Tobey's Tunes Tickle Fancy

by Bob Powers

G21 Music Writer

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Bob Powers

There's a new pianist on the scene and he's going to make an impression.

Canadian Paul Tobey received a formal musical education in the classics, but switched to jazz in the 1980s. His fourth CD has just come from Bob Karcy's reliable Arkadia label. "Street Culture" offers proof that Tobey learned the basics of jazz well. His technique shows traces of his classical background, but he's able to perform impressively with his three supporting musicians.

Bassist Jim Vivian and drummer Terry Clarke are smoothies, playing nice and with power while not trying to steal the spotlight from their boss. The same can't be said for tenor sax player Mike Murley, who too often sounds like he believes "Street Culture" is his recording, not that of Tobey. There are too many times when a listener may wish that Murley step out for a cigarette and a Coke while the trio continues to do its thing.

Tobey wrote the album's nine charts all. In the liner notes, he says, "I have always tried to take a lyrical approach to composition and create melodies that stand alone against the backdrop of the jazz improvisational machine." Tobey says writing turned out to be amazingly easy. "It was almost like taking a backseat to the creative process and watching the music unfold before my eyes." He adds that the music almost seemed to write itself.

In defense of Murley, the tenor man has five albums as a leader, so he might be forgiven for seeming to try to overthrow Tobey and establish himself as boss. And the sound engineers could have kept Murley's microphone dampened, given the outstanding work of Tobey a brighter spotlight.

This is an album that will receive wide recognition, assuming jazz radio stations (there are a few of them left, you know) decide to place the CD into what radio calls "heavy rotation."

Superb Braff Thrills Again

Listening to the new Ruby Braff album with the knowledge that the world's finest cornet player reaches his 74th birthday this year can only be cause for amazement. His sound can't be mistaken. No one can approach him when it comes to performing wonderful old songs in the inimitable Braff manner.

Braff's new one, "Music for the Still of the Night" (Arbors Records) turns out to be a special album. Braff admits to liner notes author John McDonough that he considers this disc to be the best work he has done for the Florida record company that specializes in swing and jazz from the old days. McDonough observes that Braff is "that rarest of all artists, a jazz musician in whose style melody and improvisation coexist as equal partners."

In this session, Braff surrounds himself with four outstanding musicians. John Bunch, who has albums of his own, plays a delightful piano that can only make one smile. Howard Alden's guitar delivers a staunch and unobtrusive background, then comes forward for some delicious licks for a few bars. Michael Moore plays bass like it's his best friend and drummer Kenny Washington couldn't offer much better support.

The songs, as is true on most Braff albums, are chosen with a special attention paid to the melody. Since Braff says he decided to be a musician after hearing Louis Armstrong, it's fitting that the new album includes "When It's Sleepy Time Down South," one of Satchmo's favorites. Another tune that hasn't been done to death is "I Don't Stand a Ghost of a Chance with You," made famous a long time ago by Bing Crosby.

I've always loved "Willow Weep for Me," and Braff contributes a wonderful performance on the standard most often heard as a vocal. Leave it to Braff to give a new light to "Fly Me to the Moon." It's a rare musician who can do something special to such an ancient and overdone composition.

Regular readers of "Powerssound" (there ARE regular readers, aren't there?) may recall that I've never given Rudy Braff anything but a rave review. No need to change now.

Duran Duran Again

In case anyone wondered, I do listen to rock music and appreciate many of its creators.

Capitol Records has one of the great libraries of rockers at their peak and occasionally the company digs deep into the vaults to bring back a favorite album from the past. The latest such album is Duran Duran's "Rio," which originally came out in the early '80s.

The new version, due in stores on July 3, contains enhanced tracks including the title song, "My Own Way," and "Hold Back the Rain." There also are three video tracks, "Rio," "Hungry Like The Wolf," and "Save a Prayer."

Duran Duran endured because its music had more interest than just for a teenybopper. It's great to have such good material back in a new, improved form.

Thank you, Capitol Records!

Marilyn, Hef and Jazz

Hugh Hefner, the creator of Playboy, has always been a jazz aficionado. It's not surprising that he's created Playboy Jazz as an avenue of release for new music. The initial release "Blonde," consists of the soundtrack from the recent TV film about Marilyn Monroe.

Lots of well-known jazz players are involved, including Roy Hargrove, Scott Hamilton, Snooky Young, Kenny Burrell, Plas Johnson, Bill Watrous, James Moody and others. Soundtracks sometimes aren't very interesting because the music has been written and arraigned as background material. You're not supposed to be listening to the music. You're supposed to be paying attention to the folks on your TV screen. As a result, "Blonde" has some nice material, but much of the album lacks a reason to be heard.

It's boring.

Let's hope the bunny man finds a more scintillating project for the next release.

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