Itty-Bitty Review: Home - Jazzy Ash

Kindie as a genre is moving away from the folk and rock that were its bread and butter, but oh-so-slowly.  Some hip-hop, sure, some classical and other genres represent, but it's still rock (and folk-rock) that kindie is known for.  I have to guard against my own tendencies in that regard, otherwise it'd be nothing but power-pop and indie rock here ALL THE TIME, and what would be the usefulness of that?

Of course, it's possible to make a perfectly dull album for kids that just happens to mine a less-traveled musical seam.  Luckily, that's not the case with the latest album from Los Angeles-based musician Ashli Christoval, AKA Jazzy Ash.  Her new album Home explores the sound of New Orleans, and while it's not the first to tackle the Big Easy's big musical history, it's definitely one of the most vibrant.  She moves from the unmistakeable sound of the city's famous second-line bands on the Mardi Gras-themed duet with Mista Cookie Jar on "Throw Me Something Mista" to her zydeco reworking of "Shortenin' Bread" on "Baby Loves Beignets."  There's a hint of the overtly educational here (see "Every Family's Different"), but there are more hits than misses, like "Jitterbug," which swings (and dances), and the graceful "Tuba Lullaby."  Musically, Ash has put together a solid backing band, and her own voice is one of the most appealing in kindie.  She's not at the level of the Okee Dokee Brothers in terms of her songwriting -- to be fair, they're on their fifth album at this point -- but as I listened to the album, there was something about this album that reminded me of the bluegrass duo in their playfulness and exploration of American musical traditions.

The 32-minute album will most appeal to kids ages 3 through 7.  Home is a big step forward for Ash, and as she continues her career as a kids musician, I'm eager to see where she lands next.  Recommended.

Itty-Bitty Review: D Is for Django - Django Jones

The band Django Jones was born out of the folk-pop band Girlyman -- then on hiatus, now defunct, Girlyman was known in part for its tight harmonies and sometimes sweet, sometimes goofy songs and live shows.  The trio -- Doris Muramatsu, Nate Borofsky, and JJ Jones -- turned to Kickstarter to raise funds and attention for their album, and the result, D Is for Django, is formally released this week.

Inside the good 53-minute album is a great album of maybe 30-35 minutes or so in length.  Songs like "Counterpoint," which manages to be about counterpoint the musical term and counterpoint the metaphorical concept while being mostly in counterpoint, demonstrate heart and humor and (natch) tight harmonies.  "Jack of All Things," about a personal muse, and "Smallest Breed," about Django Jones (the band's namesake, a Chihuahua), effectively convey big thoughts and emotional learning at a kid's level.  "Breakfast" is a goofy folk riff, dorky and catchy.

But for me the skits between many of the tracks (which sound a lot more awkward than they would done loosely live) and some of the more obvious "kid" songs like "P-O-P" (about popcorn) and "Bigfoot" sit a little flat next to those tracks.  The band may have been trying to make a "kids album," but the album works best when the songs aren't obviously aiming for that target -- they can write good enough songs, sweet or silly, and need not try so hard to please that demographic. The kids'll come along for the ride.

The album will appeal most to kids ages 5 through 8.  It's a fun debut from the trio, and I hope that this foray into music specifically for the younger set won't be their last.  There are enough wonderful tracks that even though I didn't like all of them, the scale is safely in the band's favor.  Definitely recommended.

Review: Two Kids Music Albums from Iceland

[Cue Jim McKay voice] Spanning the globe to bring you a constant variety of the best of kids' music from around the globe, it's Zooglobble! [End Jim McKay voice]

I've never been shy about shining the spotlight on kids music from outside English-speaking North America -- plenty of Spanish-language music from multiple continents, not to mention Putumayo and Secret Mountain (and other labels' ) albums from around the world.

I feel safe in saying, however, that this is by far the furthest afield I've ever traveled, because today I bring you not one but two album reviews from the fine country of Iceland.  Honest-to-goodness kindie music from the northern European country of just a shade over 300,000 people.

The first of the couple albums here is the classic Ekki bara fyrir börn.

"Classic?"  Huh?

Yes, because that album title translates into Not For Kids Only.  This, friends, is a faithful -- albeit Icelandic-language -- cover of the Jerry Garcia and David Grisman's classic 1993 family-friendly bluegrass album.

It's from Icelandic record label Warén Music, and while I'm not sure I could've told you what I expected such a remake to sound like in advance of hearing, I guess I was surprised at the result, which was... well, pretty straight-forward.  It is as if Garcia and Grisman learned Icelandic, got a pot of coffee, found a few more musicians, and re-recorded as if they were some American kindie version of Michael Haneke remaking Funny Games.  (What really happened? Somebody brought over a copy of the original, and the musicians were inspired to recreate it.)

