Christmas Time Is Here

Apparently recognizing that most people buying Christmas albums are looking for music that has some resemblance to the traditional carols they grew up with, Dianne does not aim to overpower the original sounds with jazz variations, choosing instead to recognize the mood and meaning of each song while giving it a unique twist. "Little Drummer Boy," which opens the album, for example, is sung as a clean, quiet ballad, but its unexpected syncopated beat and an accompaniment consisting solely of drums, bass, and percussion create an exciting new interpretation. "Carol of the Bells," with a happy, up-tempo beat and deliberate dissonance, features extended solo riffs on the vibes (Joe Locke) and sax (Steve Wilson), and though Dianne sticks fairly close to the original melody, she does it in surprising, finger-popping swing beat.

In the wonderful "Let it Snow," a happy, toe-tapping background of bass and cymbals sets off Dianne's extended scat and a jazz piano solo by Peter Martin. One of the most unusual songs is the upbeat "Christmas Waltz" (though no one would ever try to waltz to it). With a fast, syncopated bass (Reuben Rogers), guitar (Reuben Lumbambo) and piano, Dianne allows herself to be a jazz artist here, singing scat, and, in a nice touch, including children at the end. Throughout the album, she is generous with her accompanists, as each one solos and often plays off each other. And just when you think it's impossible for anyone to make "I'll Be Home for Christmas" or "This Time of the Year" sound fresh, Dianne Reeves does it.

By giving fairly traditional songs unique beats and introducing new, jazzy interpretations to others, this is an album which should appeal to a wide spectrum of listeners. Dianne's control, her wonderful diction, her attention to the meaning of the songs, and her ability to recognize the value of quiet interpretations and soft sounds on some tracks make this an album that honors the holidays by paying homage to its many moods. Mary Whipple


what a wonderful christmassy jazz album   December 30, 2004
This album is pure heaven - gorgeous arrangements, wonderful singer.
I had to skip track one tho' - Drummer Boy is way too saccarine for the British market.
Treat yourself to this CD, you won't regret it!


Fresh new interpretations for holiday music.   October 13, 2004
 8 out of 8 found this review helpful

What fun it is to hear Dianne Reeves giving fresh interpretations of Christmas standards. In an exciting album of great variety, she ranges from an almost traditional interpretation of "The Christmas Song," which she sings as a slow, danceable ballad with simple piano accompaniment (Peter Martin), to her spectacular jazz celebration of "A Child Is Born," with drums (Gregory Hutchinson), wailing sax (Steve Wilson), syncopation, and Dianne singing scat.

Apparently recognizing that most people buying Christmas albums are looking for music that has some resemblance to the traditional carols they grew up with, Dianne does not aim to overpower the original sounds with jazz variations, choosing instead to recognize the mood and meaning of each song while giving it a unique twist. "Little Drummer Boy," which opens the album, for example, is sung as a clean, quiet ballad, but its unexpected syncopated beat and an accompaniment consisting solely of drums, bass, and percussion create an exciting new interpretation. "Carol of the Bells," with a happy, up-tempo beat and deliberate dissonance, features extended solo riffs on the vibes (Joe Locke) and sax (Steve Wilson), and though Dianne sticks fairly close to the original melody, she does it in surprising, finger-popping syncopation.

In the wonderful "Let it Snow," a happy, toe-tapping background of bass and cymbals sets off Dianne's extended scat and a jazz piano solo by Peter Martin. One of the most unusual songs is the upbeat "Christmas Waltz" (though no one would even try to waltz to it). With a fast, syncopated bass (Reuben Rogers), guitar (Reuben Lumbambo) and piano, Dianne allows herself to be a jazz artist here, singing scat, and, in a nice touch, including children at the end. Throughout the album, she is generous with her accompanists, as each one solos and often plays off each other. And just when you think it's impossible for anyone to make "I'll Be Home for Christmas" or "This Time of the Year" sound fresh, Dianne Reeves does it.

By giving fairly traditional songs unique beats and introducing new, jazzy interpretations to others, this is an album which should appeal to a wide spectrum of listeners. Dianne's control, her wonderful diction, her attention to the meaning of the songs, and her ability to recognize the value of quiet interpretations and soft sounds on some tracks make this an album that honors the holidays by paying homage to its many moods. Grammy #4 may be on its way for this one. Mary Whipple