[Web master’s note: Northern California film critic Derrick Bang — still the eldest, youngest and only son of this site’s jazz guru, Ric Bang — has surveyed the holiday jazz scene for 20 years, with lengthy columns that just keep growing. Check out previous columns by clicking on the CHRISTMAS label below.]
Bah, humbug!
I began this annual survey of holiday jazz in 1997,
which makes this the 20th anniversary entry: a milestone ironically marked by
the utter absence of major label releases ... pretty much a first, during these
past two decades.
Whatta buncha Grinches!
Granted, there’s no shortage of new Christmas albums
by artists in the realms of pop, country, folk, New Age and pretty much every
other genre one could mention. But not in jazz.
In fact, the only major jazz label even
acknowledging the 2016 holiday season is Verve, but only with two more of its potpourri
collections of recordings from years past: a nice way for newbies to start a
collection, but not such a much for those of us who already own all the albums
in question.
Could the bloom be wearing off the holiday jazz
rose?
Definitely not. We always can count on musicians who
take the independent route, releasing their albums through online entities such
as Amazon or cdbaby, via disc or download. It’s still too soon to call physical
CDs an endangered species, but it’s telling that — every year — more artists
don’t offer that as an option.
Regardless of the distribution form, and the fact
that this year’s list is shorter than usual, you’ll still find enough great
jazz to put some swing in your holiday step.
***************
This year’s superlative hit is the Fred Hughes
Trio’s I’ll Be Home for Christmas, one of the finest piano trio
holiday albums ever released. The Pennsylvania-born
Hughes has performed, conducted and taught — nationally and internationally —
for more than three decades, and his keyboard chops are ample evidence of a
lifetime’s worth of devotion. He has worked alongside jazz luminaries such as
Arturo Sandoval, Toots Thielemans and Roy Hargrove, and this seasonal CD
garnered a well-deserved 3-1/2 star review from Downbeat magazine.
In a word, it’s terrific.
In another word, Hughes is a keyboard monster.
Such beasts come in two distinct flavors. Some are
best known for cacophonous, unmelodic “free jazz” solos that soar into a
tuneless stratosphere and prompt little beyond grimaces from all but the most
broad-minded listeners. Hughes belongs to the other end of the spectrum: His
improvisational solos are a melodic blend of lightning-swift single-note runs
and tuneful power chords, the results both exhilarating and very pleasant to
the ear.
Hughes compares quite favorably to piano legend Paul
Smith: high praise that I don’t offer lightly.
Hughes is supported ably by the talented Amy Shook
(bass) and Frank Russo (drums), and this collection of 11 Christmas chestnuts
is consistently enjoyable. Hughes is a generous leader, granting ample space to
both colleagues on all tracks, and it’s clear that all three are having a great
time.
The album kicks off with a mid-tempo reading of
“Winter Wonderland,” which offers a taste of things to come: a strong beat,
ferocious keyboard chops and a lovely midpoint bass solo. The tune concludes,
rather cheekily, on an unresolved chord.
“Santa Claus Is Comin’ to Town” is similarly
propulsive, with Russo laying down a fast march tempo, and Shook contributing a
lively bass solo against Hughes’ deft keyboard comping. “Jingle Bells” opens
with Shook’s fast walking bass, Hughes taking the melody with single notes and
then lyrical chords, the tempo building as all three get down, until
concluding unexpectedly at a gentler shuffle with a droll walking bass finale.
The slower numbers are equally lovely. Hughes opens
the waltz-time “Silver Bells” with quiet piano, later inserting a playful
keyboard solo against Shook’s equally sweet bass. “The Christmas Song” is given
a similarly contemplative arrangement against Russo’s solid 4/4 beat; “I’ll Be
Home for Christmas” is downright poignant, and highlighted by a particularly
thoughtful bass solo.
“Let It Snow” opens with a lyrical blend of piano
and bass, both trading off in the foreground; the tune’s improv bridge includes
a cute bass and drum interlude, along with more of Hughes’ poetic piano riffs.
Russo gives “Silent Night” a slow, reverential beat, and he contributes a
surprisingly gentle drum solo to an otherwise dynamic reading of “White
Christmas.”
The album closes with a mid-tempo 4/4 handling of
“Have Yourself a Merry Little Christmas,” which boasts a sublime bass solo and
a playful drum interlude, before concluding with a pleasingly resolved chord: a clever counterpoint to
the aforementioned first track.
Get this album. You’ll never stop playing it!
