Friday, December 05, 2003

From Jerry Vale to Jethro Tull, the season brings a new batch of holiday records

It was starting to look a little like Christmas back in September, when this year's batch of new holiday records started coming in the door. We were still running back and forth from the Post-Gazette Pavilion in our shorts, so we didn't pay much attention.

But now we're suddenly, intensely interested. Enough to review as many as we could get our hands on. As usual, there are hits and misses, and no shortage of variety, from Connick to Chesney to Cash. Maybe there are one or two that are just right for you. Enjoy!

POP

American Idol singers, "The Great Holiday Classics" (RCA): People are going to pick this one up at the check-out line because it seems like the hot holiday product. You can do a lot better. Really. The six Idols here, so eager at the mike, bring new meaning to oversinging (Clay especially, but even Ruben) and don't have the experience or phrasing to hold up to all the legends who have sung these songs. The ensemble pieces are almost laughably bad and the arrangements are so sugary, it's all one big icky mess, like a 3-year-old with a candy cane. (Scott Mervis)

The Blind Boys of Alabama, "Go Tell It On the Mountain" (Virgin): The Blind Boys need guest singers like Dylan needs a lyricist. But that didn't stop them from assembling a virtual hall of fame of talent, including Solomon Burke, Tom Waits, Aaron Neville, Mavis Staples, George Clinton and Chrissie Hynde. Unfortunately, the sum is far less than the parts. What could have been a cohesive and high-spirited Blind Boys Christmas record now jumps around haphazardly, the guests taking over with varying degrees of success and an overall shortage of chemistry. Even the all-star backing ensemble -- John Medeski, Duke Robillard, Danny Thompson and Michael Jerome -- doesn't seem to gel quite right. (Mervis)

Chicago, "Chicago Christmas: What's It Gonna Be, Santa?" (Rhino): Chicago is a bit past its prime, which is often a prime time for the holiday record. Chicago first took the yule leap in 1998 with "Chicago 25: The Christmas Record," which, produced by the E Street Band's Roy Bittan, managed to still sound like a Chicago record. It's remastered and reissued here with six additional tracks, making it a generous helping of holiday classics and one original ("Child's Prayer"). The additions, including "Winter Wonderland," "This Christmas" and a "Jolly Old St. Nicholas" that sounds almost pop-punk are worth the additional expense. The Chicagoans spread the vocals around with soul and variety and apply the band's vintage jazz-pop sound with craftsmanship and a sense of fun. (Mervis)

Harry Connick Jr., "Harry for the Holidays" (Columbia): Connick's career has been on such a fast track, he's already on his second Christmas record at the tender age of 36. But if any current talent is cut out for Christmas music, it's Connick, whose style is a perfect throwback to the swing era. Bold and brassy, this is not a record for those mellow moments. From the opening of "Frosty the Snowman," "Harry for the Holidays" swings mightily with a big band in the Nelson Riddle vein. "Silver Bells" is, as they say, off the hook; "This Christmas" is warmed with strings and gospel choir; and he takes his good old time on a quiet "I'll Be Home for Christmas." Connick adds four originals including the bouncy "Happy Elf," the countrified "Nothin' New For New Year" (a great duet with George Jones) and "I'm Gonna Be the First One," one of those rare new songs with a shot at being a standard. (Mervis)

Whitney Houston, "One Wish: The Holiday Album" (Arista): She still has it. Plagued with drug problems, the diva may not have shown the full capacity of her voice on 2002's "Just Whitney," but her classic pipes have their full force on this disc. (San Jose Mercury News)

Jethro Tull, "Christmas Album" (Fuel 2000): No, Ian Anderson doesn't get anywhere near "Frosty the Snowman" or any holiday classics, for that matter. This is the most unlikely Christmas record in the bunch, perhaps, and that's without even reading Anderson's liner notes, on which he doesn't seem sold either on the holiday or the idea of this record. Still, even if a bit of a Scrooge, he doesn't phone this in, writing nine of the 16 songs, several of which, like "Weathercock," were re-recorded from previous Tull records, but fit the seasonal theme. "Birthday Card at Christmas" is a passionately skeptical Christmas original. "First Snow on Brooklyn" is a heartbreaker about an old love left unsung on a Christmas eve. Typical of the band, the playing is ancient and thick as a brick, with acoustic guitar and flute weaving majestically. Some will find "God Rest Ye Merry Gentlemen" and "Greensleeves" a wee bit overwrought as prog-folk even as they are drawn in by "Boure" and "A Winter Snowscape," to name four of the seven instrumentals. Play this one at the pagan solstice festival. (Mervis)