Aside from the language barrier, musically it'll sound a lot the '93 version, albeit a little more punched up, as if a few more musicians stumbled across Garcia and Grisman as they noodled away in the woods.  It's a little odd at points to hear such familiar melodies with unfamiliar words (take "Lagarfljót" for example, the translated version of "Shenandoah").  And then there's Lautaferð bangsanna, which is "Teddy Bear's Picnic" as sung by a Tom Waits' vocal double in Icelandic.  (Listen to the whole thing here.)  With the language barrier, this is accessible to all ages.

I realize this is essentially a novelty record for the English-speaking world -- you'd have to be a massive Garcia/Grisman completist or speak Icelandic in your family to want this.  But it's joyful, and a neat reminder of music's boundary-less nature.

If Ekki bara fyrir börn is American kindie (or American proto-kindie) rendered inscrutable for the typical American audience, Skýjaflétta is thoroughly Icelandic in conception, but completely accessible to audiences of any language.  The album is the brainchild of Sólrún Sumarliðadóttir, who plays in amiina, an Icelandic sextet that grew out of a string quartet and, in addition to releasing music on their own has also played with Sigur Rós.  Sumarliðadóttir wrote the music to accompany a couple of modern dance pieces for very young children, up to age 3.  (According to Sumarliðadóttir, the first 5 tracks are for a piece called "Clouds," the remaining tracks score "Twist and Turn".)

As you might expect from that background, these aren't straightforward pop songs.  The word "Skýjaflétta" means "a braid made of clouds," and this is an ambient dreamscape, but a shiny one, filled with pops, clicks, and toy pianos.  Some tracks, like "Twisty Tangle and Turny Braid," (as translated in English) and "Build" are pensive, exploratory, while songs like "Explore" are designed for more reflective wonder.  They are all wordless, making them, of course, open to everyone.

You can listen to six tracks from the 31-minute album here.  Ironically, just as the Icelandic-language album is for all ages given that almost all Americans will just listen to the music, the instrumental nature of this album, makes it all ages, too, though kids under 5 might particularly groove to this.  This is a thoroughly charming album and while I'm sure I will never get a chance to see the dance pieces these were composed for, I'm glad the album has a chance to cross the ocean for families with adventurous listening habits.  Definitely recommended.

Itty-Bitty Review: 123s and ABCs - Ella Jenkins

Let's begin as we must always begin when talking about Ella Jenkins -- she is a legend.  The Chicago-based musician released her first album for Folkways Records (later Smithsonian Folkways) in 1957, and she's recorded for Folkways ever since.  Jenkins turns 90 years old later this year, but she's still playing live around the country.

This latest album follows up on 2013's Get Moving with Ella Jenkins with another collection of previously-released material.  As you might guess from the album title, this album features songs about counting and the alphabet, presented with empathy and without a trace of irony and hipness.  That's not a putdown -- one of the great joys of listening to and watching Jenkins perform live and on record is hearing and seeing how in sync she is with her audience.  She's not playing to the adults in the back of the room -- she's playing to the kids in the front.  (She wants to get the adults involved, too, but that's usually not at issue on recordings.)  She's leading and teaching them, and the kids adore her for it.  Once your kids have already mastered their letters and numbers, they probably won't want to listen, and you might not want to listen to the album on repeat regardless, but again, it's not for you.

You can listen 3 tracks from the 31-minute album here.  Recommended if you've got preschoolers, and as always, if you yourself sing to preschoolers on a regular basis, regardless of whether you're in a classroom setting or not.

Itty-Bitty Review: I Like Everything About You (Yes I Do!) - Crosspulse Percussion Ensemble

There's lots to like in the first family music album from the Bay Area group Crosspulse Percussion Ensemble.  For example, the "Caravan"-esque sounds of "Body Beat."  The joyful take on the children's classic "Little Liza Jane."  The earthiness of the percussion in the eternally oddness "Coocoo."

These songs are the product of years of singing and playing these songs in front of tens of thousands of kids, and it has the energetic attitude you'd expect to hear from a group experienced in performing live.

The song selection is appreciably diverse, with selections from around the world.  It is akin to a Dan Zanes album (or maybe Elizabeth Mitchell album) without all the amplification.

In fact, it's that comparative lack of diversity, sonically, that may hold the album back from being totally embraced by some of the audiences the Ensemble certainly hopes to reach.  It is not necessarily an easy album to listen to in the back seat of the minivan.  I think the performances -- watching these musicians create music out of their mouths, bodies, and percussion instruments and rarely anything stringed or melodic -- would be far more powerful live.

The album is most appropriate for kids ages 3 through 9.  You can hear some selections from the 42-minute album here.

