{"id":3487,"date":"2021-12-03T19:08:11","date_gmt":"2021-12-04T01:08:11","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=3487"},"modified":"2021-12-09T12:36:19","modified_gmt":"2021-12-09T18:36:19","slug":"alternative-holiday-playlist","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/alternative-holiday-playlist\/","title":{"rendered":"An Alternative Holiday Playlist"},"content":{"rendered":"\n<p>Remember the old &#8220;Saturday Night Live&#8221; parody of the &#8220;60 Minutes&#8221; Point\/Counterpoint debate, the one remembered for the line &#8220;Jane, you ignorant slut&#8221;? Things didn&#8217;t get that heated on the <a href=\"https:\/\/www.wbgo.org\/season-2\/2021-12-03\/ready-or-not-here-come-the-yuletide-grooves\">December 3, 2021, edition of WBGO&#8217;s excellent &#8220;Jazz United&#8221; podcast<\/a>, but co-hosts Nate Chinen and Greg Bryant revealed a definite difference of opinion in their discussion of holiday jazz. Nate is a self-described &#8220;Will Farrell elf&#8221; where holiday jazz is concerned while Greg Bryant is an unapologetic Grinch.<\/p>\n\n\n\n<p>I&#8217;m with Bryant all the way\u2014and maybe a bit further. Growing up in a retail family, December was the most stressful time of the year, certainly at work and inevitably at home, too. And I&#8217;ve never quite shaken the sentiment. Most years, all I want for Christmas is for it to be over. So, there will be no sleigh bells jingling, ring-ting-tingling too for me at this time of year, but that needn&#8217;t stop the music.<\/p>\n\n\n\n<p>I&#8217;ve heard some non-holiday jazz and jazz-adjacent music from recent releases that can form an alternative playlist for the holiday averse this December. Maybe you have a few suggestions of your own.<\/p>\n\n\n\n<p><strong><em>Jacqueline Kerrod &#8211; &#8220;December 1: Trill to Begin&#8221;<\/em><\/strong> <strong><em>[17 Days in December (Orenda, 2021)]<\/em><\/strong><\/p>\n\n\n\n<p>Having established my Blue Christmas bona fides, let me cop to a love of the strange, minor-key French no\u00ebls and spooky Christmas songs of the British Isles that seem to have their roots in the pre-Christian winter solstice rites. Harpist Jacqueline Kerrod surely knows this material and the opening selection from her new solo CD, <em>17 Days in December<\/em> evokes the chill and stillness of the bleak midwinter as effectively as any ancient modal carol might\u2014and also the awe and wonder of Christmas. While you&#8217;re listening, check out the <a href=\"https:\/\/postgenre.org\/staging\/4567\/kerrod-days-december\/\">recent interview with Kerrod by PostGenre editor Rob Shepherd.<\/a><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=2153125960\/album=1126357972\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>Benny Benack III with the Steven Feifke Big Band &#8211; &#8220;I Have A Little Dreidel&#8230; (Gambling Problem)&#8221;<\/em><\/strong> <strong><em>[Season&#8217;s Swingin&#8217; Greetings (Cellar Music Group, 2021)]<\/em><\/strong><\/p>\n\n\n\n<p>On<em> Season\u2019s Swingin\u2019 Greetings<\/em>, trumpeter and vocalist Benny Benack III and Steven Feifke&#8217;s Big Band spin the beloved Hanukkah song into a gambler&#8217;s tale out of a Yiddish theater production of &#8220;Guys and Dolls.&#8221; Benack III delivers the goods with wry, finger-snapping insouciance while Feifke&#8217;s arrangement has the bite and snap of a classic Sinatra-era Billy May chart. If you like your silver bells with a side of ring-a-ding-ding, this might be your thing.<\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=1896226112\/album=1700006978\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>Sara Serpa &#8211; &#8220;How Do You Know Where to Go?&#8221;<\/em><\/strong> <strong><em>[Intimate Strangers<\/em> (<em>Biophilia, 2021)]<\/em><\/strong><\/p>\n\n\n\n<p><em>Intimate Strangers<\/em> is a setting by vocalist-composer Sara Serpa of passages from Nigerian writer Emmanuel Iduma\u2019s 2018 book, &#8220;A Stranger\u2019s Pose.&#8221; It&#8217;s a travelogue, diary and oral history project that documents stories of migration and dislocation on the African continent. There&#8217;s nothing Christmas-y about it, but you can&#8217;t hear &#8220;How Do You Know Where to Go?&#8221; without remembering that the Christmas story is also that of a refugee family and forced resettlement.<\/p>\n\n\n\n<p><a href=\"https:\/\/saraserpa.bandcamp.com\/track\/how-do-you-know-where-to-go\">https:\/\/saraserpa.bandcamp.com\/track\/how-do-you-know-where-to-go<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>Joe Fiedler &#8211; &#8220;I Love Trash<\/em><\/strong>&#8221; <strong><em>[Fuzzy and Blue (Multiphonics Music, 2021)]<\/em><\/strong><\/p>\n\n\n\n<p>This capsule review is brought to you by the letter &#8220;C.&#8221; In the context of this piece, C is for Christmas, but C is also for cookie, and that&#8217;s one of the delightful songs on trombonist Joe Fiedler&#8217;s new release, <em>Fuzzy And Blue.<\/em> Fiedler is the music director of &#8220;Sesame Street&#8221; and like that much-loved program, his arrangements of 13 &#8220;Sesame Street&#8221; songs have something to delight both kids and adults. Saxophonist Jeff Lederer, who knows this territory from his work with Matt Wilson&#8217;s Christmas Tree-O, and trumpeter Steven Bernstein join the leader in a front line that keeps things loose and fun without lapsing into schtick. Whether you grew up as a &#8220;Sesame Street&#8221; kid or watched with your own, as I did, you&#8217;ll find the urge to sing along impossible to resist. C is for children, too, and that&#8217;s good enough for me.<\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=289873201\/album=204947607\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>Floating Points, Pharaoh Sanders, and the London Symphony Orchestra &#8211; Movements 1 through 9 [Promises (Luakabop, 2021)]<\/em><\/strong><\/p>\n\n\n\n<p>Until the bombshell of the rediscovered John Coltrane <em>A Love Supreme<\/em> dropped, <em>Promises,<\/em> Pharaoh Sanders&#8217; collaboration with the British musician known as Floating Points, was the most talked-about release of the year. I&#8217;ll leave the question of whether this is or isn&#8217;t jazz to others. All I know is that in the chill Great Lakes air of my pre-dawn walk this morning, this music sounded like a most appropriate response to the carol that beseeches, &#8220;Sing choir of angels, Sing in exaltation.&#8221;<\/p>\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"435\" style=\"position: relative; display: block; width: 560px; height: 435px;\" src=\"\/\/bandcamp.com\/VideoEmbed?track=3961474810&#038;size=venti&#038;bgcol=ffffff&#038;linkcol=0687f5\" allowtransparency=\"true\" frameborder=\"0\" mozallowfullscreen='1' webkitallowfullscreen='1' allowfullscreen='1'><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>All five albums noted above can be purchased on Bandcamp through the links provided. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Remember the old &#8220;Saturday Night Live&#8221; parody of the &#8220;60 Minutes&#8221; Point\/Counterpoint debate, the one remembered for the line &#8220;Jane, you ignorant slut&#8221;? Things didn&#8217;t get that heated on the December 3, 2021, edition of WBGO&#8217;s excellent &#8220;Jazz United&#8221; podcast, but co-hosts Nate Chinen and Greg Bryant revealed a definite difference of opinion in their [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":3491,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":5,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[17],"tags":[],"class_list":["post-3487","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lists"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/Blizzard_of_1977.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-Uf","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":8698,"url":"https:\/\/postgenre.org\/staging\/4567\/newportjazz2023dayii\/","url_meta":{"origin":3487,"position":0},"title":"Observations from Day Two of the 2023 Newport Jazz Festival","author":"Rob Shepherd","date":"June 12, 2024","format":false,"excerpt":"The second day (check out day one here) of the 2023 Newport Jazz Festival, Saturday, August 5, 2023, can be seen as a masterclass on the intersectionality of tradition and innovation. Specifically, the day emphasized different artists that take traditional jazz ensemble settings, and stretch them into new areas. In\u2026","rel":"","context":"In &quot;Live