40 Years of Disney Archivist Dave Smith

Last Friday, I read in the L.A. Times that Dave Smith, the legendary Disney archivist, announced his retirement. It was exactly 40 years and 1 day from the day he first started working for the company.


James and Disney lead archivist Dave Smith. (03/10/2010)

Smith began working for the company in 1970, just four years after Walt Disney passed away. His first assignment: Archiving the items in Walt's office, which had been off limits to anyone for four years.

This project led to a 40-year career archiving the storied history of the company. One of his most incredible finds was a small item found in the top drawer of the desk of Walt's brother. It was the very first ticket sold at Disneyland, which Roy Disney purchased for $1 in 1955. It was even marked with the number 001.

I was fortunate to have met Dave Smith recently at a D23 party. Our meeting wasn't a long one, and I'm sure it would not be very memorable to him. But it was memorable for me because I have an incredible amount of respect for this man, who I believe is doing God's work.

Best of luck to you in retirement Dave!

Bob Baker's Marionette Theater now a Landmark

I was delighted to read in the L.A. Times this week that the Bob Baker Marionette Theater has been granted landmark status by the Los Angeles City Council in a 14-0 vote. Although the theater has been continuously performing marionette shows since the Kennedy Administration, Tim and I hadn't discovered this gem for ourselves until a year-and-a-half ago.


The Bob Baker Marionette Theater. (12/06/2008)

Our first taste of the Bob Baker Marionettes was in December 2007 when we saw a mini show as part of the Disneyland Tour of Downtown Los Angeles we went on with Charles Phoenix. During the Fantasyland section of our tour, we went to the theater to watch a scene from the marionette production of The Nutcracker.


We saw the marionette production of The Nutcracker. (12/09/2007)

Afterward, we were privileged to see a private performance and audience Q&A by the legend himself, Bob Baker (who, at age 83, looked far younger than he actually is). Baker's marionette work can be seen in the 1960 film G.I. Blues where Baker perfomed alongside Elvis Presley. Baker's work can also be seen in the 1954 Judy Garland film, A Star is Born, as well as a childhood favorite of mine, Escape From Witch Mountain (1975).


Bob Baker (left) discusses the art of marionette puppeteering. (12/09/2007)

In addition to marionette work, Baker was in charge of the special effects in Bedknobs & Broomsticks (1971), one of Tim's all-time favorite movies. Baker's special effects work can also be seen on the original Bewitched and Star Trek television series.


Inside the Bob Baker Marionette Theater. (12/06/2008)

We enjoyed our experience at the marionette theater so much, that we went back a year later to see the full-length version of The Nutcracker. It was really cool, and totally surreal. It's like being in a time capsule from every decade over the last 50 years.


Bob Baker demonstrates Mr. Bojangles. (12/09/2007)


Admittedly, the theater is not much to look at from the outside. Aside from the unassuming marquis sign, the theater's exterior consists of simple white-painted cinder blocks that belie the richly-colored theater you'll find inside. One of my favorite areas is the hallway leading to the bathroom, where you can see many of Baker's original sketches for marionette designs.


Original marionette sketches line the wall. (12/09/2007)

For nearly 50 years, this theater has been putting on shows six days a week. So if you ever get a chance to check it out, DO! It's a treasure for both kids and adults alike. And best of all, after every show they serve ice cream in the connecting party room. It's not to be missed.


James & Tim at the Bob Baker Marionette Theater. (12/06/2008)

The Bob Baker Marionette theater is located at 1345 W. First St., Los Angeles, CA, 90026. (213) 250-9995. Performances are Tuesday - Friday at 10:30 a.m. and Saturday and Sunday at 2:30 p.m. General admission for the show is $15 for adults and children. Reservations recommended.

Our Color Purple Thanksgiving

They say 2008 was the year of change. So after nearly 39 years of group Thanksgiving gatherings at the homes of family or friends, Tim and I decided to make a change this year and spend Thanksgiving dinner at Orange Hill Restaurant.


