December 2022 – Jarrett House North

Ella Fitzgerald, Ella Wishes You a Swinging Christmas

Album of the Week, December 31, 2022

Every family has their holiday musical traditions. Many play the Vince Guaraldi A Charlie Brown Christmas album (we do, a lot). Some might play the Partridge Family Christmas album (we don’t, at all). But a tradition that Lisa and I discovered in the late 1990s, when it was reissued on CD, was Ella Fitzgerald’s first Christmas album.

I was thinking the other day about why jazz Christmas albums work so well. My conclusion: there’s a whole lot of Christmas songs that are really just Great American Songbook numbers, most of them from the same writers as those august luminaries. “Santa Claus is Coming to Town”? Fred Coots and Haven Gillespie, who also gave us “You Go to My Head.” “Have Yourself a Merry Little Christmas”? Hugh Martin and Ralph Blane, of “The Trolley Song” (both from the musical Meet Me in St. Louis). “What Are You Doing New Years’ Eve?” is a Frank Loesser song, who also wrote “Slow Boat to China,” “Spring Will Be a Little Late This Year,” and the songs for the Hans Christian Anderson musical, among many others. And that’s just picking three tracks from the first side of this album…

The 1960 recording session for Ella Wishes You a Swinging Christmas came at a propitious time in Ella’s career. As we noted in reviewing Ella and Duke at the Côte D’Azur, she was in the middle of recording her Song Book series, each release of which celebrated a particular composer of the Great American Songbook. In 1960, she had just released the George and Ira Gershwin volume the year before, which followed the Irving Berlin volume from 1958, the Duke Ellington volume in 1957, and both the Rodgers and Hart and Cole Porter volumes in 1956. Accordingly, the selection here features six numbers from Song Book composers (side 1 ends with “Have Yourself a Merry Little Christmas,” by Bob Wells with Mel Tormé; on side 2, there’s also Sammy Cahn and Jule Styne’s “Let It Snow! Let It Snow! Let It Snow!” and Irving Berlin’s “White Christmas”). But there are also numbers from other sources, including Leroy Anderson’s great “Sleigh Ride,” Johnny Marks’ “Rudolph the Red Nosed Reindeer” (surely the most durable 20th century song based on a Montgomery Wards advertising mascot!), “Frosty the Snowman,” Felix Bernard and Richard B. Smith’s “Winter Wonderland,” and even Count Basie’s “Good Morning Blues,” which here receives its definitive 20th century performance. (The 21st century crown for this number might go to Cécile McLorin Salvant with the Lincoln Center Jazz Orchestra.)

And then there’s “Jingle Bells.” It may be the oldest tune on the album, but Ella and arranger/conductor Frank DeVol give J. S. Pierpont’s most famous contribution a mighty workout. This is the one tune on the recording where Ella really lets fly with the jazz swing vocals she is most famous for, culminating with the absolutely bonkers declaration at the end, “I’m just crazy ‘bout horses!” Us too, Ella.

The arrangements throughout veer between relaxed and exuberant, swinging hard throughout, a characteristic shared by Ella’s songbook recordings. In fact, it’s not too much of a stretch to dub this a “missing” songbook recording, as it fits right in. It’s an absolute joy and one worth adding to your record collection.

Listen…

Robert Shaw Chorale, Joy to the World

Album of the Week, December 24, 2022

Last time we wrote about the Album of the Week, a little more than a week ago (so sue me!), we wrote about Fred Waring and the Pennsylvanians. There’s more than an indirect connection to this week’s Album of the Week from that recording; as I noted then, Waring gave Robert Shaw his first job, asking the newly minted graduate of Pomona College to assemble and train a glee club for him.

That was the first of a series of groups led by the young, charismatic musician, culminating in the 1990s in the Robert Shaw Festival Chorus, an invitational choir that assembled each summer for workshops with Shaw in France (and in which many choral musicians in my life, including John Liepold, Bruce Tammen, and Christine Goerke participated). But probably the best known of Shaw’s groups was the Robert Shaw Chorale, the artists behind today’s recording.

