An Aeolus 13 Umbra Christmas

by G. Jack Urso

Christmas is likely my favorite holiday. The opportunity to share our blessings with our friends and family, and the needy, is a life-affirming experience — especially for those of us living in the Northern latitudes with the accompanying short days and long, dark, cold nights. Being a child of the 1960s and 70s, many of my Christmas memories are intertwined with the annual holiday TV specials and films from that era. Over the years, I have posted a number of articles and uploaded various film and video clips of the holiday season. As with Halloween (see An Aeolus 13 Umbra Halloween), all related articles and films have been compiled in one post.

All videos hosted on the Aeolus 13 Umbra YouTube channels Ae13U Prime and Ae13U Sounds.

__________________________________________________

1966 CBS Seasons Greetings: Animation by R.O. Blechman: These classic CBS commercials by artist R.O. Blechman remind the viewers of the simple and charitable meaning of the Yuletide season.

A Charlie Brown Christmas — The Vince Guaraldi Trio: The classic 1965 Christmas album that introduced millions of kids to jazz!

A Contemplative Christmas Soundbook: Full album recordings of George Winston’s December (1982) and Anonymous 4’s On Yoolis Night: Medieval Carols & Motets (1993).

A Family Circus Christmas (1979): Premiered on December 18, 1979. Sarah Vaughn sings the theme song, “The Dreamer.”

CBS Seasons Greetings Commercial: Directed & Produced for CBS by Karl Fischer. Animated by Ed Smith. Art Directors Award 1982.

Charlie Brown Down: The tragic passing of Peter Robbins, who voiced Charlie Brown for the classic A Charlie Brown Christmas (1965), reminds us that Christmas is not always happy times and good memories.

Folger's Coffee Commercial — Peter Comes Home for Christmas: A classic 1980s holiday commercial.

J.T.: An Urban Christmas Carol (1969): This little-seen 1969 CBS holiday special takes a gritty look at the hard-scrabble life in New York City ghettos, and a street cat stands in as the Christ-child.

The Ghosts of Christmas Past: A personal reflective essay on growing older and celebrating a family tradition when the family is no longer there.

The Night Before Christmas (1968): An early animated TV version of the classic Christmas poem.

The Night the Animals Talked (1970): A rarely shown, but fondly remembered, musical version of a Norwegian folk tale.

Santa Claus Conquers the Martians (1964): Starring a young Pia Zadora, this wonderfully bad Christmas film also features the first film appearance of Mrs. Claus, Ralph the Doorman from The Jeffersons, and in a bit of sly political commentary, Santa suggests one of his reindeer’s names may be Nixon.

The Star Wars Holiday Special (1978): Many have heard about it, few have seen it, and probably with good reason, but definitely worth a look for hard-core Star Wars and 1970s fans.

Two Christmas Carols: The 1970 musical version with Albert Finney (my favorite) and the Academy Award winning 1971 animated film short with Alastair Sim revisiting his classic 1951 film performance.

●             ●             ●

 

The Night Before Christmas (1968)

by G. Jack Urso

 

From the Aeolus 13 Umbra YouTube channel.

The Night Before Christmas is a 1968 animated Christmas special based upon the poem, “A Visit from St. Nicholas,” later better known by the first sentence of the poem, “Twas the Night before Christmas.” First published anonymously in the Troy [NY] Sentinel, December 23, 1823, the poem was later credited to Clement Clarke Moore (though there is some disagreement on that point by literary scholars). Rather than explore the actual origins of the poem, which might have proved uncomfortable since the anti-abolitionist Moore owned slaves, the film instead creates a fictional narrative wherein Prof. Moore’s daughter is afflicted with illness and he writes the poem to comfort her.

The show was produced by Playhouse Pictures, which created a number of animated commercials in the 1950s and 1960s, including for Coppertone and Ford, and was directed by Jim Pabian, whose long career in Hollywood animation stretched from 1933 to 1973. He also served as an artist for Dell Comics in the 1940s and 1950s. The music is provided by Ken Darby and Norman Luboff with ensemble pieces sung by The Norman Luboff Choir and various soloists filling in for the characters’ singing voices.

