While readers know I never shy away from controversial topics (banjos? Sports at Universities receiving enough funding to run a small country while Music classes/lessons are held in portable classrooms?), I may be stepping over the boundary this time. I’ve decided to devote this entry to Christmas Music. Now, BEFORE you quickly turn the page (or scroll down), just read me out…I know that the subject of Christmas Music and Jazz has always been a line in the sand between those who love the idea, and those who think the only real jazz tune for the (Christian) holidays is “Santa Claus is Coming to Town.”
It’s just that I’ve always loved the tunes we seasonally enjoy—or endure, depending on your outlook. I’m not sure why. Perhaps it’s the simple melodies and harmonies? I gravitate toward simplicity (while proofreading, my wife remarked, “like attracts like”), but I don’t think that’s the only factor. It might be that many of these carols and songs are centuries old and, through them, we are invited to quietly contemplate something bigger than ourselves. Maybe it’s the snow, the egg nog, the mistletoe, the egg nog, the tree taking up more room in the house than is reasonable—have I mentioned egg nog yet? Or maybe it’s a joyous reminder that in the right hands and heart, any tune can be transformed into an exciting, or contemplative, or moving (or ALL of these) musical statement. Jazz artists take what they know, face what they don’t, and create something fresh with those ingredients. I suggest that nowhere is there a more fertile field for self-expression and connections than the ancient—and new—melodies celebrating this time of year, no matter what belief system you connect with.
[N.B. Mine is always a non-denominational column, so although I’m emphasizing music celebrating the holiday season, nothing herein is intended to indicate a superiority of Christianity over any other religious construct, whether Jewish, Muslim, Hindu, or any other belief system…Hell, if you’re an atheist with a good ear, you can still appreciate the music I’m about to share!—but if by doing so you find yourself believing in something larger than yourself, don’t blame me.]
I’ll begin with a Canadian singer my readers might be familiar with. Her name is Holly Cole, and she first came to my attention about 20 years ago when I heard her meltingly beautiful, heart-rending version of “My Foolish Heart.” Part of her success is due to her pianist and musical director, Aaron Davis. This version is exquisite, my favorite by far, featuring a moving statement of the melody by bassist David Piltch, who produces a tone you can simply curl up in.
[N.B. II Any holiday tune I reference in this column is readily available on YouTube. As well, links are included on the online version of this publication.]
Some years ago, I found a CD of Holly Cole singing holiday tunes in a thrift store for $1.00. Best buck I ever spent. It’s on in our home almost constantly during December. Happily, a playlist, remastered in 2022, is available on YouTube. While the fully orchestrated versions of “Zat You Santa Claus” (Louis Armstrong did this one) and “Santa, Baby” are impressive thanks to Davis’ arrangements and Cole’s delivery, the intimate renderings of “Christmas Time is Here,” “I’ll Be Home For Christmas,” “Please Come Home for Christmas,” and “The Christmas Song” will stay with you long after the season is over. Two surprises I’ll mention are Cole’s cover of Merle Haggard’s “If We Make it Through December” and a reimagining of Frank Loesser’s “Baby, It’s Cold Outside” (the most successful of the big production numbers) that is an actually moving duet between Holly Cole and Ed Robertson (of the group Barenaked Ladies).
Another splendid vocalist, even less well-known than Ms. Cole, is my dear friend, Eddie Erickson. Eddie’s perhaps best identified for his work as part of BED (the acronym signifying Becky, Eddie and Dan, as in Rebecca Kilgore, Eddie Erickson and Dan Barrett). His banjo and guitar playing are nonpareil and his vocals are as velvety as that of Mel Tormé’s. He wouldn’t be part of my holiday retrospective if not for his friendship with tenor saxophonist, arranger, and composer Harry Allen. In 2007, Harry produced an album featuring Eddie and Rebecca Kilgore singing selections from Guys and Dolls and followed that in 2011 with The Sound of Music. Two holiday offerings I recommend from the Allen-Erickson collaboration are “O Christmas Tree” and Harry’s own “Christmas Is Here, Can You Feel It?” Eddie sings so naturally, with a delivery that will warm any winter night.