Shaw became legendary for his ability to take ordinary—especially amateur— musicians and get extraordinary performances from them. I recall him telling the Cathedral Choral Society when we sang under his direction, either in 1995 or 1999, that “choral music is like sex. Both are far too important to be left solely to professionals.” He meant that it was important to perform with skill but maybe more important to perform with sheer love of music.

That sheer love of music comes through in this recording. There aren’t elaborate arrangements or unusual repertoire on the album. Most of the tracks consist of a few verses of familiar hymns or carols; there are 25 different carols in just over 33 minutes represented here. And, while I don’t often commend albums for just listening, this is one that I wholeheartedly recommend putting on and just listening. Enjoy…

Side one, part 1:

Side 1, Part 2:

Side 2, Part 1:

Side 2, Part 2:

Exfiltration Radio: riding in a wonderland

“Portrait of woman wearing dark suit, possibly Vera, holding record album,” Charles “Teenie” Harris (c.1960). Courtesy Carnegie Museum of Art.

So you’re stuck at home this Christmas. You have Covid, or someone in your family does, or both. Might as well crank the music up, and what better way to ring in the season than an hour of Christmas jazz?

This set, and yesterday’s, have been percolating for a few years, ever since my “Off Kilter Christmas” showed me how hard it was to trim all the holiday music I wanted to share down to an hour. But when I was putting together yesterday’s set, I realized I had something like four mixes worth of material, so I started separating the jazz out… and what came was remarkably coherent. Though maybe that says more about my record collection than fate. The track listing is below, though be prepared for Babs Gonsalves to pop up a few times.

“Sleigh Ride,” Duke Pearson (Merry Ole Soul). Pearson was, in addition to being the A&R man for Blue Note Records in the 1960s and composer of the great Donald Byrd track “Cristo Redentor,” a pretty fair pianist and arranger. This uber-cool take on “Sleigh Ride” is viewed through the prism of spiritual jazz, with a drone in the bass and drums that’ll knock your socks off.

“Marche Touche,” Classical Jazz Quartet (Christmas). This record is one of my happy discoveries this season. Featuring Ron Carter on bass, Kenny Barron on piano, Stefán Harris on vibes and marimba, and Lewis Nash on drums, this take on the March from Tchaikovsky’s “Nutcracker” is something else.

“Littler Drummer Boy,” Tia Fuller (It’s Christmas on Mack Avenue). If you want a modern classic of jazz interpretations of Christmas standards, I’d check out this compilation. Fuller’s take on “Little Drummer Boy” is representative, with a combination of traditional melodic interpretation and contemporary rhythm.

“We Three Kings of Orient Are,” Ellis Marsalis (A New Orleans Christmas Carol). This standout album from the late patriarch of the Marsalis clan has a lot going for it, especially Jason Marsalis’s beat on tracks like this one.

“Carol of the Bells,” Wynton Marsalis (Crescent City Christmas Card). I remember listening to this with my family with some puzzlement when it first came out. Now I love it: the horn line that shifts around the beat with each chorus, the typically crunchy Wynton chords, the classic Wynton Marsalis Septet members throwing everything into the arrangement (yes, that’s Marcus Roberts, Wycliffe Gordon, Todd Williams, Wessell Anderson, Herlin Riley, and Reginald Veal on the track).

“White Christmas,” Ill Considered (An Ill Considered Christmas). The Ill Considered Christmas album might be the 21st century equivalent of Crescent City Christmas Carol for dividing family opinion. There are some mighty interesting reharmonizations on this album. But I love the inclusion of Eastern melodies over the traditional Irving Berlin tune here, and the band is uptempo and bright.

“Christmas Time Is Here,” Ellis Marsalis. A second track off Ellis’s Christmas album, this is a solid reinterpretation of the Vince Guaraldi classic and a completely different mood from “We Three Kings.” Contemplative and mellow. You might want to refill that eggnog.

“Vauncing Chimes,” Bobby Watson (Blue Christmas). This contemporary collection from Blue Note has a bunch of fairly faithful covers of classic jazz arrangements, but this one actually comes from a different 1991 compilation and is a retitled version of “Jingle Bells,” with Watson’s saxophone taking us on a tour of the outer reaches.

