Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Rare Christmas Album That’s Not Cloying and Annoying

Christmas music rots your brain. It’s true! Scientific studies have confirmed what most of us have known all along. No wonder, considering how repetitive, unsophisticated and utterly lacking in dynamics most Christmas songs are.

Into this musical wasteland swings Champian Fulton, one of the great wits in jazz, with her irresistible and stunningly dynamic new album Christmas With Champian, streaming at Spotify. There hasn’t been a Christmas record this fun or this subtly irreverent since dub reggae band Super Hi-Fi’s two woozy instrumental albums of “holiday favorites.”

Fulton is the best singing pianist in jazz. There isn’t another instrumentalist out there with her mic skills, nor a singer with her fearsome chops at the keys. More than anything else, this is a great jazz record in a Santa hat. Fulton never ceases to find both poignancy and exuberant fun in the least expected places. For the latter, check out how she Sarah Vaughns White Christmas, the album’s opening track. Better watch out if you don’t want that snow, because Fulton sounds like she might smack you upside the head! It’s a good guess that Irving Berlin, who cut his teeth in ragtime, would approve of this jaunty, bluesy arrangement.

Fulton’s take of Pretty Paper, recast as a brisk jazz waltz, has to be the saddest version of the song ever recorded. That vendor girl, out there in the cold with all that merch she has to unload before the 25th of the month or she loses all her money! Likewise, the solo piano-and-vocal version of I’ll Be Home for Christmas is balmy and plaintive: when Fulton hits the end of the chorus, “if only in my dreams” packs a wallop.

Walking in a Winter Wonderland gets reinvented as wry viper swing, with some coyly emphatic trumpet from her dad, Stephen Fulton, who also lights up a carefully articulated version of Gracias a Dios. She sings that one in Spanish, hardly a stretch considering her Mexican heritage – and the point where she follows her dad’s solo with a deadpan jinglebell solo of her own is subtly priceless. Drummer Fukushi Tainaka’s elegant brushwork and David Williams’ terse bass add subtle bolero hints.

The Christmas Song – better known as Chestnuts Roasting on an Open Fire – is one of only a couple of tracks here with a genuine jazz pedigree, but Fulton goes for devious, tongue-in-cheek humor rather than trying to follow in Nat Cole’s footsteps.  She reinvents Have Yourself a Merry Little Christmas as midtempo swing, with hints of Dinah Washington and an unexpectedly dark intro that edges toward barrelhouse.

Daughter and father team up to remake Christmas Time Is Here as a bittersweet, lustrous, languidly tropical instrumental ballad. Likewise, she transforms A Child Is Born into a bluesy waltz, with a melismatic, insistent bass solo. Her piano solo in a wee-hours take of The Christmas Waltz goes in the opposite direction, with enough droll ornamentation for a fifty-foot tree.

Her version of Sleigh Ride pairs a boisterous trumpet solo with an unexpectedly seductive vocal and teasingly allusive piano, an approach she revisits in Let It Snow. The Dinah-inspired piano-and-vocal final number, Merry Merry Christmas, is the only Fulton original here, but could easily date from sixty years ago – and might make it to your local supermarket someday.

December 16, 2017 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Champian Fulton Brings a Subtly Victorious Take on Dinah Washington to the West Village

On one hand, would you ever want to hear anybody other than Dave Brubeck play Take Five? OK, maybe the surf rock version by Mike Rimbaud. On the other hand, there’s the argument that jazz, like classical or folk music, is a repertoire that any artist with the requisite talent ought to sink their teeth into. Which is where Champian Fulton is coming from on her new album, After Dark, a Dinah Washington tribute streaming at Spotify. Fulton will be playing that material and more in a rare duo show with bassist David Williams at Mezzrow on April 26 at 7:30 PM; cover is $20.

Covering material so closely associated with such an iconic figure is a potential minefield, but Fulton meets that challenge head-on, in a performance that’s respectful but not reverential. On one hand, Fulton has assimilated Washington’s style – those coy little swoops up into head voice, the dips into feline lows, and the spaces between the notes – to the point where there are are many places on this album where, if you didn’t know who the singer was, you would assume it was Washington. On the other, Fulton puts her own stamp on these songs. The new album is a mostly trio affair, with Williams and drummer Lewis Nash as rhythm section plus her dad Stephen Fulton on trumpet and flugelhorn on a handful of numbers.

Another way Fulton differentiates her versions from the originals is that she’s as nuanced and expressive a pianist as she is a singer. Lots of iconic tracks here, beginning with a slowly swinging, uncluttered, gently seductive take of Ain’t Misbehavin’, the elder Fulton’s gentle, smoky muted lines in contrast with the younger’s nonchalant good cheer. That Old Feeling has even more subtlety but also exuberant wit, right from the LOL intro. How does she tackle Washington’s signature song, What a Difference a Day Makes? She lets Nash give it a masterfully hushed, bossa tinge, her piano as spacious as her vocals, a lot more low-key than the original.

Blue Skies gets a rubato intro with a few wisps from Williams’ bow, the trumpet adding a New Orleans jauntiness as the swing kicks in, up to a considered, purposeful piano solo. The group does a perfectly acceptable job with Keeping Out of Mischief Now; on the other hand, it’s sort of redundant, Ain’t Misbehavin’, round two.

A Bad Case of the Blues is a showcase for the bandleader’s elegantly expansive command of that style on the piano as well as on vocals. Travelin’ Light makes a striking contrast between a rather stern, embittered backdrop and a distantly embittered, matter-of-fact approach to a sad storyline, the band picking it up, wryly trading eights as they wind it up to the final chorus. Mad About the Boy is the most stunning reinvention here, part Brecht/Weill, part Beethoven.

All of Me may be the Hotel California of vocal jazz, but the singer makes it worthwhile, with a bass/vocal intro that looks straight back to Sarah Vaughan and Joe Comfort. Give a close listen to the piano solo on slow, slinky version of Baby Won’t You Please Come Home: through the first verse, Fulton voices the lyrics emotion for emotion with her fingers, phrase by phrase, a neat trick. A steady, slow, vocal-less solo piano Midnight Stroll makes an apt closing track, another showcase for her purist command of the blues.

Throughout these songs, what’s most striking is how much care and attention Fulton gives every line, every word: she really sells the lyrics, which isn’t easy because, let’s face it, some of them would sound awfully prosaic delivered by someone who didn’t give a damn. Fulton moves effortlessly and vividly from delight, to wistfulness, to wounded angst in a matter of seconds and makes it seem completely natural, the work of a deep and insightful individual and a rare force on both the keys and the mic.

April 22, 2016 Posted by | blues music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment