[Web master's note: Northern California film critic Derrick Bang — the eldest, youngest and only son of this site's primary jazz guru, Ric Bang — has surveyed the holiday jazz scene for more than a quarter century (!). Check out previous columns by clicking on the CHRISTMAS label below.]
Holiday albums appear earlier every year, so I was able to begin this annual survey in October ... and, for the next several weeks, it looked like 2024 would be a dismal year for new holiday jazz releases.
Happily, things improved as we slid into mid-November — thanks also to a few slightly older international albums that came to my attention — and you’ll find plenty to enjoy here (along with a few ... not so much).
Onward!
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It’s Christmas Again, the most recent of their three albums, was released just a little over a year ago. The arrangements are inventive, and solos are just as dynamic as the unison horn work. A strong sense of fun radiates from this album, which is immediately evident in a rollicking, up-tempo handling of “All I Want for Christmas Is You,” powered by Cameron Escovedo’s drumming, and highlighted by John Marshall’s tenor sax solo.
“Santa Claus Is Coming to Town” is equally vibrant, with an intro by the full band segueing to lovely unison horns delivering the familiar melody. Jay Orig’s sassy piano solo is complemented by Dave Lobenstein’s walking bass; Baron Lewis then delivers a sparkling trumpet solo, after which the full unit returns for a thundering finale. “Rudolph, the Red-Nosed Reindeer” emerges as a delicious cha-cha, with solos on trombone (Joey Devassy), alto sax (Chris Donohue) and trumpet (Damien Pacheco), backed by Orig’s delicate piano filigrees. You’ll also hear a cheeky bit of horseracing’s “First Call.”
Sweet unison horns are backed by a percussive, toe-tapping vamp in “Little Drummer Boy,” with fanfares introducing tasty solos on alto sax (Jim Miceli) and tenor sax (Alejandro Aviles).
My favorite track, though, is the 5/4 arrangement (!) of “Christmas Time Is Here.” Escovedo and Lobenstein lay down a swinging beat behind the unison horns that carry the theme, with improv shading supplied by Donohoe’s alto sax and Marshall’s tenor sax. (I played this track three times, before listening to the rest of the album.)
The party concludes with a leisurely, wistful reading of “Auld Lang Syne,” with unison horns backed by Escovedo’s strong beat; the arrangement has a definite “end of the evening vibe,” augmented by brief solos on tenor sax (Marshall) and trombone (Joey Devassy).
My sole lament is that the album favors horn solos; I wish Orig had cut loose on piano a few more times. Hold that thought for the next time!