“God Rest Ye Merry Gentlemen,” Jimmy Smith (Christmas Cookin’). A top five holiday jazz album, Smith’s Hammond organ sizzles throughout this set. While I enjoy the numbers with orchestration in this set, this cut just has the trio, and they make a joyful noise.

“Here Comes Santa Claus,” Ramsey Lewis Trio (Sound of Christmas). This set from 1961, like the Jimmy Smith set, has trio numbers and orchestral arrangements, and this is also “just” a trio setting. But with Ramsey Lewis at the keys, it might as well be an orchestra. Rambunctious, bluesy and jolly, this’ll have you wondering what you put in that eggnog.

“Santa Claus is Coming to Town,” Bill Evans Trio (Trio ’64). Just why the otherwise straight album by Evans, Paul Motian and Gary Peacock contained this cover of the Fred Coots/Haven Gillespie holiday standard is up for debate. What’s not up for debate is the high level of artistry on this track, with Evans, Motian and Peacock displaying telepathic abilities throughout. Worth the price of admission for Motian’s bass part alone.

“Sleep, Holy Infant, Sleep,” Dave Brubeck (Christmas Lullabies 12”). I don’t know too much about this vault issue, which was a Record Store Day release a few years ago, except that Brubeck demonstrates a delicacy of touch and interpretation that’s characteristic of some of his later Telarc recordings. This is, true to the release name, a lovely lullaby.

“Auld Lang Syne,” Bobby Timmons (Holiday Soul). The great soul jazz pianist and composer Bobby Timmons sees us out, with a great soul-inflected cover of the New Years Eve classic (or, depending on your leaning, unofficial University of Virginia alma mater).

Enjoy!

New mix: Exfiltration Radio: tinsel covered Christmas blues

“Cold War Christmas, 1960,” from Shorpy.com

It’s time for more Christmas craziness, so break out the eggnog, put up your feet, close that window that’s blowing open, and enjoy! Big range this time, with tracks from Yo La Tengo, Low and Jane Siberry joining the expected bits of old blues and funk.

The tunes:

The Last Month Of The Year – Vera Hall Ward (Where Will You Be Christmas Day?)
Getting Ready for Christmas Day – Paul Simon (So Beautiful or So What)
A Groovy Christmas and New Year (Kojo Donkoh) – Houghas Sorowonko (A Groovy Christmas and New Year (Kojo Donkoh))
It’s Christmas Time – Yo La Tengo (Merry Christmas From Yo La Tengo)
Christmas In Jail – Ain’t That A Pain – Leroy Carr (Where Will You Be Christmas Day?)
When It’s Christmas Time on the Range – Bob Wills (Lit Up Like A Christmas Tree II: The Eggnog Is Spiked)
To Heck With Ole Santa Claus – Loretta Lynn (Lit Up Like A Christmas Tree – A Vintage Holiday Mixtape)
The Christmas Blues – Bob Dylan (Christmas In the Heart)
Santa’s Got A Bag O’ Soul – Soul Saints Orchestra (Lit Up Like A Christmas Tree II: The Eggnog Is Spiked)
Merry Christmas Baby – Bootsy Collins (Christmas Is 4 Ever)
Xmas Done Got Funky – Jimmy Jules & Nuclear Soul System (Santa’s Funk & Soul Christmas Party Vol.1-3)
Christmas on Riverside Drive – August Darnell (A Christmas Record)
Have Yourself a Merry Little Christmas – Dread Zeppelin (Presents)
Go Where I Send Thee – Fred Waring & The Pennsylvanians (The Sounds of Christmas)
Some Hearts (at Christmas Time) – Low (Some Hearts (at Christmas Time))
Like a Snowman – Tracey Thorn (Tinsel and Lights)
Are You Burning, Little Candle? – Jane Siberry (New York Trilogy III: Child (Music For The Christmas Season))
Sherburne – Alabama Sacred Harp Singers (Where Will You Be Christmas Day?)
Merry Christmas – A Festival of Village Carols, Grenoside (English Village Carols: Traditional Christmas Carolling from the Southern Pennines)

Christmas comes but once a year, but when it does, it brings good cheer.