Voice acting for the adult roles is provided by veteran character actors whose names may be unknown, but their faces quite familiar to Baby Boomers. Olan Soule, who plays Prof. Moore, has over 266 roles to his credit, appearing in most of the popular TV shows of the period, but may be most familiar by his recurring roles in such series as My Three Sons and Dragnet as well as the voice of Batman on The All-New Super Friends Hour and Challenge of the Super Friends. Hal Smith, Dr. Sawyer in the show, is best known to TV viewers as Otis, the town drunk, on The Andy Griffith Show (where Soule also had a recurring role) and racked up an astounding 303 roles from the mid-1950s to the mid-1990s. Mrs. Moore is voiced by Barbara Eller, whose career spanned from 1952 through 1970, and, like Soule and Smith, appeared in many of the high-rated shows of the era.

Olan Soule and Hal Smith.

I have some memories of watching The Night Before Christmas through about the early 1970s. There’s a certain over-saturated saccharine sweetness about it, and like the songs by Sammy Cahn and Jule Styne in The Night the Animals Talked (see separate article) the music is “serviceable but otherwise forgettable.” The most remembered segment from the program is the retelling of the actual poem itself, which manages to hit every mass media iconic Christmas image, including the Coca-Cola version of Santa Claus, rather than the Dutch Saint Nicholas version Moore had in mind. Unfortunately, in place of a dramatic reading, here the poem is given a choral arrangement that has a sort of dreamy quality about it, but in retrospect distracts from Moore's wonderful verses and phrasing.

The Night Before Christmas was released on VHS in 1990 by New Age Video and on DVD by Warner Video in 2013. The show hasn’t aged well and can be more kindly regarded as a relic of its era rather than an annual “must-see” for Christmas special aficionados; nevertheless, it remains fondly remembered by a small group of Baby Boomers. Regardless of the relative artistic merit of an individual production, Boomers revisiting these old programs are brought back to their childhoods, when our parents were still with us, our families together, and the promise of Christmas Day almost too exciting to contain. That in itself is a kind of Christmas magic that cannot be wrapped up, but only experienced. 

●             ●             ●

The Night the Animals Talked (1970)

by G. Jack Urso

From the Aeolus 13 Umbra YouTube channel.

The Night the Animals Talked is a 1970 animated musical special that aired on ABC TV from 1970 to 1973. Based on a Norwegian folk tale, the premise involves the stable in Bethlehem where Christ was born. The light of the star that leads the Magi to the Christ-child shines upon the animals and gives them the gift of human speech. However, in gaining the ability to talk like humans, they also begin to show very human foibles, such as racism, segregation, pride, and vanity, among other sins. As the animals begin to act more like human, the story takes on a certain Animal Farmesque quality. The film is available above from the Aeolus 13 Umbra YouTube channel.

The music by the famed duo of lyricist Sammy Cahn and composer Jule Styne includes the songs "A Parable," "It's Great to Communicate," "The Greatest Miracle of All," "Let's Not Behave Like People," and "A Place Like This” is typical of other children’s specials of the era such as the Rankin/Bass Productions classics like Rudolph the Red-Nosed Reindeer and The Little Drummer Boy. As notable as Cahn and Styne are, the songs are serviceable but otherwise forgettable.

 

The Ox reminds the animals that although they may talk like humans,

they do not need to act like them.

The Italian animation companies Gamma Film and Erredia 70 provided the artistic talent and technical direction and supervision. There are no “big names” providing the voice talent, but nonetheless includes a number of little-known, but accomplished voice and character actors including Frank Poretta, Joe Silver, Patricia Bright, Len Maxwell, and Paul Dooley, the latter of whom remains active as of this writing.

