Holiday Kids Music Reviews (2012 Edition)

There were fewer Christmas and holiday CDs released this holiday season, but those that were all will probably appeal to at least a few families.  Yes, it's Christmas Eve, but you can still download those albums in time, right?  (And there's always 2013.)

Renee & Jeremy - Sunny Christmas

If I had to pick just one holiday album for this season, I think this EP from the Los Angeles duo would be it.  Perhaps that's a function of one too many Christmases in a clime that sometimes lets you wear short sleeves while eating your figgy pudding.  As always, the duo are in fine vocal form on the five standards ("Have Yourself a Merry Little Christmas" is the standout) and one original, the title track.

The Laurie Berkner Band - A Laurie Berkner Christmas

Berkner offers up the most traditional-sounding album, with fine arrangements throughout.  Having said that, given how you may hear many of these tracks multiple times any particular December day, the two best tracks here are the less-familiar "Children Go Where I Send Thee," a duet with Brady Rymer, and "Silent Night," which features Berkner and Elizabeth Mitchell, the two best female voices in kids music.

Mr. Richard & the Pound Hounds - Merry Christmas!

Florida-based Mr. Richard has much to be thankful for this holiday season -- his family's been battling some medical issues this year -- so not surprisingly, his new extended EP is a bouncy one.  A mix of Christmas standards and originals, my favorites are the jangly original "Up In My Christmas Tree" and the album-closing instrumental "Cantique de Noel" (aka "O Holy Night").

The Jimmies - Mama Said Nog You Out

This album's a year old, but it's no longer a Barnes & Noble exclusive.  So that means you can stop by your local, er, Amazon or iTunes and pick up a copy of Ashley's take on the season.  (Hint: there's no rendition of "O Holy Night" on this album -- this album's for the folks who like the mad rush of December.)  I liked the album last year, and I still like it this year.

Key Wilde & Mr. Clarke - Sing Songs of Christmas Cheer

Speaking of 2011 albums, I realized shortly after I published those reviews last year that I'd inadvertently excluded the extended EP from one of my favorite kids' bands (I think the album came out fairly late in the cycle as well).  In any case, the album is as goofy (and hard-rockin') as the rest of the duo's work -- "Angels We Have Heard On High" is epic in every sense of the word.

Dan Zanes - Christmas in Concord

I should also note that Dan Zanes' 2011 holiday EP has been expanded into an extended EP.  He adds a couple songs -- an original ("I'm Counting the Days (Until Christmas)") and a traditional spiritual ("Rise Up Shepherd and Follow" with Suzan-Lori Parks).  Though both are note, if you got the EP last year, neither track is a required addition.  Having said that, it was my favorite holiday album of 2011 (probably tied with the Key Wilde disk, and edging out the Jimmies disk), so if you don't have it already, it's worth picking up.

Big Bang Boom - The Holidays Are Here

I had to ask the title to these 5 songs (hence my original title, "untitled Christmas album"), but it's pretty good nonetheless.  As you would expect from the band and their cheeky attitude (see: "Santa Didn't Come Last Night"), there's no reverent rendition of centuries-old hymns, but it's generally tender and nostalgic.

Free Music Player for Myspace at ReverbNation.com

SpongeBob Squarepants - It's A SpongeBob Christmas Album

Yes.  SpongeBob Squarepants has a Christmas album.  (Why not?  Everybody else does.)  Here's the thing -- it's actually pretty good.  OK, the opening track sounds tacked on, but once you get past that, it's clear that more thought and care went into the album than was necessary.  Folks with no TVs (or senses of humor) won't appreciate it much, but it's more entertaining than I, not any big SpongeBob fan, expected.

Review: Rabbit Days and Dumplings - Elena Moon Park & Friends

It would be hard for me to review this album without establishing my affinities up front:

1.  I Kickstarted this album.

2.  Our son (AKA Little Boy Blue) was born in Asia (and adopted into our family as an infant).

3.  Dan Zanes has provided a healthy part of our family soundtrack over the past 10+ years.

4.  I love kimchi.

OK, now that we have that out of the way, is it any surprise that I am very charmed by Rabbit Days and Dumplings, the first album from Elena Moon Park?  (No, it shouldn't be.)  Park, the fiddler and instrumentalist from Dan Zanes' band, has taken music from her own Korean (by way of Tennessee) heritage, mixed it with other Asian family-friendly songs, and given the songs a Zanesian flair.  The result is exactly what you'd expect -- songs from a very different culture made accessible to an English-speaking, Western audience and just as importantly, made fun as well.