Moody Blues, "December" (Universal): You'll have a blue Christmas with this one. The orchestral rock band's first studio record in five years finds the Moody Blues taking this holiday thing much too seriously. Justin Hayward sings likes he's on the verge of tears on songs that are overly pompous and polished. They add five bummed-out originals including the poppy "Don't Need a Reindeer" and mess with a John Lennon classic, "Happy Xmas (War is Over)," that didn't need their input. A Moody Blues song or two might work on your Christmas mix CD, but this is too bleak to take as a whole. To their credit, they did refrain from poetic voiceovers. (Mervis)

Jerry Vale, "Have Yourself a Merry Little Christmas" (Sony/Legacy): You might already have most of this on the previously released "Christmas Greetings from Jerry Vale," another record with a very corny-looking cover. This new collection adds four tracks, including his bouncy cover of "Snowbird" and "(There's No Place Like) Home for the Holidays" on which he makes no secret of his heritage, singing "no matta how far away you roam." Vale isn't a member of the Sinatra-Martin-Crosby pantheon, but his high tenor does wonders with a Christmas song. (Mervis)

Various artists, "The American Song-Poem Christmas: Daddy, Is Santa Really Six Foot Four?" (Bar/None): Tired of the same old Christmas standards? Maybe you should try your luck with "Santa Claus Goes Modern," "Santa Came on a Nuclear Missile" or "The Rocking Disco Santa Claus," just three of 21 unusual additions to the Christmas song tradition on this smile-inducing sequel to "The American Song-Poem Anthology." For those who don't know what a song-poem is, it's a collaboration between an aspiring if deluded lyricist and a company willing to take that person's money to set a so-called song-poem to music. It's easy enough to understand the cult appeal of these recordings, which perfectly match bad lyrics to cheesy production and playing by studio hacks. Unless you're really into irony, even the highlights may just sound like junk to you. But with the proper sense of humor, it's hard to miss the charm in the wistful, easy-listening approach -- with sound effects! -- they take to lyrics as surreal as "I waited in the shadows all night/ But when he came he gave me a fright/ I wanted to reach out and hug him/ But just stood there, my knees trembling/ Santa came and took away my smile/ Santa came on a nuclear missile." (Ed Masley)

Various artists, "Heavenly Christmas" (Rhino): You'll think you've died and gone to heaven -- a puffy white cloud version of heaven that you're not sure you want to be in. The Trans-Siberian Orchestra, Sarah Brightman and Mannheim Steamroller in the first three songs will do that to you. This collection of adult contemporary and classical crossover artists mixes upscale elevator music with pop (Linda Ronstadt, Carly Simon, Natalie Cole) and Broadway artists (Michael Crawford, Linda Eder) all sharing the mellow mood. It's a must for the PBS enthusiast on your list. (Mervis)

Various artists, "Cool December" (Shout): Now we're talkin'. Bing Crosby doing "Looks Like a Cold, Cold Winter," Sarah Vaughan doing "Snowbound," Ella doing "Sleigh Ride," Billie Holiday doing "I've Got My Love to Keep Me Warm." OK, it's not all grade A. The label behind Rhino's Ultra-Lounge series adds a twist with lesser lights like Julie London and June Christy and a smattering of contemporary acts (Stacey Kent, Rene Marie, John Pizzarelli) who'd be hard-pressed to measure up. But the 16 songs all glow with the kind of romance, subtle playing and sultry singing that can stay in the CD changer all month long. (Mervis)

Various artists, "Wonderland: Under the Mistletoe" (Shout): Sorry, you're going to need this one, too. Ella, Sarah and Doris are joined by Aretha, Dinah and Carmen for more Christmas romance and frolic from Shout. The guys -- Lou Rawls, Bobby Darin and contemporaries Kevin Mahogany and Steve Tyrell -- aren't chopped liver, either. Too classic to pass on. (Mervis)

Various artists, "Yulesville" (Shout): This one completes the Shout collection, in decidedly quirky fashion, starting with Pearl Bailey and Dean Martin, before moving on to the likes of Leon Redbone and Booker T and the MGs and novelties such as Tiny Tim and Van Horne and Randy Singers. Sergio Mendes keeps it real with the Brazilian beat, Lionel Hampton brings the good vibes and Ann-Margret/Al Hirt the sex appeal, on the irresistible "Baby, It's Cold Outside." The offbeat covers and liner notes on all three Shout records only add to the fun. (Mervis)

Various artists, "The Time-Life Treasury of Christmas: Evergreen" (Sony): This collection of middle-of-the-road artists from yesteryear ranges from the overly timid (Kenny Loggins, Vince Gill) to the overly bombastic (Mariah Carey, Michael Bolton, etc.), with a couple stops in between. The '90s production on so many of these songs already sounds dated, making it neither timeless nor a treasury. (Mervis)

Various artists, "Trojan Christmas Box Set" (Trojan): It's fun to hear the artists here bring reggae rhythms to a batch of Christmas standards you probably couldn't imagine ever sounding new again. But inserting a handful of stock Jamaican phrases -- "We wish you a Irie Christmas and a dancehall new year," "Santa Claus is Ska-ing to Town," etc. -- is pretty annoying, especially as often as it happens in the course of these three CDs. Still, there are some highlights worth exploring here -- The Ethiopians' "Ding Dong Bell," Lee "Scratch" Perry & Sandra Robinson's soulful, spooky "Merry Christmas, Happy New Year," the Maytals' "Happy Christmas (The Christmas Song)" and Desmond Dekker's wistful "Christmas Day" (with an Elvis-worthy monologue) among them. (Masley)

Various artists, "Maybe This Christmas Too?" (Nettwerk Records): After last year's compilation of alt-covers, this is uninspiring. But maybe it's perfect if you want to wallow in the fact that you're all alone this holiday -- with covers by Avril Lavigne, Dave Matthews Band and the Flaming Lips. Lisa Hannigan's version of "Silent Night" is absolutely depressing. (San Jose Mercury News)

COUNTRY

Gene Autry, "Rudolph the Red-Nosed Reindeer and other Christmas Classics" (Columbia): Stuff this disc into the stockings of little kids and serious collectors of Christmas songs. Culled from the original Gene Autry recordings, the album traces "the singing cowboy's" efforts to re-spark the magic that inspired him to write "Here Comes Santa Claus" in 1947. Some of these songs became staples of the non-inspirational holiday pop song tradition. There's nothing contemporary about the arrangements, but the 18 tracks include classic renditions of "Frosty the Snowman," "Santa Claus is Comin' to Town," "Up on the Housetop," Johnny Marks' "Rudolph the Red-Nosed Reindeer" and, of course, Autry's Christmas claim to fame, "Here Comes Santa Claus." (John Hayes)

Johnny Cash, "Christmas with Johnny Cash" (Sony/Legacy) He called himself the Man in Black and dressed the part. But Johnny Cash loved Jesus more than any prison, and it came through loud and clear in tracks as heartfelt as "The Gifts They Gave," a Cash original from 1963. "Jesus our King," it begins, "Kind and good/Was humbly born in a stable of wood." Other highlights range from a '62 take of "Blue Christmas" that picks up where "Home of the Blues" left off to "Merry Christmas Mary," a '72 recording that finds him thanking Mary for the child. Don't let the cover photos fool you, though. While they suggest a set of vintage Johnny Cash, five cuts -- that's almost half the record -- are from 1980. Something tells me that sort of consumer deception is a long way off from what the singer had in mind when he titled a song "The Christmas Spirit." (Masley)

