Dr. Christmas Radio Program on WRST-FM 90.3 in Oshkosh, Wisconsin

Neenah‘s Gerry Grzyb, chairman of the University of Wisconsin-Oshkosh sociology department, begins to morph into Dr. Christmas in early October as the first of hundreds of new Christmas CDs arrive. With thousands in his collection, his ―nice‖ list is tough to get on, but here are some of the best of ‘08 that made the cut.

CLASSICAL/CHORAL Early music connoisseurs will welcome the re-release of the Folger Consort‘s 1991 recording ―A Medieval Christmas.‖ Music of that distant time can sound strange and austere in the wrong hands, but the Consort‘s musicians make it quite accessible if your ears are not too constricted by modern music. There is no problem of accessibility on ―Duo Seraphim: Lute Songs & Solos for Advent & Christmas Time‖ from the lutesong duo of lutenist Ron Andrico and vocalist Donna Stewart. Although most of the program reaches far back into the centuries, Donna‘s pure voice and Ron‘s accomplished playing make for a familiar sound, stripped of all excess and completely free of modern ―production.‖

On "Christus Natus Est" Kairos: A Consort of Singers makes sure we get back to the present by presenting a beautifully sung history lesson that begins over 500 years ago with the likes of Dufay and Desprez, and wends its way through time to Barber, Britten, Tavener, and Sametz. The group consists of 8 male and 8 female voices affiliated with the Holy Cross Monastery of West Park, in the Hudson Valley region of New York.

―Advent‖, by the Koelner Kantorei (Cologne Singers) drips with the atmosphere only a live recording made in a very big and very old European church seems to have. The church is St. Pantaleon in Cologne, and the medium-size ensemble of dedicated amateurs acquits itself very well in a program that combines ancient melodies with modern composers such as Sandstrom, Lauridsen, and Busto (whose setting of ―O magnum mysterium‖ practically defines ―ethereal‖).

Anyone with even a passing knowledge of classical knows the Concerto Grosso Opus 8 by Arcangelo Corelli, but it will be the only familiar work on ―Assisi Christmas Cantatas‖, performed by ―L‘Arte del Mondo and featured vocalists under Werner Ehrhardt. Most of the music here consists of world premiere recordings of late 17th and early 18th century cantatas associated with the Holy Convent of Assisi, home of the Franciscans.

Although not as well-know as Robert Shaw or Roger Wagner, Robert De Cormier is a fine conductor and arranger with at least six Christmas CDs to his credit. His latest, entitled ―Christmas In Vermont‖, features his own small vocal group Counterpoint, the Vermont Symphony Orchestra Brass Quintet, and organist David Neiweem in a program of considerable variety that begins with New Englander Daniel Pinkham‘s joyous Christmas Cantata. I was surprised to find that the renditions of chestnuts like Adeste Fideles and Joy to the World were actually among the most refreshing on the disc, which says much considering I‘ve heard thousands of renditions of each. Vermont and Decormier also figure in to ―Christmas Joy‖ from the Bella Voce Women‘s Chorus of Vermont. The 45 singers drawn from northern Vermont counties offer a long and diverse program, with highlights including De Cormier‘s ―A Suite of Christmas Spirituals‖, two lovely carols from Eleanor Daley, Brahms‘ ―Ave Maria‖, and Stroope‘s ―Magnificat.‖

The annual Christmas concerts (worship services, really) at Minnesota‘s St. Olaf University and Concordia College, and Iowa‘s Luther College are true north stars shining above Christmas in the Upper Midwest. You‘ve probably seen one or all of them on public TV, but I‘m thankful that all three institutions now seem committed to releasing recordings and DVDs of each year‘s performance. The 2007 editions are Concordia‘s ―Come to the Living Water‖, Luther‘s ―Christmas At Luther 2007‖, and St. Olaf‘s double-disc ―Where Peace and Love and Hope Abide.‖ My 2007 pick would be Luther‘s, but I‘m quite serious in recommending that you acquire all three each year. When you hear hundreds of young people perform like this, you remember that having kids really is a good idea.

Vancouver‘s musica intima is one of the finest small (12-voice) choral groups I‘ve ever heard, and its ―O Nata Lux‖ is my pick for Best New Classical Christmas Recording. The program is almost entirely works or arrangements from 20th century composers, and the sound is one prolonged glow—the glow of a single candle, the glow of a thousand lights on a tree, the glow of the heavens above on a cold night in the Northern Hemisphere. If this be the season of peace, musica intima has provided its soundtrack. And then there is Conspirare, whose Christmas at the Carillon 2007 concert is simply entitled ―Love Again‖—both a directive, and a reassurance. This is the group that added strains from ―Silent Night‖, ―On Christmas Night‖ and ―Angels We have Heard On High‖ to ―I Could Have Danced All Night‖, turning it into an ecstatic carol. This time around the modern music of Annie Lennox, Eric Carmen, Dan Fogelberg, Emmylou Harris, and Mick Jones (Foreigner) mingles with plainchant, Palestrina, and Bach to create a program unlike any other. The glorious gospel voice of Cynthia Clawson is back too, But once you get one of Conspirare‘s Christmas at the Carillon series, I‘ll bet you‘ll want them all—they do what Christmas concerts are supposed to do—enfold and uplift.

Leroy Anderson was a beloved American composer who wrote and arranged much Christmas music. ― & Other Holiday Favorites‖ collects his holiday music in fine performances by the BBC Concert Orchestra under Leonard Slatkin. Highlights include three suites of carols, for brass choir, woodwinds, and string orchestra respectively.

There have been many fine ―big‖ choral Christmas CDs from the UK over the years, and two more have now joined the ranks. On ―The Carols Album‖, the huge Huddersfield Choral Society presents 26 carols in over 74 minutes, providing an aural history of the many varieties the form has taken. You‘ll want to sing along! ―A Christmas Caroll from Westminster Abbey‖ features the men and boys of that noble institution‘s choir in a beautifully sung program of less familiar Christmas music, including Poulenc‘s motets and William Mathias‘ hair-raising ―Ave Rex.‖ The ambience of the church is also captured well. You‘ll smell the candle smoke!

But the ―biggest‖ sound of all is American. The Mormon Tabernacle Choir has been making superior Christmas recordings for over a half century. Their latest is ―Rejoice and Be Merry‖, and it also has a tie to those English cathedral recordings in the form of The King‘s Singers, who sing selections on their own and with the choir. The music is mostly familiar, but the real treat here is the huge wave of sound the choir and orchestra can generate. The only thing that compares would be something like the St. Olaf celebration, which also involves hundreds of musicians. I‘m known for my preference for smaller vocal ensembles, but there are times that I too need to crank the volume for a truly visceral impact.