Listen…

Apple Music library cleanup time

I’ve been working in the background on a long-overdue project: cleaning up my Apple Music library on my Mac. As longtime readers know, I have a lot of digital music, having not only ripped my original 1000+ CD collection but also quite a few records, and have been a major purchaser of downloadable music as well. That means a lot of tracks—over 70,000, to be precise. And more than will typically fit on the internal drive on a Mac, so I’ve been hosting them on an external drive for years. And that works well … except when it doesn’t.

Problem number 1: Let’s there is a power outage and the Mac unexpectedly shuts down. When the power comes back up, there’s a race condition where the Mac is back up and running before the external drive is fully mounted. That wouldn’t be a problem, except that Music (and iTunes before it) automatically reopens after a crash, so it thinks the volume where all the music is has disappeared. And that wouldn’t be a problem, except that if you then go on to work in Music instead of shutting it down and reopening it, it gets confused about where the music is and somehow ends up creating duplicate entries of some songs in the library—one entry for the local file when the drive comes back on line, one entry for the entry in the remote library.

It gets worse. It’s possible to do this multiple times. I have had to clean up cases where there were three copies of each song on a given album.

And the cleanup is manual. I typically have had to go album by album in the Songs view; sort by Cloud Status (“Matched”/“Uploaded”/“Duplicate”/“Removed”/“Waiting”), remove the songs I didn’t want to keep, and then do cleanup on the rest. How that happened depends on what the situation was:

Lossless rip marked as “Removed” or “Duplicate,” low-res copy marked as “Matched” or “Uploaded.” This happens a lot. The answer turns out to be pretty simple: select all the low-res versions, right click and choose Remove Download, then select all the lossless copies, right click and choose Add to Library. And wait. Sometimes, depending on the fates, the tracks stay in “Waiting” status indefinitely. Fortunately you can choose “File” > “Library” > “Update Cloud Library” and force it to re-evaluate its life choices.
Low-res copy marked as “Removed” or “Duplicate.” This is an easier fix. Just delete the low-res copies.

Of course, you have to repeat this album by album. Did I mention I have over 7,500 albums? Breaking it up by genre helped my sanity.

The very worst is when the library itself gets hosed. I got in a situation a few weeks ago where I was seeing tracks marked as Duplicate but there was no duplicate in the library. I finally realized that somehow, the last time I had reconnected the Cloud Library to my computer, it had not completely downloaded all the available tracks. I crossed my fingers, turned off Cloud Library, rebooted, and turned it back on, and all the missing tracks appeared.

This last opportunity turns out to be an excellent restorative, for both the library and your heart, and I don’t recommend it if you’re out of shape. But I finally am at a point where all the tracks are de-duplicated and only a few (which are probably legitimately corrupted) show up as in an error state.

Progress! Now, I have to fix the duplicated playlists…

Putting the S in Christmas

If you visit this blog from time to time, there’s something new you may not have noticed up in the address bar: a padlock. Since starting my site, it’s been available over HTTP only, but as of this weekend, if you try to connect via HTTP, it’ll quietly redirect you to HTTPS.

I work at a security company, and ironically that’s what may have delayed my installation of a security certificate on this site. The risk here is low, given that I’m the only one that logs in. However, it always bugged me that I hadn’t added transport level security (TLS) to the site, and this weekend I logged into my hosting provider’s console to see what I needed to do to fix it.

It turned out to be ridiculously easy. My hosting provider, Pagely, has a direct integration with LetsEncrypt, a nonprofit – and free – certificate authority that generated a new secure certificate for my site with just a few clicks. After that, the door was closed.

It feels a little sad to take this step, like moving out of a neighborhood where you don’t need to lock your doors. But it certainly couldn’t be easier.

Fred Waring and the Pennsylvanians, The Sounds of Christmas

Album of the Week, December 17, 2022

I knew of Fred Waring before I heard his music. Popular radio (and later television) show. First employer of Robert Shaw, who put together and trained Waring’s Glee Club as a kid fresh out of Pomona College in 1938. Even, improbably, major contributor to 20th century cocktail culture, via the invention of the Waring Blendor, and indirectly to the development of the polio vaccine as Waring Blendors were used in the lab in the production of Jonas Salk’s vaccines.

