Offering 77 minutes of music and a 28-page booklet with Danish and English texts, A Danish Christmas is an anthology comparable to the best full-price releases. Insightful notes by Andrew Smith explain the significance of carols in the traditional Danish Christmas celebrations, helpfully setting the scene for this celebratory collection. Here is elegantly appealing music by composers famous (Carl Nielson's tender, "My Heart Always Wanders"), unfamiliar (Egil Harder's "The Christmas Tree With Its Decorations") and unknown--for many of these carols derive from the folk tradition. "Praise Be To You, Jesus Christ" is one of four carols to feature exquisite soprano singing from one of Musica Ficta's excellent soloists, though the majority depend purely upon the ensemble's finely balanced choral sound. Formed in 1996 by composer and conductor Bo Holton, this group are splendidly accomplished, whether it be with simple monophonic lines, or the more complex and thrilling polyphony of "What A Great Throng And Noise". They have also recorded a programme of church music by Ockeghem, which includes a fine Requiem. --Gary S. Dalkin

Blue Yule is without question one of the hippest collections of rhythm & blues Christmas music ever assembled. The disc boasts the likes of Louis Jordan, John Lee Hooker, the gospel-powered Pilgrim Travelers, and Johnny and Edgar Winter, as well as the likes of Detroit Junior ("Christmas Day") and Canned Heat ("Christmas Blues"). Lengthy even by contemporary CD standards, this 18-tracker also includes Charles Brown, Big Jack Johnson, Roy Milton, and the inscrutable Lightnin' Hopkins wishing you both "Merry Christmas" and "Happy New Year." But perhaps the set's greatest gift is also it's strangest--Sonny Boy Williamson's "Santa Claus," a rousing midtempo blues-rocker with a biting harp break and weird, funky lyrics about Sonny Boy going through his wife's drawers. --Martin Keller

This music makes you forget the Blues at Christmas, 18 Nov 2000
I have this album. There are various artists, some well known. But at Christmas time, I play it non-stop. The John Lee Hooker track, Blues For Christmas will rock your socks off. There is plenty of howlin and screamin about heartache and Santa Claus to make you feel the Christmas blues. It is so much fun, you'll forget it is the blues. But you won't forget it next year when you play it again and again. I look forward to the holidays, and I wish there was more of Texas Pete Mayes, Roy Milton, and Canned Heat on albums instead of the awful trite Christmas music that fills the stores. Wear your headphones shopping and listen. You'll love it!

This music makes you forget the Blues at Christmas, 18 Nov 2000
I have this album. There are various artists, some well known. But at Christmas time, I play it non-stop. The John Lee Hooker track, Blues For Christmas will rock your socks off. There is plenty of howlin and screamin about heartache and Santa Claus to make you feel the Christmas blues. It is so much fun, you'll forget it is the blues. But you won't forget it next year when you play it again and again. I look forward to the holidays, and I wish there was more of Texas Pete Mayes, Roy Milton, and Canned Heat on albums instead of the awful trite Christmas music that fills the stores. Wear your headphones shopping and listen. You'll love it!

A Disappointment, 24 Nov 2007
The best jazz singer singing today, bar none, disappoints with this one. Please keep her away from "The Star Spangled Banner"!
She should listen to Ella Fitzgerald records of Hymns that are respectfully, and tastefully done. Songs like these Christmas ones on the cd require a respectful rendition, not extensive "stylizing"

Sorry; my other 3 Dianne Reeves cd's occupy an exalted place in my collection; this one will not be played.


Fresh interpretations of familiar Christmas songs.,, 21 Nov 2005
What fun it is to hear Dianne Reeves giving fresh interpretations to Christmas standards. In an exciting album of great variety, she ranges from an almost traditional interpretation of "The Christmas Song," which she sings as a slow, danceable ballad with simple piano accompaniment (Peter Martin), to her spectacular jazz celebration of "A Child Is Born," with drums (Gregory Hutchinson), wailing sax (Steve Wilson), syncopation, and Dianne singing scat.

Apparently recognizing that most people buying Christmas albums are looking for music that has some resemblance to the traditional carols they grew up with, Dianne does not aim to overpower the original sounds with jazz variations, choosing instead to recognize the mood and meaning of each song while giving it a unique twist. "Little Drummer Boy," which opens the album, for example, is sung as a clean, quiet ballad, but its unexpected syncopated beat and an accompaniment consisting solely of drums, bass, and percussion create an exciting new interpretation. "Carol of the Bells," with a happy, up-tempo beat and deliberate dissonance, features extended solo riffs on the vibes (Joe Locke) and sax (Steve Wilson), and though Dianne sticks fairly close to the original melody, she does it in surprising, finger-popping swing beat.