Finally, the Oshkosh West High School Choirs have ―Carols of Christmas‖ for sale at Oshkosh-area outlets. Their singing is not on the level of, say, the Appleton North performances I‘ve heard, but their CD is far above the off-key, ragged singing I heard on an Oshkosh North disc some years ago (there, that ought to spark some conflict!).

WORLD MUSIC The particular music we associate with Christmas, though it comes from many countries, is far from a complete representation of what is sung and played in other lands at this time of year.

France‘s Buda Records, which has a series called ―Music from the World‖, sent three very different discs my way. One that translates as ―Christmas Carols from Southern France (Provence and the County of Nice)‖ has the six voices of Corou de Berra offering a program of unfamiliar but quite listenable music from that region. The music‘s interesting history is detailed in welcome English liner notes. ―Iza: Christmas in Maramures‖ is full of lusty singing without a speck of polish. The Iza ensemble is actually composed of peasants from this northwestern point of Roumania, and story of the music they present also requires full liner note explanation. Finally, ―Christmas in Brittany‖ is offered by vocalist Yann-Fanch Kemener and cellist Aldo Ripoche.

The classical voices of soprano Synve Lundgren and alto Johanna Fernholm are far from those of unschooled peasants, and on ―Scandinavian Christmas‖ they sing in Swedish, Norwegian, Finnish, Icelandic, and Danish. The music is both traditional (including songs like ―Jeg er saa glad hver julekveld‖ that any Wisconsin resident of Norwegian heritage will know) and classical, including songs by Jean Sibelius.

Perhaps it is my Eastern European heritage showing, but I was completely charmed by ―Christmas Joy in Latvia: Latvian Christmas Cantatas‖ by the New York Latvian Concert Choir with the New Chamber Orchestra of Riga, the youth choir Balsis, and soloists. All of the music was composed quite recently, and its beauty can be appreciated by anyone. This, by the way, is the fourth such recording from the New York Latvians. CLASSICAL INSTRUMENTAL When I was in high school band as a well-behaved woodwind player, I remember that the boys with the horns were always cutting up, making us laugh and the director pull out his few remaining hairs. Two recordings from the Clarion Brass Choir, ―A Partridge In A Pear Tree‖ (2005) and ―Nutcracker Suite Dreams‖ (2000) are musical evidence of such behavior. While the musicianship is high, much of the real fun is due to the arrangements by William Berry, who works everything from Beethoven‘s Turkish March to Brubeck‘s Blue Rondo ala Turk right into your Christmas faves. It‘s anything but the straightforward brass chorale approach of traditional yuletide recordings.

While ―Christmas Around The World‖ by Cleveland‘s Burning River Brass is a bit less zany, the playing is so strong and the Roger Harvey arrangements so good that it is one of the finest examples of Christmas brass ever. BRB will be at Green Bay West HS on April 17, but a second Christmas CD will be out just before this column is printed. ―A Song of Christmas‖, the third seasonal CD from the Pittsburgh Symphony Brass, is on the same exalted plane. Again, it is not just the virtuosic playing of a major symphony‘s brass, but also gorgeous arrangements—in this case, by trumpeters Vosburgh and Berntsen—that make this a disc to get.

―Trombone Ornaments: Seasonal Music for Two Trombones and Jazz Rhythm Section‖ by Italy‘s Fabio Sampo and Indiana U‘s M. Dee Stewart, is exactly what it says, and that makes it unique. Their lengthy program features the efforts of a number of gifted arrangers who take advantage of the instrument‘s ability to be incredibly mellow (but not aloof like a French horn) or thoroughly swinging.

But not all that glitters is gold—er, brass. The Imani Winds is an outstanding Grammy-nominated 5-member woodwind ensemble (well, one IS a French horn, but they often hang out with woodwinds) that mixes all sorts of classical, jazz, and world influences into its program of Christmas standards on ―This Christmas.‖ The arrangements and playing of flutist Valerie Coleman, particularly on a gospel blues drenched Silent Night, were particularly tasty treats.

A CAPPELLA It has been a great year for a cappella, largely due to the phenomenal popularity of a YouTube video of Straight No Chaser‘s version of ―The Twelve Days of Christmas.‖ I received new Christmas releases in virtually all categories of this unaccompanied singing. Well, what about those 10 Indiana men of SNC—do they deserve all the attention? Oh, yes indeed…their new ―Holiday Spirits‖ showcases a group that manages to mix tradition and innovation in a superbly sung program that ranges from ―Little Saint Nick‖ to a breath-stopping ―Silent Night.‖ Make more CDs, please!

The seven male voices of Octappella blend smoothly on ―Christmas‖, which features jazzy contemporary a cappella arrangements in a program with a clear Christian focus. Praise-Apella‘s ―The Perfect Gift‖ is of the same quality and focus, but the group‘s a mixed one, with 4 women and 6 men. For an all-female group, consider Canada‘s CHICKAdivas quintet, with a sound not unlike that of barbershop (beauty shop?) harmonizers on ―Wintersong.‖ Classic male barbershop harmonies emanate from a group 20 times as large, the Alexandria Harmonizers, on ―Comfort and Joy.‖ The sound is as smooth as the shave you expect from the shop‘s owner—these guys can bust a chord! But that can also be said of Yarmouth, Maine‘s Royal River Chorus, a Sweet Adelines group almost as large (60-plus) that has won its share of awards (including Division AA World Champions in 2000). Their ―Let It Snow!‖ is a delight through and through.

The Haven Quartet dates back almost 75 years to a radio broadcast ministry, but their arrangements are not traditional gospel—there is as much affinity to the Boys of the Beach as to the Boys of the Oakridge. ―An Acappella Christmas‖ consists of 13 familiar and not-so Christmas that provide good evidence of why this group sells lots of CDs. When I heard the name of the group Brethren, I thought it would be a classic white-suit-and-pompadour gospel quartet. I was pleasantly surprised to find it was 16 guys who offer gorgeously blended harmonies on ―Then Christmas Comes‖, a disc with more highlights than a fruitcake has questionable fruit. The feel is much closer to that of a college glee club than a gospel group, and I think this is one to own even if you have lots of choral Christmas music.