Executive Producer David Gerber had a long career in Hollywood from the 1960s through the mid-2000s and served in that role in many of the era’s iconic shows, including The Ghost and Mrs. Muir, Nanny and the Professor, Police Woman, Police Story, and many more. Director Shamus Culhane is a legendary Hollywood animator whose career ran from 1924 to 1980 and includes work on such films as Walt Disney’s Snow White and the Seven Dwarfs (1937) and Pinocchio (1940), Dave Fleischer’s Gulliver’s Travels (1939), as well as Popeye, Bugs Bunny, and Woody Woodpecker shorts and helming Marvel’s animated Thor TV series (1966). 

ABC TV promotional spot. 

Humans aren’t prominently featured in the film. Joseph and Mary are only seen as shadows or distant figures, and the Christ Child is not seen at all — the story is told entirely from the animals’ perspective. This puts the viewer in the animals’ seat and gives us an outsider’s view of ourselves, and a society filled with division and hate.

At first, the animals are reluctant to allow Joseph and Mary to share their space. If their human owner won’t show them any charity, why should they? And if they do let just a few in, soon more will show up and crowd them out! The Ox, however, serves as the voice of conscious and laments how the gift of human speech has turned them all too human and chides his stable mates, “We have enough room, if we want to make room.”

The real emotional hook to the story comes with the birth of the Christ Child and the animals realize that in Christ we are all equally loved — a realization that comes too late for them to share before their gift of human speech begins to fade away. My mother, who grew up on a farm in Sicily, loved the film as much as I did and we were always saddened at this point. In the end, however, although the animals lose the gift of speech, they retain a greater understanding and tolerance of each other.

The late 1960s and early 1970s was a time of great racial strife in America and this special is a fine example of showing how the message of Christmas has a universal and timeless appeal. Unfortunately, given the racial strife that persists in America and other parts of the world, the message of The Night the Animals Talked remains relevant today. 

Putting aside their differences, the animals join together to see the Christ Child,

brought into this world in the most humble of places.

Along with the gritty 1969 Christmas special, J.T. (see separate article), which features an animal as a pivotal plot device and also only aired for a few years before disappearing from the broadcast airwaves, these programs never quite became as enshrined as Christmas classics like the various entries by Rankin/Bass Productions. 

Both programs were also later distributed to schools in the early-mid 1970s. The online independent film guide FilmThreat reports that McGraw-Hill distributed copies of The Night the Animals Talked to schools in 1975 (J.T. also saw some distribution to public schools about the same time). The copy shown above is likely from one of the McGraw-Hill 16-mm prints. For reasons unknown, there has been no DVD release of the special, so the quality is not the best.

Nevertheless, both films teach the same lesson — our love for the most vulnerable among us, animal or child, is what makes the world a better place. May it always ever be that way.

●             ●             ●
 

Africa, Music from the Nonesuch Explorer Series

by G. Jack Urso

From the Aeolus 13 Umbra YouTube channel.

Africa, Music from the Nonesuch Explorer Series is a sampler from the aforementioned Nonesuch Explorer Series, released on CD September 24, 2002. This album provides a selection from each of the thirteen Explorer Series albums from Africa. Nonesuch’s Explorer Series is one of the most comprehensive catalogs of World Music with albums representing the regions of not just Africa, but also Central Asia, East Asia, India, Europe, Indonesia/South Pacific, Latin America/Caribbean, and Tibet/Kashmir. The album is available on the Aeolus 13 Umbra YouTube channel.

From the late 1960s through the late 1970s, Nonesuch producers for the African albums recorded the pieces in the field, on street corners, in universities, marketplaces, cities, rural villages, along the coast, and in the deep interior. These albums provide the Western ear with a broad exposure to the wide variety of indigenous instruments and musical styles which, in many ways, still remain relatively unknown outside the Dark Continent except to those of us who appreciate the vast palate of World Music offerings. These collections became widely influential to a whole generation of Western musicians. In fact, some tracks from the Nonesuch Explorer Series were included with the Voyager Golden Record that was attached to the Voyager I spacecraft launched in 1977.

While samplers and “best of” collections are typically a mélange of sometimes aesthetically discordant tracks lacking a unifying thematic cohesiveness, Africa, Music from the Nonesuch Explorer Series manages to avoid this pitfall by focusing on primarily sub-Sharan Africa and those nations North of South Africa. From these regions come the rhythms and sounds that influenced whole genres of Western music including Jazz and Rock and Roll.