Kenny Chesney, "All I Want for Christmas is a Real Good Tan" (BNA): Bona fide country stars of the past offered unique interpretations of traditional Christmas songs -- they didn't just sing them. Chart-topper Kenny Chesney doesn't get it. On "All I Want for Christmas is a Real Good Tan," he puts his voice behind a handful of familiar chestnuts and a few new holiday songs, but offers nothing vocally that will be remembered as classic. His co-producers, Buddy Cannon and Norro Wilson, do a good job of making the music distinct. "Jingle Bells" and "Silver Bells" start with cool percussion grooves, but are flattened by Chesney's uninspired approach. Chesney is at his best on the title cut where he relies on Paul Overstreet's description of a blue-water Christmas to sell itself. Obligatory guest appearances are provided by Randy Owen on Alabama's "Christmas in Dixie" and Willie Nelson on his "Pretty Paper." (John Hayes)

Merle Haggard, "Goin' Home for Christmas" (Epic): Hardcore collectors of country Christmas albums already own these songs on two previous discs. Merle Haggard's "Goin' Home for Christmas" is a reissue of the 1982 Epic LP of the same name with "White Christmas, " lifted from 1998's "Nashville's Greatest Christmas Hits," tacked onto the end. Standards include "Santa Claus is Comin' to Town," "Rudolph the Red-Nosed Reindeer" and "Blue Christmas." But half of the songs are Haggard originals sung in his plaintive, Everyman voice, including one of the country legend's best tunes, "If We Make it Through December." Bursting with stories of daddies who can't be home for Christmas and kids who won't find something special under the tree, it's the perfect album for people who feel abandoned, broken and depressed at Christmas. (Hayes)

Kathy Mattea, "Joy for Christmas Day" (Narada): Kathy Mattea's second collection of inspirational Christmas songs in three years picks up where "Good News" left off with distinctive spins on traditional classics and new additions to the holiday song discography. Solidly produced by Mattea and guitarist Ed Cash, "Joy for Christmas Day" begins with a wonderful potpourri called "Christmas Collage," which includes overlapping portions of "O Come, O Come Emmanuel," "God Rest Ye Merry Gentlemen" and "We Three Kings." Congregation classics "Unto Us a Child is Born," "Angels We Have Heard on High" and "Hark the Herald Angles Sing" are given appropriately pious treatment, while newer songs of inspiration range from introspective to booming. "All Because of Him," co-written by Mattea, could work at every folk mass in America, while Marc Cohn's "Baby King" segues from hip a cappella to a big Wurlitzer piano sound. "O Come All Ye Faithful" resonates with rich harmonies and a Hammond B3 that would be the envy of every church choir director. (Hayes)

John Michael Montgomery, "Mr. Snowman" (WB): Not much to celebrate here. John Michael Montgomery marks his first credit as producer with a 10-song disc that drips with lush orchestration and not much that could be called country. The cellos and violins of The Nashville String Machine dominate the album with Muzak-like swells and saccharine-sweet crescendos. If you collect Christmas discs, you already own similarly cheesy versions of the chestnuts roasted here. Montgomery simply sings the songs, adding nothing distinctive or memorable, and despite some talented session pickers, the arrangements are benign, to be polite. "Mr. Snowman" would have sounded like Grandma's Christmas wallpaper if it weren't for "December 1943," a touching story song co-written by Grammy winner Harley Allen. Two additional new tunes are less interesting, including Montgomery's "A Daddy's Prayer," a mismatch of a depressingly dour world view and his children singing "Jesus loves me, yes I know..." (Hayes)

Various Artists, "Classic Country Christmas" (Time-Life): Anybody can sing a Christmas song. But most of the artists on "Classic Country Christmas" offered unique interpretations when they cut these songs on albums stretching from the 1950s to the 21st century. Time-Life Music wisely chose these 20 tunes when compiling one of the best down-home holiday Christmas packages of recent years. Elvis Presley's "Blue Christmas" and Brenda Lee's "Rockin' Around the Christmas Tree" date to a time when rock and country were still joined at the hip. No one has ever done "The Little Drummer Boy" quite like Johnny Cash, and Dolly Parton's Broadway hit, "Hard Candy Christmas," is still personal and touching. Chet Atkins shows how to pick a guitar on "Jingle Bells" and Vince Gill continues the tradition on "Santa Claus is Coming to Town." The streets of Bakersfield glitter with Buck Owens' "Santa Looked a Lot Like Daddy," while his protege Dwight Yoakam is uniquely creepy on "Here Comes Santa Claus." Emmylou Harris goes acoustic with a high mountain "Christmas Time's A-comin' " and Willie Nelson's holiday original, "Pretty Paper," remains moving and melancholy. (Hayes)

