Past Reviews Sound Advice Reviews 'Tis the season for: |
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We begin and end our holiday music list with joy: Lea Salonga's album Sounding Joy sounds like a good place to start, and we end with "There's Still My Joy," Liz Callaway's single. In between, there are women with powerful sets, one titled Wintersong (singular noun form) and the other is Wintersongs (plural form). Then check out two very different instrumental albums and three guys harmonizing on four songs. To borrow the term used by weather reporters to describe precipitation that can combine snow, sleet, and hail in this season: We have a "wintry mix" ahead.
It's a joy to write about Lea Salonga's Sounding Joy: The Holiday Album. The accomplished star, who has worked in musical theatre, lent her supple, strong voice to animated films, appeared on TV, in concerts around the world and on recordings (including an earlier Christmas album) sounds great with a myriad of material. The contents of her new release has plenty of established holiday fare, but it's not a predictable set restricted to carols that have been around for centuries and sticking with the same older secular standards that filled holiday albums in the decades before she was born. No easy-listening mix of the ho-hum and ho-ho-ho for her. Lea Salonga digs into later pop hits and sounds as comfortable with their varied tones and rhythms as she seems at home with "I'll Be Home for Christmas," introduced during World War II, or the reverence reserved for carols. But what's notable is how she not only picks pop hits from more recent eras, some strongly associated with those who made them hits, but makes them her own without seeming tentative or trying to copy the originals. Who would imagine that Mariah Carey's ubiquitous "All I Want for Christmas Is You" could discard its self-assured pep and bounce and be slowed down and suggest a sobered sense of worry that the "wanted" one may not appear. There's tension in both "This Christmas" and "Last Christmas," stepping out of the shadows of their famous versions by, respectively, the late male vocalists Donny Hathaway and George Michael, and ear-wormy arrangements and lush production. Theatre fans, take note of the valentine to venues and shows that is the celebration-worthy "Christmas on Broadway." The eclectic program has the promised joy radiating through the cheer of "It's the Most Wonderful Time of the Year" and a grand extravaganza in a montage of religious jubilation in duet with Clay Aiken. The album features a huge orchestra as well as background vocalists. And throughout the proceedings, Lea Salonga comes across as fully in charge and fully in the Christmas spirit of celebration or worship, with time out for reality checks for laments (Joni Mitchell's regretful "River"). It's like a Christmas banquet with a very varied menu. Dig in!
At this time of year, some pull out and pull on their ugly Christmas sweaters, others merrily don their gay apparel and a certain bearded North Pole resident and those impersonating him dress in red suits, boots, and matching hats. And whatever singer-songwriter Amanda McBroom's clothing may be, she is, as always, wearing her heart on her sleeve. In this fashion, her unabashed sincerity, sensitivity and vulnerability are even more "in season" when she turns her attention to topics cued to Christmas. There's earnestness and palpable emotion coming through in her voice as each winter-related song in Wintersong is spun, whether sparked by recollections, hope, wishes, or the Nativity. The McBroom attention gets focused on: what Christmas is–or is supposed to be–all about (reminding us that it's "All About Love" and to "Shine Down Love"); a reverent retelling of the night the Christ child was birthed by the famously chosen woman ("A Star Stood Still" by Norman Kerner) and a consideration of a "what if" alternate scenario wherein "Mary Said No"; and story-songs musing over bittersweet or fond memories of happier times shared with a romantic partner of winters past ("A Christmas Memory," and Dan Fogelberg's "Same Old Lang Syne"). In a number written by Ron Sexsmith, hope springs eternal that "Maybe This Christmas" there will be that lasting peace on earth and goodwill, God willing. The set ends with a warm toast to "A Happy New Year." Wintersong was recorded in Nashville and was produced and arranged by Fred Mollin, with string arrangements provided by Matthew McCauley. There are a dozen tracks, half of which Miss McBroom wrote or co-wrote. (They are the ones mentioned in the paragraph above where no writer is credited.) This mindset and material most prevalent in this collection are such that it's not going to be the go-to choice for those who want merely mega-merry Christmas froth and its embrace of honest sentiment won't be coveted by cold curmudgeons unless their New Year's resolution is to welcome emotion. Those who do welcome authentic emotion will commiserate and celebrate.
