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Jamie Cullum - The Pianoman at Christmas
Jamie Cullum - The Pianoman at Christmas
Beautiful, Altogether
Oh
Sitting down there at the old folks home crooning "White Christmas"
I got three hundred songs about Santa Claus under my fingers
Then down to the Crown hotel
Play 'till our heads hurt like hell
I'm asking myself
Who am I supposed to be?
Well, I've always been a loner with some songs in my back pocket
And a million bar room uprights couldn't bring me any solace
Will someone come and tell me
Who am I supposed to be?
So Many Santas
Now there's the one who can't control his eight reindeer
And that one at the mall seems to lack some basic cheer
So take me to the North Pole to the top of the tree
Cos there's so many Santas
Do you agree?
Though there's magic in all of his brethren
They always report to the King
He's the one whose at the heart of the engine
He's the one who makes us all sing
All the presents are wrapped and the stockings are hung
All the children relieved all the waiting is done
All the presents are wrapped and the stockings are hung
All the children relieved all the waiting is done
That’s what jazz artists Jamie Cullum and Warren Wolf have done with their new
Christmas albums, and the result is a delightful playfulness. Cullum, a London
singer and pianist, has released The Pianoman at Christmas, while Wolf, a Baltimore
vibraphonist and pianist, has released Christmas Vibes. Both take advantage of the
genre’s low expectations to revel in melody and to take some chances.
“Absolutely,” agrees Cullum. “It’s freedom within the limitations of the subject
matter, but once you’re in the subject you can write about all the same things you
do in other songs, as long as you throw in some snow and mistletoe. It allows you
to think wide-screen. If it were a regular album, maybe I would be shy about doing
four choruses at the end of this song or having a huge orchestra come in only at
the end of a song. But because it’s a Christmas album, why not? It’s like writing a
musical; as long as you stay within the storyline, you can do anything you want.”
When Cullum was planning the album, his British label, Island Records, said, “Why
don’t you do half covers? You have a big audience, and they love the way you
interpret songs.” Cullum responded, “No, that’s too easy. At the end of the day,
I’m a songwriter. If I had to stay home and write songs all day, that’d be fine
with me. When you think of all the people who have recorded ‘The Christmas Song’
and songs like that, and they’ve all done such a good job, why should I do the same
thing?”
He was stuck at home in London, however, due to the pandemic, so he didn’t have
access to all the studio technology he usually relies on. So instead he started
with a notebook, jotting down phrases from his favorite Christmas artworks, from
Bing Crosby to David Sedaris, from Charles Dickens to Frank Capra, and from scraps
of conversation about the holiday.
“When I started to actually write the songs,” Cullum recalls, “I would literally
start with a line, like ‘So Many Santas,’ I liked the idea of a kid walking around
the city not understanding why there are 10 Santas in a four-block area. Once I had
a subject idea and a lyric line, I just started improvising at the piano for 20
minutes, which is all the time I had between my kids’ home-schooling sessions.
“Out of that 20 minutes, I’d have maybe 10-20 seconds that were strong, but I would
go back to it and build around it. Eventually, I’d have enough to say, ‘This needs
a chorus; that verse is kind of wishy-washy.’ That’s when I brought my craft to
it.”
Several more tunes take the same hard-swinging approach, but the stand-out track on
the album is “Hang Your Lights,” where the swing has that New Orleans syncopation
from the period when Louis Prima’s orchestra was being supplanted by Dave
Bartholomew’s arrangements for Fats Domino. There’s even a baritone sax riff and a
female-vocal passage. The title line adds the mild sexual innuendo of that era, as
in Lee Dorsey’s “Ride Your Pony.”
The album’s title comes from a song originally called, “There’s Always a Job for a
Piano Man at Christmas.” But it was terrible title; the word “job” is hard to sing
and isn’t very Christmasy. But Cullum wanted to write a song about that time in his
20s and early 30s when he’d spend every December going from bar to bar playing
Christmas songs.