Elmo & Patsy, "Grandma Got Run Over by a Reindeer" (Epic): No one outside of Marin, Calif., would have ever heard of veterinarian Elmo Shropshire if he hadn't stumbled upon an irreverent novelty song written by his buddy Randy Brooks. Under the pseudonym Dr. Elmo, Shropshire self-financed the recording of "Grandma Got Run Over by a Reindeer," which was briefly banned from the airwaves until a San Francisco station and another doctor, Demento, took it nationwide. An early-MTV video helped turn the tune into one of the biggest novelty hits in recording history. This disc is a remastering of the 1984 LP that mixed lackluster versions of traditional tunes with two more equally quirky but less funny holiday novelty songs, "Percy, the Puny Poinsettia" and "Senior Santa Claus." (Hayes)

CLASSICAL

Anonymous 4, "Wolcum Yole" (Harmonia Mundi): Anonymous 4's second venture out of the Middle Ages stretches into music of the 21st century, but retains the group's hallmark medieval sound. This esoteric collection of Celtic and British carols and songs mixes traditional Christmas tunes with contemporary carols that include Britten's "A New Year Carol" and John Tavener's ultramodernistic "The Lamb." Anonymous 4 has even gone so far as to feature two works recorded for the first time anywhere: Geoffrey Burgon's "A god, and yet a man?" and "A Calendar of Kings," which Anonymous 4 commissioned from Peter Maxwell Davies. The medieval flavor is enhanced on 12 of the 19 selections by the pristine performance of Andrew Lawrence-King on Irish harp, Baroque harp or psaltery. (Eric Haines)

Sara Botkin, Anne-Margurerite Michaud, "An Angel's Christmas": As self-produced discs go, this one is more than a pretty face and overly dreamy vocal layering. Locally based singer Botkin has written an attractive group of arrangements for voices and harp, played expertly by Anne-Marguerite Michaud, who performs with the Pittsburgh Symphony. It's sort of Enya-meets-Father Christmas, but in a good way. The arrangements are tasteful and Botkin's airy soprano voice does them justice. (Andrew Druckenbrod)

Botkin and Michaud perform at 7:30 p.m. Monday at Hiland Presbyterian Church, Ross; call 412-364-9000.

Chanticleer, "Christmas with Chanticleer: An Orchestra of Voices" DVD (Teldec Classics): Chanticleer's first venture into the realm of DVD is a release of the group's public television special filmed at the Metropolitan Museum of Art's Medieval Sculpture Hall. Music director Joseph Jennings programmed several mainstays from Chanticleer's previous Christmas CDs, including the Spanish carol "Riu, riu, chiu," Praetorius' "In Dulci Jubilo," Franz Biebl's "Ave Maria" and his own medley of Christmas Spirituals. New to Chanticleer recordings are contemporary composer John Tavener's "Today the Virgin" and "Village Wedding" and Vince Guaraldi's "Christmas Time is Here" from "A Charlie Brown Christmas." (Haines)

Irish Tenors, "We Three Kings" (Razor & Tie): The biggest attraction of the Irish Tenors is not that they sing well, but that they treat everything with sincerity. If you don't think Pavarotti and other heroes of the stage gives less for a lesser work, think again. Anthony Kearns, Finbar Wright and the great Ronan Tynan, the latter now of Yankees' seventh-inning stretch fame, may not hit home runs, but they bat for a high average. So it goes with this, a thoughtful and sincere Christmas disc. With a good backing band in the Czech National Chamber Orchestra, the tenors never force operatic vibrato on the pop stuff such as "Winter Wonderland" or "Santa Claus is Coming to Town" and certainly have the voices for "It Came upon a Midnight Clear" and "Pie Jesu." Not to be missed is the epic sound of "O Holy Night," that most operatic of all carols. The disc ends inexplicably with two patriotic songs, but it's really a nice Christmas card. (Druckenbrod)

Irish Tenors perform at 8 p.m. Wednesday at the Benedum Center, Downtown; call 412-456-6666.