The three women of Canada‘s Silver Belles constitute the smallest group represented here. Their ―‘Tis the Season‖ shows how in synch singers can get after vocalizing together for almost two decades—they are at their best in purely a cappella numbers. At times I would have liked a fourth voice for a richer sound, but if LaVerne, Maxene, and Patty Andrews didn‘t need a fourth to become the biggest female group ever, who am I to say?

Chicagoland‘s An Octave Above (four guys, four gals) says they were inspired by The Real Group (arguably the best jazz a cappella group in existence), The Swingle Singers, Manhattan Transfer and The New York Voices. The inspiration worked. Everything clicks—arrangements, singing, programming—on ―Come on and Take A Sleigh Ride!‖, my pick for best new a cappella Christmas CD in a year full of them. Hey, don‘t the eight of you need to visit Door County like all good Chicagoans, so you can stop along the way and sing for us?

Rarely is a CD so good that I play it all the way through on my program, and the first I ever honored that way years ago came from Inner Voices. Too many years later, this quintet of 4 women and 1 man—all with impressive professional resumes—have come up with ―Greetings of the Season.‖ Jazzy arrangements, flawless singing, and enough polish for a whole set of Christmas bells add up to one of the finest a cappella discs of the season.

The Cadillacs ―Cad Tidings‖ is the sole doowop Christmas CD in the pile this year, but it is a dandy. Unlike most doowop groups, this one is mixed-gender (2 F, 3 M), and makes the case that the streetcorners would have sounded even better had the guys let the girls in much sooner. If that isn‘t enough attract you, though, consider whether you can really spend another Christmas without hearing The Cads‘ timeless (?) tale, ―A Visit from St. Elvis.‖

The Johnny Mann Singers‘ ―We Wish You a Merry Christmas‖ shows that the gifted just-turned-80 conductor- arranger-composer has not lost his touch. While the program is a bit short (and looks to be a home-produced CD-R, right down to the inkjet insert), the disc recalls the high standard of popular choral singing in America a half-century ago.

GOSPEL I make no secret of my love of ecstatic, way-over-the-top Black gospel music song by a mass choir—the diametric opposite of the more reserved upper-Midwest-Lutheran-college performances I love just as much. ―The Gospel Christmas Project‖ consists of new recordings of arrangements created for the 2006 Canadian Broadcasting‘s Gospel Christmas Celebration. There are mass choir numbers (including a Hallelujah Chorus with more ―hallelujah‖ in it than you‘ve ever heard), and soloist-fronted pieces (like an ―Infant Lowly, Infant Holy‖ that turns pierogi into soul food). Sweet Hammond B3, this is one of the best gospel Christmas CDs ever! ―Christmas Gospel Heritage‖ is much the same, but features a variety of best-known modern gospel singers—among them Andrae Crouch, The Mighty Clouds of Joy, The Blind Boys of Alabama, and Cissy Houston (who concludes the disc with a rafter-shaking Amazing Grace).

Maybe you saw Bishop T.D. Jakes commenting on Barack Obama‘s victory on election eve—he‘s been called America‘s most popular pastor. But this Christmas he‘s given us ―The Gift That Remains‖, with music that is more modern urban than traditional gospel. Artists include a variety of Winans (just how many are there, anyway?), Brian McKnight, Kirk Whalum, and Mary Mary. Jakes himself does not sing, but the smooth tenor of Bishop Paul S. Morton is the main attraction on his thoroughly modern ―Paul Morton‘s Christmas.‖ Minister Win Thompkins‘ voice is not nearly as polished, but when combined with the rhythms on his ―Foot Stompin‘ Christmas, the results are a joyous recording in a more traditional vein.

―A Coko Christmas‖ is the offering of former SWV lead singer Cheryl ―Coko‖ Clemons. It‘s a classic gospel r&b album, mostly alternating familiar tunes with less familiar, more overtly spiritual songs. There is a bit more variety in the arrangements, and fewer overt spiritual elements, on Minnesotan Paris Bennett‘s ―A Royal Christmas.‖ You may remember her as the 5th place finisher on American Idol 2005—she has a strong voice, and a good bit of style.

CONTEMPORARY CHRISTIAN Sara Groves also hails from the Twin City area. The highlight of her ―O Holy Night‖ for me was not her light folkish soprano (most evident on ―A Cradle in Bethlehem‖), or the few fine new tunes (Peace Peace being my favorite), but rather the complete makeovers—with new melodies!—of chestnuts like O Holy Night. Actually taking lyrics so closely tied to particular melody and making them sound like they were always attached to an unfamiliar melody is no mean feat.

I am not as big a fan of the kind of heavily orchestrated pop-rock found on Travis Cottrell‘s ―Ring The Bells‖—it even threatens to overwhelm his fine tenor at points. On balance I preferred Lenny LeBlanc‘s equally fine tenor on his acoustic pop ―Christmas Night.‖ Aside from enjoyable performances of a handful of Christmas standards, Lenny‘s three original pieces really captured Christmas spirit (although his best, ―This Year‖, is the second track on the CD, not the eighth as the jacket claims). Marnell (Tanner) rounds out this trio of tenors with ―Come to the Manger‖, an entirely spiritual effort that includes some lovely orchestrations to back his strong, trained voice. Three of the songs (including the title cut) were co-written by Ted Kennedy‘s after-hours friend, Orrin Hatch, and it pains my Wisconsin progressive self to say they are pretty darn good.

I was also less than fully enchanted by Shane & Shane‘s ―Glory In The Highest.‖ The strongest feature is the blending of these two guys‘s voices, but the often so-so arrangements just don‘t compare will with those of, say, Sara Groves. It isn‘t a bad album, just an underachievement.

―X Christmas‖ from BEC/Tooth & Nail is cut from the same evergreen as BEC‘s earlier 4 volumes in the Happy Christmas series, featuring Christian rockers such as Jars of Clay and Switchfoot. As usual with a compilation, some of the tracks here work and some don‘t, but the ones that do (for example, August Burns Red ―Carol of the Bells‖) are worth the price of admission.

I expected bluegrass flavor when I saw Annie‘s fiddle on the cover the Annie Moses Band‘s ―This Glorious Christmas.‖ But the fiddle turned out to be a violin, and the five Wolaver siblings who make up the group are Julliard- trained string players. Yet the music is agreeable classically-flavored pop, not those overly academic string quartet versions of Christmas standards I‘ve heard before.