Reviews&quot;","block_context":{"text":"Live Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/live\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/IMG_6388-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/IMG_6388-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/IMG_6388-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/IMG_6388-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/IMG_6388-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":4897,"url":"https:\/\/postgenre.org\/staging\/4567\/2022-newport-preview-friday\/","url_meta":{"origin":3487,"position":1},"title":"What to See at the 2022 Newport Jazz Festival &#8211; Friday","author":"Rob Shepherd","date":"July 25, 2022","format":false,"excerpt":"Especially after attending for nearly two decades, this author has a deep admiration and respect for the Newport Jazz Festival. Our site extensively covers the history of the legendary festival from before its formation to the present. Under normal circumstances, our site would feature coverage from Fort Adams of the\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1159,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-prologue\/","url_meta":{"origin":3487,"position":2},"title":"A History of the Newport Jazz Festival &#8211; Prologue:  Born in Storyville, 1950-1954","author":"Rob Shepherd","date":"July 17, 2020","format":false,"excerpt":"In September of 1950, twenty-four-year-old George Wein used his college savings to open a nightclub, Storyville, at Boston\u2019s Copley Square Hotel. The venue boldly planned to present jazz in a new light. Taking its name from the legendary New Orleans district of debauchery, brothels, and flophouses from whence the music\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":613,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-three-influence-on-jazz\/","url_meta":{"origin":3487,"position":3},"title":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Three:  &#8220;Jazz&#8221;","author":"Rob Shepherd","date":"March 26, 2020","format":false,"excerpt":"This is the penultimate chapter of our four-part series celebrating the legacy of the landmark Bitches Brew on its Fiftieth Anniversary. Our first piece focused on the album\u2019s compositions, the second on production techniques, and our forthcoming final feature will emphasize its influence on\u00a0 \u201cnon-jazz\u201d artists. Each adopts the list\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew \"Jazz\"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11142,"url":"https:\/\/postgenre.org\/staging\/4567\/review-josh-lawrence-still-we-dream\/","url_meta":{"origin":3487,"position":4},"title":"Review: Josh Lawrence\u2019s \u2018Still We Dream\u2019","author":"Jim Hynes","date":"August 13, 2025","format":false,"excerpt":"Still We Dream (Posi-Tone, 2025) is trumpeter and composer Josh Lawrence\u2019s seventh release for the label that prides itself on revealing the \u201cNew Frontier of Jazz.\u201d With it, the four-time Grammy nominee and regular member of Orrin Evans\u2019 Captain Black Big Band delivers a rather unusual album for a trumpeter.\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1210,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-history-chapter-i\/","url_meta":{"origin":3487,"position":5},"title":"A History of the Newport Jazz Festival &#8211; Chapter I: A New Tradition, 1954-1955","author":"Rob Shepherd","date":"July 23, 2020","format":false,"excerpt":"By 9:18 PM on the evening of July 17, 1954, Eddie Condon\u2019s tribute to Dixieland finally began its delayed performance. Next was vocalist Lee Wiley, a jam session, and then a series of musicians who in hindsight left an indelible mark of music: the Modern Jazz Quartet with Horace Silver\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3487","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=3487"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3487\/revisions"}],"predecessor-version":[{"id":3502,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3487\/revisions\/3502"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/3491"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=3487"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=3487"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=3487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}