Christmas Stories - Jenny & Tyler

Recapturing childlike wonder

Christmas Stories

Artist: Jenny & Tyler (www.jennyandtyler.com)

Length: 9 songs/35 minutes

Label: Residence Music

On Christmas Stories Jenny & Tyler succeed in making eight classics and one new song their own. The opening “Christmastime” is an original written by Jenny, Tyler and Trent Monk. Among the many seasonal references the song expresses the hope of finding childlike wonder. With the help of producer Ben Shive this is what the album accomplishes.

As with several of the songs there is a classic feel with a light jazz backing. This, however, is not the whole story.

The fourth track, “The Maker of the Sun and Moon,” an old British hymn, has a markedly different sound. It’s more like a soft rock anthem. It has a driving rhythm that is propelled by light percussion and strumming with some beautiful acoustic accents.

It also marks the turn to praise and worship:

     O Perfect Love

     Outpassing Sight

     O Brilliant One

     O Radiant Light

The chorus above may represent Jenny & Tyler’s contribution as they share the credit for the songwriting.

Again, there is somewhat of a change-up on the next song, “O Holy Night.” Jenny sings the first part like a tender lullaby with just sparse instrumentation before Tyler joins in with a fuller sound. The background is somewhat ethereal, which is a welcome change from over-produced versions. Too much production is not a problem on this release.

It would be easy to overlook the two instrumentals because they are short in length. That would be a mistake. Together they provide a tender, magical interlude and an elegant benediction.

“Handel’s Messiah” is the longest track, being a medley of highlights from the famous piece. The arrangements are different enough to enable the listener to experience this anew. Overly familiar pieces don’t require as much attention. This had me listening more carefully, and I was impressed by how the different parts present the complete story of Christ, from before His advent to His exaltation.

“White Christmas” is a delight with initially just acoustic guitar backing. As with “I’ll Be Home” the pace is relaxed. The words and sounds are crystalline.

This is the first time Ben Shive has worked with Jenny & Tyler but not his first Christmas effort. Together they have done a marvelous job of helping listeners feel a bit of wonder through a variety of styles.  

Wonder - Jean Watson

Can a finer tribute to “Hallelujah” be found?

Wonder

Artist: Jean Watson (www.jeanwatson.com)

Label: Suite 28 Records

Length: 11 tracks/44 minutes

With the recent passing of Leonard Cohen, the instrumental of “Hallelujah,” a bonus track on Wonder by Jean Watson, serves as an elegant tribute. The violin playing is exquisite.

Unfortunately, the song is only available on iTunes. Then again, better there than not at all. It’s one of the finer moments.

Back to the violin. It is not only proficient but soothing throughout, whether the style is traditional Celtic or contemporary expressions of devotion and worship. By the latter, I don’t mean the type sung in modern worship circles. This is never that.

This is closer to classical and folk in the singer/songwriter style.

Though the violin is often heard, it’s not overdone. Keyboards are also prominent. There are snatches of stylish guitar playing, and light, mostly programmed percussion. Watson’s voice adds a delicate beauty. Neither she nor the instrumentation is overpowering.

The mood ranges from peaceful to worshipful and joyful. Serene also comes to mind.

“It is Well” is an original that segues into the chorus of the popular hymn that has the same familiar words in the title.

“Amazing Grace (My Chains are Gone)” is indicative of the Celtic influence heard more or less throughout. This is the version that includes the chorus written by Chris Tomlin and Louie Giglio, and made popular by the former.

A beautiful guitar-driven version of the Matt Redman song, “Blessed be Your Name” is also included. Aside from the standards, most of the tracks are original.

I like the space between the notes. They have room to breathe. It’s not cluttered. It makes for a restful, God-centered experience.

I also appreciate the sentiments expressed in the title song: “May we never lose our wonder / Wide-eyed and mystified / May we be just like a child / staring at the beauty of our King.” Amen, “fill us with wonder.”

Love be the Loudest - Ginny Owens

A terrific blend of accessibility and depth that uses dance as a primary style.

