Tag Archives: Silas Irvine

BLISS (Part Two): DANNY TOBIAS, LARRY McKENNA, SILAS IRVINE, JOE PLOWMAN (1867 Sanctuary, Ewing, New Jersey, Sept. 21, 12019)

I saw the sign, and stopped for it.

Here is the first part of BLISS, and you will hear I don’t exaggerate: four songs performed by Danny Tobias, trumpet, fluegelhorn; Larry McKenna, tenor saxophone; Silas Irvine, piano; Joe Plowman, string bass, at the 1867 Sanctuary in Ewing, New Jersey, on September 21, 2019.

Celestial music, to be sure.

Here are some still photographs of the four illuminators, thanks to Verizon:

and

and

and

You’ve been patient.  Now for the moving pictures (with sound, too)!

Gershwin and Gershwin:

Rodgers and Hart:

Edgar Sampson:

Lerner and Loewe:

Youmans and Caesar:

What lovely unaffected music.  I can’t wait for this quartet’s return engagement.

May your happiness increase!

BLISS (Part One): DANNY TOBIAS, LARRY McKENNA, SILAS IRVINE, JOE PLOWMAN (1867 Sanctuary, Ewing, New Jersey, Sept. 21, 12019)

Everyone’s bliss is different.  But for me, one version is being close to and recording a small group of creative musicians playing splendidly, listening attentively to one another in a quiet space in front of a rapt audience.  It’s bliss when it happens, and also because it happens so rarely.

But it did happen in the lovely 1867 Sanctuary in Ewing, New Jersey, for two hours on September 21, 2019.  The noble creators were Danny Tobias, trumpet, fluegelhorn, and Eb alto horn; Larry McKenna, tenor saxophone; Silas Irvine, piano; Joe Plowman, string bass.  And here’s their first set: lyrical, controlled, passionate, swinging, deeply melodic.

Larry McKenna

They began with I’LL ALWAYS BE IN LOVE WITH YOU, which although it did not begin life as a swinging tune, Count Basie made it so — as do they:

What followed continued to make me and the rest of the audience happy, but if this quartet had decided that enough was enough with this single performance, I would have been satisfied.  Slightly mystified, but smiling.  But I am thrilled they continued.

The lovely MY IDEAL (check out the lyrics if you don’t know them):

Danny picked up his new / old Eb alto horn for MOOD INDIGO.  Wait until the end, after the last notes, for his musicological commentary and a patented Tobias comic flourish:

Danny’s own HOW’S IT GO? — based on chord changes that were part of the common language when there was one:

Get up, stretch, find some snacks, and the second half will be posted shortly. I bless these four creators and thank them as well.  Thanks also to Bob and Helen Kull, for making the 1867 Sanctuary a shrine for wonderful art.  This post is for John Scurry, John Herr, Sam Taylor, Melissa Gilstrap, and R1, of course.

May your happiness increase!

MUSIC THAT FALLS KINDLY ON THE EAR: DANNY TOBIAS, JACK SAINT CLAIR, SILAS IRVINE, SAM HARRIS at the 1867 SANCTUARY (Ewing, New Jersey: April 6, 2019)

Some of the most memorable sessions — improvising without arrangements — are marked by a delightful ensemble tension coming out of competitiveness.  Think of almost any date Roy Eldridge played on, for an example close to hand.  Others are marked by an equally pleasing calm friendliness: we’re all here for the same purpose, and let’s have a good time.  A collective hug rather than head-cutting.

The quietly impressive group that Danny Tobias — master of various brass instruments — brought to the 1867 Sanctuary in Ewing, New Jersey, on Saturday, April 6, really exemplified the affectionate community of the second example.  Danny assembled very gifted young men from Philadelphia: reedman Jack Saint Clair, here solely on tenor; pianist Silas Irvine, and string bassist Sam Harris.  Here’s their sweet version of CHEROKEE — not at a racetrack tempo, but as a waltz:

And the Rodgers and Hart SPRING IS HERE, wistful, pensive, still swinging:

Danny’s secret indulgence (one that makes me particularly glad) is the Eb alto horn — beloved of Dick Cary and very few others.  This particular specimen, Danny notes, was a gift from his friend, the very fine trombonist Gil Toth, who was in the audience.  (Also in the audience were dance luminaries Lynn Redmile and Renee Toplansky.)

What better way to say “Thank you” to Gil and all of us than with this heartfelt rendition of SOMEONE TO WATCH OVER ME?

Every jazz concert needs a song with disputed authorship, so here’s DIG, a line on SWEET GEORGIA BROWN, that Miles Davis took credit for:

Even if your idea of paradise is King Oliver 1923, I hope you can hear the sweet floating beauties on display here.  And let’s not forget Jack Saint Clair’s melancholy-uplifting solo feature, posted earlier.

It was a wonderful afternoon at the 1867 Sanctuary — where art flourishes — and Danny, Jack, Silas, and Sam gave us great gifts.

May your happiness increase!

MAKING MELODY COME ALIVE: JACK SAINT CLAIR, SILAS IRVINE, SAM HARRIS (April 6, 2019)

I knew something of young Philadelphia reedman Jack Saint Clair before I heard him — on a Danny Tobias gig last Saturday — by implication, because Danny has excellent taste.  And Jack has been part of the Marty Grosz Repertory Company that appears at the Mermaid Inn in Chestnut Hill, Pennsylvania.  Later, I saw Jack get the coveted Larry McKenna Seal of Approval . . . if there is a higher honor I don’t know it.  But I was delighted and moved by his playing at that concert (with Silas Irvine, piano, and Sam Harris, string bass) so I think you should meet him too, doing what he does beautifully: making melody come alive, airborne, quietly compelling.

The song is SPRING CAN REALLY HANG YOU UP THE MOST, lyrics by Fran Landesman, music by Tommy Wolf — their 1955 variation on Eliot’s “April is the cruelest month.”  Or close enough.  Only 33 years separate Eliot and Landesman, proof of how quickly language moves and changes.

But there’s nothing cruel in Jack’s lovely consideration of this pastoral lament:

Anyone who has sung or played an instrument will know just how difficult it is to make melody come that alive.  For those of you, and you know who you are, who leap to Compare, whisper the comparisons to your coffee and don’t send them here . . . . Jack sounds exactly like himself, and we are glad of it.

May your happiness increase!