Other titles from the Nonesuch explorer series uploaded to the Aeolus 13 Umbra YouTube channel and profiled on this website include Kōhachiro Miyata: Shakuhachi – The Japanese Flute and Ghana: Ancient Ceremonies, Songs & Dance Music.

Catalog of Nonesuch Explorer Series Albums

 

---

Listen to the entire album above or individual tracks by clicking on the links below.

Track list

1.            Alto Bung'o Horn (Kenya)                                                             0:42

                — from East Africa: Witchcraft & Ritual Music

2.            Nhemamusasa (Instrumental Excerpt I) (Zimbabwe)              2:38

— from Zimbabwe: Shona Mbira Music

3.            Alhamdulillaahi (Burkina Faso)                                                    3:08

— from Burkina Faso: Rhythms of Grasslands

4.            Take Me Back to Mabayi (Burundi)                                            3:47

— from Burundi: Music From the Heart of Africa

5.            Kouco Solo (Mali)                                                                           4:41

— from West Africa: Drum, Chant & Instrumental Music)

6.            Aluar Horns (Zaire Border, Uganda)                                           3:42

— from East Africa: Ceremonial & Folk Music

7.            Song with Tar (Nubia)                                                                   4:44

— from Nubia: Escalay (The Water Wheel): Oud Music

8.            Bus Conductor (Ghana)                                                                 2:24

— from Ghana: High-Life and Other Popular Music

9.            Kumakudo (Zimbabwe)                                                                 3:08

— from Zimbabwe: The Soul of Mbira: Traditions of the Shona People

10.          Marimba (Tanzania)                                                                       3:09

— from East Africa: Witchcraft & Ritual Music

11.          Djongo (Burkina Faso)                                                                   4:07

— from Burkina Faso: Savannah Rhythms

12.          Bounkam Solo (Burkina Faso)                                                      3:48

                — from West Africa: Drum, Chant & Instrumental Music

13.          Dzil Duet (Ghana)                                                                           2:31

— from Ghana: Ancient Ceremonies, Dance Music & Songs

14.          Gonje Songs (Ghana)                                                                     4:18

— from Ghana: Ancient Ceremonies, Dance Music & Songs

15.          Tipe Tizwe (Zimbabwe)                                                                 4:31

— from Zimbabwe: The Soul of Mbira: Traditions of the Shona People

16.          Rhinoceros (Amboseli National Park)                                        2:22

— from Animals of Africa: Sounds of the Jungle, Plain & Bush

●             ●             ● 

Evening Ragas from Benares (1981)

by G. Jack Urso

From the Aeolus 13 Umbra YouTube channel.

Evening Ragas from Benares is a 1981 Academy Sound & Vision recording which was later released in 1986 and 1994 by the Musical Heritage Society. Originally recorded in December 1967 in Benares, India by Deben Bhattacharya, the 40-minute recording is comprised of three pieces. Click on the links below for individual tracks or on the video above for the complete album on the Aeolus 13 Umbra YouTube channel:

1. Raga Puriya Kalyan (21:06)

                Debendra Krishna Chattopadhyay, Sitar
                Surendra Mohan Mishra, Tablá

2. Raga Pilu (11:00)

                 Amiya Bhattacharya, Subahar
                 Narayan Chakravorty, Vicitra viná

3. Raga Darbari (8:00)

                Narayan Chakravorty, Vicitra viná

Selections from the Liner Notes to Evening Ragas from Benares:         

Sitar

The sitar (right) is undoubtedly the most popular stringed instrument of north and central India for raga music today. It is the direct descendant of the vina, the stringed instrument of India played for 2,000 years. The present form of the sitar is attributed to 13-century musician and innovator, Amir Khusru, and is less complicated to play than the vina. Most sitars have seven playing strings together with a number of sympathetic strings which resonate to enrich the sound. On its long neck are movable metal frets fastened by silk or gut strings. Hollow gourds are attached to the back of the neck, usually at each end, to increase the volume of the sound. The strings of the sitar are plucked using a wire plectrum fitted to the right index finger.

