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.)