Last night, while watching a televised Yule log, I heard a version of "O Come, O Come, Emmanuel" played on the piano. My first thought was, "This is a well-played rendition and good accompaniment for the Yule log." My second thought was, "This version would also work in a PSA with a gravely serious announcer asking, 'Did you know that 85% of homes have undetected radon?'"
If that isn't a 2020 mindset, I'm not sure what would be. Here's hoping that 2021 is a much better year for the world.
Looking for music with that Christmas charm that isn't Christmas music? Try the various artists compilation, "Ringing Clear: The Art Of Handbell Ringing." From Felix Mendelssohn to Scott Joplin, these compositions bridge the gap between Christmas and the new year gracefully.
Kudos to the new dental hygienist. While singing along frequently with the office's streaming service during today's appointment, she had the courtesy to sing in tune. If that hadn't been the case, I would have needed to maintain a poker face to avoid grimacing during off-key renditions of "Save The Last Dance For Me" and "The Way You Look Tonight."
It would have been a stretch for me to claim that the instruments being used to scrape my teeth were making me wince in pain, so I appreciate not having to make that judgment call.
One of the catchiest cartoon themes I remember from childhood is "George Of The Jungle." I haven't seen the cartoon in decades, but I remember the theme song clearly. There almost isn't any need to watch the cartoon, as the theme spells out everything you need to know about the characters.
I've been trying to sleep, but the inner voices of my mind's soundtrack keep advising, "Watch out for that tree!" For one day, at least, I'm OK with that. It's sound advice, I'm sure.
...anyone wanting to hear "Carol Of The Bells" is advised to follow the St. Louis Symphony's lead and ask four percussionists to play it. The arrangement I heard four of their percussionists play is perhaps the best I've heard.
...if you play Eddie Dunstedter's version of "March Of The Three Kings" on an LP, know that if your cat is sitting on the record player at the time, it might startle her. She might want to know where the organ music is coming from, take it out on the record player, jump on it, and cause the needle to skip. She then might jump down from the record player, causing the needle to skip again. She then might set off in an attempt to find those three kings and admonish them for disturbing her...
...At least, that's my experience.
Every year since receiving it as a gift from my parents in 1982, I've read stories from the Jack Newcombe-edited anthology, A Christmas Treasury. One essay that hit home with me this year is George Plimpton's "The Christmas Bird Count." In it, rival groups of National Audubon Society birdwatchers are obsessed with spotting more birds--especially rare ones--than any other group.
I've never gone birdwatching, but when it comes to music, I know that feeling well. Say, have you heard that new Warren Wolf rendition of "Sleigh Ride?" Through an energetic vibraphone arrangement, he conveys the thrill of coasting down snow-packed trails. If you're looking for a warm, comforting arrangement of a familiar carol, try Ken and Leslie Bier's guitar and flute rendition of "It Came Upon The Midnight Clear." Searching for an imaginative interpretation of a more lighthearted Christmas favorite? Then, check out Ensemble Galilei's take on "Frosty The Snowman." Initially, it's fit for a conga line before giving way to a Celtic tap dance.
Oh! And then, there's that original 45 mono mix of "Light Of The Stable" by Emmylou Harris. There are about 20 extra seconds in which the guitar doubles back briefly, and backup singers Linda Ronstadt, Dolly Parton, and Neil Young contribute an extra round of Hallelujahs.
Reading what I just wrote there, I think I should take up birdwatching. I suspect I'd enjoy trying to find a marbled godwit.
Since the first time I heard it in on "A Prairie Home Companion" in 2016, I look forward to watching video of Chris Thile, Aoife O'Donovan, Yo-Yo Ma, Edgar Meyer, and Alex Hargreaves performing "All Through The Night." I can think of few vocal/instrumental collaborations that move me to such an extent. The tenderness with which Thile and O'Donovan sing "...Night..." stops me in my tracks every time and makes Christmas feel incomplete without it.
The last time I checked on YouTube, however, 11 people had given their performance a thumbs down. That floors me. I know music is subjective, and there's no law that forces people to account for their taste. Still, I wonder: Were those 11 listeners hoping for an ocarina solo instead? Does any piece of music gentler than Black Sabbath's "War Pigs" strike them as too sentimental? Or, are they just contrarian for the sake of being contrarian?
On Christmas Eve, especially in this difficult, divisive year, it feels wrong to have any other outlook than "Live and let live." So, Merry Christmas to everyone who celebrates it--even those contrarian listeners...I suppose.
Holiday highlights heard today:
KDHX 88.1 FM
WSIE 88.7 FM
K297BI 107.3 FM, a.k.a. WFUN-HD2
Six Christmas gems heard today:
KDHX 88.1 FM
WSIE 88.7 FM
KEZK 102.5 FM
For some Mardi Gras-style festivity this Christmas, check out "Joy To The World," as performed by Boots Randolph with Tommy Newsom's Jazztet. Prior to hearing it, I'd never imagined "Joy To The World" as a tribute to New Orleans, but this Randolph-Newsom rendition is fit for a parade on Bourbon Street.
