An overlooked cover tune CXXXVIII

It's a measure of how moving Sandy Denny's lyrics are that she recorded "Who Knows Where The Time Goes?" with Strawbs, with  Fairport Convention, and as a solo artist.  Her thoughtful musings about the difficulty of watching others depart from your life as you stay put are appropriate for the last day of any year, I think.

It's not surprising, then, that so many artists have covered the song.  The Kennedys conveyed the song's sensitivity compellingly during their December 17 livestream.  Maura Kennedy's vocal range is perfect for capturing how wistful the passage of time sometimes is, and Pete Kennedy and she underscore the melody gracefully on their guitars.

I'm glad to have heard their heartfelt rendition before the end of 2023.

An overlooked (Christmas) cover tune CXXXVII

If you like how The Ventures play "Sleigh Ride," you'll likely enjoy how The Kennedys performed it on their December 17 livestream.  Pete and Maura Kennedy stay faithful to that group's contemporary-for-1965, electric guitar-dominated instrumental arrangement and play it just as compellingly on acoustic guitars.

A function of age XIX

Yesterday, I thought, "I wonder what became of (a St. Louis radio personality.)"  I soon learned that he retired from broadcasting a few months ago.

"Retired?" I thought for a moment.  "But he started in radio back in...well, 1971."

Even though I know that we all age, it's easy to think that the announcers you've heard for decades will always be on the air somewhere.

Then, it dawns on you that won't be the case--and, after 52 years of work, one deserves a well-earned retirement.

To listen or not?

Today, I unearthed two compilation tapes I made, titled "Phillips & Wall '85" and "Phillips & Wall '86."  During my 1985 and '86 Christmas breaks from school, I went through all of the Guy Phillips & Mike Wall air check tapes I made from their KYKY morning shows and compiled what I thought were their best comedy bits, song intros, and banter with their newscasters, weatherman, and listeners from those years.

I'm in one of the highlights from 1986, when Guy and Mike aired one of my calls about a comedy suggestion and turned it into a bit.

Now, the question is, will I listen to that bit--and these tapes?

Probably--once I've braced myself to be reminded of what I sounded like at age fifteen.

Hmmm...That probably won't be today, then.

A function of age XVIII

A radio show co-host asked today, "Who doesn't remember Crystal Pepsi?"

I thought, "You must be in my age bracket.  I remember drinking Crystal Pepsi in the early '90s and thinking it was just as good as regular Pepsi."

That wasn't the public's general perception, however.  Given that conventional Pepsi is a dark soda, I understand how many customers would find a clear version off-putting.  At least one nearby grocery store sells purple burgers.  While I admire the manufacturer's commitment to a meatless product, burgers shouldn't be purple.

Clear sodas are common enough that Crystal Pepsi doesn't turn me off.  I draw the line at a purple burger, however.

No need for self-imposed rules

Just for a moment yesterday, I had a dilemma.  I thought, "Should I play this version of 'I Saw Three Ships?'  After all, the lyrics are about seeing ships on Christmas morning, and it's now early afternoon."

Then, I reasoned, "I've written about how much I welcome hearing Christmas music throughout the year. Lyrics don't dictate when I can play music for my own enjoyment.  Yes, hearing in 'Silver Bells' that it will soon be Christmas Day makes less sense when it already is Christmas Day, but a good melody is a good melody--and suitable for any day of the year, if you want to hear it."

I played "I Saw Three Ships."  After all, I wanted to hear it.  Besides, the lyrics are in the past tense, so why not sing in the afternoon about the ships that sailed in that morning?

A tough sell IV

Based on her expression this morning, some observers might think my brother's cat, Lily, wasn't crazy about hearing Vitamin String Quartet's version of "Christmas Wrapping" on SiriusXM:

I prefer to believe she was showing her poker face and keeping an open mind.  After all, it's a well-played instrumental cover of the well-worn tune by The Waitresses.

FM dial scan highlights CCXXX (Christmas edition)

Christmas Eve standouts:

KDHX 88.1 FM

• The Darkness Is Falling/Away In A Manger-Kim Robertson/Virginia Kron (It was pleasant to hear a harpist and cellist play two different arrangements of "Away In A Manger.")
• God Rest Ye Merry, Gentlemen-Loreena McKennitt (McKennitt's epic, sweeping vocals and the Celtic instrumentation bring out the underlying turbulence of this carol's minor key better than almost any other version I've heard.)
• The First Noel-Nossa Bossa Nova (Relaxed Portuguese vocals against an instrumental backdrop that wouldn't be out of place on a smooth jazz station.  I'm pleased that despite the turbulence at KDHX, the long-running program, "Folks Of The World," has survived and thrived on Sundays.)

WSIE 88.7 FM

• O Tannenbaum-Gary Burton (Burton's vibraphone playing gives the tune a cool strut it doesn't usually have.  This is perfect mall walking/window shopping music.)
• I'll Be Home For Christmas-Chris Botti (The unusual backing for this version made me think Don Henley was about to sing "The Last Worthless Evening," but it suits this carol better than I anticipated.  Botti's tone on trumpet is smooth, as usual.) 
• Winter Wonderland-Monday Off with Bucky Pizzarelli (A catchy rhythm section supports uptempo, Manhattan Transfer-style vocals.)
  

WFUN 96.3 FM

• Joy To The World-Praze 1 (Neither the vocalists nor the instrumentalists skimp on the joy here.  This might be the fastest version of this carol I've ever heard.)
• O Holy Night-Nat King Cole (Cole's version of "The Christmas Song" still gets massive airplay today.  As deserved as that is, I'd contend that his richly sung renditions of "Away In A Manger" and "O Holy Night" deserve equal time.)
  

K297BI 107.3 FM, a.k.a. WFUN-HD2

• Hark! The Herald Angels Sing-Philadelphia Brass Ensemble (The short, mighty prelude sets an appropriate tone for this regal-sounding rendition.)
• Rudolph The Red-Nosed Reindeer-Hampton String Quartet (Not just any ensemble can make a children's Christmas song sound like dinner music that was composed in the late 1700s.)
  
• Christmas Is Coming-Vince Guaraldi Trio (I could never hear these infectious alternating piano rhythms too often.  Kudos to the station for playing this less than 40 minutes after "Skating," another highlight from "A Charlie Brown Christmas.")

Persistent (Christmas) earworm alert CCCXIV

For several days, an unexpected version of "We Three Kings" has cemented itself in my mind.  The first time I heard The Beach Boys sing that carol, I was surprised to hear a group known mainly for its uptempo hits approach it at such an unhurried pace.

The more I think about it, though, the more sense it makes.  Most versions emphasize the royalty of the kings with forceful, mighty vocals or instrumentation.  The Beach Boys, however, emphasize the trudging nature of the journey to see the Christ child.

That's an unusual but no less valid interpretation.

When patience eventually pays off

You're listening to a Christmas radio air check, having no idea what Classical arrangements of Christmas carols you'll hear.  Just as your cat settles in on you after five minutes of kneading, an opera selection begins.  You respect opera, but you don't enjoy it enough to seek it out.  Do you get up from the sofa, potentially disturbing your cat, and fast forward to another carol, or do you let five minutes of opera play out?

It won't surprise regular readers of this blog to know that I let the carol play out.  I reasoned that it was only five minutes, and I didn't want to upset my cat after she'd gone to such trouble to make herself comfortable.

I made the right call.  Soon enough, the opera ended, and a more palatable choral version of "Patapan" began--as Collette the cat slumbered blissfully.

The allure of shuffle mode XLIII

What segues with the warmest easy listening instrumental version of "Silent Night" I've ever heard?  Per the random chance of iTunes shuffle mode, "Still, Still, Still."  More specifically, Hagood Hardy's rendition, titled "Silent Night, Holy Night," pairs well with Central Presbyterian Church Chancel Choir's version of "Still, Still, Still," included on a Holiday Brass With Susan Slaughter CD.

One delicate Christmas carol deserves another, as iTunes reminded me Tuesday.

Context? CCXCIV

This afternoon, a radio show co-host said he volunteers for a cat rescue organization.  He said he'd attend the group's holiday party, which would include "carols, cocoa, and cats."

Good for him.  That's a positive hat trick at any time of the year.

Context? CCXCIII

I wonder now why I didn't just switch over to WSIE or KEZK to find out what Christmas carol might have been playing.

Instead, I stayed tuned in this morning for a listener's call on another station, in which he insisted--correctly--that most people mispronounce Robinson Crusoe's last name as Carusoe.

After the caller's initial one-sentence summary, I should have just thought, "He's right," and switched to another station or turned the radio off.  Inexplicably, I waited until the caller and host burned the caller's point into the ground.

I'm not sure why I thought the rules of hospitality applied when listening to the radio during a drive.  Perhaps I have a tad too much Christmas good will.

An overlooked (Christmas) cover tune CXXXVI

As I listened to Bobby Timmons and his jazz combo play "Santa Claus Is Coming To Town," I recalled how I first reacted when hearing Dave Brubeck's version.  In both cases, I thought, "This is one cool, self-assured Santa who would deliver gifts with this accompaniment."

Check out Timmons on piano, with backing on bass and drums, as his ensemble plays its expansive rendition from 1964.  The tune fades out effectively with sleigh bells, letting the listener imagine Santa sauntering off to deliver his next batch of presents.

Smart directorial discretion

After watching a well-acted, well-directed Bethany Lutheran College production of "A Christmas Carol" from 2014, I was pleased by how effectively the performance incorporated music.  In addition to the instrumental accompaniment during the dance sequence at Mr. Fezziwig's Christmas party, three moments in which Ebenezer Scrooge sings portions of Christmas carols work especially well.  All of them occur after the three spirits have haunted him:

• Soon after realizing that he's back in his bedroom and has a chance to change his miserly ways, Scrooge sputters around, singing "Deck The Halls" joyfully, earning a laugh from the audience.
• When two child carolers Scrooge had previously chased away start singing "God Rest Ye Merry Gentlemen," Scrooge joins in, singing louder than both of them.
• Scrooge earns another laugh from the audience when, on December 26, his clerk, Bob Cratchit, hasn't arrived for work.  Scrooge, realizing he can trick Cratchit into thinking he's fired before apologizing for his difficult demeanor and raising Cratchit's salary, sings, "Joy to the world, for Bob is late."  That's an amusing directorial choice I've never seen in any other production.