Do you need a break from the high-energy holiday music? Do the ringing of jingle bells start to seem raucous? Do you simply prefer warmly sung words about cold weather and how the Great Outdoors looks in that chill, rather than Christmas-specific topics? If so, then evocative and peaceful winter songs in Wintersongs presented by Canada-based Laila Biali–the album's singer/ pianist who is the lyricist as well as composer of almost everything here–will be ideal company. Relax and revel in her gorgeous and soothing voice, pensive piano-playing, elegant melodies, and lyrics that serve to observe and deeply appreciate the majesty of Nature's wonders. The classical training of Miss Biali informs her lovely work. A quartet of musicians playing cello, viola and violin (with one violinist also handling bandoneon) is present on four tracks, and on four other tracks they're joined by 15 more string players. Among the numerous other instrumentalists is her co-producer (and husband), drummer Ben Wittman. While most tracks feel cut from a similar contemplative cloth, almost suggesting one long and luxurious suite, there's variety in the complement of participants and guest colleagues who appear–in several cases on just one or two selections–so that we hear flute enhancing the "Rocky Mountain Lullaby," whereas an organ is present on the ode to the "Outside," as is a male soloist (Wade O. Brown, bringing a contrasting but complementary timbre) and there are three vocalists joining Laila Biali for the change-of-pace "Keep On Moving," almost jarringly invigorating compared to the decidedly unrushed and mellow, meditative majority of vocal velvet. The only out-and-out nods to the holiday (if you don't opine that the "Dance of the Pines" must be about trees that might be fated to become Christmas trees hung with decorations and strung with lights) are "Winter Waltz," aka "Belle Nuit de Noël," which translates from French as "Beautiful Night of Christmas," and "Jesus, He Is Born" (a version of Canada's ancient "Huron Carol")–but we don't hear about the Saviour or the night in question because these two are purely instrumental pieces. A third brief cut with no singing is a 60-second "Prelude to 'Outside'" composed by Rob Mathes, who conducted and orchestrated the strings. Those who aren't fans of the cold, the "Drifting Down Ice," or ground covered with snow (lovingly called a "crystal carpet" here), and are sitting tight, impatiently waiting for springtime might have to acknowledge that Laila Biali presents a strong case. Winter never sounded so good.
There are as many musicians and as many tracks on the swell and mostly swinging recording Boptism Christmas as there are reindeer employed for Santa's sleigh: nine. The guiding light to lead the way for the nine antlered animals was, according to reliable sources, the one with a built-in shining nasal light, immortalized in the song "Rudolph the Red-Nosed Reindeer," which is the only vocal on an otherwise instrumental set. The singing is handled not by star player and arranger Rich Willey, but instead by a guest with the same initials: Russ Wilson. He pops in for the spiffy rendition of the tale of Rudolph and, like that animal's facial feature, he certainly shines. Being a drummer, he also appropriately takes the spotlight on "The Little Drummer Boy" in an arrangement that allows him a series of mini-solos inserted between phrases in the first section and last sections as well as a big, lengthy showcase later in this entertaining track. The selections are certainly on the very familiar side, but many are filled with surprise twists and atypical tempi, so there's much vim as well as the variety in the mix of the tunes we know address the birth of Jesus (four tracks, including "O Come, O Come, Emmanuel") and the ones that are secular standards (the remaining five). Among these are a bright "White Christmas" and, with impactful solos on guitar and sax, we have "Have Yourself a Merry Little Christmas" more than a little less merry than the rest, acknowledging its original context and unheard lyric. As you'd expect from an album with a skillful trumpeter getting top billing, there's plenty of brass on Boptism Christmas: not just by Mr. Willey but also from Bill Reichenbach, second trumpeter and trombonist. But the style is not by any means an overwhelmingly big bombast of blast. It's all feel-good fun: cool, accessible, and just right for a holiday party or to cheer you up if you get the holiday blues or blahs.
