{"id":5014,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/maxjazz-holiday-november-2001\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"maxjazz-holiday-november-2001","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=5014","title":{"rendered":"MaxJazz Holiday &#8211; November 2001"},"content":{"rendered":"<p>  <img loading=\"lazy\" decoding=\"async\" align=\"right\" alt=\"MaxJazz Holiday\" height=\"90\" hspace=\"4\" src=\"https:\/\/jazzusa.com\/storypix\/maxjazzholiday.jpg\" vspace=\"2\" width=\"90\" border=\"1\"\/><font face=\"Verdana\" size=\"3\" color=\"Blue\">MaxJazz Holiday <\/font><br \/><font face=\"Verdana\" size=\"1\">(MaxJazz &#8211; 2001)<br \/> by John Barrett<\/font><\/p>\n<p>  <font face=\"arial\" size=\"2\" style=\"font-face:verdana; font-size:10pt\">From a label specializing in vocal jazz, this is the kind of Christmas album you&#8217;d expect: soft, subtle backgrounds and big emotional voices.  Carla Cook overdubs herself for &#8220;Do You Hear What I Hear?&#8221; &#8211; pure on the high notes, she becomes a choir on the chorus.  Cyrus Chestnut also goes dubbing: he&#8217;s spiritual at the organ, funky at the piano.  Ren\u00e9 Marie is girlish for &#8220;Let It Snow!&#8221;; this voice was made for snuggling.    <\/p>\n<p>  Bruce Barth keeps the piano nice &#8216;n&#8217; warm &#8211; and the drummer clicks a near-samba!  Laverne Butler giggles her way through &#8220;Sleigh Ride&#8221;, and Mary Stallings is the sound of pure class on &#8220;I&#8217;ll Be Home for Christmas&#8221;.  Making her first records in the &#8216;Fifties, Mary sounds nostalgic, matched well with Barth&#8217;s lush accompaniment.  It&#8217;s a lovely &#8220;old&#8221; sound &#8211; and it fits, as this is the season for memories.  <\/p>\n<p>  \tWith a crisp 6\/8 and a warm reedy voice, Phillip Manuel brings joy to &#8220;Go Tell It on the Mountain&#8221;.  Peter Martin jabs some expressive piano, and Phillip transcends it with ease.  Barth plays &#8220;We&#8217;ll Dress This House&#8221; as a bossa, while Christine Hitt coos the lyric in satisfaction.  (Barth then plays &#8220;O Christmas Tree&#8221; as an instrumental: he&#8217;s funkier than Guaraldi, but in the same general area.)  Ren\u00e9 tries to go sultry with &#8220;Winter Wonderland&#8221; (nice idea, but a little plain in execution) while Laverne does &#8220;The Christmas Song&#8221; with just a little vibrato &#8211; a little, but it&#8217;s enough.  Some moments need no embellishment.  <\/p>\n<p>\tTurning a little sassy, Mary has a &#8220;Merry Little Christmas&#8221;; Bruce surrounds her in block chords, and all is well.  Chestnut dances on Carla&#8217;s version of &#8220;Silent Night&#8221;.  Christine is thoughtful on &#8220;Some Children See Him&#8221;, and her bold piano fills the silence; Barth follows with a gentle &#8220;Greensleeves&#8221;, powered by exciting cymbals.  Avoiding comparisons to Tyner, Bruce&#8217;s tone is broad &#8230; and restless.  Manuel&#8217;s &#8220;Peace on Earth&#8221; (the only original composition) has a smooth approach and a well-stated lyric.    <\/p>\n<p>&#8220;Christmas is the story of a great and wondrous birth\/ Mary&#8217;s child, a baby boy; His message, &#8216;Peace on Earth.'&#8221;  The piano is quiet, the brushes thick &#8211; and slowly the message sinks in.  Without histrionics or an overblown production, this album uses its many talents to convey the one thought of a special season.  <\/font>      <\/p>\n<p align=\"center\"><cfinclude template=\"adbanner.asp\"\/><\/p>\n<p align=\"center\">\n<p>    <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>MaxJazz Holiday (MaxJazz &#8211; 2001) by John Barrett From a<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-5014","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/5014","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5014"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/5014\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5014"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5014"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5014"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}