|
 I
have strong doubts that I'm the only one who beamed with delight
after listening to Jon Schmidt's new holiday album, "Winter
Serenade." In fact, I have a feeling that tens of thousands
of fans have been waiting to hear more of his enchanting arrangements
since "A Jon Schmidt Christmas" left us speechless in
1997. For those loyal fans and for hopefully millions more who will
be introduced to LDS music's most brilliant solo pianist, this album
offers more contemporary arrangements of somehow-forgotten holiday
melodies and a handful of killer originals.
Jon
introduces the album with a passively simplistic interpretation
of "In the Bleak Midwinter," a charming melody that sets
the mood in a way not unlike "Were You There?" did on
his first holiday CD.
You
wouldn't think it possible that "Canon in D" could sound
fresh after it has been arranged by a seemingly infinite number
of artists, but leave it to Jon. First, including it on a Christmas
album suggests that the classic has meaning beyond its traditional
setting. Second, he combines it with U2's "With or Without
You," giving it that JS signature of surprise and intrigue.
The inviting cello line is reminiscent of David Tolk's orchestration
of the same U2 song on his "Memory Road" CD. Good luck
guessing what Jon has up his sleeve next.
"North
Pole Express" sets the traditional melody "Ding Dong Merrily
On High" to a quick multi-meter tempo. It is the first of several
tracks that have the contemporary jazz feel of Lex de Azevedo's
instrumental work of the 80s and early 90s. There's ample evidence
that Jon carries over his jazz influences from "To the Summit,"
when he first paid tribute to LDS axe masters like saxophonist Ray
Smith (long-time director of BYU jazz ensemble Synthesis).
"Wexford
Carol" returns to a more solemn holiday theme and leads into
a Titanic-like Celtic melody thanks to an authentic Uileann piper.
On
"Still, Still, Still," Jon successfully encapsulates a
mother trying to lull her child to sleep as indicated in the liner
notes.
Those
who, like me, still gawk with child-like awe at rhythmic wonders
like "Game Day" and "All of Me" will appreciate
the picturesque "First Run." Arguably the freshest song
on the album, it illustrates a pristine skiing run or a wind-combed
lake ready for the first taker of the day. Your first listen will
confirm that "Syncopation" must be Jon's middle name.
The
title track paints a snowy holiday on musical canvas. It is a timestamp
of both the sights and sounds of Utah winters. Ryan Shupe's fiddle
melody is characteristic of today's contemporary LDS music scene
and is thus a comfortable fit for this vivid picture of Happy Valley.
"Deep Winter" will please Bach enthusiasts, who will recognize
the tune as "Prelude in B-flat Minor." A poignant melody
represents yet another dimension of the holiday season: a time for
reflection and thanks.
"Last
Lullaby" is a delicate tribute to a baby boy who passed away
after only living for two weeks. It is appropriately dedicated to
all who have lost young children.
The
album closes with a recording of Jon's daughter Annie singing the
Beatles' "I Will" when she was six years old. Wearing
your American Idol judging hat could make it easy to focus on the
"pitch-deficient" high notes, but the melody remains a
tender tribute nevertheless.
Overall,
"Winter Serenade" represents the two spirits of Christmas
- the peace of coming closer to Christ and the excitement of family
and friends. It also strings together a tapestry of more unique
aspects of the holiday season: restlessness, loss, and new beginnings,
all of which can bring us back to the Savior. And as usual, Jon
sets fresh emotions to music with his characteristically earnest
intensity and mastery of songwriting. Love Christmas, and you'll
love this album.
------------------------
Jared
Johnson
|