Love be the Loudest

Artist: Ginny Owens (www.ginnyowens.com)

Label: ChickPower Music, LLC

Length: 13 songs/46 minutes

Love be the Loudest by Ginny Owens is such a pleasant surprise. When she gained notoriety through “If You Want Me To” off her debut Without Condition (1999), I never imagined that her ninth studio release would take this turn.

What makes this so delightful is her foray into electronic dance music. I never would have guessed that this format would work for someone that I associated with deeply reflective songwriting. Then again, Owens has experimented with a variety of sounds in her career. Yet, I find this remarkable for its blend of accessibility and thoughtfulness.

I like the sentiments, many of which are about relationship, love and God’s perspective (“The Way God Sees”).

Even though the style is different it is among Owens’ best work. The songwriting, arrangements and production are excellent. The guest appearances, which consists of Ellie Holcomb, Mike Weaver, Andrew Bergthold, Meredith Andrews, Andrew Greer and All Sons & Daughters, make it a collaborative effort. It even includes subtle updates of two of her best songs: “If You Want Me To,” and “Wonderful Wonder.” The latter, with its references to sight, are somewhat poignant given that Owens is blind. Regardless, these along with her other songs show just how much she can see.

I agree with Owens that “The Fire” is the most significant song. It carries the most weight. The inspiration came in the aftermath of a recent struggle involving a benign tumor and vocal challenges. The attitude conveyed is broadly applicable: “Thank you for the fire/thank you for the night/thank you for the trial that I don’t know how to fight.” I appreciate the vulnerability. It’s encouraging to know that we are not alone when we face the seemingly insurmountable.

“Made for Loving You” is a departure. The only instrumentation is an electric guitar played sparingly with winsome R&B. Andrew Bergthold adds to the soulfulness.

“God is Love” with All Sons & Daughters, heard as a brief intro at the beginning of this release and then completely as the closing song, is a beautiful hymn. The unison vocals are in the forefront, the music minimal, which rightly emphasizes the words.

Owens should be satisfied. Experimenting doesn’t always produce such terrific results. It should win her new fans and yet be appreciated by those who have followed her over the years.

This renews my interest in Owens’ work and will have me watching for what comes next.

Inheritance Deluxe Addition - Audrey Assad

One of the year’s best is now better

Inheritance Deluxe Addition

Artist: Audrey Assad (www.audreyassad.com)

Label: Fortunate Fall Records

Length: 16 tracks/approximately 1 hour

One of the year’s best releases is now even better. Audrey Assad teams with acclaimed cellist Cara Fox to reinterpret four songs from the original release in a neoclassical style. Cello, violin, harp, electric guitar and drums blend together live on “Be Thou My Vision,” “How Can I Keep from Singing,” “New Every Morning” and “It is Well with My Soul.”

The addition of the harp stands out and adds a beauty not heard on the originals. It’s an underutilized instrument in popular music, which is a shame because it has such pure tones. Though it is mixed with the other instruments, I found myself listening for it.

“New Every Morning” is a gorgeous original. The line referring to the beginning of creation, “You broke an unbroken silence” is a beautiful bit of poetry. In a way, I might summarize the whole release as poetic.

Worship leader Sarah Kroger adds her voice to “How Can I Keep from Singing” and “It is Well with My Soul.” The former starts with “I Wonder as I Wander.” You can almost feel the cold. Imagine a winter night with stars overhead. It then seamlessly transitions to the warm “How Can I Keep.” It’s like going from darkness to dawn. The music is radiant.

I may prefer this version of “It is Well.” It seems a little less traditional. The original features a congregation, but I like just hearing Assad and Kroger.

“Oh, The Deep, Deep Love of Jesus” remains a favorite from the initial release. It is coupled with the music associated with “Morning Has Broken” and includes Fernando Ortega, who along with Assad is excellent in adapting old lyrics.

In my prior review I never mentioned the opening track but feel compelled to do so here. “Ubi Caritas” is an ancient text sung entirely in Latin. As one reviewer noted it sounds more Celtic than Gregorian. It’s haunting but holy as captured on this YouTube video, which includes a translation. Assad writes, “I began this record with ‘Ubi Caritas’ because it felt like the perfect way to begin a collection of songs that shaped up to be a love note from me to the church.”