The view when we arrived for Thanksgiving dinner. (11/27/2008)

A couple of reasons prompted this. First, we've never had Thanksgiving dinner at a restaurant before, and it sounded kind of fun (especially at Orange Hill Restaurant that we love anyway). Second, my whole family was in Chicago for Thanksgiving this year. Third, we had tickets that night to see The Color Purple stage musical at the Orange County Performing Arts Center.

We didn't intentionally buy show tickets on Thanksgiving. In fact, I wouldn't have thought they would even perform a show on Thanksgiving. But this year we subscribed to the series and selected Thursday nights as our show night. When we received our tickets, we actually called the box office to make sure there wasn't a mistake (there wasn't).


The view when we left Thanksgiving dinner. (11/27/2008)

We had dinner before the show, arriving at 4:30 p.m. We strategically selected that time because we knew the view would be daylight when we arrived, we'd watch the sunset while we ate, and it would be night when we left. That way we could see the amazing view in all the major stages (the view, and the food, were amazing).

The show was great too. I don't know if it was the best show I'd ever seen, or even in my top 10, but I still enjoyed it very much. The woman who played the lead part of Celie, Jeannette Bayardelle, was great. And being the American Idol nut that I am, I was pleasantly surprised to learn that LaToya London, one of the powerhouse divas of Season 3, was playing the part of Celie's sister Nettie (LaToya London's Idol performance of "All By Myself" still gives me chills when I think about it).


We spent Thanksgiving night seeing The Color Purple. (11/27/2008)

The most standout performance, however, was by Felicia P. Fields, who played the unstoppable Sofia (the role Oprah Winfrey played in the 1985 film). Fields was reprising the role she originated on Broadway, and she was incredible. I especially liked her song, "Hell, No!" The audience went wild when she sang it.

Altogether, it was a very pleasant way to spend the day. In fact, if you ask me if I would have done Thanksgiving any different this year, I'd say: "Hell, No!" :)

Jerry Herman: Up Close & Personal

You can't be a showtune aficionado and not know the name Jerry Herman. As composer and lyricist of such musicals as Hello Dolly, Mame, La Cage aux Folles, and a string of others, he is a musical theatre giant. Naturally, I was delighted to have a chance to see this living legend in person.


Jerry Herman: Up Close & Personal. (05/10/2008)

Held in Orange County's Renée & Henry Segerstrom Concert Hall, the event — Jerry Herman: Up Close and Personal — was equal parts songwriting workshop and performance. Jerry Herman was interviewed on stage by Michael Kerker, vice president of ASCAP. Topics included everything from how he got his start to his songwriting process. Between each interview segment, we'd hear songs performed by folks like Jason Graae, Ron Raines and the amazing Debbie Shapiro Gravitte.


The show was at the Renee and Henry Segerstrom Concert Hall. (04/22/07)

I thought I knew a lot about Jerry Herman before, yet I still learned so much. I found it interesting that he writes music and lyrics simultaneously, never writing one element first, then applying the other. I also loved the story about how Jerry Herman's mother, seeing his talent, arranged an interview for her young son to meet another musical theatre legend, Frank Loesser (Guys & Dolls anyone?).


Jerry Herman and Carol Channing as Dolly.

Frank Loesser would grow to become Jerry Herman's mentor. To this day, Jerry Herman thinks of songs in the way Frank Loesser did: As a train, complete with an engine, a middle section, and most importantly, a caboose. The caboose, Jerry Herman said, could be summed up with a parting line. He cited as an aexample the final line in the song "I Won't Send Roses." Rather than ending on the words, "I won't send roses," Jerry Herman added "... and roses suit you so."


A not-so-recent headshot of the great Jerry Herman.

My favorite Q&A segment discussed how so many Jerry Herman songs have moved on to have lives of their own, beyond the scope of the musical they were written for. Think of classic songs such as "Hello, Dolly," "If He Walked Into My Life," "I Am What I Am," "The Best of Times is Now," and many others. Despite being written for a specific character at a specific time in a specific musical, these songs have become classics in their own right.


Angela Lansbury, Jerry Herman and Carol Channing.