“I used to think of myself as Jack Baker from The Fabulous Baker Boys, the Jeff
Bridges character in love with Michelle Pfeiffer,” he confesses. “That led to the
phrase, ‘I thought I could be your man, but I’m just the piano man at Christmas,’
And that scanned a lot better. I said, ‘I’m not going to escape the Billy Joel
reference, so why not just go with it?’”
“Turn on the Lights,” which begins with rock’n’roll triplets on the piano beneath
an aggressive vocal over a punchy beat, also betrays the Billy Joel influence. “I’m
a huge fan,” Cullum admits. “I’ve opened up for him a few times at Madison Square
Garden. He’s never shied away from musical ambition and ingenuity even as he’s made
all these hit albums. And I’ve tried to do the same thing on this album.”
Cullum says his favorite Christmas recording of all time is Nat King Cole’s version
of “The Christmas Song,” written by jazz crooner Mel Torme and TV/film scriptwriter
Robert Wells. “That’s the gold standard,” Cullum insists, “just the way he sings
it, the way he times it, the way the band plays. Harmonically, it’s no walk in the
park, but Nat delivers it as it’s coming off a juke box. And it was a #1 single. He
has that voice as warm as slippers. Even though I’ve never seen chestnuts roasting
over an open fire, but I know just how that feels.
“Opening with such a killer line announces what just what the song’s going to do.
It opens with the money shot. And it’s not just the lyric; it’s that leap in the
melody.” Here Cullum sings the octave leap from “chest” to “nuts” to demonstrate.
“I try to do something similar on my song ‘Beautiful Altogether,’ which also
invites you in with a shot at the goal in the first line.” Here he sings, “We are
beautiful, when we’re altogether ‘round a table that could burst at the seams.” “A
lot of the time with melodies, it’s instinctual, it’s only after I’ve written it
that I feel I’ve found something.”
Warren Wolf.
Wolf does something similar on “Wake Up, Little Kids, It’s Christmas,” his one
original song on Christmas Vibes. The melody takes a big leap upward as it goes
from “The night be-” to “fore” to describe a Christmas Eve in Wolf’s Maryland home.
The vocal is handled by Allison Bordlemay, but the harmony is established by Wolf’s
piano and the melody by his chiming vibraphone. After this introduction, the action
shifts to Christmas morning, as little kids, rubbing their eyes, stumble from their
beds to the gifts under the tree.
“Arranging the standards for the album was fun,” Wolf admits, “but writing an
original song was hard. I started by writing about the crazy scene here on
Christmas, from my and my wife’s point of view. When we were recording it, my
vocalist said, ‘Warren, how do you want this song?’ The picture that came into my
mind was one of those old Disney films were the old woman is serving dinner to the
children and singing to them in a happy, homey feel. Then the second part goes into
a gospel feel.”
That gospel-soul flavor is even more obvious on Donny Hathaway’s “This Christmas,”
sung by Micah Smith. But the record’s repertoire ranges all over the map, from
“Dance of the Sugar Plum Fairy,” written by Pyotr Tchaikovsky for the 1892 ballet,
The Nutcracker, to John Lennon and Yoko Ono’s 1971 single, “Happy Xmas (War Is
Over),” recorded with the Harlem Community Choir.
In between are three songs from the holiday TV specials of Wolf’s childhood: How
the Grinch Stole Christmas and A Charlie Brown Christmas. The two songs from the
latter show, “Christmas Time Is Here” and “Skating,” were written by jazz pianist
Vince Guaraldi and lyricist Lee Mendelson.
“Guaraldi’s music sounds like Jazz 101,” Wolf acknowledges, “the basic harmony we
should all know as jazz musicians. But he found a way to make it sound happier than
anyone else. I had a specific vision for this album, that it would be something
people could play while they’re eating dinner on Christmas Day. When we do solo,
it’s just enough for people to say, ‘This is cool; let’s get back to the melody.’”