This is artistry that is relevant but timeless. It combines a judicious use of technology with mostly ancient verse. The latter springs to life anew.

The excellence makes me want to investigate all of Assad’s subsequent releases, and maybe even prior ones.

The reworked songs, dubbed The Fox Sessions, include live videos contained on a DVD or flash drive. So those who purchase this Deluxe Addition will have even more to savor.

Songs of the People - Prestonwood Worship

Michael W. Smith and Paul Baloche highlight a solid release from Prestonwood Worship

Songs of the People

Artist: Prestonwood Worship

Label: Integrity Music

Length: 13 tracks/1 hour 15 minutes

Being unfamiliar with Prestonwood Worship, advertised guest appearances by Paul Baloche and Michael W. Smith on Songs of the People caught my attention. Each of them deliver brief but effective performances. Of the two, Baloche plays a larger role being part of three songs. Smith’s sole contribution is the closing “We Are Alive,” which would be at home on any of his live albums. He brings his typical enthusiasm.

Overall, the sound and style is comparable to the mainstream releases in this genre. It’s contemporary but conservative, not edgy or alternative, which widens the possible appeal.

It may falter a little in being distinct from other similar albums. Nevertheless, I enjoyed a few of the subtleties: the string introduction on “You Can Have it All,” which is a performance of “I Surrender All,” and the call and response on “Let the Redeemed” where the choir is prominent.

At least three of the tracks incorporate phrases from hymns, which seems to be a recent trend. The best example is “Our Story Our Song” a truly joyful ode that borrows from Franny Crosby, “This, this is our story/this, this is our song/We are praising, praising our Savior all the day long, all the day long.” These phrases have never sounded better.

This, along with Smith’s anthem “We Are Alive” and Baloche’s “We Turn Our Eyes” are three of the best moments. The latter is quietly worshipful.

The tracks feature a variety of song leaders, only two of them led by women. They all acquit themselves honorably.

These are all new songs performed live at the 42,000-member Prestonwood Baptist Church, which has two locations in the Dallas, TX area. It’s one of the largest Southern Baptist congregations in the world. Dr. Jack Graham is the pastor.

The River - Jordan Feliz

Could it be that simple … that the cross can save us all?

The River

Artist: Jordan Feliz

Label: Centricity Music

Length: 11 tracks/36 minutes

The first sounds from The River by Jordan Feliz are a needle dropping on vinyl followed by the crackle often heard on a record. The pure tones of an acoustic guitar then launch into a blues melody. It’s like listening to an old classic. What a start for lovers of vinyl and/or the blues!

This 59 second intro to “The River,” the first single, serves as a stark contrast to a contemporary R&B/pop sound featuring prominent hand claps on a driving rhythm.

The forceful singing is a call to faith. This river is the water of life, found in Christ.

Next up, the second and current single, “Never Too Far Gone.” It’s a worthy followup with an equally captivating rhythm, and again, a message of hope that can apply to anyone.

Perhaps “Simple” could be a future single, one of the finest tracks found here. A playful melody serves as the background for basic questions with profound implications:

     Could it be that simple, that you love me and that’s it

     And we only need little, a little bit of faith that’s heaven sent

The latter part of the chorus points toward the revelation that this world so desperately needs:

     Don’t want my pride to get in the way, of the love that you give away

     Give me you, Give me truth, that the cross can save us all it’s really that

     Simple

The clarity is refreshing; the music compelling.

If the latter is more elemental on the stanzas of these songs, it highlights the expansiveness on the choruses. It may not be anything new, but I like how full and grand these punchlines sound. It’s along the lines of “Paradise” by Coldplay; the verses a little subdued followed by a majestic chorus. Though pop oriented, R&B is in the mix.

This is one of the things that intrigues me about contemporary music. You hear sounds that were unimaginable years ago. I’m fascinated by the synthesis of the manufactured and organic. One moment you hear something bewildering; the next, the strumming of a guitar or a piano.