Jerry Herman seems just as surprised at this fact as anyone. He remembers the first time he heard a recording of one of his songs on the radio, a cover of "Shalom" by Eddie Fisher (Jerry was in the supermarket the first time he heard it). "Hello Dolly," for example, was popularized when Louis Armstrong recorded a jazz version. "If He Walked Into My Life," was made most famous when Eydie Gorme covered it as a torch song.


Jerry Herman and Lucille Ball.

Jerry Herman also discussed how when they were casting Mame, no one at first wanted to cast Angela Lansbury, who as we all know, became legendary in the role. Having just finished filming the cold war political thriller The Manchurian Candidate, Lansbury was the furthest thing the producers had in mind for the role of Mame. But Jerry Herman championed her, and eventually got his way (much to the delight of generations of musical theatre fans).


Jerry Herman and Bernadette Peters.

My only complaint was that the show was too short! I loved all the Q&A, but I also wanted to hear more of the songs, especially by the amazing Debbie Gravitte. But I was glad to hear her stirring renditions of "Wherever He Ain't" from Mack and Mabel and my favorite Herman ballad, "If He Walked Into My Life," from Mame.


A more recent photo of Jerry Herman.

They closed the night when all three performers joined Jerry Herman on piano for a rousing rendition of the La Cage aux Folles hit, "The Best of Times is Now." For the encore, they singers closed the night when they sang "Hello Dolly," or more to the point, "Hello Jerry." And when they sang the lyric, "Jerry don't ever go away," I couldn't agree more.

Barbra: The Way She Could Have Been

Barbra Joan Streisand. I love her. LOVE HER! She's the voice of the century. A Triple Crown winner, having garnered an Oscar, Grammy and an Emmy (a Quadruple Crown winner if you count her honorary Tony Award). In short, Barbra Streisand kicks ass!


James & Sharon Owens as Barbra: Hello Gorgeous! (04/13/2008)

Yet few artists have the ability to annoy me like Barbra. Unlike young Barbra in the early '60s, today's Barbra takes herself way too seriously. She never really relaxes, at least in front of the camera. Watching interviews with her is uncomfortable. (Even watching Ellen interview her was agonizing.) But when I heard acclaimed Barbra-impersonator Sharon Owens was in town, I figured it would be a good opportunity to see Barbra the way she was.


Sharon Owens as Barbra Streisand.

I had seen Sharon Owens do her Barbra tribute on the little-watched Fox reality show called, "Performing As," which ran for seven episodes in 2003. Although the show itself was forgettable, Sharon's performances as Barbra were anything but. She looked, sounded and moved just like the real Barbra. It was incredible.

Flash forward a couple of years and Sharon is now co-headlining a show called Barbra & Frank, The Concert That Never Was, which can be seen at the Riviera in Las Vegas. But for one night only the show came to the Carpenter Center for Performing Arts in Long Beach. Although Sebastian Anzaldo's take on Frank Sinatra was quite good, make no mistake about it, we were there to see Sharon's Barbra.


Sharon Owens looks, sounds and moves just like the real Barbra Streisand.

And she did not disappoint. Her versions of Barbra's hits were superb. But what I found most impressive was how she did something that the real Barbra struggles to do: Have fun while interacting with the audience. You'd never see the real Streisand take a wireless microphone and venture into the audience to sing, jabber and joke around with the crowd.

During the show, I came to the realization that Sharon Owens doesn't really do Barbra the way she was. Nor does she do Barbra the way she is now. Rather, Sharon's version is a combination of both: She looks and sings like the Barbra of today, but retains the fun sense of humor of young Barbra. It's actually Barbra the way she could have been.


Sharon Owens' Barbra tribute is spectacular.

That's not to say that I'm giving up on the real Barbra. Hardly the case. But if you want a Barbra experience that's good, fun and doesn't cost $350 a seat, I highly recommend catching Sharon Owens' tribute to Barbra Streisand.

Easter Sunday With Sweeney Todd

Ah, Easter. Just the word makes one think of cute bunnies ... blossoming lillies ... brightly-colored easter eggs ... and a deranged barber who kills his customers so his accomplice can grind the dead bodies into meat for her pie shop? I don't know about you, but that's what we saw when we caught the Easter Sunday matinee of Sweeney Todd.


