarinet and saxophone.Advance Tickets are $ 20.00. (For advance tickets and directions, send SASE to Pennsylvania Jazz Society, P. O. Box 995, Easton, PA 18044.) Tickets at the door are $ 25.00. Student Admission is FREE! For more information, phone 610-625-4640 or go online at pajazzsociety.org
JAZZ LIVES 