If you're not self-conscious about walking with a bounce in your step, you might enjoy the unusual rhythm in which The Tommy Eyre Trio plays "Ding Dong Merrily On High." I'm not used to hearing piano and vibes play this carol in this style, but it's a great interpretation, fit for a stroll outside or a shopping mall visit.
What Christmas music hits the spot when you've felt sluggish and under the weather for four days? My answer: the "Winter Dreams" CD by R. Carlos Nakai & William Eaton. Released in 1990, the blend of flute, lyre, and guitars transports the listener to the desert southwest for expansive, atmospheric renditions of "I Saw Three Ships," "The First Noel," "Silent Night," and other standards.
While hearing me play it in the '90s, my father said that it sounds like "Dances With Wolves." It does. Even my cat, Collette, was transfixed by the peaceful instrumentation earlier tonight. Her kneading of me was gentler, and she sat still, with her ears perked up, for an unusually long time.
If you've read this blog for any length of time, you've probably gleaned that I like most Christmas music. There are, however, a few Christmas songs that do nothing for me. I've been pleasantly surprised this year not to have heard Elmo & Patsy's "Grandma Got Run Over By A Reindeer" on any radio station or in any store thus far.
Thank you to the powers that be for that display of mercy upon me.
Credit to my brother for making me aware of this medley: I'm impressed that Mindy Gledhill alternates between two Christmas carols that aren't the most obvious fit. Her "Patapan/O Come, O Come, Emmanuel" medley has captured my attention this year for its ingenuity. She sings both carols with equal conviction, and the timbre of her voice brings to mind a blend of Suzanne Vega, Petra Haden, and Shawn Colvin.
I thought I'd heard every Christmas medley by now, but this is a pairing of carols I would not have imagined.
I don't know how I missed knowing of its existence until this month, but hearing Steeleye Span and Maddy Prior sing "The Boar's Head Carol" has left an indelible impression. It's worth hearing for the powerful a cappella intro alone. Apparently, it was recorded in a room with great acoustics, as the ensemble's voices seem to ping off of the walls and demand that your ears take notice.
In a version that doesn't quite work, the carol's lyrics about the boar's head dish might sound like they're asking to be parodied. This rendition, however, gives them legitimacy.
Ten noteworthy Yuletide selections heard this morning:
KOSI (Denver, CO)
KWMU-3 (St. Louis, MO)
WXPN-2 (Philadelphia, PA)
After listening to it again for the first time in several years, I realize I haven't given Dave Brubeck's "'Homecoming' Jingle Bells" its due. It's an intriguing piano arrangement, in which one hand starts off playing a consistent rhythm, suggesting falling snow; meanwhile, the other hand plays the familiar "Jingle Bells" melody. Forty-eight seconds in, Brubeck goes into partial Vince Guaraldi mode briefly and then transitions seamlessly into a ragtime-at-a-saloon arrangement. It's an unusual blend of influences that deserves more radio airplay.
Each year, I write about my experience calling a Dial-A-Carol service. In past years, people could call in and request any carol from a live singer or singers. This year, to keep carolers from being exposed to the coronavirus, callers can request one of nine secular Christmas tunes and hear a prerecorded version of non-professional singers performing it.
I'm glad I chose "Winter Wonderland." The vocal harmonies were sincere and peaked, in my opinion, with the lyric, "We'll say, 'No, man." Although I miss the spontaneity of previous years, I understand the necessity for the altered format. I would never begrudge anyone for wanting to stay healthy and safe, and the recorded "Winter Wonderland" contained a surprising bonus. The ukulele accompaniment added an unusual but appropriate layer to the tune. If the carolers had been live, I doubt that a ukulele player would have been standing by to inject such nuance.
I hope the carolers and ukulele player are pleased with their rendition of a tune that still sounds fresh after Christmas and that other callers enjoy their rendition as much as I did.
One night close to Christmas in the mid '90s, I stopped by Streetside Records. I was surprised to see a bin offering Fred Waring And His Pennsylvanians Christmas LPs.
Although I hadn't gone in planning to buy such an album, I purchased one. It was only a dollar, and it was worth it to hear the good cheer with which that ensemble sings "A-Caroling We Go."
If you're looking to prolong the warm Yuletide glow that "Here We Come A-Wassailing" typically provides, there's a segue for you.
This afternoon, I listened to Dar Williams sing "What Child Is This?" for the first time in a while and was reminded how reverential and accessible her version is.
