Mick Jones, Children's Musician

So the family, or 75% of us, went to see Pixar's movie Cars this weekend. I was struck by two things during my time at one of our local metroplexes:
1. Yes, Northern Arizona really does look like that. OK, the buttes really aren't that car-shaped, and I'm pretty sure parts of Northern Arizona have "dark skies" ordinances that would pretty much rule out the bevy of neon in one scene, but other than that, yeah, that's pretty darn close. And, boy, would I like to be there right now.
2. In the previews before the movie's start, two animated movies for kids used rock songs more than 25 years old. One of the movies used a famous song by the Clash (my perpetually overcrowded mind believes it was "Should I Stay or Should I Go?," but it doesn't really matter). And my thought was, since when is the Clash kids' music? Now perhaps that tune isn't actually heard in the movie (preview songs aren't always included in the movie they're promoting), but between that and Ben Folds' cover of "Lost in the Supermarket" from Over the Hedge, and we almost have a trend. Perhaps there's a nice Christmas movie that will use "Guns of Brixton."

Now, I'm not saying you shouldn't play the Clash for the kiddos on occasion, and I think the older kids might particularly appreciate what is, without a doubt, an essential rock album. Having said that, why can't movie producers use music that kids might actually... recognize? From a band that's released an album in the last 20 years? I mean, sure, maybe there might be a handful of adults who might decide to go to the movie because a preview uses a Clash tune, but doesn't that sell your primary target audience way short?

One of the reasons I've been writing here for so long is because I believe that "kids music" can -- and should -- engage kids on their level, in things they might be interested in, with voices they can relate to. That can cover a wide range of subjects and artists, some traditionally thought of as "kids-related," some not. And while London Calling is an awesome album, one I occasionally play on the stereo at home, it's not the first one I think of when I think source material for a kids' movie. It's a lack of imagination.

[/rant]

We're back to the rock this week, with a band you might possibly be aware of, an artist you're probably not aware of, and other stuff. Thanks as always for reading and commenting. And stay tuned, there are some cool announcements coming up in the next few weeks. OK, maybe they're not cool to you, but I've got a fairly low bar to clear.

Oh, and if you haven't read this post on whether or not kids' music is enjoying some sort of resurgence, you should do so.

Review in Brief: Songs I Heard - Harry Connick, Jr.

We really have Meg Ryan and the diner scene to thank for this. Jazz musician and erstwhile Broadway star Harry Connick, Jr. got his big break when he was asked to record the soundtrack to the movie When Harry Met Sally. The soundtrack was good, but the massive success of the movie was what pushed Connick into the national consciousness. More than ten years later, Connick repaid the favor -- sort of -- with his 2001 album Songs I Heard, on which he reworked Broadway and film showtunes. It's not a traditional kids' album, but when said tunes come from beloved sources such as Mary Poppins, The Sound of Music, and Willy Wonka and the Chocolate Factory, there's clearly a kids' music theme to the album. The best tracks are those where Connick lets loose his band and really swings. The opening cut, "Supercalifragilisticexpiadlidocious," is well, that word, on which Connick, Jr., backed by a New Orleans brass band, almost makes us forget Dick Van Dyke. (Connick's voice is smooth as always.) Other uptempo tracks such as "The Lonely Goatherd" and Dixieland stylings on "Spoonful of Sugar" also benefit from Connick's big band and his traditional jazz arrangements. They're definitely a new, jazzier version of the original, but they're not so different from the original that kids won't enjoy them. Less successful are the slower tracks -- I can't see kids recognizing "Maybe" (from the musical Annie) or enjoying the string-backed version here. On the whole, Songs I Heard is a playful album. It's probably too long with some songs too obscure for kids to enjoy the whole thing at one sitting but parents wanting to discover some new showtunes or hear new spins of classics may find this worthwhile and "have what she's having."

Welcome Orlando Bloom Fans!

I thought he was great in Lord of the Rings too... What's that? It's the Orlando Sentinel who's linked here? Oh, well then, welcome to you readers as well. (And thanks, Mary Ann, for the link.)