Paul Austin Kelly, "Don't Want No Bones for Christmas" (Walking Oliver): Opera singer Paul Austin Kelly continues his collection of songs for children with this funny Christmas album. From goofy renditions of classics such as "I'm Getting Nuttin' for Christmas" and "The Twelve Days of Christmas" to a few originals such as "Don't Want No Bones for Christmas (I Want an Electric Guitar)," Kelly sings engaging renditions of carols. With guitar, and synthesizer and drums, these aren't traditional performances, but that's the point. Kelly wants to appeal to kids who are bored with all that. The CD is illustrated by the renowned Korky Paul. (Druckenbrod)

Netherlands Bach Society, Bach: Christmas Oratorio (Channel): This two-disc set is the extravagant choice for Christmas, not just in how it sounds, but due to the maroon velvet box with gold lettering it comes in. No less than 75 gorgeous color photographs of sculptures, paintings and manuscripts depicting the Nativity mother provide a stunning visual accompaniment to Bach's musical celebration. Why not lavish Bach with this treatment? After all, his Christmas Oratorio, BWV 248 is one of the masterpieces of the season. A cycle of cantatas, six in total, which stretched over the season (starting on Christmas, not before) to Epiphany in 1734-5 in Leipzig, Germany. There's even a cantata for New Year's Day. Performed by the Choir and Orchestra of the Netherlands Bach Society and top European soloists, and directed by Jos van Veldhoven, the pacing and balance is stunning. The singing is not forced, but rather has a casual, warm atmosphere to it. I always suggest Bach as a fresh alternative to Handel and carols at Christmas; this collection makes the decision easy. (Druckenbrod)

Pittsburgh Symphony Brass, "The Spirit of Christmas" (Four Winds): As far as instruments go, nothing says Christmas more than the brass. Drawn from the ranks of the Pittsburgh Symphony Orchestra, these six musicians are some of the best players around on the serious stuff, but you can feel their joy of playing this lighter repertoire. From traditional arrangements ("The First Noel" and "Coventry Carol") to contemporary ones ("What Child is This?" and "O Come, O Come Emanuel"), the substance of the sound is impressive. Several tracks bring other musicians into the mix, highlighted by mezzo-soprano Tami Fire singing Marvin Hamlisch's fine holiday song, "Take Me to Christmas Past." (Druckenbrod)

Renaissance City Men's Choir, "Holiday Jewels": A rollicking version of "God Rest Ye Merry, Gentleman," with a klezmer feel to it, opens this disc by the male half of Pittsburgh's gay choirs in style. A snapshot of its annual holiday concert, "Holiday Jewels," does a good job of capturing the joy. Clever arrangements bring out new twists in old carols, such as "Winter Wonderland" (especially the wryly sung line, "He'll say, are you married? We'll say, 'No man!' ") The choir is singing better then ever under director Darlene Durrwachter Rushing, although the sound gets muddled occasionally. The best description of this choir is that of a mature glee club -- a timbre that works well for Christmas carols. And who can resist Ms. Eda Bagel on the cover? (Druckenbrod) "Come Out for the Holidays" takes place at 8 p.m. Dec. 13 at East Liberty Presbyterian Church. $15-$50. Call 412-394-3353.

Tallis Scholars, "Christmas with the Tallis Scholars" (Gimell): Christmas is one of those few times when you get to hear vocal polyphony, or at least earlier singing styles than Bach. "Es ist ein' Rose," "Coventry Carol" and the like. However, unlike your relatives who might try this type of singing only once a year, the Tallis Scholars do it year round, and this two-disc set is awesome to hear. From medieval carols to settings of the Ave Maria to English polyphony, this disc is great for background music or attentive listening of a music from a time when Christmas didn't go hand-in-hand with commercialism. The intonation is excellent and the timbre glorious in this compilation. (Druckenbrod)

