About Paul Tobey

Paul Tobey is the first Canadian to be signed to Arkadia Jazz. “When I saw Paul's performance at the Hague Jazz Convention this past July, it confirmed what I heard on his demo. Paul is a unique and brilliant pianist/composer. It's always an exciting feeling when I could bring great talent into our family, and I feel privileged that I will have the opportunity to document Paul's body of work under the Arkadia umbrella.” - Bob Karcy, President of Arkadia Jazz

Paul is a classical convert and was drawn to jazz in his late teens. His formal education includes a degree from Concordia University and a diploma from Mohawk College. His jazz career has flourished on the Toronto & Montreal jazz scenes, performing and/or recording with such luminaries as Dave Young, Neil Swainson, Pat Labarbera, Mike Murley and Terry Clarke to name but a few. He has been previously documented on 4 recordings which have received critical acclaim.

Paul's 2001 schedule includes a Canadian Tour in April (sponsored by Canada Council for the Arts). Paul has been invited to perform at the International Association of Jazz Educators Conference in Jan 2001, an industry convention which attracts over 8000 professionals. He is also scheduled for several US festivals. For further information visit www.paultobey.com

A self-proclaimed "spiritual guy,” 38-year-old Canadian jazz pianist Paul Tobey has let his instincts guide him toward growing success and his Arkadia debut, Street Culture, introduces his flourishing, rich musical gifts to a worldwide audience.

"I'm not a traditionalist at all," says Tobey. "I'm a contemporary modern bebop player, although my style of piano playing is more rounded than that," Tobey says. Street Culture blends all of his best talents--splendid technique, stimulating spontaneity, compelling interplay and skillful writing--into a modern-edged session that draws influence from his inspirators, Chick Corea, Herbie Hancock, Kenny Barron, Bill Evans, Michael Brecker, and others.

Tobey's a dramatic player who "listens to everyone" but imitates no one. His interactions with his cohesive all-Canadian musician team, assembled for the first time in a short-day studio session in March 2000, are refreshingly breathtaking.

Tenor saxophonist Mike Murley, with five critically acclaimed recordings as leader, was chosen for this project because Tobey admires Murley's lyrical, melody-based style with its Wayne Shorter edge. Murley's a pacesetter who's worked with Kenny Wheeler, Randy Brecker, Bill Stewart and John Abercrombie.

Canadian-born drummer Terry Clarke's career flourished during his years in New York and his intense polyrhythmic artistry propels this session. Fortified by performances with The Toshiko Akiyoshi Jazz Orchestra, Jay Leonhart, Marvin Stamm, Bob Mintzer, Mark Murphy and others, Clarke's one of Canada's most renowned sidemen. He's been documented on more than 200 albums, including recordings by Jim Hall, Oscar Peterson, and the Boss Brass.

Tobey's worked longest with bassist Jim Vivian, who's been active on the Toronto scene since the early 1980s. Vivian has previously recorded with Mike Murley, among others, and has performed with John Abercrombie, Sonny Greenwich, Dave Liebman, and Kenny Wheeler, and is currently a Boss Brass member.

This engaging session is one of the best recent quartet dates I've been privileged to hear. Although Tobey's the youngest of his group and a dynamic player, he doesn't overplay or hog the limelight. At any tempo, his extraordinary skills percolate through, especially his lightening quick, right-hand that navigates pristine runs to make a sparkling ear-treats of the title tune, the mellifluous ballad "A Conversation with Ibach," and other tracks. Spurred by Clarke's flamboyant traps work, the brisk pace of "In My Own Time" allows Tobey to display his command of the keyboard. Perhaps the most equitable showcase is the spacious, odd-signature original, "Ko-gals," which gives Murley ample space for carrying the haunting melody head and creating well-articulate solos while tidily supported by Tobey, Vivian, and Clarke's ticking sticks.

Besides his keyboard craftings, Tobey is a brilliant composer whose benchmark originals are destined to become future standards. No two tunes sound alike. The featured compositions originated from fragments of ideas that came to Tobey in bursts while he was working on another tune. Completed during a concentrated two-week period, the eight tunes here speak volumes for Tobey's talents and serve as road maps for his highly responsive colleagues.