Holiday Jazz 2011: Santa still has plenty of swing

By Derrick Bang • Originally published in The Davis Enterprise, 12.14.11

[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 roughly 16 years, with lengthy columns that just keep growing. Check out previous columns by clicking on the CHRISTMAS label below.]

Starting this annual column with an excellent disc always feels like a good omen, so let’s turn first to Ellis Marsalis’ A New Orleans Christmas Carol (ELM Records 19790). Long before Wynton and his many talented brothers became young cubs on the jazz scene, Daddy Ellis was roaring with the assurance of a venerable lion. He has gotten even better with time.

Although he contributed a few solo piano tracks to earlier anthology holiday albums for National Public Radio, Ellis Marsalis — surprisingly — hasn’t released his own Christmas disc until now. As the saying goes, this one was worth the wait.

The CD’s 20 tracks find Marsalis in four different modes: as soloist, leading a piano trio, leading a piano quartet with vibes accompaniment, and accompanying a vocalist. The combo arrangements are highlighted by driving keyboard work and lively percussion elements, starting with a funky, New Orleans-stompified cover of “The Little Drummer Boy.”

“O Little Town of Bethlehem” emerges as a slow samba, with a quiet bongo backdrop and some lovely work by Roman Skakun on vibes. Bassist Peter Harris stands out in a toe-tapping arrangement of “Sleigh Ride,” while Jason Marsalis delivers an equally delicious vibes lead, with Ellis’ piano comping behind him, on a solemn reading of “O Holy Night.”

Ellis’ solo piano treatments include an exquisite handling of “O Tannenbaum” and a charming run at “Have Yourself a Merry Little Christmas.”

The two vocals are this album’s only drawback. Cynthia Liggins Thomas and Johnaye Kendrick — on “A Child Is Born” and an Ellis Marsalis original titled “Christmas Joy,” respectively — simply try too hard. Their overwrought deliveries do no favors to the instrumentalists.

The album’s final track includes an Easter egg, so don’t remove the disc too quickly; after a lengthy pause, Marsalis delivers a third piano solo, this one of “The Little Drummer Boy.” That makes three versions of that carol on this disc: probably one too many in anybody else’s hands, but simply more jazz magic from Marsalis.

Definitely one of the season’s must-haves.

Holiday Jazz 2010: A quiet year for seasonal swing

By Derrick Bang • Originally published in The Davis Enterprise, 12.16.10

[Web master's note: Northern California film critic Derrick Bang — the eldest, youngest and only son of this site's jazz guru, Ric Bang — has surveyed the holiday jazz scene for roughly 15 years, with lengthy columns that just keep growing.]

Santa seems to have misplaced some of his swing.

Some years are great for holiday jazz; others … aren’t. New releases are unusually slim this year; were it not for a selection of slightly older albums that only came to my attention during the past 12 months, I’d have precious little to discuss. 2010 offers no new CDs from name-brand jazz superstars, and — perhaps more surprising — also no new compilations from labels that have delivered the goods in previous years: Concord, Origin and several others.

(Sadly, Christmas from the Blue Note came to my attention too late for this article; it’ll be discussed at this time next year.)

I’d hate to think this results from a diminished interest in seasonal swing, but one year does not a trend make. I won’t panic unless 2011 is similarly bereft of jazzy ho-ho-ho.

But the news isn’t all bad. Music doesn’t require a 2010 copyright in order to be “new”; if you’ve not encountered something before, it’s still fresh. And you’ll find plenty to enjoy in the following list. If it’s not as long as my usual annual round-up, well, that simply means your bank account won’t be as threatened.

So, I see Santa on sax, Rudolph on percussion, and three elves standing atop one another to work that bass: Grab some egg nog and prepare to snap those fingers and tap those toes.

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Although not on the public’s radar as much as, say, Mannheim Steamroller, the a cappella group Take 6 is just as serious about the holidays: the newly released The Most Wonderful Time of the Year is the ensemble’s third seasonal release, following 1991’s He Is Christmas and 1999’s We Wish You a Merry Christmas. It can be hard to pigeonhole the group, since their style blends elements of gospel, R&B, vintage doo-wop and jazz … but when a bunch of guys sounds this good, they deserve to be praised.

The Most Wonderful Time of the Year is a shortish album, its 10 tracks clocking in at just shy of 35 minutes, but the contents are choice. You’ll marvel at the way the voices “cover” the background percussion instruments one would expect from an average rendition of these tunes; this is particularly noteworthy on “White Christmas” and a soulful reading of “Jingle Bells,” along with the enchanting “Sugarplum Dance,” a doo-wop variation on Tchaikovsky’s “Dance of the Sugarplum Fairies” (no vocal line on this one, of course).

The rowdier selections are a lot of fun, particularly “You’re a Mean One, Mr. Grinch,” which opens with an argument between Claude McKnight III and Alvin Chea — over who should sing the bass melody line — and continues with all sorts of snarky side comments throughout the song.

But these guys have their sweeter side, as well: Their vocal chops are just as enchanting on the gentler arrangements, as with “I’ll Be Home for Christmas” and “I Saw Three Ships.”

You won’t want to miss this album … and while you’re at it, pick up the other two, as well.