Photograph by Lynn Redmile
One of the quietest of my heroes, lyrical brassman Danny Tobias, has a new CD. It’s called COMPLETE ABANDON — but don’t panic, for it’s not a free-jazz bacchanal. It could have been called COMPLETE WARMTH just as well. And it’s new in several ways: recorded before a live audience — although a very serene one — just last September, in the 1867 Sanctuary in Ewing, New Jersey.
The CD presents a small group, captured with beautiful sound (thanks to Robert Bullington) “playing tunes,” always lyrical and always swinging. The cover photograph here is small, but the music is endearingly expansive. (Lynn Redmile, Danny’s very talented wife, took the photo of Mister T. at the top and designed the whole CD’s artwork.)
Danny is heard not only on trumpet, but also on the Eb alto horn (think of Dick Cary) and a light-hearted vocal on LOVE IS JUST AROUND THE CORNER. He’s joined by his New Jersey friends, the very pleasing fellows Joe Holt, piano; Paul Midiri, vibraphone; Joe Plowman, string bass; Jim Lawlor, drums. And both in conception and recorded sound, this disc is that rarity — an accurate reflection of what musicians in a comfortable setting sound like. The tunes are I WANT TO BE HAPPY; DANCING ON THE CEILING; MY ROMANCE; LOTUS BLOSSOM; COMPLETE ABANDON; THE VERY THOUGHT OF YOU; THIS CAN’T BE LOVE; LOVE IS JUST AROUND THE CORNER; I’M CONFESSIN’; EVERYBODY LOVES MY BABY; GIVE ME HE SIMPLE LIFE; THESE FOOLISH THINGS; PICK YOURSELF UP.
You can tell something about Danny’s musical orientations through the song titles: a fondness for melodies, a delight in compositions. He isn’t someone who needs to put out a CD of “originals”; rather, he trusts Vincent Youmans, Billy Strayhorn, Richard Rodgers. He believes in Count Basie, Bing Crosby, and Louis Armstrong, whether they are being joyous or melancholy. Danny has traveled long and happily in the sacred land of Medium Tempo, and he knows its most beautiful spots.
When I first met Danny — hearing and seeing him on the stand without having had the opportunity to talk with him (this was a decade ago, thanks to Kevin Dorn and the Traditional Jazz Collective at the Cajun) I delighted in the first set, and when he came off the stand, I introduced myself, and said, “Young man, you’ve been listening to Ruby Braff and Buck Clayton,” and young Mister Tobias heard and was gracious about the compliment.
Since then, I’ve understood that Danny has internalized the great swing players in his own fashion — I’m not the only one to hear Joe Thomas in his work — without fuss and without self-indulgence. He doesn’t call attention to himself by volume or technique. Rather, to use the cliche that is true, “He sings on that horn,” which is not at all easy.
Danny’s colleagues are, as I wrote above, his pals, so the CD has the easy communal feel of a group of long-time friends getting together: no competition, no vying for space, but the pleased kindness of musicians who are more interested in the band than in their own solos. The vibraphone on this disc, expertly and calmly played by Paul Midiri, at times lends the session a George Shearing Quintet feel, reminding me of some Bobby Hackett or Ruby Braff sessions with a similar personnel. And Messrs. Lawlor, Plowman, and Holt are generous swinging folks — catch Joe Holt’s feature on GIVE ME THE SIMPLE LIFE.
To purchase the CD and hear sound samples, visit here. Or you can go directly to Danny’s website — where you can also enjoy videos of Danny in a variety of contexts.
CDBaby, not always the most accurate guide to musical aesthetics, offers this assessment: “Recommended if you like Bobby Hackett, Louis Armstrong, Warren Vache.” I couldn’t agree more. And I’m grateful that the forces of time, place, economics, and art came together to make this disc possible. It is seriously rewarding, and it doesn’t get stale after one playing.
May your happiness increase!