Without meaning to, my cat, Collette, undercut some of the reverence by attempting to bite my foot, getting a claw caught in my sock, and being dragged around inadvertently as I tried to unhook her claw from the sock. Who knew that a thoughtfully sung version of "What Child Is This?" would bring out my cat's feisty, combative side?
Not just any vocalist could pull off this embellishment and have it sound natural. At one point in "Oh, Come, All Ye Faithful," Lou Rawls sings, "Oh, come on, all ye faithful." That one added word, the way Rawls sings it, adds fervency to the carol's request that people gather and worship the Christ child. Except for Ray Charles, I can't imagine any other artist phrasing the request that way without sounding awkward.
Not just any musician can incorporate "Mexican Hat Dance" into a version of "Let It Snow, Let It Snow, Let It Snow" and make it sound natural. Guitarist Joe Pass does, however, late into his rendition, and somehow, it flows.
Although this has not been a good year for the world, numerous songs have offered appropriate recognition of this, comfort, or escapism. Here are 25 of my favorite tunes from 2020:
25. Domino-Nicole Atkins (Blondie-like vocals but breathier over a haunting, sinister groove.)
24. Simple Math-Kathleen Edwards (This track's endearing lyrics are a tribute to the importance of lifelong friends.)
23. Power UP!-Blair Bryant (This bass-anchored track is ideal for driving and adds bite to a smooth jazz station's playlist.)
22. In The Rain-Ashleigh Smith featuring Chantae Cann (Need a dose of positivity?)
21. Beautifully Out Of Place-Sierra Hull (A celebration of not fitting the mold. Also recommended: "Middle Of The Woods," which could segue with Nickel Creek's "Reasons Why.")
20. Courage-Lianne La Havas (La Havas's intimate, sincere vocals fit her lyrics perfectly.)
19. Devil May Care-Kandace Springs featuring Christian McBride (A swingin' vocals-and-bass cover of one of Bob Dorough's best songs.)
18. Dying To Believe-The Beths (This infectious, guitar-laden April release from vocalist Elizabeth Stokes and company segues well with the band's own "Happy Unhappy." Also recommended: the tune's video in which the band helpfully shows how to write a song.)
17. Tijuana Taxi-Brass Attack BBZ (A faithful rendering of a breezy Herb Alpert & The Tijuana Brass tune.)
16. Vibin' In Time-Alex Parchment featuring Phillip Doc Martin (Released in April, this upbeat trumpet melody with strong bass underscoring is one of 2020's smooth jazz standouts.)
15. Whatever You Want-Crowded House (A catchy, direct admonition to sheeple; admittedly, with such stellar gems as "Weather With You," "Walking On The Spot," "Distant Sun," "Tall Trees," and "How Will You Go" in the band's catalog, my expectations of this group are reflexively stratospheric.)
14. Song For A Rainy Morning-Tommy Emmanuel (An appropriately titled midtempo, contemplative guitar piece.)
13. Till Your Luck Runs Out-The Overtures (This tune doesn't break any new ground, but that's not a criticism. It feels like any number of mid '60s pop tunes. You've heard lyrics like these and jangly guitar melodies like these hundreds of times, at least. That familiarity doesn't detract from the tune's pleasant, welcoming vibe or keep it from being one of 2020's catchier melodies.)
12. Simmer-Hayley Williams (If the rage about which Veruca Salt sings on "Seether" or Alice Merton sings on "Lash Out" entices you, "Simmer" will likely draw you in. Its gripping intensity keeps me coming back.)
11. Leaning On You-Haim (The guitar sound brings Lindsey Buckingham to mind. The Haim sisters have an appealing acoustic, matter-of-fact approach to their lyrics and instrumentation here. This melody reminds me of Harper Simon's "Wishes And Stars" and Thao & The Get Down Stay Down's "Kindness Be Conceived.")
10. The Trappings-Yo-Yo Ma, Stuart Duncan, Edgar Meyer, Chris Thile & Aoife O'Donovan (I wish Thile's show, "Live From Here," was still around. It would be a natural showcase for this blend of top flight vocalists and instrumentalists.)
9. Johnny-Sarah Jarosz (Jarosz writes and sings compellingly about a less than ideal, stuck-in-one-place scenario. "Johnny" also sports one of this year's stronger choruses.)
8. Nos Voamos-Gato Blanco (This spacey, uptempo June release blends chill, international, and smooth jazz genres, with appealing guitar, keyboard, and vocal punctuation.)
7. For The First Time-Best Coast (Strong lyrics for when you've been through one or more arduous challenges and emerged with your sanity intact and a better sense of self.)
6. This Life-Kendra Morris (If I didn't know otherwise, I would have sworn this was an early '70s R&B track.)
5. We Here-Joey Alexander (Warm interplay between Alexander's piano playing and Anne Drummond's free-as-a-bird flute stylings; this is one of 2020's best jazz tracks.)