For true classics on the Christian music scene, it is hard to top the Gaithers. I‘ve lost count of how many Christmas CDs have come from Bill and Gloria‘s house, but I‘ve enjoyed every one of them. This year‘s offering is ―Christmas Gaither Vocal Band Style‖, featuring the nicely blended voices of that quartet led by Bill that will put you in mind of the Oaks or the Statlers. Most of the tracks have the usual pop orchestration, but I most enjoyed the a cappella ―O Little Town‖ and ―Carol Medley.‖

POP & JAZZ VOCAL I was excited to see Chicagoland‘s Jackie Allen in the lineup for this year‘s Lawrence‘s Jazz Series (she‘ll be here on February 17), but it was only recently that I discovered she had issued a CD with vocalist/pianist Judy Roberts back in 2002. There‘s a full plate of Christmas cookies on ―Santa Baby‖—19 stylish tracks featuring Jackie and Judy separately and together. Jackie‘s highlights include a medley of Alfred Burt‘s ―Some Children See Him‖ and Thad Jones‘ classic ―A Child Is Born‖, Burt‘s ―Bright, Bright the Holly Berries‖, and a really down ―Blue Christmas.‖

But it has been a season for male singers this year, especially old ones, even a dead one, and a live one who sounds like the dead one (and that‘s a good thing!). Let‘s start at the top. Tony Bennett really is one of those rare birds who could entertain you with a vocal rendition of the Appleton phonebook, even though all those Van Somethings would stymie a lesser talent. Tony swings harder than most pop singers anyway, but add in the backing of the Count Basie Big Band on "A Swingin' Christmas", and you‘ll hear how a true great makes the old sound new. Highlights include ―Santa Claus Is Coming To Town‖ and ―O Christmas Tree.‖ By the way, the painting of a rural Christmas on the back cover is signed ―Benedetto‖—presumably by the singer who grew up as Anthony Benedetto.

Milwaukee-born Ripon College psychology grad Al Jarreau, a genre-crossing giant in the same league as Tony, has finally given us a seasonal album, simply titled ―Christmas.‖ It is everything you‘d expect from him, full of innovative renditions that are pure Jarreau. And trivia buffs, do you remember him singing with the aforementioned Paris Bennett on the Idol season 5 finale?

In many ways Brian McKnight has the most pleasing vocal timbre of any of the men reviewed here. While he has had Christmas songs on compilations for many years, ―I‘ll Be Home For Christmas‖ is his first Christmas album. His interpretations are first rate, and he even gets assists from Vince Gill, Josh Groban, and Take 6. The whole disc rests on the ears like a fine merlot on the palate—a disc I strongly recommend for Christmas Eve with your special one.

The greatest of all pop singers since recording began is Frank Sinatra. ―The Christmas Collection‖ includes a good selection of his earlier Christmas recordings, 3 new-to-CD recordings from a 1957 TV special with Bing Crosby, and one that really gave me mixed feelings. It‘s Frank singing ―Silent Night‖ in 1991, a few years after he stopped recording, on a day he wasn‘t feeling good. By all the usual measures, he sounds bad, with a voice long since departed. Yet, like Jimmy Durante‘s recordings, you can hear the heart as plain as can be. It made me sad to hear the deterioration, but glad to remember just how great that voice had been for so long.

When Harry Connick Jr. first drew attention, there were lots of comparisons to Sinatra. While I don‘t like Harry‘s voice quite as much as Frank‘s, there‘s no missing the superb style in a program of standards (including two instrumentals—remember, Harry‘s quite good with the ivories), and four originals on "What A Night!." The last of the latter, the ―Song for the Hopeful‖, features a duet with Kim Burrell, backing from James Hall‘s gospel choir, and a message for a nation that needs lots of hope right now.

I can‘t say anything good about Neil Sedaka‘s ―The Miracle of Christmas‖, or at least the second of the two CDs in the set, composed of 10 standards in a program that is too long even at less than 30 minutes. Neil‘s renditions are songbook-dull, with pedestrian arrangements, and he shows no phrasing ability whatever. He even gets words wrong, singing of the gift of ―mirth‖ rather than myrrh in What Child Is This. He waited 50 years to give us a Christmas CD, and I wish he had waited much longer. For some reason, the Razor & Tie record company didn‘t send the first disc, with 12 original Christmas songs, and I‘m going to assume it was even worse.

On ―Christmas with Lucas Prata‖, the youngest male singer here tries hard, but is held back by uninteresting arrangements and the lack of a developed interpretational ability. He just doesn‘t seem to have all that much of a feeling for the music. Another young singer, Caleb Collins, fares better on his ―Christmas.‖ The orchestral arrangements are big, often jazzy, at first putting me in mind of Michael Buble‘s kind of disc. At times, however, Collins is overwhelmed by the accompaniment—he needs to be brought up in the mix a bit.

Chris Trapper‘s voice is nothing special on ―It‘s Christmas Time‖, and neither are the countryish arrangements, but the collection of ten originals is worth it for the thoughts expressed in his lyrics, Take ―Black and Blue Christmas‖, which captures the insanity of spiritless Christmas shopping—one verse says ―Ten gift certificates purchased with love, like a French fry and hamburger dream, so when you get hungry and then sick to your stomach, you‘ll stop and think of me‖ (I‘d dedicate that to Kwik Trip, whose billboards push gas as a Christmas gift every year.)

Not much from women this year, but one of the small handful features one of the sweetest voices I‘ve ever heard. Spokane‘s Cheryl Branz‘ vocal chords simply caress the airwaves on ―The Christmas Gift‖, and the light acoustic guitar centered accompaniment and sensitive arrangements provide attractive foliage to surround the flower of her voice. I was particularly enthralled with her singing of ―Night of Silence/Silent Night‖, on which she doubles and triples herself. This CD is a must-have.