Occasionally, you get heavy industrial synths, but it merely serves as the setup for a more satisfying resolve. Overall, the production is top-notch, on par with what you might hear on the radio.

It moves along on a steady clip until the last two tracks where it slows down. It fits the weighty subject matter: constancy and longing. The closing “Satisfied” showcases the raw talent of Feliz.

This is a solid debut. Expect to hear more.   

Modern Art and the Life of a Culture - Jonathan A. Anderson and William A. Dyrness

Seeing God in the shadows

Modern Art and the Life of a Culture: The Religious Impulses of Modernism

Author: Jonathan A. Anderson and William A. Dyrness

Publisher: IVP Academic

Pages: 374

I’m grateful that years ago recording artist Jeff Johnson recommended Modern Art and the Death of a Culture by H. R. Rookmaaker. It fascinated despite being a bleak assessment. It did, however, offer a hopeful vision for Christian engagement in the arts.

This is the background for Modern Art and the Life of a Culture, in which the authors acknowledge the contributions of the former but offer correctives to the view that modernism was bereft of religious influences. Rookmaaker tended to see in terms of black and white, whereas the authors of this book provide a more nuanced view of art history. They find the religious influence where it is not obvious but nevertheless a factor. It is a little like seeing God in the shadows.

This makes it not only informative but a delight. As stated in the Afterword by Daniel A. Siedell, “This book is a gift to those whose lives as Christians have been shaped by modern art and culture. It reveals the authors’ love for their subject. Their words are nothing if not life-giving” (338).

It helps if you have a background in art history, and/or have read Rookmaaker, but even if you have not, the biographical sketches of the artists examined are engaging and inspirational. In particular, I enjoyed reading about Vincent van Gogh and Andy Warhol. The story of the latter takes me back to the quote at the beginning of this volume, “One should reject nothing without a determined attempt to discover the living elements within it” (Vasily Kandinsky). On the surface, one might judge the works of Warhol to be irreligious, but as they do so adeptly throughout, the authors find signs of life, prompting an alternative view to the accepted, which is not always accurate. This reminds me of the words of Jesus, “Do not judge by appearances, but judge with right judgment” (John 7:24 ESV).

I have heard it said that reviewers often get it wrong. I know that it’s been true of this reviewer, which makes the following a favorite: “If anyone imagines that he knows something, he does not know as he ought to know” (1 Corinthians 8:2 ESV). Pride and hasty judgments lead to error. It’s why I appreciate the careful exposition found in this volume. The authors are not immune to our human propensity to get it wrong, but their mastery and love for the material is obvious, as well are the irenic tone.

As an outsider to the art world, who sometimes felt a little lost in the details here, the thought of F. W. Boreham helped me to persevere in my reading:

If a man is to keep himself alive in a world like this, infinity must be sampled. Like a dog on a country road I must poke into as many holes as can. If I am naturally fond of music, I had better study mining. If I love painting, I shall be wise to go in for gardening. If I glory in the seaside, I must make a point of climbing mountains and scouring the bush. If I am attached to things just under my nose, I must be careful to read books dealing with distant lands. If I am deeply interested in contemporary affairs, I must at once read the records of the days of long ago and explore the annals of the splendid past. I must be faithful to old friends, but I must get to know new people and to know them well. If I hold to one opinion, I must studiously cultivate the acquaintance of people who hold the opposite view, and investigate the hidden recesses of their minds with scientific and painstaking diligence. Above all I must be constantly sampling infinity in matters of faith. If I find that the Epistles are gaining a commanding influence upon my mind, I must at once set out to explore the prophets.… ‘The Lord has yet more truth to break out from his Word!’ said John Robinson; ‘and I must try to find it.

I don’t normally read this type of book. Art history is a foreign culture, but I see the wisdom in Boreham’s advice. I have gained understanding.

If Rookmaaker left me despairing of culture, I recognize again that things are not always what they seem. I never want to be undiscerning, but to borrow the thought from an old song, I want to have my Father’s eyes: “Eyes that find the good in things/When good is not around.” The authors have this type of vision and it’s worth emulating.