We spent Easter Sunday seeing Sweeney Todd. (03/23/2008)

The version we saw was the U.S. national tour of the John Doyle-directed revival that opened in New York in 2005 starring Michael Cerveris and the imcoporable Patti LuPone. You may remember that this production famously abandoned the traditional orchestra and instead relied on the 10-person cast to play all the instruments.


The show was at the Ahmanson at L.A.'s Music Center. (03/23/2008)

I was very excited to see this production, having heard so many good things about it. Plus, having seen a "traditional" production of Sweeney Todd, I was very curious to see how a 10-person cast could pull off the complexities of this show, score and all.

Now that I've seen this production of Sweeney Todd, I can honestly say I have mixed feelings. You couldn't deny the absolute talent of the cast, led by David Hess and Judy Kaye in the lead roles. The ability to play their parts, as well as play the instruments was amazing. And the staging and direction was incredible — it was so different from the original staging.


We saw the show with Jarrod and Jason, who's behind Tim. (03/23/2008)

But there was one major component lacking: The incredible orchestrations of Paul Gemignani. A longtime collaborator with Stephen Sondheim, Gemignani was responsible for creating one of the richest, fullest and loudest scores ever to grace a Broadway stage. So important was Gemignani's contribution to the musical that Tim Burton hired him to orchestrate his 2007 film adaptation of Sweeney Todd, which also had incredible orchestrations.


"One Helluva Show!" (03/23/2008)

There are so many great moments to the original score, like the introductory theme that's played right before Mrs. Lovett's opening number. And in this minimally-orchestrated version, the excitement was somewhat lacking. It really bums me out that I didn't love this production unconditionally, because I really wanted to. But alas, I really missed the lush strings and tight brass section.

However, I am glad that I did see this production once.

The Long Yellow-Brick Road to Wicked

I doubt anyone reading this hasn't heard of Wicked, the stage musical that tells "the untold story of the witches of Oz." I had first heard of this musical back in the summer of 2003 when our pal Steve M. caught a performance of the pre-Broadway try-out at San Francisco's Curran Theater.


Wicked at the Pantages Theater. (02/27/2008)

Several months later, the show opened on Broadway to enormous acclaim, especially for the two leads Idina Menzel (Elphaba) and Kristin Chenoweth (Glinda). It wasn't until I saw them perform the amazing "Defying Gravity" number on the Tony Awards the following June that I got bit by the Wicked bug. I knew then I needed to see this show.


Musical Theatre Sensation: Wicked

Our first opportunity to see Wicked in person came when the National Tour came to Los Angeles in June 2006. Our pal Jason, who at the time was working for The Center Orange County, alerted us that the organization was planning a fundraiser where you could buy tickets for a bus-chauffeured trip to Wicked.


Wicked, the Broadway Sensation.

We had participated in the same type of fundraiser in 2000 when we saw The Lion King , which worked out great. We told Jason to sign us up as soon as details were announced. As it turned out the group tickets sold out through word of mouth, even before the event was announced.


The Pantages Theater is a great place to see a show. (02/27/2008)

We didn't get to see it in L.A., but we weren't worried. Two months later the National Tour of Wicked traveled 45 miles south to the Orange County Performing Arts Center for a two-and-a-half-week stint. We would see it then.


Caissie Levy played Elphaba the night we saw the show. Photo courtesy of Rick Yribe.

Easier said than done. We tried buying three tickets (the third being for my boss-at-the-time Lisa, who, like us, was dying to see the show). As it turned out there was such overwhelming demand by so many people, that the day tickets went on sale, the website froze up for hours. After three hours of trying via the telephone and not getting through, I gave up.


Megan Hilty played Glinda the night we saw the show. Photo courtesy of Rick Yribe.

I tried getting tickets on eBay. That didn't prove to be very beneficial. Not only were the tickets listed at outrageous prices, it was next to impossible to get three tickets. They were only sold in pairs or in groups of four, which were even more expensive. So we gave up.