But I had never heard Fred Waring. Then, somehow, I came across this album, a 1959 session for Capitol Records . Friend, I was not prepared. It comes on gangbusters, with a sound effects track of a train passing, bells ringing, carols singing, and probably barnyard animals too. There’s an immediate segue into a jolly rendition of “Ring Those Christmas Bells,” which I first sang with the Boston Pops years ago, not knowing its connection to this record.

And then? By all that’s holy, the carolers break into Alfred Burt’s “Caroling, Caroling.” I sang Alfred Burt’s carols as a high schooler in the church choir at Denbigh Presbyterian Church, but had never really heard them on record. This album gives a full Robert Shaw Chorale-style performance to the carol, and makes you believe that the carolers are just standing outside the window, thanks to some interesting studio magic.

An aside about that: If you insist on the purity of live recording without recording trickery, this is not the album for you. Here choirs of children are doused with reverb to simulate outdoor performance down an echoing street — or maybe at the other end of a church? Tracks are stitched together without a break, giving the impression of a television variety show that is being sped up for rebroadcast. And those bells and trains return from time to time to remind you of the artificiality of the whole thing. This is a record that revels in audio montages, recapitulations, and other reminders that you should really go out and get that television set like the Joneses down the street.

I don’t mean to sound Grinchy. There are some truly magnificent choral performances on this album; in addition to “Caroling, Caroling,” other Alfred Burt compositions include “O Hearken Ye,” “The Star Carol,” “Jesu Parvule,” and “Bright, Bright the Holly Berries.” There’s a spine-tingling alto solo on “I Wonder as I Wander” and a gospel rave-up on “Go Where I Send Thee” that has me shouting along. Unfortunately the latter is preceded by one of the rare missteps on the album, an otherwise vocally impeccable performance of “Rise Up, Shepherd, and Follow” that is performed in dialect.

But overall the album wraps you in a kind of woozy mid-century cocoon woven of equal parts sincerity, joy, and made-for-radio sonic joy. And isn’t that what some kinds of Christmas music are all about, Charlie Brown?

You can hear the album here:

Boston Camerata, A Renaissance Christmas (1974)

Album of the Week, December 10, 2022

The Boston Camerata was founded in 1954, but they didn’t enter my consciousness until the late 1970s, when my mother brought home a copy of Sing We Noel. The record, an unexpected combination of medieval and Renaissance English carols and 19th century American hymns for Christmas, was a hit in our house, sparking my love of Middle English (I can still sing “Nova, nova: aue fitt ex Eva” in the original from memory, and brought “Nowell, Out of Your Slepe” to the Suspicious Cheese Lords), early American hymnody (“Sherburne,” anyone?), and the Boston Camerata. Our household bought both the follow-up records on Nonesuch: A Renaissance Christmas and A Medieval Christmas, and I followed the group to their recordings for Erato and other labels. I’ve taken my kids to see them here in Boston. (I’ve also developed working relationships with at least one musician on that original series of recordings; the Virginia Glee Club’s director Frank Albinder sang as a graduate student on A Renaissance Christmas.)

So it was with a certain thrill that I found a Camerata record that predates all of the above, and hits some of the same repertoire from Sing We Noel and A Renaissance Christmas. Also called A Renaissance Christmas, this 1974 recording on the small Turnabout Records label proved to be an unexpected addition to our Christmas listening.

The biggest unexpected thing, perhaps, is the quality of the sound on the recording. The Nonesuch records featured impeccable balance and clarity of sound; this record, not so much. In several numbers, the wind instruments overpower the women’s voices, and there are moments of impaired pitch in some of the men’s singing, particularly in the Obrecht “Magnificat” when the men enter unaccompanied.

There are also, though, delightful moments, including the pairing of “Nova, Nova,” here sung in modern English, with the 15th century Czech carol “Salve, lux fidelium.” Here the voices are clear and strong, and full of personality. Indeed, this is one of the hallmarks that sets this recording apart from the Deller Consort record we heard last week, where the balance was delicate, sometimes overly so.