We're in the midst of a jazz week at the moment, but you'll find all kinds of kids' music here -- a lot of rock, some folk, even some classical buried around here. There are some links there on the right, including one to a listing of the reviews here organized by age. I'm positive you'll find something that will not only entertain your little ones but will also entertain you. (You can't listen to Sufjan Stevens all the time, you know.) And if you don't see an artist you really like, let me know -- I'm always looking for more music. Thanks for stopping by!

Review: Jazz-A-Ma-Tazz - Hayes Greenfield

Why are there not more great jazz albums for kids? You have wonderful melodies infinitely adaptable to the improvisational technique that is one of jazz's trademarks, and yet the number of really good jazz albums geared for kids is small. Hayes Greenfield's 2002 release, Jazz-A-Ma-Tazz, is one of those few albums, great for introducing kids to jazz.

The vocals, unsurprisingly for an album of renditions of kids' songs, are front and center. Miles Griffith turns in a broad variety of vocal approaches and his often gravelly voice contrasts nicely with the sweet voices of Lisa Michel and Charenee Wade. Richie Havens also lends his resonant voice to two tracks, "Grandfather's Clock" and "Oh Susanna."

The album utilizes a broad range of jazz styles, from the gospel wrap-up to "Twinkle Twinkle Little Star" to the scat stylings on "Skip To My Lou" to the more contemporary jazz sounds of "This Old Man." Greenfield has also indicated -- and here's where my surface-deep jazz knowledge recognizes the names but not the particular albums -- that on "Grandfather’s Clock" they employ Latin swing (like John Coltrane's arrangement of "A Night Has A Thousand Eyes"), on "Old MacDonald" they use Thelonious Monk’s harmonic progression from his tune "Bemsha Swing", and on "Animal Fair" they superimposed Coltrane's classic "Giant Steps" harmonic motion. (Note: I have "Giant Steps" and I didn't recognize it, which says everything about me and nothing about Greenfield's skill here.)

What makes this album such a great introduction is the combination of vocals that are both skillful as well as engaging for kids (some tracks feature kids, but only as accompaniment) with instrumentals that are so often missing on kids-focused jazz CDs. Most tracks feature an instrumental break, with Greenfield's saxophone work taking the lead on the solos. The rest of his band swing solidly, too, making the whole 47-minute disc a pleasure to listen to.

It's really hard to put an age range on this disk, because I think most of the album works for adults just as well as for kids (with the possible exception of some of the vocal tracks where Griffith's voice is perhaps too cartoony), but I'll shoot for ages 2 through 12. You can see video clips and learn more about the project at the Jazz-A-Ma-Tazz website.

Jazz-A-Ma-Tazz is a fabulous disk, one that can serve as great introduction for kids to the broad vocal and instrumental palette used by jazz musicians. Definitely recommended.

Review in Brief: Linus & Lucy: The Music of Vince Guaraldi - George Winston

With its stylized cover photo of San Francisco, little about the packaging of George Winston's 1996 album Linus & Lucy: The Music of Vince Guaraldi suggests "kids music." Indeed, we had this in our own family long before we had any idea what a Baby Bjorn was, let alone struggled to make those snaps, well, snap. But through his scores for 15 Peanuts television specials and one movie, Guaraldi's music may be more familiar to Americans old and (especially) young than that of just about any jazz composer. So it's with the nostalgic thoughts of repeated viewings A Charlie Brown Christmas that many adults may be tempted to get this album, both for themselves and for their kids. Winston, a pianist better known for his New Age(ish) soundscapes and lesser known for his affinity for Hawaiian slack key guitar, plays things pretty straight here. His renditions of two familiar cuts from the Christmas score, "Skating" and "Linus and Lucy," sound much like the original recordings, with only a little flourish at the end of "Linus and Lucy" to distinguish itself from the original. Guaraldi was often backed by his own Vince Guaraldi Trio, so Winston's solo piano does have to do a little bit more work than Guaraldi's original piano work did with other musicians. Other highlights include Winston's rendition of Guaraldi's hit "Cast Your Fate to the Wind" (again, not so different from the original) and the brief "Bon Voyage," but there really aren't bad tracks. One of the main reasons to get this album is the broad net Winston casts across Guaraldi's work, both Peanuts-related and not -- sadly, it might just be the best Greatest Hits album out there for Guaraldi. Whether or not the kids will be interested in this album is another question entirely; this is probably one of those CDs the parents will play much more for themselves than for their kids. Which isn't a bad thing, either.