There are lots of singalong chorsus on the album, starting with the album opener, "Sol Nal."  Park doesn't attempt to provide lyrics for each song in her liner notes; rather, for many songs, she picks out a single phrase as the hook.  So, for "Sol Nal," it's "Sol Nal / Sol Nal / Sol Nal Un Cho Ah Yo," which she translates as 
"New Year / New Year / I like New Year's."  Or, for the train-inspired bluegrass-y "Diu Diu Deng," singing along with "Diu! Diu!," the sound of raindrops is enough.  Language is fluid in the songs, with Park and the other vocalists flowing in and out of the native tongue of each song and English.

Just as with the lyrics, where Park clearly tried to honor the original song and language but didn't feel like she had to sing every word in that original language, the arrangements have been blended into new, often Western forms.  For example, for the Japanese fishing song "Soran Bushi," Park turns it into a rousing sea shanty, "envisioning groups of men on boats singing it," as she puts it in the liner notes.  ("A Dokkoisho!," or "heave, ho!," could be your family's next motivating call.)  The Chinese song "Diu Shou Juan" is performed in New Orleans brass band style.  And as with every Dan Zanes album, Park has recruited a kajillion different musicians (the Kronos Quartet and Wu Man among them) to play along, often letting them take the lead.

With the (partial) language barrier, age is less of an issue with this album than others, but the subjects are often most appropriate for kids ages 3 through 7.  As you would expect from the folks at Festival Five, the album packaging is first-rate, but regardless of whether you get the physical copy or order mp3s, you can also download full lyrics, translations, and chords at the album's Songs page.  Listen to a sampler of songs here.

I'm clearly biased, but I think Rabbit Days and Dumplings is a great album.  If you're put off by the description of it as folk and children's music from East Asia, I encourage you to give it a chance, as you'll discover a set of songs from that, in these renditions, are very accessible to Western ears, and even voices.  Elena Moon Park have put together a remarkable album here, one that deserves a larger audience than it might otherwise be consigned to.  Highly recommended.

A Grab-Bag of Songbags

OK, now that you've read Nerissa and Katrina Nields' excellent book about family music-making, All Together Singing in the Kitchen, perhaps you've been inspired to make more music, either by yourself or with others.

Where next?

Well, I've got a number of books filled with notes and words for singing along with.  Except as noted, all songs feature piano notation with chords for the guitarists (and ukulele-ists) among you.  I've listed some Amazon affiliate links for those of you interested in purchasing a copy -- in many cases, only used copies are left as some of these books are currently out of print.

What if you can only get one?  Well, it probably depends on who you are -- i.e., your musical background -- who your audience is (older? younger?) and where you plan to use it (schools? homes?).  Hopefully I've given you enough guidance to help you jump in.

And so we shall.

Carl Sandburg's The American Songbag [Amazon link] was first published in 1927.  Regular readers may be familiar with Dan Zanes' take on the poet's collection of American folk music (indeed, that's how I was first made aware of it).  My collection features an introduction from Garrison Keillor, and feels as much like a textbook as a songbook, thanks in part to its exhaustive 290-song collection and Sandburg's slightly more ethnomusicographical notes compared to the other books here.  In fact, that's probably a problem for most dabbling singers -- its breadth makes it too hard to find a hit on every page.  (One of the joys of the Zanes album is that he mostly shies away from popular songs and instead resurrects the unknown.)  But it's that breadth that can also give you months of discovery as you work your way through the text.

Ruth Crawford Seeger's American Folk Songs for Children [Amazon link] was first published in 1948 and is in many ways the kids' equivalent of Sandburg's collection (indeed, he writes a brief introductory note to the collection).  Seeger was a composer and tireless folklorist, not to mention Pete Seeger's stepmom (so her influence works in many, many ways).  Adults not used to singing with kids may be heartened by Seeger's lengthy preface.  Many of the roughly 70 or so songs are brief, somewhat unfamiliar (the collection is, after all, nearly 65 years old at this point), and designed as much for a school setting as a group setting, but there is beauty here.  (And if you don't believe me, ask Elizabeth Mitchell, who has repeatedly cited this book as a major influence on her work.)