I was also quite fond of Gretchen Peters‘ ―Northern Lights‖, which begins with Gordon Lightfoot‘s wistful ―Song for a Winter‘s Night.‖ Gretchen is a vocalist (her voice is little-girl small, but with adult pitch control and phrasing), multi- instrumentalist, and songwriter/arranger in the country-folk vein, and she gets plenty of support from other fine musicians, including none other than country songbird Suzy Bogguss on one track. Highlights include her own ―December‘s Child‖, ―Waitin‘ On Mary‖, and ―Northern Lights‖ as well as a mashup of Vince Guaraldi‘s ―Skating‖ and ―Angels We Have Heard On High‖ to get ―(Charlie‘s) Angels‖ (as in C. Brown, you blockhead!). If high quality urban/r&b/soul—if you‘re already pulling on your boots or booting your computer to get the Jarreau and McKnight CDs—you‘ll also want ―It‘s Christmas‖ from Ledisi. She‘s not quite as jazzy as Jarreau, or mellow as McKnight; just right down the middle with a thoroughly enjoyable CD. Three originals plus Joni Mitchell‘s ―River‖, ―I Wonder As I Wander‖, and an unaccompanied ―Auld Lang Syne‖ are the entire contents of Keri Noble‘s ―Winter Comes Again‖ EP, which serves as an appetizer for her forthcoming full-length Telarc album. But it‘s a very tasty morsel, and Keri deserves the comparisons made to Norah Jones and Sarah McLachlan. Near the other end of a long career, Marni Nixon has issued the simple song ―My Christmas Card to You‖ as just that—an audio card to be given to others. You may not know the name of this singer nearing her 80th birthday, but she did the singing for Natalie Wood in West Side Story, Deborah Kerr in The King and I, Audrey Hepburn in My Fair Lady (singing the original ―I Could Have Danced All Night‖), and many more.

I just didn‘t get the point of Faith Hill‘s ―Joy To The World.‖ I like her non-seasonal recordings, but this CD—like those from too many ―stars‖—is all production and no style. Her voice is fine, but she isn‘t using it to do anything interesting, instead letting big over-produced ―pretty‖ arrangements provide what little pizzazz there is.

JAZZ There were only a few new jazz Christmas CDs, but the best of them would have been very near the top of a much bigger pile too. Last year I gave a strong recommendation to Royce Campbell‘s first seasonal offering, and this year‘s ―A Jazz Guitar Christmas Volume II‖ is at least as good, with extended versions of 11 Christmas classics. This disc compares very well with the handful of other jazz-flavored yuletide guitar CDs (Joe Pass‘ comes easily to mind).

I‘ve never been a big fan of the contemporary/crossover/smooth/fusion jazz , and has been one of the most popular representatives of it for the past 3 decades. Still, I really enyoyed their ―A Night Before Christmas.‖ It has much more variety of approach than, say, Kenny G (and I like Jay‘s soprano playing better than G‘s). It even has a ―Silent Night‖ good enough to go into my collection of great versions of that greatest carol.

Putumayo has brought us dozens and dozens of collections of popular music from nearly every corner of the world, but ―A Jazz & Blues Christmas‖ is purely American. The collection is blues heavy, with greats such as B.B. King, Charles Brown, and Ray Charles represented. But if f you‘re thinking you probably have the selections from such artists already, Putumayo advises that it sought out ―exceptional, lesser-known versions of classic songs.‖ It succeeded—this CD sounded fresh to me.

The idea behind venerable jazz label Verve‘s Remixed series is to take time-honored jazz recordings and have top DJs and producers remix them with new instruments and beats. So there‘s a ―Verve Unmixed Christmas‖ album, with the familiar originals by such greats as Basie, Armstrong, Fitzgerald, Simone, Torme, and Holiday, and a ―Verve Remixed Christmas‖ album Some of the remixes work well—I really liked what was done with Ella‘s ―What Are You Doing New Year‘s Eve?‖ and Mel‘s ―‖—but others, such as Dinah Washington‘s Silent Night, get just plain bizarre. (The unmixed CD is much shorter, and you probably have much of it, but I don‘t know why Verve didn‘t simply include it as part of a two-disc package).

(LATE ARRIVAL) Chicagoan John Erickson and his piano trio have one of the most interesting jazz piano Christmas CDs I‘ve ever had the pleasure to audition. ―A Feeling of Christmas‖ belongs at or very near the top of both the jazz and piano piles this season . ―Feeling‖ is exactly the right word—ultra-cool, latenight, only a handful of people left in the joint, know what I mean? Included is one of the best Silent Nights in memory too. John, I-94 to 41 at Milwaukee, keep going north, OK?

POP/ROCK I‘m not going to work up to it—let‘s just start with the gain cranked. ―We Wish You A Metal Xmas and a Headbanging New Year‖ is a compilation with such sweet, laidback guitar players as Alice Cooper, Steve Lukather, and Steve Morse. It lives up to the title, and while my radio program was created to feature soft acoustic music, there are times when the kind of stuff on this CD is just what I need. It is the PERFECT antidote when you‘ve been sickened by too many hearings of ―The Little Drummer‖ in original form.

My pick for best Christmas rock this year is a 20-track collection titled ―Christmas A Go Go.‖ A wide variety of rock genres are represented, as even a partial artist listing will show: Keith Richards, Bob Seger, The Ramones, Darlene Love, The Chevelles, Brian Setzer, Rufus Thomas, The Electric Prunes, and The Kinks. And it‘s topped with the heartwarming (?) ―If It Doesn‘t Snow On Christmas‖ by that lovable Joe Pesci. Ho ho ho, this disc doesn‘t blow! Another great compilation comes from Long Island: ―Happy Holidays from Paradiddle Records.‖ You won‘t have heard of the 14 acts represented here, but the stylistic diversity and originality on the disc will have your friends saying ―What‘s that? I gotta have that!‖

Raunchy rock and R-rated R&B for big boys and girls is what the ―It‘s Christmas, Baby‖ compilation from Memphis‘ Ecko Records offers. Barbara Carr ―needs a man down her chimney‖, Ms. Jody begs you to ―jingle her bells‖, and so does Sheba Potts-Wright on her ―I Need A Lover for Christmas.‖ It isn‘t quite all sex, though—Luther Lackey sings of ―Christmas in the Poor House‖ and Lee Shot Williams laments ―I Ate Too Much Over The Holidays‖ (wait, it seems he‘s singing about sex too).

That‘s William Robert ―Billy Bob‖ Thornton on the cover of ―Christmas Cheer‖ by The Boxmasters. There are six Christmas favorites done as straightforwardly as honky-tonk style gets, but the real treat are the songs of drunkenness, spouse abuse, and stupid relatives, plus TWO Christmas in prison songs. As my wife says every time we drive by a bar on Christmas Eve that has vehicles in the lot, ―looks like Daddy‘s drinkin‘ up our Christmas again‖ (credit Commander Cody on that). While we‘re in this musical saloon, check out ―Who Gets the Fruitcake This Year?‖ by Honky Tonk Confidential. With songs like ―Santa Is A Working Man‖, ―Christmas Prison‖ (there HAS to be a prison song), and Buck Owens under-covered ―Blue Christmas Lights‖, we‘ll need a couple of more rounds, bartender. I‘d say I like this better than Billy Bob‘s CD, but I remember him as ―bad Santa.‖

The Crestriders ―Cowabunga Christmas‖ is all about surf music. Their versions of ―God Rest Ye Merry Gentlemen‖, ―O Christmas Tree‖, and even ―Silent Night‖ are lots of rockin‘ fun, although overall I don‘t care for such big helpings of surf at one time. Just one year after their first Christmas CD, the four sisters of Mulberry Lane have brought forth another disc of enjoyable yuletide pop-rock, labeled ―Christmas Spirit." For a full blast of their hold-your-breath harmonies, try the a cappella of ―Go Where I Send Thee‖ or the beauty-dripping harmonizing on Larry Gatlin‘s ―Alleluia.‖ At some point, these girls must‘ve been joined at the vocal chords.