The grand lobby inside the Pantages Theater. (02/27/2008)

But we found new hope in February 2007 when an open-ended production of Wicked opened at Los Angeles' Pantages Theatre. We still planned to go with Lisa for a while, but after a couple of her co-workers invited themselves into the plan, things started getting a little too complicated (you try coordinating schedules with eight people). We ultimately bowed out of the group event and just decided to see it on our own.


Chandelier inside the Pantages Theater. (02/27/2008)

Well months passed by until I started dropping hints for Tim that a great Christmas present would be tickets to Wicked. So when I saw that my Christmas present came in an envelope instead of a box, I had a feeling I knew what was inside. But I was shocked to find that Tim had somehow gotten his hand on fifth row seats! That was a huge surprise.


Katie Webber's headshot from American Idol season 3.

One interesting side note. Our friend Tom's stepmom Wendy worked with with the sister of Katie Webber, who in 2004, made it to the Top 32 of the 3rd season of American Idol (and was previously on the WB reality show Popstars). Today Katie is a cast member of the Broadway production of Wicked.



Ryan Seacrest and Katie Webber on American Idol in 2004.

For Christmas last year, Tom and Christine used those connections to get me an autographed copy of the Wicked CD — autographed by an actual cast member of the show! Consindering that I watch American Idol like a stalker (and did the same thing with Popstars), I was impressed!


The Katie Webber autographed Wicked CD I got for Christmas.

The show itself was amazing. And so were our fifth row seats! We laughed. We cried. And during certain moments, like the end of "Defying Gravity," we were on the edge of our seats. We particularly enjoyed Megan Hilty as Glinda who really stole the show. Caissie Levy as Elphaba was also great. We were also pleasantly surprised to see Jo Anne Worley, from Rowan & Martin's Laugh-In, in the role of Madame Morrible.


It was a great night at the theatre. (02/27/2008)

I'd recommend Wicked to anyone. And if you want to see it in Los Angeles, you better start planning it now, because from what I understand, it's scheduled to close in January 2009. But a second North American tour, as well as a San Francisco production, begin in early 2009, so be on the lookout!

Lea Salonga Shines in Southern California

Regular readers of James & Tim's Blog might remember my post about Susan Egan where I lamented about how my other favorite Disney-meets-Broadway star, Lea Salonga, seldom performs in Southern California. Well as it turns out, shortly after I published that post, I was happily proven wrong!


Lea Salonga had a rare Southern California concert appearance. (01/03/2008)

Lea Salonga was doing a rare Southern California concert appearance at San Manuel Indian Bingo & Casino in Highland, California. Although the location was about 60 miles away from where we live, I was determined to see this performance.


Lea Salonga was at the San Manuel Indian Casino. (01/03/2008)

Like Susan Egan, Lea Salonga perfectly embodies my love of musical theatre and Disney animated films. Born and raised in the Philippines, Maria Ligaya Carmen Imutan Salonga was a regional stage performer until 1989 when she was selected to play the female lead of a new stage production debuting in the London West End. The show turned out to be the megahit Miss Saigon, which thrust Lea into international fame. When Miss Saigon came to New York two years later, Lea Salonga reprised her role on Broadway.


Lea Salonga, with Simon Bowman, in Miss Saigon. (09/1989)

After Miss Saigon, Lea Salonga landed the role of Eponine in the Broadway production of Les Misérables, becoming the first Asian to play the role. She reprised the role of Eponine in London, and was ultimately asked to join the dream cast for the 1995 10th anniversary concert performance at London's Royal Albert Hall. Last year she joined the cast of the Broadway revival of Les Misérables, but this time as the older Fantine instead of the young Eponine. Even Philippine president Gloria Macapagal-Arroyo flew to New York to see Lea in the role.


Lea Salonga as Fantine in Les Misérables. (2007)

But despite the thousands of musical theatre performances, Lea's most widely seen work is her work with the Disney animation studios. Lea was selected to be the singing voice of Jasmine for the 1992 blockbuster hit Aladdin. She followed that with the singing voice in the title role of the 1998 hit Mulan.


