EXCLUSIVE MAGAZINE reviews Carolyn Lee Jones, Christmas Time is Here

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Carolyn Lee Jones Christmas

EXCLUSIVE MAGAZINE

by Russell Trunk

 

Title – Christmas Time is Here
Artist – Carolyn Lee Jones
For those not in the know, though music was a large part of Carolyn Lee Jones’ formative years in Nebraska, she was lured to the big city of Dallas pursuing a career with luxury retailers.Because she happily traveled the world as a Buyer, her exposure too and the love of music never ceased. Carolyn sought out opportunities to sing in NYC and abroad, while flourishing successfully in her first profession. “I knew that one day I’d be a full-time classic jazz- vintage pop vocalist so, it was just a matter of when! Retailing was another type of show business!”

Indeed, her choice to be a jazz-pop vocalist and bandleader was a natural next step. She burst on to the jazz scene in 2008 and is living proof that is is possible to reinvent yourself.

From classic jazz to vintage pop, she makes the standards sound new and the new sound standard. Carolyn performs with her groups; Fresh Vintage Jazz, The Satin Dolls Band and In Full Swing 8 pc to big band. Furthermore, Carolyn’s rich, silky vocals and extensive repertoire have endeared her to fans and critics. She has released four nationally reviewed CD’s on the independent Catn’round Sound label and 4 singles.

And with The New Collection a cappella jazz group, a separate album was released led by vocal jazz arranger and Professor Emeritus, Paris Rutherford of the University of North Texas Vocal Jazz Department.

Come November 1st, 2021 and Carolyn Lee Jones will be releasing her very first Christmas-themed album, Christmas Time is Here via the aforementioned Catn’round Sound.

1. The Christmas Song (4:04)
2. Christmas Time Is Here (3:15)
3. Warm In December (3:34)
4. Jingles The Christmas Cat (2:53)
5. You’d Be So Nice to Come Home To (3:36)
6. I’d Like You For Christmas (3:34)
7. Merry Christmas Baby (3:08)
8. Red Christmas (2:56)
9. Santa Baby (4:06)
10. White Christmas (4:07)
11. Toyland (3:43)
12. Count Your Blessings (Instead Of Sheep) (3:13)

Opening on the stylistically, bossa nova-imbued, compelling notes of The Christmas Song and a rather wondrous and soulfully nostalgic Christmas Time Is Here, then comes a delightfully snappy, and complete with smooth trombone solo, Warm In December, a lush, heartwarmingly cozy Jingles The Christmas Cat, and then we get the Cole Porter gem You’d Be So Nice to Come Home To and the sweetness of I’d Like You For Christmas.

Up next is the euphoric, percussion-enhanced, ensemble sound of Merry Christmas Baby and the foot-tapping magnificence of the lighthearted new track Red Christmas, which are in turn followed by a stirringly sensual, sultry and slinky Santa Baby, a smooth-jazz arrangement of the holiday classic White Christmas, the album rounding out on the mid-tempo bossa nova rendering of Toyland (from the operetta Babes in Toyland), closing on the piano-imbibed ode to all overly-excited children on Christmas Eve, Count Your Blessings (Instead Of Sheep).

Players, Instruments, Tracks:
Brad Williams: piano (all), B3 (7), celeste (10)
Jonathan Fisher: bass (1,3) cello (2)
Andrew Griffith: drums (1, 2, 3, 4, 5, 6, 12)
Tom Burchill: guitar (1, 2, 5)
Steven Heffner: bass (3, 4, 6, 12)
Todd Parsnow: guitar (3, 4, 7, 8, 10, 11)
Tony Baker: trombone (3, 7, 9, 11)
Keith Jordan: Fluegelhorn (5), trumpet (7)
Shelley Carrol: saxophone (6)
Lynn Seaton: bass (7, 8, 9, 10, 11)
Dennis Durick: drums, percussion (7, 8, 9, 10, 11)
Mario Cruz: saxophone (7, 9, 10)
Dave Monsch: baritone sax (7, 9), alto flute (11)
Veronica Gan: violins (10, 11)
Imelda Tecson: viola (10, 11)
Buffi Jacobs: cello (10, 11)

Official Website

Official Purchase Link

Carolyn Lee Jones @ Facebook

Carolyn Lee Jones @ Instagram

Carolyn Lee Jones @ Twitter

Carolyn Lee Jones @ YouTube

Kari Gaffney

Kari Gaffney

Since 1988 Kari-On Productions has helped artists get an even footing in the industry through jazz promotion in the genres of Jazz, World & Latin Jazz through Jazz Radio and Publicity. Why do we do both, because they compliment each other, and we care about fiscal longevity for the artist.

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