In the wonderful "Let it Snow," a happy, toe-tapping background of bass and cymbals sets off Dianne's extended scat and a jazz piano solo by Peter Martin. One of the most unusual songs is the upbeat "Christmas Waltz" (though no one would ever try to waltz to it). With a fast, syncopated bass (Reuben Rogers), guitar (Reuben Lumbambo) and piano, Dianne allows herself to be a jazz artist here, singing scat, and, in a nice touch, including children at the end. Throughout the album, she is generous with her accompanists, as each one solos and often plays off each other. And just when you think it's impossible for anyone to make "I'll Be Home for Christmas" or "This Time of the Year" sound fresh, Dianne Reeves does it.

By giving fairly traditional songs unique beats and introducing new, jazzy interpretations to others, this is an album which should appeal to a wide spectrum of listeners. Dianne's control, her wonderful diction, her attention to the meaning of the songs, and her ability to recognize the value of quiet interpretations and soft sounds on some tracks make this an album that honors the holidays by paying homage to its many moods. Mary Whipple

what a wonderful christmassy jazz album, 30 Dec 2004
This album is pure heaven - gorgeous arrangements, wonderful singer.
I had to skip track one tho' - Drummer Boy is way too saccarine for the British market.
Treat yourself to this CD, you won't regret it!

Fresh new interpretations for holiday music., 13 Oct 2004
What fun it is to hear Dianne Reeves giving fresh interpretations of Christmas standards. In an exciting album of great variety, she ranges from an almost traditional interpretation of "The Christmas Song," which she sings as a slow, danceable ballad with simple piano accompaniment (Peter Martin), to her spectacular jazz celebration of "A Child Is Born," with drums (Gregory Hutchinson), wailing sax (Steve Wilson), syncopation, and Dianne singing scat.

Apparently recognizing that most people buying Christmas albums are looking for music that has some resemblance to the traditional carols they grew up with, Dianne does not aim to overpower the original sounds with jazz variations, choosing instead to recognize the mood and meaning of each song while giving it a unique twist. "Little Drummer Boy," which opens the album, for example, is sung as a clean, quiet ballad, but its unexpected syncopated beat and an accompaniment consisting solely of drums, bass, and percussion create an exciting new interpretation. "Carol of the Bells," with a happy, up-tempo beat and deliberate dissonance, features extended solo riffs on the vibes (Joe Locke) and sax (Steve Wilson), and though Dianne sticks fairly close to the original melody, she does it in surprising, finger-popping syncopation.

In the wonderful "Let it Snow," a happy, toe-tapping background of bass and cymbals sets off Dianne's extended scat and a jazz piano solo by Peter Martin. One of the most unusual songs is the upbeat "Christmas Waltz" (though no one would even try to waltz to it). With a fast, syncopated bass (Reuben Rogers), guitar (Reuben Lumbambo) and piano, Dianne allows herself to be a jazz artist here, singing scat, and, in a nice touch, including children at the end. Throughout the album, she is generous with her accompanists, as each one solos and often plays off each other. And just when you think it's impossible for anyone to make "I'll Be Home for Christmas" or "This Time of the Year" sound fresh, Dianne Reeves does it.

By giving fairly traditional songs unique beats and introducing new, jazzy interpretations to others, this is an album which should appeal to a wide spectrum of listeners. Dianne's control, her wonderful diction, her attention to the meaning of the songs, and her ability to recognize the value of quiet interpretations and soft sounds on some tracks make this an album that honors the holidays by paying homage to its many moods. Grammy #4 may be on its way for this one. Mary Whipple

This music makes you forget the Blues at Christmas, 18 Nov 2000
I have this album. There are various artists, some well known. But at Christmas time, I play it non-stop. The John Lee Hooker track, Blues For Christmas will rock your socks off. There is plenty of howlin and screamin about heartache and Santa Claus to make you feel the Christmas blues. It is so much fun, you'll forget it is the blues. But you won't forget it next year when you play it again and again. I look forward to the holidays, and I wish there was more of Texas Pete Mayes, Roy Milton, and Canned Heat on albums instead of the awful trite Christmas music that fills the stores. Wear your headphones shopping and listen. You'll love it!

A Disappointment, 24 Nov 2007
The best jazz singer singing today, bar none, disappoints with this one. Please keep her away from "The Star Spangled Banner"!
She should listen to Ella Fitzgerald records of Hymns that are respectfully, and tastefully done. Songs like these Christmas ones on the cd require a respectful rendition, not extensive "stylizing"

Sorry; my other 3 Dianne Reeves cd's occupy an exalted place in my collection; this one will not be played.


Fresh interpretations of familiar Christmas songs.,, 21 Nov 2005
What fun it is to hear Dianne Reeves giving fresh interpretations to Christmas standards. In an exciting album of great variety, she ranges from an almost traditional interpretation of "The Christmas Song," which she sings as a slow, danceable ballad with simple piano accompaniment (Peter Martin), to her spectacular jazz celebration of "A Child Is Born," with drums (Gregory Hutchinson), wailing sax (Steve Wilson), syncopation, and Dianne singing scat.