      

Survahar

The surbahar (left) resembles the sitar in appearance but is larger in size and scope. It is nearer to the vina in its quality of sound and is regarded as superior to the sitar as an instrument. The vicitra vina belongs to the vina family of stick zithers and has five melody strings, three built-in drone strings, and 11 sympathetic strings. Unlike the sitar, the vicitra vina is fretless, but the skill and expertise of the musician enable him to unerringly find the exact note in its long neck. 

Vicitra Vina (top), Tambura (bottom)

The accompaniment on the recording is provided by the tambura (above), a four-stringed drone instrument, and the tabla (below), a pair of drums which make the tala or rhythm which is an essential part of Raga music. The table is played by both hands — the right hand drum gives the strong beats and the left hand drum the soft strokes.



The raga Puriya Kalyan is associated with the early hours of the evening and is heptatonic or in the seven-note scale. The rhythmic accompaniment, or tritala, is in 4/4 time. This raga, also known as Purva Kalyani, is of a feminine nature and expresses tenderness and love.

Tabla

Pilu, a raga of the late afternoon, is in the seven-note scale and expresses a bashfulness and timid love. The severe and courtly midnight raga Darbari is again in the heptatonic scale. Both Pilu and Darbari were recorded during a gathering at a private house and the sounds of passing travelers and the cries of a vegetable salesman in the street outside combine to bring the atmosphere of India to the listener.                                                                   

                                                                                             — Deben Bhattacharya

●             ●             ●

Halloween Howls: 45 Minutes of Fear

by G. Jack Urso

From the Aeolus 13 Umbra YouTube channel.

Halloween offers an opportunity for Aeolus 13 Umbra to entertain two of its favorite subjects:  the ghastly holiday itself and ambient music. While typically regarded as a contemplative soundbed for peaceful and positive meditation, ambient music also has a dark side. Not evil, but as the seasons shift from the vibrancy and warmth of summer to the cool autumn winds, so to do our thoughts change to meditations on our mortality, and inevitably to the afterlife and the spirit world.

Halloween Howls, released in 1999 by Gemstone Entertainment and posted above from the Aeolus 13 Umbra YouTube channel, is one of several similarly named albums for All Hallows' Eve. Typically, these sort of holiday-themed CDs have a collection of campy Halloween sound effects, dialog, and maybe a ghost story or two. Halloween Howls, however, takes a more subtle approach. Moody and atmospheric, yes, there are the expected groans and moans and the cackling witch, but long periods of environmental noise mark this work, sometimes penetrated by a blood-curdling scream, a frantic heartbeat, a chainsaw, or slow, plodding footsteps that punctuate the silence. In real life, the only demons dogging us are the ones we create ourselves, but for those who have encountered crime, mental illness, and misfortune also know that the darker side of life, like a hurricane, can be a natural, unpredictable force unto itself.

If, by chance, Halloween happened never to have originated in late October, surely it would have to be moved there. In the Northeast, the colorful cacophony of leaves is past its peak and the transition to the dead and dormant state of winter, though still nearly two months away, is soon to settle in.  The 21st century modern human seldom affords itself time for contemplation, private space, and to be alone with our thoughts. We are never too far away from our cell phones, computers, car radios, TV in office waiting rooms — all clamoring for our attention. Convenient distractions from our fears and which protect the tenuous psychological barriers that buffer our sanity from the stark reality of our fragile mortal existence.

Halloween Howls, whose composer remains a mystery, is not music per se, but if John Cage’s three-movement composition 4’33”, which consists entirely of the ambient noises of the listener’s environment, can be considered music then I think we can afford Halloween Howls some measure of inclusion into the ambient music world.

For more Halloween-themed entries on Aeolus 13 Umbra, please visit: An Aeolus 13 Umbra Halloween (with some classic horror films on Aeolus 13 Umbra’s YouTube channel), The Monster Club: Classic Horror 80s-Style, and the spoken word performance, Medieval Death Poem.

●             ●             ●