Lea Salonga was the singing voice of Jasmine in the Disney film Aladdin. (1992)

With a resumé like that, you can see why I was so excited to see her perform live. The icing on the cake was that my ticket was in the third row (and it was no small theater by any stretch). I got there about 30 minutes before showtime, but it wasn't nearly enough. The will call line was longer than anything I've seen.


Lea Salonga was the singing voice of Disney's Mulan. (1998)

Then you had to get through security, which was the tightest I've ever seen for a concert. Seriously, it was like airpot security. And don't even try to sneak a camera inside. If they caught you with a camera, they made you go to the camera check-in, which also had a terribly long line. As it turned out, the show started 40 minutes late. Even so, I barely got into my seat just three minutes before showtime (no joke).


The best picture I could get of Lea with my camera phone. (01/03/2008)

For nearly 90 minutes, we were dazzled by Lea's amazing voice. Backed by a 5-piece band, Lea performed a variety of songs, and sounded amazing. She apologized for not sounding as good as she normally does, since she was coming down with a headcold. None of us in the audience could tell. Seriously, she sounded fantastic!

She opened her set with "Something's Comin'" from West Side Story, followed by the ballad, "I've Never Been in Love." Afterward she sang a Filipino song called "Hahanapin Ko." (I'd estimate that at least two thirds of the audience was Filipino). Although I didn't understand the lyrics, it was a beatiful song.



I picked up Lea Salonga's most recent album, Inspired. (01/03/2008)

Next, she sang two songs from musical theatre roles she has always wanted to play, but never has. The first was one of my favorites: "I Don't Know How to Love Him," sung by the character Mary Magdalene from Jesus Christ Superstar. Her voice was the perfect fit for that song too. Then she mentioned she always wanted to play the title role in Evita, singing "You Must Love Me," from the film adaptation.

Afterward, someone from the audience asked her to sing something from Miss Saigon. She laughed and responded, "I have to do the Disney section first," upon which the entire audience burst into cheers and applause (me included). She talked about being the singing voice for Jasmine, but lamented that she couldn't sing "A Whole New World" because she didn't have an Aladdin. (She could have asked me!) Although she did sing a few bars a capella.


Lea Salonga signed the back of the CD sleeve for me. (01/03/2008)

But the highlight of her Disney section was the inspirational ballad "Reflection" from Mulan. She sang the song as it was originally written. She explained that how due to length, the song had to be shortened in the editing room. But we got to hear the full version, with all its verses and the bridge.

After the standard "Someone to Watch Over Me," she broke into one of the absolute highlights of the night: Eponine's ballad from Les Misérables, "On My Own." This brought down the house! Truly amazing. If you know the song, you know how sad it is, so to bring things back up, she sang "Taylor the Latte Boy," a cute, funny song about falling in love with a Starbucks barista.


Lea Salonga's self-titled album. (1993)

But the light, funny moment didn't last. Next on her set list was her big ballad from Miss Saigon that she sings to her son, "I'd Give My Life for You". There wasn't a dry eye in the house after that. And if we weren't already crying, she next sang Fantine's big song from Les Misérables, "I Dreamed a Dream." It was paralyzingly good.

After the tearjerker section, Lea closed her set with the more uplifting "I Still Believe in Love," which blended into the inspiring "Being Alive." After that the audience was on its feet, demanding one more. For her encore, she sang "Tomorrow" from Annie, her first major musical theatre role in the Philippines. It was a great way to end the show.


Lea Salonga at Glamour Magazine's salute to the 2005 Women of the Year. (11/02/2005)

If the night ended then, it would have been a great night. But making it even better was the fact that she was signing autographs after the show. There was a long line, but it was worth it. I didn't bring anything with me to sign, so I purchased her latest CD that I didn't already have. While she was signing it for me, I asked her if she was doing any more concerts in Southern California. Protecting her voice, she mouthed the words "I don't know." But if she does, you can count on me being there.