4. The Cure-Watkins Family Hour (Sean and Sara Watkins provide some of my favorite vocals of 2020 on this tune about a fresh start. This is no surprise, coming from two of Nickel Creek's three excellent leaders. In my opinion, this is the strongest track on their "brother sister" CD.)
3. Time After Time-Bill Baird (A faster tempo, a calliope feel in the instrumentation, and modest, somewhat buried vocals make up this fun, infectious take on Cyndi Lauper's 1984 hit. If "Time After Time"'s lyrics move you, but you wish to take the edge off of them, this October release is your cover. My ranking of it might surprise some readers, but I've listened to it often over the past two months. It injects some sorely needed whimsy into 2020...)
2. Fragile-Marcus Eaton (...Alas, I can't ignore the bleak reality of 2020. In August, I wrote about my struggle to rank this tune. It lands in this exalted spot because Eaton's cover of Sting's "Fragile" encapsulates this year. The song's range is ideal for Eaton's voice, and he sings it with gripping solemnity. I remember the chills I felt hearing Sting's version shortly after the September 11, 2001 atrocities. Those chills returned while listening to Eaton's rendition. The lyrics about how fragile all of us are and how life can change instantly for the worse are disturbingly apropos for this pandemic...)
1. Nazareth-The Staves (...On a related note, we all age, and our lives are fleeting. However, filtered through such moving vocal harmonies, those inevitable outcomes don't sound so ominous. This is one of 2020's best-sung tunes. For its honesty and sensitivity, it warrants this year's top ranking.)
I know the local radio station playing all Christmas music must have done research. I know they're just trying to play Christmas songs the audience wants to hear. I know that's how they get their best ratings. That said...
...What have I done to deserve hearing two different versions of "Santa Baby" so frequently on the same station since last month? I like most Christmas music--but not "Santa Baby," in any incarnation. I can't be the only listener who wishes the woman wanting the sable would just plead her case to Santa directly and not sing about it for the rest of us. It would be even better if she'd adopt a conscience and not ask for animal fur as a gift in the first place.
Another entry in the "Orchestra directors have quirky personalities" canon: My high school orchestra director, Mr. D., was displeased with the way two violinists had just played. Instead of asking them what went wrong or telling them they needed to practice more, however, he asked, "When did you guys have your lobotomies?" A cellist across the room protested, "You can't ask them that!"
Mr. D. didn't respond to her protest. Not surprisingly, the violinists didn't answer Mr. D.'s question, either.
Eight of the better tunes I've heard today:
KDHX 88.1 FM
WSIE 88.7 FM
K297BI 107.3 FM, a.k.a. WFUN-HD2
Once, at a previous job, a sports photographer returned to the office a little later than expected after taking pictures at a game.
"Sorry I'm a little late getting back," he announced to no one in particular. "I was busy doing the mummers' dance."
On second thought, I don't think he was actually late. I think he was looking for a way to get some humor from Loreena McKennitt's "The Mummers' Dance," a surprise hit in 1998. New age vocalists who sing with epic grandeur don't make the pop charts often. McKennitt did, however, and deservedly so, in retrospect.
For nearly 40 years, I've looked forward to hearing the Campbell Radio Playhouse production of "A Christmas Carol," starring Lionel Barrymore. I make sure to listen to it on Christmas Eve or Christmas Day every year. While hearing it on Christmas Eve in 1984, I noticed there was still time after the show and commercials ended. "How will KMOX fill the time until the top-of-the-hour news?" I wondered. I was pleased with the station's decision and said to no one, "Oh, good. They're playing Percy Faith and his orchestra's version of 'Joy To The World.' I've got that on an LP, and it's the best, most triumphant-sounding version of it I've heard."
Admittedly, that was an unusual reaction for a 14-year-old. At age 50, however, I still think it's the best rendition--and I've heard many more versions of "Joy To The World" over the past 36 years.
At least 10 years ago, during a Christmas sale at Webster Records, a clerk asked if I wanted any of the CDs I was buying gift wrapped. I declined politely, even though I planned to give at least one of them as gifts.
I probably should have accepted her offer. I've known from an early age that almost everyone wraps presents more symmetrically than I do. In fact, I suspect that my frustration over not being geometrically inclined with gift wrapping caused me to startle some sheep once.
Although I don't think any store should require its workers to wrap customers' gifts, I always appreciate the courtesy of the offer.
While listening to John Fahey's version of "The First Noel" tonight, I realized there's a quality it shares with Pete Seeger's rendition. Both interpretations have an endearing deliberateness to them; if a student is starting out on guitar, Fahey's version would be ideal to learn. Fahey's playing and Seeger's singing stick almost resolutely to the text. The asterisk that "almost" implies, however, makes all the difference. In both versions, there's just enough of a freewheeling quality to put each artist's stamp on the carol.
Both artists interpret "The First Noel" with feeling--restrained but sincere feeling.