An after-the-fact Christmas tune—a newly-minted instrumental with an old-school air, from Johnny Marr.
This one came in too late to post prior to year’s end, but it’s also too good to let slip by. Download, tuck it away, and be pleasantly surprised to find it when you go looking for under-played holiday songs next time Christmas rolls around.
A newly-minted instrumental with an old-school air, “Free Christmas” offers a stately, lower-register electric guitar melody over a lilting acoustic guitar setting. Without any words beyond Marr’s whispered introduction, and without either blatant lifts from well-known tunes or sonic cliches, the music, almost magically, feels like Christmas. You can just about hear the sleigh bells, even as there aren’t any in the mix. I think what does the Noël-ish trick here is how the melody culminates in that five-note, choir-tinged descent (first heard at 0:58). Coming down the scale like that evokes Christmas music in the gentlest way, even as the song otherwise seems to operate with its own vibe. While there’s nothing here to directly recall Vince Guaraldi’s famous “Charlie Brown Christmas” music, what “Free Christmas” has in common with Guaraldi’s marvelous compositions is a willingness to be its own aural world first and foremost. It’s less “I’m writing Christmas music” and more “I’m writing music and I’m inviting Christmas into it.”
In any case, I’d definitely invite this one into your 2012 Christmas mix. You’ve got plenty of advance notice. As for Marr, this free and legal MP3 appears to be a sign that his reunion with the Healers, a band he fronted in the early ’00s, will remain a going concern. He had reassembled the group, with personnel changes, this past fall, for two shows in the UK and one in NYC. (Smiths songs were played, it should be noted.) Here’s hoping for some more Marr this year, as he seems to have left the other bands he was part of and perhaps aims, at last, for a bit of front man glory.
Thanks to Largehearted Boy for the head’s up on this.
Apparently it’s cello week here. Or experimental music week. Not that this is experimental sounding per se—it’s quite a lovely, graspable instrumental with a jazz-like construction but with enough melody and offbeat aural flourishes (check out the percussion) to engage the ear of the non-jazz-aficionado (i.e. me). While cellist/composer Friedlander has made a name for himself in New York City’s downtown music scene (oh; it’s NYC week too), this doesn’t sound like you think that would sound like.
To begin, we get a trumpet and piano trading off on a gentle but insistent motif that is played enough to stick in your head but then gets unraveled in atmospheric development. With the cello content to play quiet descending lines in the background, we seem at first to be heading into jazz combo territory, the trumpet and piano and bass and percussion noodling around the now-unstated theme. But even here I’m appreciating the melodic focus that remains, not to mention the almost literally cinematic vibe, as the particular combination of Friedlander’s long bowing and trumpeter Michael Leonhart’s ’60s-cinema flair washes this with the wistful ambiance of a bittersweet European romantic comedy. Until, that is, Friedlander emerges from the background, at 2:47, for a droning minor-key improvisation/solo that is half spiritual plea, half cubist deconstruction of the original motif. It’s an interruption that feels both unexpected and welcome, an aural change of scene that renders the motif’s straightforward restatement as the solo gives way all the more affecting.
The movie-like feeling is apparently no accident. Released as a digital single earlier this month, “Aching Sarah” is supposed to be part of what Friedlander calls his “Cutting-Room Floor Series,” in which, he writes, “movie characters are cut from a film, and with their lives only half-realized, walk in a kind of limbo, aimless and confused, with no way to live out the arc of their scripted lives.” That not only informs the distinctive but unresolved central motif but also the concluding section, when the music seems almost literally to smash against its own limits, only to fade out. The MP3 available for free from his web site, but also for purchase via Amazon, eMusic, and iTunes.