Here's a tasteful instrumental set with just two musicians that's somewhat hypnotic in its serene simplicity and slow (but not sluggish) pace covering Christmas material. A Star's Light Does Fall falls into the category of calming music, but the playing is too artful and focused to be relegated to being a pleasant prescription for unwinding or "background music." Margaret Slovak (playing nylon string guitar) and Chris Maresh (acoustic bass), proficient players, have only been working as a duo a rather short while (22 months at the time of the recording). While the 11 choices include secular things, such as "Have Yourself a Merry Little Christmas" and the sweet theme for A Charlie Brown Christmas ("Christmas Time Is Here"), there are several carols (two written by Alfred Burt: "Star Carol" and "Some Children See Him"). And while we know the lyric for "What Child Is This?" (set to the centuries-old English folk song "Greensleeves") and "Away in a Manger" refer to Jesus as a newborn, "Infant Eyes" was actually inspired by the birth of another baby: the one fathered by its composer, jazz musician Wayne Shorter, with words added later by Doug Carn. Other interesting picks off the beaten path for a Christmas set are Leonard Cohen's mighty "Hallelujah" and "Christmas Dinner" from the repertoire of the folk song trio Peter, Paul and Mary. (It was written by Paul; that's his middle name, whereas his actual first name has a Christmas ring to it. It's Noël.) Some potential drama is muted in this mesmerizing music, as the agenda might be to not rock the boat floating in peaceful waters. The duo may be aiming for thoughtful, respectful, even cerebral when it's not controlled contentment. But it's all reliably pretty and undeniably a balm.
Good things come in small packages. The male vocal trio known as T.3 has released an appealing EP with only four selections, but these winter-centric choices all demonstrate their energy, charm and harmonies. All three of the men–Liam Fennecken, Jim Hogan and Brendan Jacob Smith–have musical theatre credits. The title song of FaLaLa Lonely, which they wrote themselves, along with Brett Castro, indeed has a lyric about being lonely while apart from that special someone when 'tis the season to be jolly and deck the halls; however, the music is decidedly upbeat rather than droopy. "O Holy Night" checks the box for acknowledging the religious roots of Christmas and is by turns both gentle and robust, offering a striking showcase for their blissful blend and solo vocal lines. To represent the secular pop side of Yuletide, they reach back to The Beach Boys' repertoire and sound for a little 1960s nostalgia with "Little Saint Nick." Joshua Lee Turner, who was on the tour of The Simon and Garfunkel with Mr. Smith (who played Art Garfunkel) joins them on this one. Songs about winter, snow or cold weather without mentioning a December holiday, Jesus, or Mr. Claus have frequently found their way onto Christmas collections and this quartet of tunes from the trio follows that snowy path and they've chosen the Frozen song "Let It Go." Their treatment is a welcome change from the way we're most accustomed to hearing this piece introduced in the hit Disney animated film (which spawned a sequel and the stage version). They resist taking a cue from the lyric's line "Can't hold it back anymore" and, rather than presenting an all-stops-out powerhouse plea, it's restrained. And you know what? Less is more. T.3 has begun a tour that finds them making stops in ten different states before December ends to spread joy and music for the holiday season.
Do you remember the first time Liz Callaway fans had the joy of hearing her grace a Christmas-related song? It was probably once upon a December, with her one track on the multi-performer CD called A Broadway Christmas, singing "Have Yourself a Merry Little Christmas." The second instance: her second solo album with "A Place Called Home" from A Christmas Carol. A Christmas Story: The Musical's score was recorded and she was the mom. And then there were appearances of the series called Carols for a Cure (missing and much missed this year), starting with the first volume that featured her in duet with sister Ann Hampton Callaway (on whose own holiday album she also shows up). And, finally, under her own name, two memorable EPs of Christmas, titled Merry and Bright and Comfort and Joy. There's more joy this year, with "There's Still My Joy" (alas, just a single) and Peter Calo, the superbly simpatico guitarist is back as her accompanist. It's a moving and dramatic rendition of the song. Liz Callaway's deft directness and lack of guile get right to the heart of this heartfelt piece, and Peter Calo's unfussy playing supports and matches that mission. "There's Still My Joy" is a gem of a song written by Beth Nielsen Chapman, Matt Rollings, and Melissa Manchester. Both women have recorded versions of it, too: Miss Manchester on her own Christmas album and Miss Chapman's was a trio, joined by Amy Sky, with Olivia Newton-John taking the lead vocal. Part of the melody and its mood reminds me of Billy Joel's "And So It Goes." The lyric references Christmas and offers perspective about prizing joy when there's loss and the knowledge that "one tiny child can change the world, one shining light can show the way." Any year when we hear the luminous voice of Liz Callaway with a new release is reason for joy–even if it's just one track. |
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LEA SALONGA
AMANDA McBROOM
LAILA BIALI
RICH WILLEY (trumpet) & BAND
MARGARET SLOVAK & CHRIS MARESH
T.3
LIZ CALLAWAY