Moving on to yet another era, John Langstaff's Hi! Ho! The Rattlin' Bog and Other Folk Songs for Group Singing [Amazon link] (1969) will be of interest to fans of the Nields because the sisters studied with Langstaff growing up in Washington, DC area.  Langstaff selected 50 songs "especially for their suitability for group singing" for all ages, representing many different types of traditional music.  Given the book's age, some of the songs that may have been familiar in the mid-60s are less so now, but I find the songs well-chosen

Nancy & John Langstaff's Jim Along, Josie [Amazon link] came out a year later, in 1970, as Langstaff and his wife compiled a selection of "folk songs and singing games for young children," as the book's subtitle promises.  The book includes 81 different songs, all definitely targeted at the younger set.  Given the number of songs in the collection, there are a number of songs you'll recognize, though obviously quite a few will be totally new to you as well.

Kathleen Krull's I Hear America Singing: Folk Songs for American Families [Amazon link] (1992) doesn't have the pedigree the previous books have, but it's a pretty decent collection of 62 songs, primarily from the (historical) folk tradition, but with a handful of newer songs (e.g., "Little Boxes" and "Turn, Turn, Turn" -- OK, "newer" is a comparative phrase) thrown in.

Finally, Peter Blood & Annie Patterson's Rise Up Singing [Amazon link] is sort of the graduate work of this program.  With words and chords to 1,200 songs, you won't ever be at a loss for words for singing.  What you may be at a loss for, however, are the melodies.  In order to fit 1,200 songs in less than 300 pages, you'll just see chords.  Which is great if you have a huge musical background, but flip to any random set of 2 pages, and you're likely just to see one song you're familiar with.  The advantage, however, is that there are some more modern songs -- Beatles tunes, etc. -- than what you'll see in the other books.  Its compact size and breadth make it a nice complement to the other books listed here, but it would not be my first choice.

Elena Moon Park's Rabbit Days & Dumplings... Almost Here

It's been a long time since Dan Zanes compatriot Elena Moon Park announced her plan to Kickstart her debut album of Asian kids' music.  Now, nearly 18 months after Rabbit Days & Dumplings was offered to the world at large for its support, the album is complete and has cover art (from Kristiana Parn) and a release date (September 25). While there's no tracks for your public listening pleasure (yet), Dan Zanes fans will find the often festive sounds somewhat familiar.  (The album also features folks like Wu Man, the Kronos Quartet, and members from Bang on a Can.)  Track listing below.

Tracklisting   

1. Sol Nal (설날 )  
2. Diu Diu Deng (丟丟銅)  
3. Doraji (도라지)  
4. Tum Tum Chuen (氹氹轉)  
5. Sisi Sima  
6. Soran Bushi (ソーラン節)  
7. Poong Nyun Ga (풍년가)  
8. Akatombo (赤とんぼ)  
9. Zui Zui Zukkorobashi (ずいずいずっころばし)  
10. Diu Shou Juan (丢手绢)  
11. San Toki (산토끼)  
12. Picking Flowers (采花)  
13. Summer is Here  
14. Ti Oh Oh (天黑黑)  
15. Anta Gata Doko Sa (あんたがたどこさ)  
16. Tinsagunu Hana (てぃんさぐぬ花)

Red Eyes and Nemeses: Kindiefest 2012

There are relatively few benefits of living on the West Coast from a Kindiefest perspective.  It's a long plane flight, which means reduced flexibility in choosing how you get to Brooklyn, how long you stay, and what you do when you get there.

One advantage, however, is that you get a 5-hour flight.  That's not so great when you're going there anticipating the conference (or when you have to do it on a red-eye as I did this year).  But when you're flying back, it's a lot of time to sit and think about all that you heard during the weekend.

It is hard to overestimate just how much listening one does at Kindiefest.  There are the panels, of course - those are more typically geared toward musicians, but if you are more broadly interested in how one carves out a career as kids musician, a non-professional musician can find nuggets of things to ponder.

Besides the panels, there is all the music.  The showcase performances on Saturday night, the public festival on Sunday -- it's more than 7 hours of music in total, from all sorts of genres and all around the country.

And depending on your personality or need, you can spend more time than either of those just listening to others in one-on-one (or more) talks. Conversations are two-way, of course, but as a member of the media who isn’t looking to do interviews but meets a lot of artists who want to say ”hi” or tell me about their album plans or just introduce themselves, I do a lot of listening then, too.  It's enough to make you want to see a museum or go out for a run on Sunday morning, neither of which I got to do this year.