The Western Wind -- "Holiday Light" (Western Wind Records): This premiere Christmas recording by The Western Wind, a 30-year-old, New York City-based vocal sextet is subtitled, "Medieval, Renaissance, Early American and Contemporary Christmas Songs & Holiday Reflections." The recording is a collection of 18 pieces relating to one of four Christmas themes: "Angels and Shepherds," "Of a Rose," "The Baby" and "Holiday Messages." Guest instrumentalists Patricia Davis, Robert Eisenstein and Grant Herreid are featured variously, and virtuosically, on violin, fiddle, vielle, bass viol, lute and vihuela. The tunes are tied together by a narration written by the Rev. Dr. James F. Karpen and elegantly read by actress Roma Downey. (Haines)

JAZZ

The New England Jazz Ensemble: "Wishes You a Cookin' Christmas" (SeaBreeze): In a highly entertaining, musically satisfying addition to anyone's collection of Christmas jazz, the 16-member NEJE gives us not only a half-dozen holiday favorites, but also a terrific bonus in its performance of Duke Ellington and Billy Strayhorn's fun-filled "The Nutcracker Suite." Toasting our holiday pals St. Nick, Rudolph, Frosty, et al, the NEJE freshens perennial favorites with some fresh arrangements. Particularly notable are the band's versions of "Winter Wonderland," featuring creative use of the reeds/woodwinds and John Mastroiani's soprano sax solo, and a clever interpolation of Vince Guaraldi's lovely "Christmas Time Is Here," and a swinging "Have Yourself a Merry Little Christmas." The "Nutcracker," though, steals the show. This masterful take by Duke and Billy on Tchaikovsky's "The Nutcracker Ballet" is certainly a Christmastime classic, from the wonderfully lighthearted "Overture" to the dancing flutes and clarinets of "Toot, Toot, Tootie Toot," and the swinging and exotic pieces such as "The Volga Voaty Russian Dance," "Chinoiserie (Chinese Dance), and "Arabesque Cookie (Arabian Dance)." All this wonderful music is played splendidly by the full ensemble, its sections, and soloists.(Bob Protzman)

Eric Reed, "Merry Magic" (MAXJAZZ): Pianist Eric Reed's Christmas offering suffers from trying to cover too much ground, perhaps to reach a broader audience beyond his jazz following. After listening to "Merry Magic," one wishes he had heard more of Mr. Reed, his trio, and (on several tunes) quartet, and less vocalizing from Erin Bode, Paula West and Reed himself. Instrumentally, we have a fine CD here, including a marvelous solo piano performance of a deep-rooted "Christmas Blues," for which Reed provides a bit of a Tatumesque ending. He also plays solo on the lovely "Lo, How a Rose E'er Blooming."And you've got to like Reed on organ with a right-out-of-church reading of "O Come All Ye Faithful (Adeste Fidelis)." The vocal results, however, are mixed. Reed sings a forgettable and regrettable ballad version of "Santa Claus Is Coming to Town," and Paula West sings a bad song badly. Erin Bode, however, compensates somewhat with her attractive voice, perfect enunciation and overall expressiveness, especially on "What Are You Doing New Year's Eve?" (Protzman)

Various Artists: "The Reasons for Christmas Project": For its message alone, this album full of words of love and peace and caring and compassion for those less fortunate is worth having. But it also offers some terrific music, played by a collection by musicians -- jazz and otherwise -- from the Delaware Water Gap area in Pennsylvania's Pocono mountains. There are jazz "stars" like alto sax master Phil Woods, guitarist Vic Juris, post-bop soprano saxophone hero David Liebman, the quirky be-bop pianist/vocalist Bob Dorough (famed for his vocal on "Blue Xmas," the Miles Davis Christmas classic for cynics), and a whole lot of musicians and vocalists unknown outside of the region. The scratchy-voiced Dorough gets things off to a lively start with an original song expressing the wish that the spirit of Christmas would last indefinitely. Liebman's quartet delivers a joyously and humorously "out" version of "Santa Claus Is Coming to Town." Besides his usual sterling playing, Woods contributes a touching song, "Gifts for the Children," sensitively and swingingly performed by singers Nancy (also on bass) and Spencer (guitar) Reed. In another highlight, a jazz sextet calling itself The Gaptime Ensemble gives us a ceaselessly cheerful, honky-tonk/New Orleans jazz version of "Good King Wenceslas." There also are some nice pop, folk and even classical music performances. Buy it and help some homeless folks. (Protzman)

E-mail this story   Print this story