James' Top 5 Christmas CDs

Since we've been listening to a lot of Christmas music lately, I thought I'd take this opportunity to blog about my Top 5 Christmas CDs. Before I do, I'd like to explain my selection criteria.


Besides the tree, Christmas music is one of the best parts of the holiday season. (12/24/06)

First of all, these are favorite full-length albums, not individual Christmas tracks. If it were actual Christmas tracks, the list would A) be very hard for me to compile, and B) certainly include many songs that don't appear on these favorite albums. Secondly, I limit my scope to Christmas albums by a single band, artist or entity. No compilations!

Lastly, I only list my Top 5 (as opposed to my Top 10) because I felt the Top 5 were far superior than what I would have included in #6-10. I do give honorable mention to Tony Bennett's Snowfall, Clay Aiken's Merry Christmas With Love and Peggy Lee's Christmas Carousel, however I don't think these albums even come close to the quality and timelessness of my Top 5. So with no further ado, here they are:



5. Barbra Streisand — A Christmas Album

Sometimes the oldies really are the goodies. And that is certainly the case with Barbra Joan Streisand's classic 1967 release. This one ranks on several Top Christmas Album lists, and with good reason. It's dang good.


Barbra Streisand - A Christmas Album. (1967)

It's also incredibly diverse. One minute you're enjoying Babs' playful take on a highly-syncopated version of "Jingle Bells." Next thing you know, you're hearing "My Favorite Things" in full torch-song styling. And just when you're thinking it couldn't get more different, she knocks you out with her devotional covers of such sacred hymns as "The Lord's Prayer" and Gounod's "Ave Maria."

The album also contains what I believe is the definitive recording of "White Christmas," one of my all-time favorite Christmas tracks. It's funny to think that one of my favorite Christmas songs is sung by, and written by, two people of the Jewish faith (Irving Berlin was Jewish). It just goes to show that the magic of Christmas music isn't limited to those who celebrate it. (Although the same can't be said for Neil Diamond, whose Christmas album is one of my least favorites).

This is simply one of the best Christmas albums out there. Period. I am sorry to say, however, that my acclaim doesn't extend to Barbra's 2001 Christmas album, Christmas Memories, which was disappointingly average. It's not bad. But it's not great either. Sometimes the Christmas magic only strikes once.


4. Sarah McLachlan — Wintersong

Released in 2006, this is the newest album on my list. Although the album opens with a fairly ordinary cover of the John Lennon/Yoko Ono "Happy Xmas (War is Over)," it's when you hit track #2 that you realize this is a whole new approach to traditional Christmas music. McLachlan's re-melodization of the time-honored classic, "What Child Is This," is not only totally fresh, it's stunningly beautiful. The same can be said about her re-interpretation of "I'll Be Home for Christmas."


Sarah McLachlan - Wintersong. (2006)

She includes a beautiful cover of Joni Mitchell's "River," which I never really considered a Christmas song before. I know it mentions "Christmas" in the lyrics, but it just never seemed like it belonged on a Christmas compilation. That is until Wintersong came out.

The album also contains an original song, "Wintersong," which always scores points in my book. And it helps when the song is amazing, as is this one. Another facet I must mention is the soulful duet with Diana Krall on Vince Guaraldi's "Christmastime is Here," made famous in the timeless 1965 TV special, A Charlie Brown Christmas.

But my absolute favorite track on the album has to be "The First Noel/Mary Mary" which after the first chorus, is completely different from the original melody, but just as beautiful. Definitely add this to your wish list for next year if you don't already have it.


3. Ella Fitzgerald — Ella Wishes You a Swingin' Christmas

This album, the oldest on my list, is a toe-tapping, finger-snapping delight. Released 47 years ago, this album by one of the most influential jazz singers in American history, is simply timeless. Between Ella's crisp vocals and the amazing orchestration by Frank DeVol (who despite his many successes, is best known for having orchestrated The Brady Bunch series), this album is pure gold.


Ella Fitzgerald - Ella Wishes You a Swingin' Christmas. (1960)

The album comes out of the gate with Ella's bright and lively "Jingle Bells." She slows things down a little for "The Christmas Song," which really shows off DeVol's amazing ear for orchestration (gotta give mad props to to the guy who did that tight xylophone solo).