You might think you've seen every spin actors and directors can put on "A Christmas Carol," but there are still clever musical touches that make this production unique.  I recommend seeking it out on YouTube.

An overlooked (Christmas) cover tune CXXXV

Piano embellishments are risky in new age arrangements.  Sometimes, the artist's liberties obscure a familiar melody excessively.  Other times, they show a refreshing vision an artist brings to a tune.  Fortunately, Jennifer Haines is in the latter camp on her version of "Un Flambeau, Jeannette, Isabelle (Bring A Torch, Jeannette, Isabella.)"

I could imagine Haines's instrumental being used in at least two different types of drama or soap opera scenes. It's easy for me to picture someone stopping at a church to collect his or her thoughts and ask for guidance during a difficult time or a mother staring out of the window, hoping her daughter will make it home safely after driving in treacherous weather.

You won't hear the carol's familiar melody immediately when starting at the beginning, but be patient.  It starts 32 seconds into the track.

A tough sell III

Based on her reaction last night, my brother's cat, Lily, still hasn't warmed up to hearing Jim Nabors sing "The Little Drummer Boy" on SiriusXM:

However, SiriusXM fared better with Lily later, when Mannheim Steamroller's version of "Silent Night" put her in a contemplative mood:

Favorite music of 2023

It's easy to slip into hyperbole when writing about the year's best music.  I'll attempt to avoid that here, though.  Was 2023 one of music's best years?  No, in my opinion.  Was it a good year for music, however?  Yes--because if you listen to enough music in multiple genres over the course of a year, it's always at least a good year for music.  Here are 25 of my favorite songs from this year:

25.  Walk Between Raindrops-Hailey Brinnel (I've always liked Donald Fagen's original jaunty version, so it's a pleasure to hear this cover with well-sung vocals and brassy backing.  This is approximately how Suzanne Vega might sound as a jazz singer.)

24.  Delirium-Whatitdo Archive Group (This track combines some of the best elements of Isaac Hayes's classic "Theme From 'Shaft'" and Povo's "The Art Of Blakey.")

23.  Almost True-Janet Evra & Randy Brecker (Evra pulls off sultry vocals effectively, and Brecker's trumpet playing adds a lot to the tune's mood.)

22.  St. Louis Blues-Cecilia Smith (As a native St. Louisan, I'm drawn to any well-played or well-sung version of this.  Smith captures the tune's spirit well on the vibraphone.)

21.  Eastern Ave-Flasher (This May release is a fun blend of power pop, dream pop, and grunge.  I also like the lyrical reverence for the past.)

20.  Watching The Credits-The Beths (I immediately liked the energy of "Happy Unhappy" and "Dying To Believe" when I first heard them.  I was pleased to hear a similar energy in this 2023 track--and I'm glad I'm not the only person who finds reviews inherently interesting to read, even when I don't end up seeing, hearing, or reading the material being reviewed.)

19.  Three Day Weekend-Kait Dunton (This steady, loping melody, released in September, shows that sometimes, a rhythm section is all you need.  Dunton anchors this trio on piano compellingly.)

18.  Lighthouse-Caroline Spence featuring Sarah Jarosz (Vocally, this May release reminds me somewhat of Shawn Colvin and Patty Griffin.)

17.  Slapjack-Angela Petrilli & The Players (This guitarist can shred.  I'll be curious to see where her career goes from here.)

16.  After Midnight-Phoenix featuring Clairo (An appealingly energetic rhythm.  It's good to hear Clairo soften the vocals on this alternate version.)

15.  Sad Dream-EchoWave (Power pop with a dark twist?  It's interesting hearing a blend of Beatles and ELO influences spun this way.  This is a well-constructed March release with memorable vocals and adroitly handled mood shifts.)

14.  Slow Down Girl-Jonny Benavidez featuring Cold Mink (When I first heard this tune in February, I would have sworn it was from the '60s.  With its Burt Bacharach influence, especially on trumpet, "Slow Down Girl" sounds so convincingly of another era--and would sound great after "The One Who Really Loves You" by Rosie & The Originals.)

13.  Late September Breeze-The Kennedys (While Autumn has always been my favorite season, it's bittersweet for some people.  Maura Kennedy captures that emotion convincingly, as usual, in her vocals.)

12.  This Is Why-Paramore (This title track from Paramore's February release establishes a commanding groove from the first note.  In addition to a tight, catchy chorus, the lyrics make a convincing case for being a recluse who mostly abstains from social media.  Also recommended: "Running Out Of Time.")

11.  Call It Like It Is-Bailen (A rhythmically and vocally strong track with a solid hook.  These are good, direct lyrics, as well, about trusting your intuition when something seems off.)

10.  Let It Ride-Norah Jones & Robert Glasper (A solid blend of styles on vocals and piano, as I'd expect from two such compelling artists.  I also recommend the Norah Jones & Bedouine collaboration, "When You're Gone;" it's another highlight from the "Norah Jones Is Playing Along" podcast.)

 9.  My Love Mine All Mine-Mitski (This September release's endearing lyrics remind listeners that even when you pass away, your heart still remains with your beloved one.)

 8.  When The Lights (Ancestrumental Mix)-Declaime (A throbbing, attention-getting instrumental with '70s influences.)

 7.  What You Wanna Hear-Beth Bombara (Yet another tune with a '70s throwback feel and another example of appealing vocals and guitar from this artist.  This track, released in August, is one of Bombara's most compelling tunes.  There's a general consistency in this St. Louis metro artist's music that warrants national attention.  Also recommended: "Everything I Wanted.")

 6.  Precious Time-Tommy Emmanuel featuring Sierra Hull (One of the more endearingly tuneful blends of guitar and mandolin I've heard.)

 5.  Wind The Clock-Alison Brown (After just one listen, I was convinced that this May release is one of 2023's best instrumentals.  If you don't think the banjo is a melodic instrument, perhaps this will change your mind.  I'm hard-pressed to name another banjo player besides Bela Fleck who can blend folk and smooth jazz elements so seamlessly.)

 4.  ASR-Meshell Ndegeocello featuring Jeff Parker (A compelling June release with a strong "Can't get back the time..." hook.  I hear elements of Earth, Wind & Fire and Young Disciples.)

 3.  Make It Right-The Everettes (I was already singing along with this one day in May, despite hearing it for the first time.  This April release sounds like a lost '60s Motown track that should have been a hit.)

 2.  Don't Bring Me Down-Juliana Hatfield (Hatfield pulled off multiple successful covers of Olivia Newton-John songs, and she succeeds again with this infectious cover of an ELO hit.  Her voice is ideal for sustaining the song's energy and conveying these lyrics about not being a killjoy.  I've listened to this repeatedly since first hearing it, so I can't justify ranking it any lower than this.)

 1.  I Can't Escape From You-Jeremy Pelt (For the first time since I started this blog, the year's top musical honors are going to a jazz instrumentalist.  Pelt plays trumpet with a tone reminiscent of Miles Davis, and the orchestral backing makes this strong ballad all the more sublime.  It wouldn't surprise me if couples have slow danced to this in their living rooms.  This melody radiates warmth and class, and I'm pleased to call it my favorite song of 2023.)

Context? CCXCII

For a moment, I was amused when Throckmorton Gildersleeve, the lead character in the radio program, "The Great Gildersleeve," balked at paying 7 to 10 dollars for a Christmas tree.

Then, after checking two sources, I saw that 7 to 10 dollars in 1948 was the equivalent of about $89 to $127 today.

No wonder Mr. Gildersleeve was so relieved when he learned that a kind benefactor had bought him a 10-dollar tree!

Completing an incomplete ensemble

Two years ago, I wrote about a missing French horn ornament.  Yesterday, I found it.  It's silly to admit that it had apparently slipped off the Christmas tree, and I had no memory of putting it in a box that I labelled, "Christmas ornaments."

I'm glad the tree's musical ensemble is complete once again, but honestly, who would have thought to look for the missing French horn trinket in a box marked "Christmas ornaments?"

Just about everyone, perhaps?  Well, yes.

An overlooked (Christmas) cover tune CXXXIV

To my ears, the best versions of "Winter Wonderland" conjure up images of a leisurely stroll or sound like a fun romp.  Aimee Mann succeeds by slowing down the tempo and singing at an unhurried pace, while Kate Rusby peps up the tune effectively by speeding up the tempo and jutting into a minor key briefly during the chorus.  Ray Charles gives the melody a swagger that other versions don't typically achieve, and Wynton Marsalis's trumpet rendition is upbeat and vibrant.

Until recently, however, I hadn't heard Francis Goya's 1978 rendition.  If you like hearing "Winter Wonderland" as a warm, leisurely guitar instrumental, you'll likely enjoy it.  Did KEZK play this during its easy listening years, I wonder?

Context? CCXCI

Yesterday, a radio talk show host mentioned a thoughtful letter he received recently...

"...and it was handwritten," he told the audience.  

Hearing that underscored the ubiquity of online and mostly typed forms of communication for me.  Writing updates on Christmas cards reminds me how unusual it is to pen an actual letter by hand these days.  I still believe, though, that there's something satisfying and heartwarming about reading heartfelt greetings in someone's handwriting.  The loops and slopes of one's letters and punctuation remind you of someone's personality in a way that typing doesn't.

That's especially appropriate during the holidays, I contend.

Context? CCXC

To this day, I wonder why a '90s print ad seeking radio DJs specified, "no (name of broadcasting school I attended) graduates."  Did that station's management think too many graduates of that school were unprepared for professional radio, or did they find their announcing styles too uniform or contrived?  I thought the students at that school could be divided roughly into thirds.  The top third of students clearly had sufficient talent to be on the air at a station in a large or medium market.  The middle third had glimmers of talent and with sufficient practice and guidance could have worked eventually in a small or medium market.  The bottom third, however, showed little or no talent and shouldn't have been admitted.

I wonder if the manager who placed the ad was concerned (s)he'd receive too many audition tapes from students in the bottom third of the school's talent pool.

An overlooked (Christmas) cover tune CXXXIII

Most versions I've heard of "Still, Still, Still" have been choral ones.  I realized this morning, however, that the carol is just as compelling instrumentally.  Check out the Steven Sharp Nelson rendition featuring Marshall McDonald, and you'll hear how elegantly the cello and piano mesh.

A caroler's challenge III

At first, the caroler I reached during my call to a dial-a-carol service this morning didn't know if she had "Away In A Manger" ready to sing.  Then, after pulling up the lyrics, I suspect she might not have been familiar with the melody, or it might not have been in her range.  That didn't stop at least one other caroler and her from talk-singing a verse while staying on the same note.

That's what it's about, when an unfamiliar or challenging carol request comes in--giving it the old college try.  Kudos to them for not just giving up and saying, "We don't know that carol."

Persistent (Christmas) earworm alert CCCXIII

This is a little disturbing.  For the past hour, I've had an earworm stuck in my mind that I don't think exists.  I'm imagining what Alvin & The Chipmunks would sound like covering "Masters In This Hall."

It's one way to make authority figures sound less intimidating, at least.

Persistent (Christmas) earworm alert CCCXII

Since yesterday afternoon, the Alvin & The Chipmunks version of "Frosty The Snowman" has been on my mind.  A radio talk show host I wouldn't have guessed would play it used it as bumper music yesterday.  This surprised me only slightly less than if I'd discovered an Alvin & The Chipmunks rendition of "O Sanctissima" exists.

Then again, I haven't searched for it yet.

FM dial scan highlights CCXXIX

Sunday and Monday highlights:

KDHX 88.1 FM

• There's A Lot Of Lonely People Tonight-Harry Chapin (Songs about longing and loneliness are sometimes too overwrought; that's why I've never cared much for Nilsson's "Without You."  Chapin's tone here is far more appealing.  Sidebar: Despite the turmoil at KDHX, I'm glad that "Songwriters Showcase" remains as strong as ever.)
• Keep Me In Your Heart-The Wailin' Jennys (The opening a cappella harmony drew me in.  This is a moving song for a painful parting.)

WSIE 88.7 FM

• Have Yourself A Merry Little Christmas-Dexter Gordon (A welcoming, expansive tenor sax-driven rendition.)
• O Tannenbaum-Ray Brown Trio (Geoff Keezer, Gregory Hutchinson, and Ray Brown mesh well on piano, drums, and bass in this forthright take.)

KWMU 90.7 FM

• Eraldi-Sylvain Luc (Uptempo and downcast can be a difficult combination to pull off, but this combo of guitar, bass, and percussion makes it work.)
• Raincheck-Duke Ellington & His Orchestra (Ellington maintains the tune's pep on piano while each lead instrumentalist solos impressively.)

KSHE 94.7 FM

• Ready-Ambrosia (Like many listeners, I tend to think mostly of this band's hit ballads.  This underplayed album track, however, reminds me that this group could rock out well with some strong guitar.  I could imagine Boston covering this.)
• (I've Been) Searchin' So Long-Chicago (I've always liked the way the darkness of the intro soon turns to light, offering the listener some hope.  This was one of the band's many strong '70s hits.)
  

An understandable Christmas music frenzy

My cat, Collette, scratched a book cover in time to a verse from the Leon Redbone & Dr. John version of "Frosty The Snowman" recently.  I'm not really angry, however.  Her sense of rhythm impresses me, and if I were a cat with claws, I might be moved to scratch a book cover, as well.

Any lingering exasperation I had dissipated when she reenacted last December's capture-the-Cat-Dancer-toy-and-attack-the-scratching-post session, while The Ramsey Lewis Trio's version of "Sleigh Ride" played.  Here's how that looked originally on December 3, 2022:

Once Collette realized there was no need to go undercover, she revealed her true identity:

Today marks four years since I adopted Collette, and I'm happy that she enjoys a well-played version of "Sleigh Ride" as much as I do.

The allure of shuffle mode XLII

The Up Next tab in iTunes lists the next 20 songs scheduled to play in shuffle mode.  It's a measure of how much I love Christmas that it's rare for 20 random selections to come up without at least one Christmas tune.

Barbara Dennerlein's version of "Sleigh Ride" just finished.  "In Dulci Jubilo," performed by Academy Of St. Martin In The Fields under Sir Neville Marriner, is starting.  Sandy Owen's "Once In Royal David's City/We've Been Awhile A-Wandering" medley is coming up later.  For that matter, so is a Robert Shaw Chamber Singers performance of "Fum, Fum, Fum."

I will always welcome this--even in July.  There's a reason why, years ago, someone I knew from college inscribed her Christmas mix tape to me, "From one Christmas crazy to another..."

SiriusXM highlights CXL (Christmas edition)

Nine noteworthy Christmas gems heard this morning:

Holiday Instrumentals

• Winter Wonderland-Joe Gransden (A classy, swingin' big band rendition.)
• Deck The Halls-Chet Atkins (A modest, pleasant guitar version.)

Holiday Pops

• The Holly And The Ivy from Three Nativity Carols-Stephen Paulus (An interesting downcast arrangement for choir, bassoon, and harp.)
• I Saw Three Ships-Chicago Symphony Orchestra Brass (This is one of the fastest versions of this carol I've ever heard.) 

Holiday Soul

• Silent Night-The Temptations (Although the group's earlier, shorter version is moving and reverential, their longer, six-minute rendition is even more impressive, showcasing the warmth of their tenor and baritone vocalists.  The band's closing wish, "Merrrrry Christmas--to. all. of. you," is a sincere, effective ending.)

Holiday Traditions 

• We Need A Little Christmas-Lisa Addeo (To my ears, The New Christy Minstrels are about the only group to record an appealing version of this.  However, by slowing down the tempo and making it a piano instrumental, Addeo plays one of the few other non-cloying renditions.)

Noel Incontournable

• Il Est Ne Le Divin Enfant-Paul Mauriat & His Orchestra (Most listeners have probably heard this swooshing, upbeat melody in one form or another without knowing its title.  The English translation is "The Divine Infant Is Born.")

Real Jazz Holiday

• Jingle Bells-Don Patterson/Pat Martino (One of the hipper instrumental versions, thanks to the Jimmy Smith-style organ playing underscoring the guitar.)
  

Sleep Christmas

• It Came Upon A Midnight Clear-Janice Faber (This new age-style piano arrangement would translate well to the harp.)

FM dial scan highlights CCXXVIII

Thursday morning standouts:

WSIE 88.7 FM

• Have Yourself A Merry Little Christmas-Oscar Peterson (My favorite Peterson Christmas track is his sublime take on "Away In A Manger," but this is a cool strut for piano, vibraphone, and guitar.)
• Christmas Time Is Here-Greg Adams And East Bay Soul (This familiar opening tune from "A Charlie Brown Christmas" works well as a trumpet-led jazz ballad.  Waiting until late in the song to bring in vocals is a good choice, as well.)

WFUN 96.3 FM

• Walking In Rhythm-Blackbyrds (Some of the sunniest vocals of the '70s, fit for days when everything is going right.) 
  

WARH 106.5 FM

• Eye Of The Tiger-Survivor (I don't seek this song out ordinarily, but I'll let it play out when I hear it. Decades later, it's still a lyrically effective way to prep for a tall task.  And, if I may so, Survivor's version is almost as good as that of Mrs. B.'s 1982 first quarter sixth grade chorus class. :-))

K297BI 107.3 FM, a.k.a. WFUN-HD2

• Claude Arrieu: Dectet For Winds (Atlanta Chamber Winds/Robert J. Ambrose, conductor) (As announcer Kathy Lawton Brown explained, Claude Arrieu is the pen name of French composer Louise-Marie Simon.  I enjoyed hearing 10 wind players handle whimsical and sorrowful passages with equal ease.)
• Clara Schumann: Piano Trio in G minor, Op. 17 (Sylvan Trio) (I was sold on this beautiful, lyrical piece for violin, cello, and piano right from the first movement's opening notes.)

Why climb the mountain?

The conventional answer is, "Because it was there."  My gut reaction to that answer, though, has always been, "That justifies nothing."

In that light, I enjoyed hearing Al Jarreau's "Closer To Your Love" come up in iTunes shuffle mode today.  In addition to its appealing vocals and energy, the tune's lyrics turn the cliches of saying you'll climb the highest mountain or swim the deepest ocean for someone inside out; in essence, the pursuer's point of view is, "Why can't I just say I'm interested in you?  Why is it necessary for me to exhaust myself to prove how I feel to you?"

That's some of the most refreshing candor I've heard in any song.

The allure of shuffle mode XLI

Want to enjoy the warmth of the Christmas season at an unhurried pace?  iTunes paired two Christmas tunes from my library smartly this morning: The Lettermen's version of "The Christmas Waltz" segued smoothly into Chanticleer's rendition of "It Came Upon A Midnight Clear."

If you're seeking soft, subtle, seasonal vocals, there's a duo for you.

Not an easy A for everyone

I hadn't asked another student to tell me this, but supposedly, at least one musician in our high school orchestra received a D+ semester grade.

I don't know if that was true, but if so, perhaps the player(s) would have been better off just listening to music instead. 

Context? CCLXXXIX

It amused me years ago when a top 40 radio station debuted its format by proclaiming it was "a station for all people."

"Not everyone will choose to listen," I thought, "but technically, that's true.  Anyone who wants to listen  can tune in.  That applies to all stations, though."