Apparently recognizing that most people buying Christmas albums are looking for music that has some resemblance to the traditional carols they grew up with, Dianne does not aim to overpower the original sounds with jazz variations, choosing instead to recognize the mood and meaning of each song while giving it a unique twist. "Little Drummer Boy," which opens the album, for example, is sung as a clean, quiet ballad, but its unexpected syncopated beat and an accompaniment consisting solely of drums, bass, and percussion create an exciting new interpretation. "Carol of the Bells," with a happy, up-tempo beat and deliberate dissonance, features extended solo riffs on the vibes (Joe Locke) and sax (Steve Wilson), and though Dianne sticks fairly close to the original melody, she does it in surprising, finger-popping swing beat.

In the wonderful "Let it Snow," a happy, toe-tapping background of bass and cymbals sets off Dianne's extended scat and a jazz piano solo by Peter Martin. One of the most unusual songs is the upbeat "Christmas Waltz" (though no one would ever try to waltz to it). With a fast, syncopated bass (Reuben Rogers), guitar (Reuben Lumbambo) and piano, Dianne allows herself to be a jazz artist here, singing scat, and, in a nice touch, including children at the end. Throughout the album, she is generous with her accompanists, as each one solos and often plays off each other. And just when you think it's impossible for anyone to make "I'll Be Home for Christmas" or "This Time of the Year" sound fresh, Dianne Reeves does it.

By giving fairly traditional songs unique beats and introducing new, jazzy interpretations to others, this is an album which should appeal to a wide spectrum of listeners. Dianne's control, her wonderful diction, her attention to the meaning of the songs, and her ability to recognize the value of quiet interpretations and soft sounds on some tracks make this an album that honors the holidays by paying homage to its many moods. Mary Whipple

what a wonderful christmassy jazz album, 30 Dec 2004
This album is pure heaven - gorgeous arrangements, wonderful singer.
I had to skip track one tho' - Drummer Boy is way too saccarine for the British market.
Treat yourself to this CD, you won't regret it!

Fresh new interpretations for holiday music., 13 Oct 2004
What fun it is to hear Dianne Reeves giving fresh interpretations of Christmas standards. In an exciting album of great variety, she ranges from an almost traditional interpretation of "The Christmas Song," which she sings as a slow, danceable ballad with simple piano accompaniment (Peter Martin), to her spectacular jazz celebration of "A Child Is Born," with drums (Gregory Hutchinson), wailing sax (Steve Wilson), syncopation, and Dianne singing scat.

Apparently recognizing that most people buying Christmas albums are looking for music that has some resemblance to the traditional carols they grew up with, Dianne does not aim to overpower the original sounds with jazz variations, choosing instead to recognize the mood and meaning of each song while giving it a unique twist. "Little Drummer Boy," which opens the album, for example, is sung as a clean, quiet ballad, but its unexpected syncopated beat and an accompaniment consisting solely of drums, bass, and percussion create an exciting new interpretation. "Carol of the Bells," with a happy, up-tempo beat and deliberate dissonance, features extended solo riffs on the vibes (Joe Locke) and sax (Steve Wilson), and though Dianne sticks fairly close to the original melody, she does it in surprising, finger-popping syncopation.

In the wonderful "Let it Snow," a happy, toe-tapping background of bass and cymbals sets off Dianne's extended scat and a jazz piano solo by Peter Martin. One of the most unusual songs is the upbeat "Christmas Waltz" (though no one would even try to waltz to it). With a fast, syncopated bass (Reuben Rogers), guitar (Reuben Lumbambo) and piano, Dianne allows herself to be a jazz artist here, singing scat, and, in a nice touch, including children at the end. Throughout the album, she is generous with her accompanists, as each one solos and often plays off each other. And just when you think it's impossible for anyone to make "I'll Be Home for Christmas" or "This Time of the Year" sound fresh, Dianne Reeves does it.

By giving fairly traditional songs unique beats and introducing new, jazzy interpretations to others, this is an album which should appeal to a wide spectrum of listeners. Dianne's control, her wonderful diction, her attention to the meaning of the songs, and her ability to recognize the value of quiet interpretations and soft sounds on some tracks make this an album that honors the holidays by paying homage to its many moods. Grammy #4 may be on its way for this one. Mary Whipple

Simply one of the best Christmas albums ever, 10 Dec 2004
Put bluntly, an outrageously good blues album that has songs about christmas on it. The guitar solo at the start of I'm Dreaming of A White Christmas is a dance round the room moment.

Roomful of Blues play like demons all the way through, swing like the clappers and give out a great vibe. Buy and enjoy.

Its just too damn short.