But the tempo comes right back up for Ella's delighful take on "Let is Snow! Let it Snow! Let it Snow!" Other favorites of mine include "Sleigh Ride," "Santa Claus is Coming to Town," and "Winter Wonderland."

This amazing album also contains what I think is the definitive recording of, "What Are You Doing New Year's Eve," which I believe is one of the most under-rated songs of the season. Go pick this CD up!


2. Celine Dion — These Are Special Times

Many of you who know that I idolize Celine Dion are probably surprised to see that this only ranks as #2 on my list. It actually was my #1 until 2000 when it was eclipsed by my current #1 choice (more on that later). Believe me when I tell you that picking my #1 was like choosing your favorite child.


Celine Dion - These Are Special Times. (1998)

This incredible album begins with Celine's melisma-infused "O Holy Night," which after hearing it hundreds of times over the years, still makes me tingle. To me, this is the best recording of "O Holy Night" there is. In addition, this album also contains my all-time-favorite cover of the equally beautiful "Ave Maria."

My favorite track on the album, however, just may be "The Magic of Christmas Day (God Bless Us Everyone)" which was rather startlingly written by Twisted Sister lead vocalist Dee Snider. It still amazes me that Dee Snider could have written something so melodic and enduring. Combine that great songwriting with Celine's angelic voice, and you've got some serious holiday mojo, baby!

Other great tracks include "Christmas Eve," which has a sort of mid '60s vibe. It reminds me of something that could have been written by Carole King and Gerry Goffin. The album also offers a Diane Warren power ballad, "These Are Special Times." And I would be remiss not to mention "The Prayer," Celine's flawless duet with Andrea Bocelli.

Finally, I have to add that I simply love the recording of "Les Cloches du Hameau." I know it doesn't exactly showcase Celine, since it's sung by an entire choir, but it's such a captivating melody that I can't help but enjoy it every time.


1. Linda Eder — Christmas Stays the Same

Back in 1998 and 1999, I would have never thought another Christmas album would top the near perfection of Celine Dion's These Are Special Times. But in 2000 along came Linda Eder's equally perfect Christmas Stays the Same.


Linda Eder - Christmas Stays the Same. (2000)

By combining traditional Christmas songs, both sacred and secular, with the amazing voice of Linda Eder, you get an album that's pure bliss. It all comes together perfectly on tracks like "Here Comes Santa Claus/Santa Claus is Coming to Town." The big band swing orchestration on this track is the perfect backing for a big voice like Linda Eder's. Pay particular attention the tiny moments that pay homage to such musical icons as Benny Goodman's "Sing Sing Sing," Kander & Ebb's "New York, New York," and Gershwin's "Rhapsody in Blue."

Constrasting starkly with the big band swing orchestration and vocals is the subdued "Have Yourself a Merry Little Christmas," which really highlights the purity of Eder's voice. Another favorite is "The Little Drummer Boy," which layers multiple versions of Eder's voice, highlighting the beautiful harmonies.

It's nearly impossible to pick just one favorite track from the album, but if I did, it just might be "Do You Hear What I Hear." Backed by a gospel choir and orchestrations that could fit just as easily on the Broadway version of The Lion King, this is perhaps the most joyous song on the entire album. "With a voice as big as the sea" indeed.

Although the classic Christmas songs are stellar, the brilliance really emerges with the three original songs written by Eder's husband-at-the-time, Frank Wildhorn, the acclaimed composer of such Broadway shows as Jekyll & Hyde and The Scarlet Pimpernel. The songs — "Christmas Stays the Same," "Christmas Through a Child's Eyes," and "The Bells of St. Paul" — add a whole new depth to the Christmas album. Like Lennon & McCartney, Gilbert & Sullivan and Quincy Jones & Michael Jackson, the combination of Linda Eder and Frank Wildhorn is true magic.

I simply can't say enough about this album. If you don't already own this album, it simply must be on your list for next year.