An overlooked (Christmas) cover tune CXXXII

I never imagined I'd recommend a cover of "The Chipmunk Song," but Lisa Addeo's rendering of it on the piano deserves a listen.  By slowing down the tempo and playing it seriously, Addeo turns it into a credible jazz instrumental.  I wouldn't have expected that from a novelty song about wanting a hula hoop and wishing Christmas would hurry up and get here, but Addeo's reworking of the tune makes me appreciate its melody more than I ever have.

Gratitude for a favorite cat II

One night last July, I heard a radio announcer say, "That's the thing about pets.  They're just here with us for about 15 or 16 years, and then..."

And then, after a pause, the station went to a commercial break.  I still wonder if the host left that sentence dangling on purpose or if she needed to regain her composure.  I wouldn't fault her either way.  I certainly wouldn't fault her today, as I recall my wonderful cat, Sylvia, whose life ended four years ago.

Online radio sampler highlights CCXXII (Thanksgiving/Thanksgiving marathon edition)

Thanksgiving morning highlights:

KBXR (Columbia, MO)

• Days Like This-Van Morrison (Typically, when people use this expression, it refers to a day when everything is going wrong.  These lyrics remind us that there are also days when everything goes right for us.)
• Daysleeper-R.E.M. (As someone who has worked primarily at night for 30 years, I relate to the need for sleeping during the day.  I'd argue that there's something to be said for the general peace, tranquility, and solitude of night work.  Sidebar: It's an annual treat to hear KBXR's B to X marathon.  The station commits to it, too, even when playing songs alphabetically results in an awkward situation of playing a tune by The Police, playing a song by another artist, and then playing another song by The Police, as happened yesterday.  You hear some welcome, unusual musical combinations and get a good overview of the station's playlist.  It's interesting to me, though, that the Siouxsie And The Banshees version of "Dear Prudence" made the marathon while the original Beatles version didn't.)

WPFW (Washington, D.C.)

• We Gather Together-The Barry Miles Trio (Trust a jazz combo of piano, bass, and drums to build on this familiar melody compellingly.)
• Count Your Blessings-Ashford & Simpson (A smart reminder for times when one is tempted to say, "That's it!  This (situation, friendship, or relationship) is ruined!")
  

WQXR (Newark, NJ)

• Richard Wagner: Tannhauser: Entry Of The Guests (Minnesota Orchestra/Stanislaw Skrowaczewski, conductor) (If I walked into Thanksgiving dinner with this accompaniment of strings, brass, and percussion, I'd feel compelled to have eloquent discourse on current events ready to recite.)

WWFM (Trenton, NJ) 

• We Gather Together (The Dale Warland Singers) (A tasteful rendition that starts subtly and crescendos effectively.)
• Valerie Coleman: Umoja (Unity) (Imani Winds) (There's a warmth and richness of tone that has made me enjoy everything I've heard by this ensemble.  Also recommended: "The Holly And The Ivy.")

That after-concert sigh of relief

In the spirit of Thanksgiving, thank you to everyone who ever complimented me after I played the bass in concert.  Even when you've practiced a piece or a tune until it's flawless and have tremendous confidence, performing in public presents an exciting but nerve-racking variable.  While no one should fault you if you break a string or suddenly feel nauseous, it's understandable to have a little fear of the unexpected.  Then, when the concert ends without any major miscues, it makes you appreciate praise from the audience all the more.

Context? CCLXXXVIII

A radio talk show host said on-air recently, "Thanksgiving is the most pleasant holiday."  I know what he means.  Thanksgiving isn't an overly commercial holiday, which makes it low-key right off the bat.  Also, as much as I love Christmas, Thanksgiving doesn't typically have a late day lull to it.  How could it, when you have the warm glow of remembering those and that for which you're thankful, and it's the prelude to the Christmas (or other December holidays) season?

Persistent earworm alert CCCXI

I enjoy the acting and clever writing on the show "Scrubs" as much as anyone.  However, I've started to tire of a ubiquitous commercial featuring two of its leads.  Breaking into song about having home Internet from T-Mobile--or any other provider, for that matter--just strikes me as an overreaction.

Now, if they were singing about having fed the cat, that would still grate on me after a while, but it would take longer.

FM dial scan highlights CCXXVII

Six of the better tunes I've heard today:

WSIE 88.7 FM

• Storm-Stanley Turrentine (I'm glad there's a place on the radio for this sprawling sax-centered tune that represents the best of 1971.)

KWMU 90.7 FM

• Peace Piece-Bill Evans (A warm piano piece I can imagine someone playing after everyone in the concert hall has gone home.  This is what playing for the love of it sounds like.)
• Walkin' And Swingin'-Marian McPartland (A strong version of a perfectly titled Mary Lou Williams piano instrumental.)

KSHE 94.7 FM

• See Me See You-Barclay James Harvest (I'm primed to like this combination of forthright guitar and vocal harmonies that aren't far removed from Crosby, Stills & Nash.)
• Everyday-James Taylor (I was surprised to hear KSHE mellow out by playing this softer, slower version of the Buddy Holly tune.)

KEZK 102.5 FM

• What Child Is This?-Jim Brickman (If you've heard other Brickman-played carols but not this one, you can probably approximate how he approaches this on the piano.  This rendition conveys an appropriate amount of reverence and solemnity.)

Online radio sampler highlights CCXXI

Six Saturday highlights:

KBCO (Boulder, CO)

• My Love Mine All Mine-Mitski (This September release's endearing lyrics remind listeners that even when you pass away, your heart still remains with your beloved one.)

KOSI (Denver, CO)

• Have Yourself A Merry Little Christmas-Sarah McLachlan (McLachlan's airy vocals fit the tune well.)
• Sleigh Ride-Lindsey Stirling (This release from last year features Classical-style violin with just enough of a modern beat.)

WDVX (Knoxville, TN)

• According To My Heart-Tish Hinojosa (Listeners who know this tune are most likely familiar with the Jim Reeves version.  I would argue that this version is even stronger, as it glides effortlessly around bent notes in the vocals and on guitar.  My default Hinojosa track for years has been her ballad, "Everything You Wish."  It's impressive to hear her conquer an Americana tune with equal ease.)
• A Hundred And Sixty Acres-Marty Robbins (One can view the lyrics as either boastful or fit for Thanksgiving.  Craig Ferguson and his puppets could have lip-synched this credibly when Ferguson hosted "The Late Late Show.")

WSNC (Winston-Salem, NC)

• You Send Me-Hiram Bullock featuring Al Jarreau (If you like the way Jarreau covered "Since I Fell For You" with Bob James and David Sanborn, you'll probably enjoy his similar, stretched out approach to this Sam Cooke tune, as well.  Bullock's guitar punctuates the rhythm forcefully.)
  

An overlooked (Christmas) cover tune CXXXI

Usually, when I think of "The First Noel (or Nowell)," I imagine a choir singing it reverentially at a conventional tempo.  Carolbeth True's combo, Two Times True, however, shows how well the carol works as a faster instrumental with a calypso flavor. 

Who says a piano-led rhythm section can't proclaim joyous news?

Persistent earworm alert CCCX

When my day is going reasonably well, the second movement of Benjamin Britten's "Simple Symphony" sometimes comes to mind.  The bouncy, memorable melody of Playful Pizzicato sustains a worry-free mood.  Also, because it's plucked instead of bowed, string players can't ham it up with too much vibrato.

Context? CCLXXXVII

This afternoon, a radio personality asked, "Is anyone else lamenting that kids don't use books (for school?)"

In a way, I am.  While so much information is available online, I think it's satisfying to have the tactile gratification of paging through a book and knowing that it's a reliable source.

Much like that talk show host, however, I might just be, as he put it, "an old man yelling at clouds."

An overlooked (Christmas) cover tune CXXX

By its nature, "What Child Is This?" requires a certain solemnity.  With its minor key melody, it can't help but feel downcast.  That doesn't mean, however, that it can't be sung or played with an undercurrent of optimism.  Ronny Smith pulls this off in his jazz guitar rendition.  In a tempo that's neither too fast nor too slow, Smith plays the carol in a mellow, melancholy style, similar to Kenny Burrell.

This reverential but less stately version of "What Child Is This?" stays true to the carol's intent without sounding overly grim.  Smooth jazz listeners will likely agree that this is an ideal middle ground.

Context? CCLXXXVI

In its on-air ads, a radio station seeking salespeople in the '90s claimed that "earning potential is really up to you."

Well...yes and no.

If you're persistent, you might earn more of a commission than other salespeople.  Effort, however, doesn't always translate into results.  If advertisers can't afford to buy time on your station, no amount of persuasiveness will enable them to pay for commercials.

Proper class, proper classroom

I was pleased to read recently that my old elementary school has a new vocal music classroom.  I'm decades removed from being a grade school student, and I have no kids in school, but I think that any subject that's important enough to teach deserves its own classroom.  A spacious room in which classes can sing and learn music theory should be more inspiring to students and teachers than a supply cart that a music teacher transports from room to room.

The treble clef on the new classroom floor shows that the room is a dedicated space for music-making--and that's the right message to convey.

A less-than-great business III

About 25 years ago, the radio was on at work, and I remarked, "Oh, (so-and-so) is the overnight DJ now?  He used to be program director at (another station.)"

A taken aback co-worker asked, "He used to be program director, and now, he's an overnight DJ?"

"Radio's like that," I responded.

A tough sell II

While The Beach Boys aren't among the groups to which I listen most as Christmas approaches, I've always liked "The Man With All The Toys."  The a cappella refrain grounds the song compellingly, while the rest of the tune has a fun, uptempo feel.  Also, at just one minute and 35 seconds, the song doesn't wear out its welcome.  I made this case to my brother's cat, Lily, last night, but I don't think she agreed with me:

It's possible, however, that Lily was having a delayed reaction to last year's Christmas tradition starting up again.  Earlier last night, she'd heard Jim Nabors sing "The Little Drummer Boy" on SiriusXM.

Context? CCLXXXV

I'm paraphrasing a little, but here's the gist of a public service announcement I heard today:

Pilot: Attention, passengers.  This is your captain speaking.  Wait.  Here's a video of my cat...