Female voices dominate the quiet music of the compilation ―Peace On Earth: Peaceful Holiday Songs.‖ Perhaps 95 percent of holiday compilations are thrown together for reasons of cost or just plain laziness, but not this one. An atmosphere being created here, much like that achieved by the cover picture of a snowy park. The names are big ones-McLachlan, Grant, Eder, Cole, and Colvin among them—but this disc is not even a little about personalities. It is all its title suggests. The most peaceful piece of all is the achingly beautiful singing of Libera on Caccini‘s ―Ave Maria‖—and Libera is composed of 7-to-14 year old boys, some of whom sing higher and sweeter than most women could manage! Highly, highly recommended.

Over the years, soft rockers Little River Band got abused by some critics for rocking just a little too soft, although both Frank Sinatra and John Lennon liked their big hit ―Reminiscing.‖ The original members are gone, but the modern incarnation has produced a very pleasant disc of gentle rock titled ―We Call It Christmas.‖ The song program very nearly places the CD in the Contemporary Christian basket.

There‘s a drum on the cover, and Van Cooper‘s holding an electric guitar on the back, but they don‘t adequately convey the contents of ―…Late Night Holiday Listening.‖ Van has come up with really interesting, mostly synth-heavy arrangements of 9 classics and 1 original, with new age, pop, and jazz flavors. I‘m not a big synth fan, but Van is full of enough ideas to keep me interested.

―A Christmas Chill‖, from PEAS featuring Rachel Leslie, has chill-style electronic arrangements fronted by Rachel‘s pretty voice. ―Divin Enfant‖, a CD-R from Hemisphere Music, is similarly down tempo, but with more of an R&B feel, and even a bit of island

CELTIC The Celtic craze has run its course. I received no CDs at all with substantial Celtic elements. Yet the ethereal vocal style said to be Celtic-inspired is thriving. Loreena McKennitt‘s first Christmas CD arrived in 1987, with a seasonal EP following in 1995. This year she gives us ―A Midwinter Night‘s Dream‖, and the title is apt—even the uptempo carols never seriously threaten the state of reverie. Seay is less well known, but you could almost mistake her ―A Winter Blessing‖ for an Enya CD because of the similarities in arrangement style. Only two of the tracks are Christmas standards, so if you‘re looking for something new and don‘t want to join the crowds buying the new Enya Christmas CD, I think you‘d enjoy this disc.

Of course, ―ethereal‖ is only one Celtic offshoot. You may recall that the Irish can party, and if that has somehow slipped your mind, Reilly‘s ―Kick Ass Celtic Christmas‖ will refresh. It‘s much closer to the Dropkick Murphys than the Chieftains, and I really liked hearing the band kick the livin‘ Andy Williams out of ―It‘s The Most Wonderful Time of the Year.‖ Here‘s your Christmas party album, so long as you‘re not looking for sedate.

MOSTLY ACOUSTIC GUITAR A good many doctors I know–both of the Ph.D. and M.D. varieties—lead double or triple lives in which they excel in fields outside their major profession. For example, a plastic surgeon from our area was a master acoustic guitar maker. ―Master‖ is the word; doctors like to master things. And there‘s quite a bit of mastery on ―Holiday Blues in Greens‖, a CD benefitting the American Cancer Society from six acoustic and electric guitar-playing Texas M.D.s and one drumming doctor (Greens refers to a common scrub color). No excuses needed here; a rip through ―Carol of the Bells‖, the bluest ―Amazing Grace‖ I can recall, a thoroughly fuzzed ―Silent Night‖—there‘s just one delightfully surprising goodie after another. I‘d recommend it even if it only benefitted the American Hangnail Society. (And to think my physician only played the French horn…anybody for French Horn Hero?). Go to CDBaby for this one.

There‘s no electricity on another doctored CD, even though it was recorded in a Fish Creek barn that does indeed have it. It‘s ―Christmas in Door County‖ from clinical psychology professor Doc Heide and Eric Lewis on guitars, with Eric also playing mandolin. Doc was one of the early UWGB grads who went on for a Ph.D., but what‘s relevant here are quiet, slow tempoed, contemplative readings of mostly familiar carols in that category I call ―gazing at the tree/fireplace music.‖

―Quiet‖ is also the hallmark of Ian Hattwick‘s appropriately-named ―Christmas Snowfall‖ which also benefits from Rich Smith‘s piano. Ian commonly plays a familiar tune straight, and then goes for a little spin around the melody, with the result being a disc that sounds fresh despite being almost solid chestnut. Gregg Hansen calls his playing ―Celtic finger-style guitar‖ with many other influences, but since I never learned to hear the differences among acoustic styles, I‘ll simply tell you that on ―The Six Strings of Christmas‖ I hear more fancy finger work, and the tunes are sometimes quite lively (aided by the flutes and whistles of Cynthia Jaffe, his partner in the duo Peace & Love & Jigs & Reels).

Michael McCabe also has all the requisite elements for a recommendable Christmas guitar release on ―Acoustic Christmas‖—fine playing, interesting arrangements, and sufficient stylistic variety to keep the disc from being aural wallpaper. Last year I sang the praises of Bob Piorun‘s first Christmas CD, and this year he‘s back with a disc full of originals called ―It‘s Christmas.‖ I don‘t know if any could become hits (although, if that grandma song can, what can‘t?). I do know you‘ll enjoy both the music and words, and the variety among Bob‘s efforts.

Dave Stryker‘s guitar is electric on ―Six String Santa‖, but it is one of the quietest CDs in this section. The style is lightly jazzy, with no accompaniment—the kind of thing you wish you‘d hear in some little café in late evening. But just make your own cocoa, grab another of those treats you‘ve already had too many of, sit by the glow of whatever glows in your house (even a TV will do), and abandon your consciousness to Dave‘s playing. He was voted a "Rising Star" in the 2008 Downbeat Critics Poll, but his website shows he already has 28 CDs to his credit!