Two legendary pianists, Oscar Peterson and Dave Brubeck, recorded holiday albums late in their lives and careers, and both were released on Telarc. While Oscar Peterson’s relationship with that label occurred after his stroke, anything he released with it is worth a listen. No, he doesn’t have the pianistic pyrotechnics of earlier years, but there is a depth that comes from age, experience, and overcoming seemingly insurmountable odds. Nowhere is this more evident than on his holiday release, “An Oscar Peterson Christmas.” Some nice vibes augment his piano, along with guitar, bass, drums, and some unobtrusive strings providing back-up. Mellow, hip, it’s the perfect soundtrack for a quiet night by the fire, looking out the window at the snow or even palm trees if you live in that climate! Honestly, it’s good enough to listen to in July! And Peterson’s solo version of “O Christmas Tree” is of timeless beauty with his lush altered harmonies and the tender way he caresses the melody.
Dave Brubeck’s offering is much less arranged as it’s a solo outing. While we all remember him from the 1950’s with Paul Desmond and their college series of concerts (as well as pieces like “Take Five”), in the final quarter-century of his life, he recorded some remarkable solo sessions for Telarc, among them Just You, Just Me (released on 1994, nearly 40 years after his previous solo recording), his take on WWII songs (Private Brubeck, 2004), and an album of standards (Indian Summer, 2007). His second release for Telarc was in 1996 and concentrated on 14 seasonal themes. On A Dave Brubeck Christmas, he strides “Winter Wonderland” and “Santa Claus is Coming to Town,” and gives us two versions of “Jingle Bells:” an upbeat “Homecoming” version and, as the penultimate track, an introspective, plaintive “Farewell” rendering. Perhaps because I associate the holiday season with looking inward, with quiet contemplation of all that is, and my humble place within “it,” my favorite cuts are his hymn-like “The Christmas Song” (played as Tormé might’ve sung it) and his deeply personal version of “Silent Night” (in which he shows that fewer notes can have more meaning), the second chorus featuring an astonishing descending chord sequence over the simple melody.
OK, so far I’ve not included anyone who strictly fits under the styles rightly celebrated in this publication (searching for “Oscar Peterson,” “Dave Brubeck,” or “Holly Cole” on the TST platform reveals the pickings to be pretty slim), I’ll rectify this situation with my favorite EVER Christmas—and perhaps one of my top ten EVER—albums. The title? “‘Tis the Season to be Jammin’.” The band? Jim Cullum’s Jazz Band. With arrangements conceived by the incomparable John Sheridan and expertly executed by Cullum and his ensemb, for me this is the ultimate recording blending Jazz and Holidays!
I’ve got good news and bad news. I’ve always found it best to present the “bad news” first, as the followup is already primed to please. The bad news is that the only existing version of the original Cullum holiday album readily available on YouTube is marred by inferior sound. The good news is that a substantial portion of Sheridan’s arrangements have been chronicled in Volume VI of the Riverwalk Jazz Series produced at the Landing in San Antonio where the Cullum outfit held sway for an amazingly long time. Even better news? Guests such as Clark Terry and Dick Hyman are on hand to provide live versions of the previously recorded arrangements. Just listen to Hyman’s rendering of John Sheridan’s arrangement of “The Nutcracker Suite,” and the ensuing rapturous response to it, to be convinced that here there be Jazz History!
However, one significant loss is not being able to experience the magnificent versions of “O Holy Night,” “It Came Upon A Midnight Clear,” and “Ave Maria,” because they were NOT included in the Riverwalk broadcast. Hopefully someday, someone with more technological acumen than I possess will provide us with a YouTube version of the original album worth listening to; Cullum, Allan Vache, and arranger/pianist John Sheridan play at their very pinnacle. In the meantime, the Riverwalk broadcast provides some good tunes rendered by spectacular artists, and is a fitting conclusion to my list of opportunities to hear jazzy renditions of beloved carols and holiday pop tunes.
But wait, there’s MORE! I am thrilled to call attention to two jazz interpretations of the Chanukah favorites “The Dreidel Song” (by a subunit of the United States Air Force Band with four trombones and drums), and a spirited version of “Hanukkah, Oh Hanukkah” by Jonathan Stout and his Campus Five. I won’t go into detail except to say these are worth your time and ears. As well, I offer “Sing for Kwanzaa” by the Sultans of String. Links for all of these are on the online version of this publication. For now, “Merry Christmas,” “Chag Hanukkah sameach,” “Heri za Kwanzaa,” or, if celebrating a holiday in December isn’t your thing, Happy Chinese Dinner!
