The deserved longevity of Dial-A-Carol

It's reassuring to be reminded, in an era of so much technology, that the human touch still endures. The Dial-A-Carol volunteer's commitment to pulling off a reverential rendition of "What Child Is This?"  impressed me when I called this morning.  "What Child Is This?" isn't the easiest carol to sing, considering the swooping vocal range it requires.  The caroler sang it well, however, and I was particularly impressed with her fortitude in conquering the drama and inflection needed when singing, "This, this is Christ the king..."  Kudos to that caroler, and if you're calling one of those services this year, may the rendition of your requested carol be as heartfelt and on-key as hers was.

Favorite music of 2017

Here are my subject-to-change top 20 favorite songs of 2017:

   20.  Moving On-Anna Of The North
(The ethereal, airy vocals in this lyrical pep talk, released in September, remind me of The Cocteau Twins.)
   19.  Patient Zero-Aimee Mann
(Well-written lyrics that I gather are about being in the early stages of one's career, having a cautiously optimistic outlook, and grappling with fame when it's new to you.)
   18.  Higher Ground-Nathan East featuring Kirk Whalum
(When you play jazz bass the way East does, Stevie Wonder's "Higher Ground" is a natural choice for an instrumental cover.  I've been glad to hear WSIE playing it this year, as it's one of the more appealing smooth jazz cuts of 2017.)
   17.  Cozy-D-ROCKSTEADY
(This appealing groove, released in February, features chill instrumentation and recurring vocals that would flow well after the Boehm featuring Melody Noel track, "Future Self.")
   16.  The Rush-Treasureseason
(A memorable soprano-voiced hook over an electronic backdrop.  The band's own "Blurred Edges" segues well with this track.)
   15.  Speak Low-Eliane Elias
(A cool, sly arrangement of this jazz standard, with compelling vocals from Elias and trumpet accompaniment from Randy Brecker.)
   14.  Boy, Don't Be Afraid-79.5
(Possibly the most appealing dance groove of the year, with vocals and flute-dominated jazz instrumentation seemingly pulled out of the '70s.)
   13.  We Could Fly-Rhiannon Giddens
(A beautifully sung, heartbreaking reminder of inhumanity and injustice throughout history.  One of 2017's more bracing songs.)
   12.  Song For My Father-Louis Hayes featuring Gregory Porter
(A compelling blend of vibes, drums, and resonant vocals; this impressive rendition of Horace Silver's tune is one of 2017's stronger jazz tracks.  Also recommended: Porter's tribute release to Nat King Cole, featuring beautiful renditions of "The Christmas Song," "Mona Lisa," and "Pick Yourself Up.")
   11.  Second Nature-Neil Finn
(A highlight of the Crowded House singer's latest release, "Out Of Silence."  A well-put-together arrangement of lead and backing vocals, keyboard, and strings coalesces effectively in this tale of a match between a man and woman that probably should happen but won't.)
   10.  When I Woke-Beth Bombara
(This St. Louis artist's March-released tune about looking for love or something less in the wrong places made an immediate impression on me; its tone and energy remind me of Maia Sharp's "Something Wild.")
    9.  Crying In The Chapel-Regina Carter
(A warm, moving violin interpretation of a much-covered song, which Ella Fitzgerald, among others, brought to the public's attention.)
    8.  Gentle On My Mind-Alison Krauss
(As I've written previously, this uptempo tune should have been a bigger hit for the departed Glen Campbell.  It contains some of the more compelling lyrics about a couple's chemistry that I've liked, and Krauss strikes the right emotive tone in her vocals.)
    7.  Our New Blood-Anders Parker
(A promising look at the future; Parker's thoughtful vocals are set to a waltzing guitar and violin backdrop in this enjoyable acoustic number, released in April.  It would be ideal background accompaniment in any number of "This Is Us" episodes.  I'm curious to know if the chord sequence on the guitar reminds anyone other than me of Fairport Convention's "Bring 'Em Down.")
    6.  My Emotions Are Blinding-Tennis
(There are appealing elements of Carole King's approach to songwriting and vocals in the chorus, and the tune has stayed with me since first hearing it in February.)
    5.  Darling-Real Estate
(One of 2017's more tuneful gems.  The pleasant guitar melody and vocals convey the softer, Kings Of Convenience-style side of power pop.)
    4.  24 Hours From London-Little Murders
(If you're waiting for a yes or no answer from someone about the future of your relationship and you expect to be rejected, this is about as tuneful as waiting music gets.)
    3.  Shine On Me-Dan Auerbach
(If you have a pulse, singing along with the tune's poppy chorus is almost involuntary.  It doesn't hurt that the tune's feel brings Pete Townshend's "Let My Love Open The Door" to mind.)
    2.  Old Churchyard-The Wailin' Jennys
(Beautiful vocal harmonies, as expected, make this cover of a traditional English tune about grieving for the deceased in the right measure shine.  The group's cover of Tom Petty's "Wildflowers" is also excellent.)
    1.  Early Spring-Finn's Motel
(This St. Louis band's tune, released in April, is my favorite song of the year.  I was primed to like it immediately, thanks to its guitar-and-vocals arrangement that brings The Jayhawks and many "How I Met Your Mother" episodes to mind.  Further keys to its first place ranking for me are the second verse and follow-up coda after the second chorus.  The protagonist has a potentially life-changing decision to make.  What does he decide?  Listen and find out.)