There are quite a few Christmas CDs originating in Hawaii, a surprising number of which don‘t make it over to the 48. Thankfully, ―Kohala Christmas‖ from a superb acoustic guitar trio did hop the plane (with Aloha and ATA airlines gone, that‘s getting a bit harder!). Aside from ―Waimea Christmas Bells‖ there‘s nothing Hawaiian-sounding about this CD, but no matter. The three-guitar sound and fine playing make for a very recommendable recording. The sound of the guitar on ―Kimo‘s Hawaiian Slack Key Christmas‖ IS distinctive to our 50th, having originated with Hawaiian cowboys. Jim ―Kimo‖ West has lots of style and magic in his playing, making this yet another in the pile of high-quality guitar recordings this season that I‘m sure nearly anyone would love.

I am lucky enough to have a copy of a 20-year-old CD full of Stephen Siktberg‘s Christmas arrangements for guitar, but it existed only as a Musical Heritage Society release available to members alone. Despair not! Richard Gilewitz uses some of Siktberg‘s excellent arrangements on his new ―Strings for a Season.‖ His CD also stands out because of the use of cello, violin, mandolin, banjo, and piano to provide effective settings for his guitar playing. Given Richard‘s fine playing, I hope he will record ALL of Siktberg‘s arrangements for wider distribution.

OTHER ACOUSTIC INSTRUMENTS ―Pipers‘ Holiday‖ comes from two of the best flute players around (I never say ―flautist‖—too close to ―flatulence‖, which comes out of much bigger tubas). Aside from ―Silent Night‖ and ―Greensleeves‖, the program isn‘t that of a modern Christmas, but rather more like a recital in some castle. As a long-ago third-chair flutist with the Racine Symphony (OK, that‘s really low in the flute world) I can tell you that the playing is exquisite. Sato Moughalian‘s flutistry highlights the non-traditional seasonal CD ―In The Spirit‖ from the trio Maya, which also includes harpist Jacqueline Kerrod and percussionist John Hadfield. Some of the music has a distinct Middle East or Eastern European feel (mostly due to John‘s beats), some is straightforward classical (an entire Bach flute sonata), and some is just innovative interpretation of Christmas classics by a combination of instruments not often heard.

The sound of many harps (6, I think) plus other Irish instruments and children‘s choir make a truly joyous noise on ―A Christmas Collection‖ from Janet Harbison and the Irish Harp Orchestra. Part of the program is not specifically Christmas, but it just doesn‘t matter, because the sound all those harpers is wonderful, particularly when the pipers join in. And some of the numbers won‘t let you sit still.

Once the Atlantic has been crossed, Celtic harp, flute, and percussion join the sounds of Ruth Smith‘s hammered dulcimer and keyboards and Steve Smith‘s guitar on ―An Appalachian Winter‖, the best new acoustic instrument CD of the season. Steve and Ruth‘s home in western North Carolina is shown on the cover, and it reminded me that I have only a few years to go before I can retire to the quiet beauty of that region. Did I mention that their music is as beautiful as the mountains?

Much farther west, another couple—Anne and Pete Sibley—produced a CD called ―Winter on the Great Divide.‖ Anne‘s vocals and guitar, and Pete‘s vocals, guitar, and clawhammer banjo are the dominant musical contributions, with support from Ben Winship on a few tracks. Pete and Anne also vocalize together with solid effect, especially as heard on the a cappella ―Lo, How a Rose…‖ The less said about Phil Passen‘s vocals, the better (they‘re bad even by raw folk standards—check out the dreadful ―Jingle Bell Rock‖), but his hammered dulcimer playing is so bright and beautiful (just check out ―Welcome Christmas Morning/Breaking Up Christmas‖ or ―Here Comes Santa Claus/Turkey in the Straw) that I loved his ―Cold Frosty Morning‖ anyway. The sound of that instrument, as Phil plays it, explains why it is my favorite among folk instruments. (Strangely, Phil seems to be located in the mountains of, um, Chicagoland!).

An accordion is at the center of the Café Accordion Orchestra, but with mandolin, lap steel, and fiddle as well as more common instruments among those played by the group‘s 5 members, lots of stylistic variation is possible. And it is realized on ―Café Christmas‖—―Jingle Bells‖ in Spanish Paso Doble style, ―Feliz Navidad‖ in Colombian Cumbia style, Walkin‘ In A ‖ cha-cha, and much more. This is simply one of the most flat-out enjoyable recordings of the season.

Music box simplicity comes out of the unadorned, mostly unaccompanied folk harp of John Kovac on ―HARP! The Herald Angels‘ Strings.‖ While I‘m not sure most would want to listen closely to just one instrument for an entire 41+ minute disc, this would make an excellent background CD for an open house, and for a radio programmer it may just as well be made of gold since almost every track is a little gem.

This section ends as it began, with flute. But this time it‘s the Native American flute (heavily echoed) of Douglas Blue Feather on ―Kokopelli Christmas‖, along with mother drum, bells, and rattles. While Douglas‘ playing is just fine, this too is an instrument that I did not wish to hear at such length, while also being something I‘m eager to work into my radio program. The same is true of the pans played by a quartet of Californians who call themselves the Trinidadio Steel Drum Ensemble. Their CD is ―Christmas in Paradise‖, and I predict that when Upper Midwesterners hear their arrangement of yule tunes, they‘ll be tripping over themselves to dial up the cruise lines. Maybe the message is to buy some of the single-instrument CDs, then burn your own mix disc.

PIANO The 14 carols on Minnesotan Bradley Joseph‘s ―Classic Christmas‖ clock in at an average of over 4 minutes, so you know he‘s up to something. His usual approach is to play the carol straight, and then add his own twists. And he‘s very effective at that—he doesn‘t stray as far as a jazz or classical organ improviser might, but he does keep the interest up. The same applies to his earlier ―Christmas Around the World‖, which I found even more interesting because of the use of other instrumental sounds (added via keyboard, it seems).

Fellow Gopher Lorie Line has long used support from her Pop Chamber Orchestra, along with her own florid style of playing, to create a series of distinctive Christmas recordings. The latest is ―Christmas Around the World.‖ Her style hearkens back to popular pianists of the mid-20th-century, such as Roger Williams, Ferrante & Teicher, and Liberace. Although the arrangements are often interesting (such as the koto-flavored ―Lo, How a Rose…), I still like to hear Lorie with very little else (―A Cradle in Bethlehem‖ on this disc is a good example).