This review makes it sound like I enjoyed the album less than I did.  I liked it -- maybe I just wanted to like it more.  This definitely isn't electric power-pop, and families only seeking that candy-coated sheen should stay far away.  But families with Ella Jenkins, Dan Zanes, and Putumayo CDs in their collection will probably find this a nice combination of them all.  Recommended.

Christmas Album Reviews 2013

We are a family that often writes our annual holiday letter long past Christmas.  (This year: not yet written.)  So as long as I can get out these Christmas album reviews before Christmas Eve night, I feel OK with it.  The 12 Days of Christmas, after all, start after Christmas, not before.

Having said all that, this was definitely a low-key year when it came to kindie and kid-friendly Christmas music.  Oh, sure, Todd McHatton added to his Christmas canon, and there were a handful of songs here and there, but compared to prior years, the haul was low.  Even Noisetrade, a reliable source for good holiday music samplers, didn't have anything this year I felt like passing along.  So this'll be a briefer look at just a half-dozen albums (because, hey, Christmas Eve is tonight and you don't have time to read a lot, right?).  They're not necessarily targeted at kids, but like most Christmas songs, they're perfectly appropriate for folks ages 4 through 94.

First up, Elizabeth Mitchell and Friends' Smithsonian Folkways album The Sounding Joy, which to my ears was the one album most likely to join the regular rotation in our household.  In my review of the album, I noted that it didn't really sound like a "kids' album" (as opposed to Mitchell's other work over the past 10-15 years), but at this time of year, that isn't as necessary.  (There's only one what I'd call "kindie" album on this list this year.)  Christians will definitely appreciate this more than non-Christians (no songs about Santa here), but those with a deep interest in folk music will also appreciate it.  Definitely for hushed midwinter nights.

Next up, the only real kindie album on the list, Felix Navidad, from Tara Scheyer & the Mud Puppy Band.  This 2011 album is the third (and most recent) album from the Augusta, Georgia band.  Scheyer has an appealing voice that meshes well with the pop-rock sound.  While there are a few Santa-based tracks (I really like "Santa's Chimney Slide," a band original), the majority of the songs are not -- while it's got a popper sound, because it draws from a number of less well-known songs, there is actually a fair amount in common with the Mitchell disk.

The folks at North Carolina's Merge Records sent me their label's 3 holiday albums, and they are a unique trio.  The first (oldest) of the 3 is 2008's The Singing Saw at Christmastime from Julian Koster.  A singing saw is the poetic term for a saw played with a bow.  The resulting sound is ethereal and, depending on your attitude, magical or annoying.  I can't imagine listening to this 29-minute album straight through as there isn't a lot of variety to the sound of these familiar Christmas songs, secular and not.  But sprinkled through an eclectic holiday mix?  Most definitely.

Merge album #2 is from She & Him, the duo of Zooey Deschanel and M. Ward.  It's their 2011 album A Very She & Him Christmas.  Fans of the duo's retro-pop sound won't be disappointed with this release (though if you're not a fan of the band, this won't change your mind, either).  Deschanel's winsome voice is an appropriate vessel for these secular songs of Christmases past ("Have Yourself a Merry Little Christmas," "I'll Be Home for Christmas," "Blue Christmas").  While there are a few uptempo tracks, for the most part, this is an album you'll want to play after the kids are in bed and you're recovering from the Christmas Eve activities looking at the tree.

The most recent Merge holiday release is from Tracey Thorn.  Her 2012 album Tinsel and Lights is what I'd call a Christmas album, but not in the usual meaning of the term.  Instead of singing about the holiday, the album focuses on the emotions of the season, with Christmas as a backdrop.  (Thorn's lovely-yet-slightly-weary voice is perfect for this.) There are a few nice covers -- "Have Yourself a Merry Little Christmas" makes an appearance, and Thorn also covers two modern Christmas classics, Joni Mitchell's "River" and Sufjan Stevens' "Sister Winter."  This is not a Christmas album your kids will ask you to play often, but it is one you'll probably dig out even after the tinsel and lights have been put away.

Finally, Kelly Clarkson's Wrapped in Red made its way into our holiday music collection this year.  This 2013 release features Clarkson tackling a broad range of Christmas songs wrapped in glittery pop-rock sheen.  The originals and less-specifically-Christmas songs stand out on this album.  The "Wall of Sound"-era sound of the title track and the poppier "Underneath the Tree" show off Clarkson's voice to best effect, but I personally liked "Winter Dreams (Brandon's Song)" and her take on "Silent Night" with Reba (McEntire) and Trisha Yearwood.  And whatever demerits Clarkson she gets for the silly "4 Carats," she gets earns kudos for covering Imogen Heap's Christmas breakup song "Just For Now."  The album isn't a classic, but it's good enough to pack away and pull it out when you set up the tree next year.

Note: I was provided copies of all albums except the Kelly Clarkson album for possible review.