What did I do at this year’s Kindiefest?  Well, I got into Littlefield, the conference's home for the past 3 years, about 12:15 PM Saturday after the aforementioned red-eye, so I missed the keynote on Friday night and the post-talk schmoozing.  Which meant there was even more schmoozing to do in the limited amount of time I was there.  I did a lot of it -- seeing old friends, like Jeff and Dave and meeting folks I had previously known only through the magic of the Internet (hi, Jeff Giles!). I also talked with a lot of musicians and booking artists and PR folks.  I don't think I talked with every single one of the 350 or so record-setting number of attendees, but there were times when I felt that I did.  The only way I know I didn't is that there were folks that I wanted to talk to whom I realized on the flight home I didn't.

Late in the afternoon, I moderated a lively panel on The State of Kindie, a free-flowing discussion on all things kindie music.  An hour-long discussion is way too short to even scratch the surface of the various topics covered, such as what's improved over the past 10 years (too much to mention), what concerns still remain (sometimes a lack of diversity in audiences), and whether or not the Grammys matter.  On top of that, people gave their one piece of advice to artists.  (Mine had to do cooperating and competing, out of which the notion of nemeses -- that one person who brings out the best in you in competition -- took hold.)  If this description sounds dry, I assure you the panel itself was not, as the panelists were funny and engaged.

The showcase was even more crowded this year, with 10 different artists taking the stage.  The number of artists meant that the performances themselves were shorter than in past years.  There were way too many (and probably too brief) to adequately give them all justice in a review, but a handful of memories from the evening:

-- Renee & Jeremy captivating the audience with their chilled-out lullabies (not to mention Chris Ballew joining in on their version of the Red Hot Chili Peppers' "Give It Away).  For those of you wondering if the duo sounds as good live as they do on record, the answer is an unequivocal "yes."

-- Speaking of Chris Ballew, I was so glad to see Caspar Babypants play live.  As you might expect give how long he's been performing, he's very good at holding an audience's attention with nothing more than a voice and a guitar.

-- Lori Henriques playing a solo piano set, including a great new song, "Dinosaur," which was great as a kids' song about a dinosaur and also as a metaphorical song about a relationship breaking up (that was, to be clear, my interpretation and not -- I checked -- Henriques' intent).

-- Mista Cookie Jar put on an energetic performance with Ava Flava, the youngest performer of the night, rapping and singing.  All that and a roller-skating backup dancer.

-- Elska's performance, which between the music (electronic), costumes (sewn), and songs (fanciful), was the most eclectic and unusual of the night.

-- It is always good to see Dan Zanes perform; this time he eschewed his ”Friends” for a different set of friends, the Latin band Bomba Yo.  There was a 20+ (er, 10+) minute song featuring one of the band's female members dancing in front of the stage, then the pink-tutu-ed Sarah Shannon of The Not-Its joining in, then other women, then Chris Ballew, Rudy Trubitt - even I ended up joining in (shyly) near the end.

On a related note, I must say (again?) that one of the things I will always love about the Kindiefest showcase is that there is nothing like an audience of musicians for crowd harmonizing and fill-in hand-clapping.  Does my harmonizing, fill-in hand-clapping soul good.

After the showcase and some chatter at the venue, a large group of us went to a bar a couple blocks away and continued the conversations we'd all been having all day.  Artists, media, bookers, etc. -- while I learn stuff from the panels, I learn much more from these informal conversations.

I woke up too late and was moving too slowly to be able to take a jog through Prospect Park, so instead I went to see Recess Monkey play at 92Y TriBeCa.  I realized I hadn't seen them play live in a couple years, so I got to hear some newer tunes, including 3 off their upcoming album.  They are a fine-tuned machine playing live at this point.  They are, I would note, the model of the new kindie band.  Skilled musicians and songwriters, talented at more than just music (note how many videos they make), and always seeking new opportunities to have their music heard (they're playing with a circus, for cryin' out loud).  They are good nemeses for other musicians to have, though it's hard to curse them.

I skedaddled back to Brooklyn for the public showcase. Again, too many bands (and I missed Apple Brains, SteveSongs, and almost all of KBC Kids), so I'm not going to provide individual comments, but I will note that the hard work of publicity for the event paid off.  What was often a somewhat lightly attended event at least early in the afternoon in past years was completely packed when I walked in around 12:45.  Good to know word got out.

Why do I spend so much time talking about an industry-only conference, you might ask, particularly if you're not in the industry.  It's because this is one of the most significant events of the year and what transpires here leads to stuff you’ll end up enjoying for years to come.  Plans are hatched, songs are written, connections are made that will lead to some awesome experiences for kids and their families.  I'm sure I know but a small amount of everything that results from this gathering of artists, but even if you never come to Brooklyn, this weekend matters.

Hats off to the organizers, thanks for asking me to join y'all again.  Totally worth the red eyes.