FM dial scan highlights XCI

Saturday through Tuesday standouts:

KDHX 88.1 FM

• Light One Candle-Yale University Out Of The Blue (Peter, Paul & Mary's live version, with its conviction and urgency, remains the definitive rendition for me.  Still, hearing "Light One Candle" with fewer backing vocalists acknowledges the suffering and the deceased more plaintively.)

WSIE 88.7 FM

• Consequence Of Love-Gregory Porter (Porter's rich, heartfelt vocals make this one of the highlights of last year's "Take Me To The Alley" release.  The title track is also one of the CD's highlights.)
• The Christmas Song-The Manhattan Transfer (I mean it as a compliment when I say this is a sleepy, warm blanket of a vocal arrangement.)
• Frosty The Snowman-Marcus Roberts Trio (One of the strongest versions I've heard; the bounce Roberts gives it makes it ideal for a piano instrumental.)
• Flipside-Norah Jones (It's gripping to hear Jones sing and play with this much force.  Other  standouts from 2016's "Day Breaks" release: "Peace" and "It's A Wonderful Time For Love," which would segue with Van Morrison's "Moondance.")

KLOU 103.3 FM

• Deck The Halls With Boughs Of Holly-Percy Faith and his orchestra (One of the better, statelier orchestral renditions.  The consistency throughout Faith's "Music Of Christmas" album makes it an ideal Christmas morning accompaniment.  Also recommended: "Joy To The World," as the orchestra captures the carol's triumphant nature perfectly.)
• Sleigh Ride-Andy Williams (The sleigh bells, lead and backing vocals make this an appropriately carefree, spirited rendition.)
• Hark! The Herald Angels Sing-Amy Grant (One of the most endearing versions of this carol that captures your ear with Grant singing a cappella, at first, and other voices lending support in good measure.)

W279AQ 103.7 FM, a.k.a. KLOU-HD2

• What Christmas Means To Me-Stevie Wonder (I'm glad Wonder's infectious excitement about all that Christmas offers still gets radio airplay so many decades later.)

Late '80s recording tech humor

I've written numerous posts about the quirky personality my high school orchestra director, Mr. D., displayed in and out of class.  Here's some very of-its-time dialogue from orchestra class, circa 1988:

Student: How do you like CDs?
Me: It's good that they exist, for the convenience factor and the sound quality that tops a record that's warped or skips.  I just wish they made blank CDs I could record onto, like cassette tapes.
Mr. D., walking by with uncanny timing, grinning from ear to ear: They do.  You just have to have your own factory.

Mr. D. then laughed his trademark, "Ha, ha, HA!" and walked on.

Time for "Name That Conductor..."

While listening to a Boston Pops CD, "A Christmas Festival," yesterday, I remembered an early '80s moment from the TV game show, "Tic Tac Dough."  Host Wink Martindale asked a contestant to name the longtime Boston Pops conductor.  The contestant didn't know that Arthur Fiedler was the conductor, but I did, having checked out several Boston Pops Christmas albums from the library.  I still think it speaks well of the show's question writers that they assumed a contestant would know Fiedler's name.  With the possible exception of "Jeopardy," I doubt that any TV game show today would expect contestants to know Fiedler's name or the name of the ensemble's longtime current conductor, Keith Lockhart.  Although that doesn't indicate the downfall of civilization, it's still slightly unfortunate.

Awaiting an important trio of boats

Thanks to pandora.com, I heard my new favorite instrumental version of "I Saw Three Ships" on Thursday.  Jon Schmidt approaches the carol with a unique blend of force and grace on the piano.  The interlude he plays from :59 to 2:18 stays true to the song's central theme while expanding on it; during that stretch, it's easy to imagine the three ships coming closer to their destination and onlookers chomping at the bit to greet the passengers.  Schmidt's rendition strengthens my appreciation of "I Saw Three Ships" as a carol.  It's amazing how much just the right amount of embellishing can make you see a carol you've heard hundreds of times in a new light.

"This isn't a quiz, but your answer is correct."

Years ago, I mentioned to a co-worker that I thought "Wassail, Wassail" was one of the Christmas carols Mannheim Steamroller performs best.  She surprised me by singing the first verse of it.  I thought, "You win the farmer's market poll, then.  If I surveyed 10 random people, most respondents would say they haven't heard of 'Wassail, Wassail' or would confuse it with 'Here We Come A-Wassailing.'  A smaller number of respondents would be familiar with the carol but wouldn't be able to match Mannheim Steamroller's instrumental rendition with its lyrics.  Well done..."

I still think "Wassail, Wassail" is one of Mannheim Steamroller's best tracks; its lack of an overly synthesized arrangement makes it work for the same reason as their version of "In Dulci Jubilo."