Announcer: Imagine if airline pilots had the same level of confidence you have when texting while driving.  Sounds crazy, doesn't it?

It absolutely sounds crazy.  That Pennsylvania radio station should air that PSA every hour, as far as I'm concerned.  So should all other stations.

FM dial scan highlights CCXXVI

Five Wednesday afternoon highlights:

KDHX 88.1 FM

• Movin' It On-Odetta (A strong reminder to stand up and be counted.  Odetta's low-pitched vocals really sell this lyrical illustration of the expression, "Where there's a will, there's a way.")

WSIE 88.7 FM 

• All Or Nothing At All-Al Jarreau (If you like the bounce of Jarreau's "Tell Me What I Gotta Do," this will likely appeal to you, as well.)
• Dancin' Shoes-Paula Atherton (A brisk, goes-down-easy smooth jazz sax melody, released last month.)

KCLC 89.1 FM

• Good-Better Than Ezra (This 1995 hit still perks me up whenever I hear it.  "Sittin' around the house" sounds all the more appealing when it's this tuneful.  Also recommended: "Southern Girl," an overlooked track from the same album.)

KEZK 102.5 FM

• Caroling, Caroling-Nat King Cole (And so it begins--all Christmas music on KEZK.  Even today, when it's 81 degrees with considerable Fall foliage on display, Cole's rich, welcoming voice makes me want to ring in the Yuletide season.)
  

Context? CCLXXXIV

During a dial scan a few days ago, I heard a radio announcer say, "This conference features two great guests--and me."

I don't know if he was downplaying his moderator abilities or if he felt like the odd one out on a panel.  Perhaps he contributed as much as the guests.  Even so, it would have been off-putting to hear him refer to himself as "your excellent as always host" or "your most knowledgeable expert of all."

Sometimes, it's advisable to undersell--within reason.

The spirit of which season?

What's this?  KEZK isn't playing all Christmas music yet?  Why, Christmas is just a mere, um, seven weeks away.  Outside my window, I can see the seasonal indicators of, well, colorful leaves on trees.  However, today's high temperature is predicted to be a Christmas-like, uh, 79 degrees.  At the grocery store yesterday, a beverage commonly associated with Christmas had its own display.  Well, not really.  It was apple cider, not egg nog.

As much as I love most Christmas music, it's still firmly Autumn.  Forty years ago, it was bold and unusual of KCFM 97.1 FM to start playing continuous Christmas music on December 1.  Today, if at least one station isn't playing all Christmas music by mid November, it's surprising.

The Christmas music will start any day now, I'm sure.  Until then, I'd like to savor what remains of the beautiful season of Fall.

A function of age XVII

Before leaving to go shopping recently, I sang a reminder to myself.  Eddie Money's lyric, "I've got two tickets to paradise," became, in my voice, "I need toothbrushes and Nexium!"

Yes, that's a screamingly middle-aged tactic and sense of priorities, but it worked.  The medicine will keep my reflux at bay, and I'm stocked up on toothbrushes for months to come.

When it works, why shouldn't a 45-year-old hit spur me to pick up the right groceries?

Context? CCLXXXIII

Sometimes, the right combination of background music and an informal delivery can make you curious about a product.  During an August 3, 1985 live commercial, WMRY jazz DJ Leo Chears asked, "Say, listen, did you barbecue this weekend?  Well, if you did, I hope you used Andy's Seasoning Barbecue Sauce...You know, this is a very, very unique mixture of spices and tastes that has people looking for it on the shelves of their favorite supermarket, and that's good...Now, that unique mixture of spices in Andy's Barbecue Sauce will make your barbecue come alive no matter when you do it.  You don't really have to wait for the weekend...I'm sure you'll agree, with Andy's Seasonings, you won't need anything else."

I didn't shop for barbecue sauce at age 14, but at age 53, I'm inclined to wonder how it tastes.  Chears's pitch against a backdrop of soft jazz makes me wonder what I've missed.

A grade given but not earned

Granted, one's grade in a middle school chorus class won't likely prevent one from getting into college or snagging a job.  Still, this scenario mystifies me: The chorus teacher, Mr. B., announced to the class, "If (this student who is about to name the lines and spaces of the treble and bass clefs while I put down flashcards on a stool) can name 50 lines and spaces in a minute, I will put a row of As by everyone's name.  If he can't do it, however, I will put a row of Cs by everyone's name."

Luckily, the student identified 50 lines and spaces in 60 seconds, so we were all given an extra A--even though that made no sense.

Context? CCLXXXII

It was honest of the radio announcer to admit that a restaurant is hard to find.  During a live commercial this morning, he said, "You won't come across it unless you know where you're going."

To his credit, he quickly explained why the restaurant's menu was worth the drive.  If he hadn't, the implied message, "Try us if you can find us," would have been a tough sell.

The allure of shuffle mode XL

A random pairing in my iTunes library succeeded on two fronts this morning.  Both songs have compatible energy levels, and both advise others not to be killjoys.  When Juliana Hatfield's cover of ELO's "Don't Bring Me Down," one of 2023's strongest tracks, segued into Green Day's "Warning," I felt like seizing the day--even in 30-degree weather.

Context? CCLXXXI

This morning, a radio talk show host said he doesn't "have Halloween music per se, but (will) have the hi-fi going" during his Halloween gathering tonight with friends.

Most people, if they're honest, probably don't have true Halloween music.  Nevertheless, here's hoping they all have safe, enjoyable Halloween fun tonight.

As someone who played nearly-Halloween LPs by Tangerine Dream and Tony Banks yesterday, I also like the host's decadent use of the term hi-fi.  Here's hoping others put their record players to similar use today.

Wise rationing? Perhaps.

While listening to Holiday Hits selections on Stingray Music over the past week, I was puzzled.  Initially, I thought, "It's close enough to Halloween.  Why aren't they playing continuous Halloween music?  Why are they just sprinkling it in here and there between pop hits from various decades?"

The more I thought about it, though, I saw the logic.  Halloween isn't like Christmas.  There aren't a wealth of Halloween-themed songs from which to choose, and there are only so many truly good Halloween tracks to play.  If they'd played a four-hour loop of the same Halloween songs repeatedly, listeners might have tired of the repetition quickly.  By dropping a Halloween song in every now and then, listeners are kept guessing--and they might listen longer than they would have otherwise.

When it comes to Halloween-appropriate music, though, I still think these are some of the best choices.

Context? CCLXXX

A radio personality clarified Friday that if listeners wanted to text the station, they could; however, polite texts are preferred over vitriolic ones.

"Your anger and hatred are well documented," he told the audience.  "If you have anything nice to say, though..."

Unfortunately, it isn't surprising that a talk show host would have to plead for civility.

Stingray Music highlights CXIV

Most of the standout selections I heard this morning were instrumentals.  Among the highlights:

Chamber Music

• Alexander Scriabin: Three Preludes, Op.35 (Piers Lane, piano) (Intriguing contrasting examples of Scriabin's range.  The first prelude suggests a sensation of floating.  The second one sounds downcast and apprehensive.  The third displays a sense of whimsy and a definitive closing.)
  

Cool Jazz 

• Since I Fell For You-Vince Guaraldi Trio (Thanks to its universal lyrics and easily digested melody, I've never heard a bad version of this.  Lenny Welch, Al Jarreau, and Bonnie Raitt all sing it compellingly.  Guaraldi proves how well the melody translates to the piano, which shouldn't surprise anyone.)

Folk Roots

• Every Time You Say Goodbye-Alison Krauss (Krauss always emotes convincingly when singing about painful partings.  Also recommended: "Stay.")
  

Holiday Hits 

• Theme From "Children Of The Corn"-Robert J. Walsh (Appropriately foreboding underscoring.)
• The Phantom Of The Opera-Original London Cast (What fear one can strike in the hearts of listeners with the right sinister-sounding descending scale followed by an equally eerie ascending scale.)

New Age

• Berceuse-Suzanne Ciani (Mannheim Steamroller's version of "Stille Nacht (Silent Night)" would flow well into this endearing piano melody.)
  

Retro R&B

• Sophisticated Cissy-The Meters (Effectively held organ notes and a solid rhythm section, as usual.  The Meters maintain a strong consistency from track to track.)

The Spa

• The Stargazer-Rebecca Reads (A haunting, ambient instrumental, fit for Halloween.  If I were walking at night with this accompaniment, I'd second guess most of my steps.)

Context? CCLXXIX

A reminder from a radio talk show host yesterday: "The way to get the person you want (in office) is to vote.  It's really the only way."

You also have to hope, though, that a majority of voters also vote your way--and that if your preferred candidate wins, the opposition won't challenge the results despite having no credible evidence for objecting.

One person isn't completely powerless.  It's discomforting sometimes to realize, however, that one person is often relatively powerless.

Stingray Music highlights CXIII

Six Thursday morning standouts and two recommended tunes heard yesterday:

Classic R&B And Soul

• My Bucket's Got A Hole In It-Ramsey Lewis Trio (This is typical of Lewis's hip, infectious piano playing in the '60s.  Also recommended: "The In Crowd," "Hang On Sloopy, " and "Wade In The Water.")

Easy Listening

• Waiting For Sunshine-FLOW (Pleasant new age-style melodies featuring these types of guitar and piano arrangements don't usually include a trumpet part.  This one does, however, and an already solid melody is even more compelling, as a result.)
  

Folk Roots

• Stranded-Shawn Colvin (A thoughtful way to say, "Our paths were meant to cross, but we weren't meant to be together forever.")
• Undertow-Suzanne Vega (Vega's lyrics here are intriguingly cryptic.  It reads as though the person about whom she's singing really wants to know everything about someone to whom she's committed or can't stand an adversary and wants to shake some sense into her foe.)

Jazz Masters

• Embraceable You-Jimmy Smith (Showy saxophone and understated organ playing mesh compellingly here.)
  

Jazz Now

• Night Song-Harold Mabern (An invitingly uptempo melody, with strong synergy between piano and saxophone, sustained for over seven minutes.)
  

Popular Classical

• Franz Joseph Haydn: String Quartet No. 62, Op. 76, No. 3, "Emperor" (Kodaly Quartet)  (This continues my streak of never hearing a Haydn piece I've disliked.  I enjoy the energetic, lighthearted first movement, the quiet delicacy of the second movement, and the tasteful, waltz-like third movement.)

The Spa

• As The Foyle Gently Flows-Eamonn Karran (This gentle piano melody sounds at least partially inspired by George Winston's "Autumn" album.)

Stingray Music highlights CXII

Tuesday and Wednesday highlights:

Alt Country-Americana 

• So Much Fun-A.J. Croce (The vocals remind me of Van Morrison, and I never tire of such self-assured piano accompaniment.)

Chamber Music

• Antonio Soler: Sonata No. 87 in G minor (Alicia de Larrocha, piano) (The abundance of trills makes this piece all the more endearing.)
  

Folk Roots

• Passengers-Aoife O'Donovan (A well-written lyrical reminder of how vast the universe is and how comparatively small humans are in the scheme of things.)

Holiday Hits

• What's He Building In There?-Tom Waits (Justification for feeling paranoid?  It's an unsettling spoken word piece, to say the least.)

Indie Classics

• Can't Be Sure-The Sundays ("Reading, Writing, And Arithmetic" was one of my favorite albums in college.  Its lyrical, vocal, and instrumental consistency still resonates with me decades later.  Harriet Wheeler's unique voice commands more attention than a more conventional singing typically would; this is equally true on slower, quieter tracks or more energetic ones, such as "Can't Be Sure."  Also recommended: "Here's Where The Story Ends.")
  

Latin Lounge

• Canoeiro (Pescaria)-Cris Delanno (Fun, carefree vocals when the tempo picks up.)

Soul Storm

• Spend The Night-BJ The Chicago Kid & Coco Jones (One of 2023's more rhythmically appealing releases.) 

World Carnival

• Aaj Ki Raat-The Bollywood Brass Band & Pest (This instrumental blends jazz and international styles compellingly.  It's unusual to hear a tuba featured so prominently, and it wouldn't be out of place if one used a shofar to play one of the recurring riffs.)

Morning Jazz, Evening Jazz, Jazz For Cobblers, Jazz For Gila Monsters...

It speaks well of Stingray Music's array of jazz channels that I have to keep that format from overtaking every Stingray Music post I write.  When you have Cool Jazz, Jazz Latino, Jazz Masters, Jazz Now, and Smooth Jazz from which to choose, there's a wide range of vocalists and instrumentalists to sample.  Big Band and Swinging Standards also encompass the jazz world, so those channels capture my ears, as well.

I've always liked jazz, but in the interest of balance, I'll attempt to scale back my jazz recommendations in my next Stingray Music highlights post.  Note that I said I'd attempt to do that.  I might not be able to resist the allure of the Contemplative Jazz, Mysterious Jazz, Jazz For Falling Leaves, Jazz For Snowfalls, and Jazz With A Side Of Toast channels.  Granted, those aren't real channels--yet.

Stingray Music highlights CXI

Monday morning standouts:

Adult Alternative

• Royals-Lorde (Lyrically, this is a fun reminder not to let being dealt a less than great hand of cards compromise your life more than necessary.  A recommended cover: Monika Herzig and Jane Bunnett convert "Royals" to a credible jazz instrumental, making the tune shine on piano and saxophone, respectively.)

Cool Jazz

• No Moon At All-Diana Krall (Breathy vocals with just the right amount of enunciation, augmented by a strong rhythm section.) 

Jazz Now

• Spare Change-Adam Shulman (The bounce in this instrumental's step would make virtually any version of "Straighten Up And Fly Right" or "That'll Just About Knock Me Out" flow well after it.) 

Jukebox Oldies

• My Heart Cries For You-Ray Charles (The vocals are in keeping with the heartfelt, melancholy consistency of the "Sweet & Sour Tears" album.)

Motown

• Love Hangover-Diana Ross (This smash hit's transition from slow ballad to energetic romp has held up since 1976.)

Smooth Jazz

• Sunkiss-Michael Garvin (This relaxing uptempo guitar melody would segue smoothly into "One 2 One" by Brian Hughes.)
  

The Spa

• Some Things Never Change-Christian Anderson (Pleasant midtempo folk guitar.  I wish businesses would use this as their on-hold music, as the melody repeats itself but doesn't wear out its welcome.)

World Carnival

• Generations-Youssou N'Dour (A strong undercurrent of bass supports the vocals.)

Stingray Music highlights CX

Sunday morning U-verse highlights:

Alt Country-Americana

• Green River-Eilen Jewell (If I'd just read "Green River"'s lyrics before hearing the song, I would have expected this to have a slow tempo and for the vocals to be accompanied by an acoustic guitar.  This is a Creedence Clearwater Revival song, though, so I knew it would be upbeat.  Jewell's voice fits the song well, and she nails the feeling of the original version.) 

Canadian Indie

• Settle & Fly-Jesse Mac Cormack featuring Gabrielle Shonk (The steady, pulsating rhythm of this July release drew me in, and the empowering lyrics about not letting a relationship define you made me listen a second time.)

The Chill Lounge

• Walker-Guardner (Haunting instrumental underscoring, fit for wandering in a graveyard at night.)

Cool Jazz

• Noche de ronda-Charlie Haden (Haden anchors a classy, elegant rendition of this waltz on bass. His fellow rhythm players contribute equally well to the tune's atmosphere.)
  

Folk Roots

• Silver Lining-The Black Feathers (Endearing vocal harmonies.  I can imagine I'm With Her or Nickel Creek covering this.)

Jazz Masters

• How Deep Is The Ocean?-Miles Davis (What other trumpeter would you turn to for such a melodic, resonant take on this Irving Berlin standard?)
  

New Age

• The Room Of Ancillary Dreams-Harold Budd (This piano-based instrumental alternates compellingly between fanciful and foreboding.)
  

Retro R&B

• Walk Tall-Esther Marrow (These aren't the easiest lyrics to hear when you're tempted to wallow in your sorrows, but they're a powerful springboard for snapping out of a "What's the use?" mindset.)
  

Context? CCLXXVIII

I was pleased to hear a listener go against the grain this morning.  He called a radio station, trying to sell an item.  The show/s host asked him for a phone number so interested buyers could call him.  As an afterthought, he added, "Or could they text you?"  The caller shut that possibility down quickly, saying, "No texting."

I'm glad I'm not the only person who is ambivalent, at best, about texting.  Call me a dinosaur, but I prefer not to have text alerts jolt me out of a sound sleep.

SiriusXM highlights CXXXIX

Friday morning standouts:

'70s/'80s Instrumentals

• The Groove-Rodney Franklin (A cool 1980 piano groove that could slide right into a playlist of today's smooth jazz.)

Bluegrass Junction

• Wildflower Too-Darin & Brooke Aldridge (Endearing lyrics with vocals similar to those of Nanci Griffith.)

Deep Tracks 

• Everyone-Van Morrison (The Baroque-style harpsichord backing with piping gives the tune a fun, carefree vibe.)

Outlaw Country

• God's Gonna Cut You Down-Johnny Cash (Who hasn't wanted to say this to an enemy, at least occasionally?)

Piano Instrumentals

• A Morning Meditation-Bob Yonker (Pleasant midtempo piano playing that could segue with Richard Dworsky's "A Morning With The Roses.")

Real Jazz

• Darn That Dream-Nancy Wilson (The mellow guitar and piano backing underscore Wilson's vocals perfectly...)
• Love Locked Out-Dexter Gordon (...and "Darn That Dream" segues smoothly with Gordon's graceful saxophone playing here.)

Soul Town

• A Real Mother For Ya-Johnny "Guitar" Watson (When something petty irks me, I sometimes think of  these lyrics.  Watson's attitude here is similar to one of his other standout tunes, "Ain't That A B&*$h.")

Symphony Hall

• Gabriel Faure: Pavane, Op.50 (Rupert Boyd, guitar; Laura Metcalf, cello) (Sometimes, I wish I'd stuck with the cello so I could play as lyrically as this.)

Online radio sampler highlights CCXX

Intriguing tunes I've heard today:

KTRU (Houston, TX)

• Kaluhyanu: Wes-Joanne Shenandoah (A welcoming vocal refrain, with flute and percussion.)
• This Chain Won't Break-Wild Nothing (A reminder that you can't just will yourself to forget about someone.)

KUAA (Salt Lake City, UT)

• Take Me With You-The Rugged Nuggets (I'm surprised I haven't heard this appealing midtempo guitar groove on any smooth jazz station yet.)
• Pray For Rain-Marisa Anderson & William Tyler (Downcast guitar for a gloomy day; it's haunting enough to fit into a Halloween playlist.)
  

WBRH (Baton Rouge, LA) 

• Portrait Of Jennie-Wynton Kelly Trio (An elegant, sublime piano ballad.)

WIUX (Bloomington, IN)

• Fantastic Man-William Onyeabor (While fishing for compliments is generally ill-advised, the man in this tune sets a smart template for asking his girlfriend--or wife?--to reassure him.  He crafts a melody that draws from jazz, dance, funk, and 1979 pop music.  Once the catchy beat is well-established, he tells his beloved that he has complimented her many times and would love it if she'd reciprocate.)

WTJN (Troy, OH)

• Give Me Love (Give Me Peace On Earth)-George Harrison (Sadly, as recent world events have illustrated, peace on Earth is essentially impossible.  There's nothing wrong with wishing for it, though.)

Persistent earworm alert CCCIX

Even though a mediocre test grade from decades ago has no bearing on my life now, I still dream occasionally about how it felt to receive a grade that wasn't as good as I'd expected.  My mind softens the blow by reminding me of the only optimistic lyric in "Think For Yourself" by The Beatles.  The general vibe of that George Harrison-penned tune is that it's too late to make amends.  He offered one ray of hope, however, when he sang, "The future still looks good, and you've got time to rectify all the things that you should."

If you're a student, cling to that outlook--but study harder if you can.

Can't hurt to try, but...

It didn't happen often, but sometimes, a listener would call the radio stations at which I worked long after a contest ended and ask if we had a winner yet.

I would never tell a caller outright, "The contest was two hours ago, and the tenth caller got through within one minute of my announcing the contest."  I would just say, "Yes, we have a winner, but thank you for listening."

Even if you work for a low power station that only averages five listeners at a time, it's human nature to want to win cash, concert tickets, gift certificates, or free music.  Almost always, the phone would start ringing immediately when I announced a giveaway.  Some of the same callers probably got through more than once.  There might have been a contest or two in which someone won by being the only caller.

One repeat caller is all it takes, however.  Even if you don't know any music by the artist whose recording you could win, haven't eaten at the restaurant where you could score a free meal, or have no idea what gifts you would buy with a certificate to a sponsor's shop, it feels satisfying to be a winner.  Those victories seldom go to procrastinators.

An overlooked cover tune CXXIX

Granted, it was a minor hit in the Summer of 1983, and KYKY played it frequently for at least two months.  Still, I thought The Hollies deserved more credit for covering "Stop In The Name Of Love" by The Supremes.  By upping the tempo and supporting the vocals with steady piano and percussion, The Hollies made a well-known oldie more contemporary.  While this approach undoubtedly doesn't appeal to everyone, it was right for its time--and still warrants a listen today. 

FM dial scan highlights CCXXV

Six of the more appealing tunes I've heard this morning:

WSIE 88.7 FM

• Millie-Blue Mitchell (Mitchell's strong, melodic trumpet playing deserves more recognition than it usually gets, so I'm glad that WSIE plays multiple tracks of his.  This track, released in 1967, is a well-sustained, hip-for-its-time melody.  If you think the bop style isn't for you, perhaps this will change your mind.)
• Undulation-Kayla Waters (A pleasant, uptempo smooth jazz release from June, which Waters propels on piano.)

KSHE 94.7 FM

• Night By Night-Steely Dan (An overlooked album track.  Lyrically, this is an effective way of underscoring that someone takes too many risks...)
• Pandora's Box-Procol Harum (...and it segues appropriately with these lyrics about taking risks that affect the world.  Lyrically and instrumentally, this sounds appropriate for Halloween.)

WFUN 96.3 FM

• Your World-Jonathan McReynolds (Reassuring lyrics about enjoying the wonders of a world none of us created.)
• Feel Alright (Blessed)-Erica Campbell (Feeling thankful for the great day you're having?  This is a sound way to proclaim it.)
  

An unexpected coda (In memory of Rudolph Isley)

During my years as a sports statistics gatherer, I'd usually call or hear from a newspaper staffer at least once per night.  One staffer, while checking to see if he'd received a schedule or box score, would sometimes sing to himself.  "Strangers In The Night" was the default tune he'd hum.

Once, I asked offhandedly, "May I make a request?  Do you know 'It's Your Thing' by The Isley Brothers?"

He obliged by singing a verse.  He segued it unexpectedly however, by quoting part of Archie Bell's spoken intro to "Tighten Up," "And we dance just as good as we walk."

I hope that recently departed Isley Brothers founding member Rudolph Isley approves of that segue.  I trust that many stations have been playing "It's Your Thing" these last few days; rhythmically and vocally, that song holds up decades later.  Fewer stations have likely played my favorite Isley Brothers song, "If You Were There," or the group's solid cover of the Seals & Crofts hit, "Summer Breeze," but I trust that some DJs, at least on noncommercial stations, have had the freedom to air those tracks.

Context? CCLXXVII

Two radio show co-hosts offered differing opinions Tuesday on whether executions should be televised.  Before going to a commercial break, one co-host said to the other, "We disagree.  I still love you, though, for the most part."

While that qualifier isn't a Hallmark card sentiment, it's nice to know that people can still disagree on something in today's world and not hate each other.

Context? CCLXXVI

In a KYKY promo from October 1983, a contest entrant couldn't believe he'd won $980 in the station's Great Variety Giveaway.  He kept repeating, "You're kidding me."  The promo used the caller's disbelief as a segue for declaring, "We're not kidding when we say 98, 980, or 10,000 dollars could be yours..."

According to the inflation calculator I consulted...Wow...Forty years ago, $980 was equivalent to more than $3,000 in today's dollars.

If I'd won that kind of money then, I'd have wondered if the DJ was kidding, too.

Online radio sampler highlights CCXIX

Six of the better tunes I've heard today:

KDRP (Dripping Springs, TX)

• Follow Your Arrow-Kacey Musgraves (Lyrically, this is an encouraging way to say, "Just be yourself, and don't fret about what others think.")
• Hypotheticals-Lake Street Dive (This is a determined way of saying, "Let's be together."  Also, when the tempo picks up, the vocals and instrumentation have an appealing '70s pop/R&B feel.  This could segue with Lenny Kravitz's "It Ain't Over 'Til It's Over.")

KUAK (Bismarck, ND)

• Gallop's Gallop (Live)-Thelonious Monk (Monk keeps the tune grounded on piano, and Charlie Rouse shines on tenor sax.  The tune's dollop of dissonance kept me listening.)
• Blue Genius-Ray Charles & Milt Jackson (Self-assured, cool piano and vibraphone harmony.  Who would expect anything less from two such giants?)

WJVX (Chicago, IL)

• Tear It Down-Blue Magic (Slow, smooth R&B from 1974.  The falsetto vocals and optimistic lyrics remind me of The Stylistics.  Just as I thought this, the station followed this up with a Stylistics track, "You'll Never Get To Heaven (If You Break My Heart.)"  Smart programming.)

WXCS (Cambridge Springs, PA)

• The Spirit Of Radio (Live)-Rush (It can't be easy for Geddy Lee to replicate his studio vocal acrobatics live, but he pulls it off impressively.  My favorite Rush tune is "Entre Nous," but this isn't far behind it.)
  

A petty fixation XXVII

Recently, a radio talk show host assembled a montage of songs and asked listeners to guess what year they all had in common.  Almost immediately, I shouted at the radio, "1971!  1971!!  That's 'It's Too Late' by Carole King! Isaac Hayes, 'The Theme From 'Shaft'!  James Taylor, 'You've Got A Friend!'  1971!  1971!!  1971!!!"

There was no reason for me to react so maniacally.  I didn't win anything by shouting and the radio, and I didn't have to prove anything to my cat, who already knows my music credentials.  As I've written previously, however, 1971 was a strong year for music, and I wanted to reinforce that, even though no other humans heard me.

The power of suggestion V

Whenever Fairport Convention's instrumental, "Tokyo," comes to mind, I speed up whatever task I'm doing.  It doesn't matter if I have a deadline in one minute or the rest of my life to complete whatever I'm working on.  Something about the urgency of the Celtic-style fiddling and modern-for-1973 guitar playing makes me start typing as though the keyboard is about to sink into quicksand.

I need to publish this quickly before the power goes out. Admittedly, there's no sign of rain, but the rush-rush-rush nature of "Tokyo" has me thinking that could change at any second.

Context? CCLXXV

Friday morning, after playing J.S. Bach's fifth Brandenburg Concerto, a Classical announcer read Bach's dedication to the royalty for whom the six Brandenburg concertos were presented.  The dedication illustrated how careful and obsequious one has to be around those with great power.  Bach refers to "Your Royal Highness" multiple times and begs his forgiveness for the concertos' supposed imperfections.

The announcer mused about how much more music Bach might have composed if he hadn't had to write such dedications.  I second that and add that I'm thankful not to live under a monarchy.

Context? CCLXXIV

I was surprised to hear a Classical radio station announcer say Wednesday, "Traditional wisdom is that people don't care much for organ music, but I've never really believed it."

Is it true that most people don't like music played on the organ?  Organ music ranges from reverential when played in church to cool and swingin' on jazz recordings by Jimmy Smith and Joey DeFrancesco.  It can also rally fans at the ballpark.  Considering that versatility, it puzzles me that many listeners supposedly aren't crazy about it.

Priorities in the right place IX

During a "Saturday Night Live" sketch in 1981,  a Studio 54 bouncer didn't let host George Kennedy into the club.  Lamenting his fate, Kennedy sang, "It's No Fun To Be 53 At Studio 54," while attempting occasional dance moves.

Although I've never had any desire to get into any dance club, I got the message.  After a certain age, aspects of your younger days aren't accessible to you, and certain tasks become more labored.  It reassures me, though, that my passion for music and radio will always be there at any age.  On this day 40 years ago, I recorded part of Phillips & Wall's morning show on KYKY and part of WMRY's evening jazz show with Leo Chears.  I wanted to preserve what was on the radio as a souvenir of my 13th birthday.

My first act of my 53rd birthday today was to record an FM dial scan commemorating what was on the radio.

Actually, that was my first music-related act today.  My first act was giving my Iams-seeking cat, Collette, a snack.  Collette is resting contentedly on the sofa now.  That's a lesson I learned years ago: Regardless of what music you're craving, feed your cat first.

That's sound advice--at any age.

SiriusXM highlights CXXXVIII

Eight ear-catching tunes heard this morning:

'80s Deep Cuts

• Don't Tell Me Lies-Breathe (For a time in 1989, soft rock stations were all over this hit.  In retrospect, it's easy to hear why; the uptempo hook doesn't leave your mind easily.  I should dig this out of my collection and play it again.)

'80s On 8

• The Salt In My Tears-Martin Briley (Cathartic lyrics for getting over a breakup.  I still hear this every once in a while on album rock stations, but it should have been a bigger hit.)
  

Acoustic Guitar Instrumentals

• Fall Leaves-Karl Backstrom (A contemplative, bittersweet, appropriately titled guitar piece.)

The Coffee House

• Simply The Best-Billianne (Although I don't dislike the arena rock approach Bonnie Tyler and Tina Turner take on their versions, I think Billianne's quieter approach to the vocals is more appealing.  The acoustic guitar adds appropriate shading, as well.)
  

The Coffee House Discovery

• Losing Time-Mia Giovina (These are poignant lyrics to hear on the eve of my 53rd birthday.  Giovina is right; when you get older, you aren't the person you were at eighteen.  That isn't a bad thing, though.  You might not be as energetic or idealistic when you're older, but you learn an awful lot as you age.  This is a good new track by a promising, relatively young artist.)

Luna

• Vanilla Extract-Eddie Palmieri (A steady, percolating rhythm for piano.)

Real Jazz

• Night Train-Christian McBride (This is one of the most covered jazz tunes, for good reason.  With just the acoustic bass, McBride achieves what it usually takes a full ensemble to pull off.)

Soothe

• Camille-Ana Roxanne (Grim, haunting, ambient vocals and instrumentation.)

Online radio sampler highlights CCXVIII

Six recommended selections heard this morning:

KNTU (Denton, TX)

• Three Day Weekend-Kait Dunton (This steady, loping melody, released last month, shows that sometimes, a rhythm section is all you need.  Dunton anchors this trio on piano compellingly.)
• For All We Know (Live At Yoshi's)-McCoy Tyner (This is a strong example of staying true to a classic's melody while putting one's own stamp on it.  Tyner's embellishments on the piano serve the tune well.)

KZFR (Chico, CA)

• Little Drop Of Poison-Tom Waits (With eerie lyrics and gravelly vocals, "Little Drop Of Poison" makes a strong case for inclusion on my next Halloween mix CD.)
• Eat For Two-10,000 Maniacs (Effective lyrics about the immense responsibilities that accompany pregnancy and raising a child.  Natalie Merchant's voice is ideal for underscoring the weight of an overwhelming obligation.)

WLPN (Chicago, IL)

• Chains Of Love-Erasure (Of its time, i.e. 1988, synth-pop with an energy and committed vocals that still hold up.)

WSMC (Collegedale, TN)

• Camille Saint-Saens: The Carnival Of The Animals: The Swan (Steven Isserlis, cello; Pascal Devoyon, piano) (Appropriately graceful and lyrical, befitting a swan.)
  

Context? CCLXXIII

A guest on an NPR show spoke today about someone who tries to look fierce and intimidating "despite not weighing much more than a quarter."

Although that attitude reminds me of a few cats I've known, the guest was actually referring to a tarantula.

A petty fixation XXVI

I'm thankful for my years as a DJ and music programmer, but there's one thing I wish I could have done: I wish I could have read a weather forecast during the instrumental portion of a weather jingle.  Perfectly ordinary information, such as a prediction of partly cloudy skies and a high of 60 degrees, sounds all the more important against energetic, '80s pop-style backing.  A DJ also has the satisfaction of proclaiming the current temperature before the jingle singers conclude with "Hitradio K-H-T-R!"

This isn't at the top of my wish list, but it would have made a good air check--and would have prompted me to sound revved up but not manic.

An overlooked cover tune CXXVIII

As "Cast Your Fate To The Wind," numerous "Peanuts" scores, and scores of albums show, Vince Guaraldi was an exceptional composer and piano player.  I admonished myself recently as I looked at the track listings of a Guaraldi compilation.  I exclaimed, "How did I forget that he did a version of 'Autumn Leaves?'  An expansive one, at that?"

I've got 10 minutes and change of seasonal listening I have to do now.

FM dial scan highlights CCXXIV

Friday and Saturday highlights:

KDHX 88.1 FM

• Mulholland Drive-October London featuring Snoop Dogg & Latoyia Williams (As I drove around this morning, I wanted these appealing lyrics about escaping the pressures of the world with one's beloved to last about three times longer.  Sidebar: I've been wrestling with how to approach the turmoil at KDHX on this blog.  A good song is a good song, admittedly, and deserves recognition.  Also, despite all the recently created holes in the station's schedule, there are still compelling shows and DJs on the station.  That said, I'm concerned.  So far, the station's new direction has been too short on specifics for my taste, and I dislike that a lot of longtime DJs who have made KDHX an eclectic, enduring station since 1987 have been sacked or felt the need to resign.  Prior to today, I'd highlighted an equal number of songs on KDHX and WSIE this year.  Today, I'm breaking that tie and giving the spotlight edge to...)

....WSIE 88.7 FM.

• California Stars-Catie Waters (Endearing vocals and lyrics about longing for someone.)
• High Wire-Erroll Garner (This is piano playing with a bite--a different sound than I'm used to hearing from Garner.  This sounds more like a Ramsey Lewis track to me, which is always a compliment, and the drums and bass play important roles in establishing the tune's mood.)

K297BI 107.3 FM, a.k.a. WFUN-HD2

• Be Thankful For What You Got-Big Mike Aguirre & The Blu City All Stars (A strong cover of the firmly rooted in the '70s William DeVaughn tune.)
• Dreams Come True-Greg Adams & East Bay Soul (Relaxing smooth jazz trumpet.)
  

An overlooked cover tune CXXVII

Usually, "Strangers In The Night" is sung or played as a stately ballad.  Richard "Groove" Holmes, however, approaches it differently on the organ.  By upping the tempo and playing it with a brisk bounce, Holmes finishes the tune in record time--without cheating the listener.

A petty fixation XXV

Why is the spelling of you're confused with your so often?  I read a lyrics sheet tonight for a song in which a woman implores a man to "say your (sic) my baby."  

"It should be you're," I said to my cat, Collette.  "How do people not know when to use the contraction of you are?"

Collette then set out to bite the person(s) responsible for the error.  I told her that wasn't necessary, but I was pleased that such a silly mistake irked her, as well.

Context? CCLXXII

I was only half-listening to the DJ or guest reciting her poetry over music today, but I thought I heard her say, "To our children, a golden burger!"

Possibilities abound.  Did the poet imply that some parents are inclined to spoil their children?  Was she suggesting that her children's exemplary behavior and achievements make them worthy of life's special treats? Or, and this is a distinct possibility with some poetry, were her words simply random gibberish onto which listeners could project their own misguided meanings?

Then again, she might just have been reading someone's will.

Context? CCLXXI

What do you do when you're a radio show sidekick and the morning show host with whom you've worked gets dismissed?  If management allows it, you might soldier on and try to make the best of it a with a new host or co-hosts.

It's ill-advised, however, to take the approach I heard one sidekick use years ago.

On the first day of a new morning show, one of the new co-hosts remarked that radio was an adjustment for her because she'd been so used to working in TV news.

The sidekick from the previous show, who had been kept on, muttered, "Some of us wish you were still back there."

I thought, "Even if that's justified, it's not great form to say that on the air.  I suspect (that sidekick's) days are numbered."

Context? CCLXX

For decades, part of a vaguely remembered TV commercial jingle has come to mind.  I still don't remember what was being promoted, however.  I have a hazy recollection of people dancing and singing, "That's what we're doing now in 1979!"  The commercial's underscoring reminded me somewhat of the R&B hit, "T.S.O.P." by MFSB.  It might have been a car dealership promoting its new line of vehicles.  It could have been a theater chain touting its upcoming movies.  Or, and I suspect this is most likely, it might have been a TV network promoting its new Fall shows.

While I'll live without knowing the particulars, I'd like to solve this decades-long mystery.

Mild hyperbole II

Tonight, I've enjoyed a selection of Spanish guitar works on K297BI, played in honor of National Hispanic Heritage Month.  During one introduction, the announcer spoke Spanish until he got to the name of the ensemble.  I wasn't entirely surprised when he said, in English, "Academy Of St. Martin In The Fields."

It's said that all roads lead to Rome, but when it comes to Classical recordings, it seems as though all roads lead to that orchestra.

In memory of George Winston

On this first day of Fall, I'm thinking of one of my favorite albums, George Winston's "Autumn."  Sadly, Winston is no longer around to play selections from one of the best new age piano albums ever recorded.  In his memory, I'd consider these some of his best tracks:

• Colors/Dance (My favorite Winston selection, evoking Autumn's beauty and bittersweet feel with an expansive melody and effective tempo changes.  I was pleased when Winston began the 1990 concert I attended with this.)
  
• Living In The Country (While Winston's "Autumn" album is the gold standard, to me, for new age piano, this track from his "Summer" album also deserves its due.  When the tempo accelerates, the ragtime-influenced hook carries the melody.)
• Longing/Love (Another "Autumn" highlight with a strong hook and a melody fit for a solo trek through the woods or soap opera underscoring.)
  
• Miles City Train (Six well-maintained minutes of raucous, brisk, saloon-style piano playing.)
• Road (Yet another "Autumn" standout, suitable for a particularly unhurried trundle.)
  
• Thanksgiving Theme (Winston's playing is a bit more deliberate than Vince Guaraldi's here.  Still, it was a thrill to finally hear any version of this tune from "A Charlie Brown Thanksgiving" on a CD when it was released.) 
• Theme For A Futuristic Movie (This contemplative midtempo melody should be better known.  For years, it was the tune I listened to most frequently on Winston's "Ballads And Blues 1972" album.)
  
• Woodstock (A strong rendition of the Vince Guaraldi tune, seemingly arranged for a saloon piano.)

The allure of shuffle mode XXXIX

For anyone seeking tunes about likely permanent estrangement, I concur with iTunes shuffle mode's judgment.  This morning, it paired the Ultramarine remix of Everything But The Girl's "Missing" with "Slipping Away" by Dave Edmunds.  Both songs offer roughly equivalent smidgens of hope, but I get the feeling in both cases that the couples will remain apart.

Such is life sometimes.  Pulling off a melancholy tune with a compelling beat isn't the easiest task, but both artists strike just the right balance.

The power of suggestion IV

Just because the lyrics reference the 21st night of September, I don't have to listen to Earth, Wind & Fire's "September" tonight...

...I will, though, because how could I not?  It sports a strong beat, stellar vocals, and an excellent horn section, so why wouldn't I listen to it?

As elitist as I sometimes am, I'll concede that sometimes, the most obvious plan is popular for a reason.