You‘ll find that unaccompanied piano sound down the Mississippi a bit, on Onalaskan Amy Lauren‘s ―Winter & Christmas.‖ Half of the 16 tracks are Amy‘s own compositions. As I write this, a foot of snow is expected to begin eight hours hence, and Amy‘s music will be perfect for gazing out the window while I put off my next encounter with the Red Bull (AKA ―Toro‖) in my garage. Her takes on eight sacred and secular Christmas standards are worthy of your ears as well. Hop on 21, Amy…come over and play for us Fox River folk!

North Carolina‘s Pamela Howland has blessed us with a fourth Christmas CD, ―Have Yourself A Merry Little Christmas.‖ She plays her original arrangements of 10 Christmas standards with considerable sensitivity and style, as befits someone born on Christmas Eve (although it may also have something to do with her training at the Wisconsin Conservatory of Music as well as Eastman). I hope she has even more Christmas CDs in her!

Drive west on I-40, and just south of Asheville you‘d find Frank Argento, whose new disc is simply titled ―Christmas Piano.‖ Frank likes to group 2-3 familiar carols together on most of his tracks, and that works. The arrangements are mostly straightforward, such that I‘d call this a ―hum along‖ CD where you can‘t help but join in somehow with the beloved melodies.

On ―Country Piano Christmas‖ Gary Smith channels Floyd Cramer so effectively (with the characteristic two-note figures) that it really could have been passed off as a long lost Cramer recording. There are enough waltzes on here to spend a long time on the dance floor with your sweetie. Tommy White is noteworthy among the backing musicians for his pedal steel contributions.

Slow, thoughtful interpretations of 16 carols fill Ken Elkinson‘s solo ―Generations of Yuletide.‖ This would be a great CD for drifting off to sleep, expecting magical Christmas dreams. The jacket notes describe David Arkenstone‘s ―Christmas Lounge‖ on the Green Hill label as ―reminiscent of the music you might hear in the lobbies and lounges of chic, boutique hotels.‖ Well, OK—I don‘t hang out in such places, so I can‘t dispute that. What I do know is that it is the kind of enjoyable new age styling associated with David‘s longtime label, Narada. Like David, Chip Mergott identifies himself as a keyboard rather than piano player. On his second Christmas CD, ―O Holy Night‖, he uses a pleasing variety of keyboard-triggered sounds in 14 interesting arrangements of Christmas standards. Doug Astrop plays piano, not keyboards, on his EP ―Holiday Sounds‖, which is new age-ish but with a more pronounced beat. The two originals on it haven‘t quite grabbed me yet, but the handling of four classics is innovative and effective.

Much of our Christmas celebrations today recalls earlier times. Of the CDs in this section, nothing does that as effectively as ―A Piano Christmas in the 1920s‖, featuring digital recordings of piano rolls playing on a 1929 Haines Bros. Ampico reproducing piano. This isn‘t ―like‖ the sound of a Christmas 80 years ago, it IS the sound of Christmas in a middle class parlor that long ago. Famed Ampico artists captured on the rolls include Fritz Kreisler plaing his ―Toy Soldier‘s March‖ and Pietro Yon playing his now-famous ―Gesu Bambino.‖ There‘s non-seasonal music included as well, as there would have been whenever families fathered ‗round pianos. The radio ended this—will Guitar Hero restore it, or just reinforce going our separate ways?

Doug Hammer‘s ―Noel‖ was the last piano CD to arrive for this review. He‘s appropriately surnamed—a piano is, after all, a big box for hitting strings with little hammers. Then again, his name doesn‘t fit at all if you think of a hammer as a rather crude device for putting things together. On first hearing, I found myself thinking this was the most sensitive playing I heard this season. At times Doug‘s touch is so light that the sound barely transcends inaudibility. His CD is sure to appear on my program‘s Christmas Eve playlist.

BEYOND CLASSIFICATION Gordon Rydquist seems to be having all kinds of electronic fun on ―Have Yourself A Global Christmas.‖ On the first few tracks alone, the Little Drummer Boy goes Middle Eastern, the Three Kings are in some medieval court, Silent Night has descended on a cowboy‘s campfire (complete with crickets and a cow), and the Angels On High are in a German oompah band. You‘ll have to get the disc to hear the rest of this, which is enjoyable enough not to be dismissed as a novelty. Meanwhile, on ―A Very Merry Christmas‖ Kevin Osborn (―Kevoz‖) seems to have been possessed by the spirit of the late Esquivel, who long ago produced weird space pop albums. But both of those are absolutely tame compared with John Garvey‘s CDs ―Holly and Hearth‖ and ―A Christmas Motley.‖ John takes credit for ―all arrangements and MIDI sequencing‖, but then he adds in all kinds of seemingly unrelated sound effects from stock libraries (for example, ―Silent Night‖ begins with a helicopter—shades of Pink Floyd!). The second disc has a ―Ringtone Wassail/Burbank Wassail‖ and the beloved ―Bring A Torch, Jennifer, Ashley.‖ In the midst of this you hear John‘s treatment of some of the oldest Christmas melodies. These discs are probably most unlike anything else reviewed here.

There‘s a different kind of nuttiness on ―The Runaway Christmas Tree‖ from folkie Christine Lavin & The Mistletones. The comic elements have always been a big part of Christine‘s, as evident here in everything from the Tacobel Canon to the echoplexed Th 12 Dys f Chrstms and the two long tales of the title track and Polkadot Pancakes. But there are serious moments of beautiful harmonizing as well, and enough rounds to row your boat across the ocean

I tried to stuff ―Going On Holiday‖ by Matt Molnar‘s group Ranlom into contemporary jazz, rock, and r&B boxes, but it popped out of every container, like a drawer that just won‘t shut. All I can say is that the CD is short, but the seven tracks sure are fun and funky. ―Yule Ties‖ by Loose Ties is a little easier to categorize—lots of pickin‘, close vocal harmonizin‘, with prominent banjo and mandolin—why, it‘s a bluegrass/mountain/Western Swing CD! In original form, it came out 20 years ago and was revised 10 years ago. One of the treats here is a version of ―Song for a Winter‘s Night‖ much closer to Lightfoot‘s own than the recently popular Sara McLachlan treatment—not that there‘s anything wrong with either. The penultimate track, a guitar-mandolin-banjo "First Noel", is simply beautiful in the way cool mountain water is.