Most distinctively, the program for the recording covers an immense amount of ground inside the theme of “Renaissance Christmas,” from anonymous English carols to motets by Mouton, Victoria, Praetorius, Clemens Non Papa, Francesco Guerrero and others. And the repertoire is creatively sequenced, too, with all the Spanish motets and carols coming together to tell the birth of Jesus. This should come as no surprise, as even at this early date, about five years after he took leadership of the Camerata, music director Joel Cohen was already demonstrating his flair for creative programming.

The strongest performances, to my ears, come in the repertoire that Cohen would return to in Sing We Noel and in the 1986 version of A Renaissance Christmas, namely “Marvel Not, Joseph,” which except for its modern English text could be mistaken for the version that the group would perform four years later; the Victoria “O Magnum Mysterium,” which would return on the 1986 Renaissance; and of course “Riu, Riu, Chiu,” which swaggers appropriately just as it did on the later recording. (Unfortunately, there is only a single album-length version of this record available on YouTube; you’ll have to listen to the whole thing to get the samples from this 1974 version.)

But the vocal performances get stronger as the album goes on, including the “Virgen Santa” and “Sweet Was the Song the Virgin Sung,” featuring a countertenor solo that’s as lovely as anything I’ve heard from this group. All told, it’s a fun collection that is just familiar enough to trigger nostalgia for some of the Camerata’s later recordings, and just distinctive enough to be worth a listen on its own.

You can listen to the album here:

Alfred Deller, Carols & Motets for the Nativity of Medieval and Tudor England

Album of the Week, December 3, 2022

We shift gears this week to start a short series on Christmas records. This’ll go some different places, but if you’re just with me for jazz, hang in there—we’ll get to some holiday jazz recordings during the series. Today, though, takes us to a very different place—almost to a beginning.

Living in the Boston area in the early 21st century, it’s hard to believe that there was a time when no one was really performing early music. But that was exactly the situation as recently as 80 years ago. It took the work of today’s featured artist, alongside other like-minded English musicians, to change that. Alfred Deller’s and the Deller Consort not only brought countertenor performance out of the English choral tradition and back onto concert stages, he also brought about a serious revival of early music repertoire and helped launch the careers of other like-minded singers and musicians, including Rogers Covey-Crump and David Elliott of the Hilliard Ensemble, and singers Mark Deller (his son), Robert Tear and Maurice Bevan; the latter three appear on this album.

Deller’s countertenor voice doesn’t sound exceptional today, if you’re familiar with the work of the Hilliard Ensemble or other early music ensembles, but it must have been shocking at the time. I like the anecdote quoted in his Wikipedia article:

Michael Chance tells the story that once, a French woman, upon hearing Deller sing, exclaimed “Monsieur, vous êtes eunuque”—to which Deller replied, “I think you mean ‘unique’, Madam.”

But how is the record? I think it’s fair to say that the performance is an acquired taste. The instrumentation of Musica Antiqua—here under the direction of the great René Clemencic—is heavy on period instruments, with plenty of crumhorn, recorder, positive organ and bells, and maybe even a sackbut or two lurking around the edges. The instrumental numbers are accordingly unusual in timbre to modern ears; both the “Carol with Burden” and the “Angelus ad Virginem” had me checking my watch a few times.

The vocal music is why one listens to this record. And while some of the performance practices are unusual by current “early music” standards—there’s nary a straight tone to be found, and most of the works are sung in modern English rather than the Middle English that would be more authentic—the quality of the singing is still uniformly high. The “Nova, Nova” which can be heard in Middle English on the Boston Camerata’s Sing We Noel is performed in modern English here but with fully appropriate enthusiasm. Fifteenth century composer Richard Pygott’s ten-minute-long “Quid Petis O Fili” engages the listener throughout.

And a number of the songs approach definitive performances. “Hail, Mary, Full of Grace” and the medieval carol “Edi Beo Thu Hevene Quene” (here sung in modern English as “Blessed, Be Thou Heavenly Queen”) are both tenderly and sensitively performed. The “In Die Nativitas” is sung with more vigor, but comes across with a little less balance. Of the more sturdy numbers, “Nowell, Nowell: Out of Your Sleep” is perhaps more successful. But the standout is “There is no Rose of Such Virtue,” sung with a great amount of rubato and delicacy. It single-handedly vaults this record to my annual Christmas list, and I hope you’ll find it on yours as well.

You can listen to the record here: