The New Oxford Book of Carols (1992) describes this version of the carol as a “luck-visit song” or a song sung by carolers when visiting a house (Watson, Canterbury, n.p.). This stanza is usually omitted from hymnals, as it speaks more to a domestic Christmas celebration in the dwelling of the Lord of the Manor. 64), echoed softly by a baritone soloist in the final bars: The rousing orchestral and choral climax features the following stanza, a conventional New Year’s salutation (Routley, 1958, p. Stanzas of “God Rest You Merry” are featured throughout the work, sometimes “mashed up” with other carols. (1912), a collage of Christmas folksongs, most of which were collected in southern England by Vaughan Williams and the famous folksong scholar Cecil Sharp (1859-1924), sometimes called the founding father of the folksong revival in England. Ralph Vaughan Williams (1872-1858) included “God Rest You Merry Gentlemen” in his popular work for baritone, chorus, and orchestra, Fantasia on Christmas Carols Unlike “The First Noel,” this carol features only the adoration of the shepherds in Luke 2 and not the appearance of the Magi in Matthew’s account. Though its roots are somewhat ambiguous, it seems to have been well known by the time Charles Dickens published his famous A Christmas Carol (1843) when Ebenezer Scrooge heard it being sung outside the door of his office on Christmas Eve, he “seized the ruler with such energy of action, that the singer fled in terror” (Watson, Canterbury, n.p.).Įminent British hymnologist Erik Routley (1939-1982) classifies this song and “The First Noel” as “ballad-carol.” Rather than the standard hymn meters – Short (6686), Common (8686), and Long (8888) – “God Rest You merry” employs longer three-line stanzas and a refrain associated with many folk ballads (Routley, 1958, p. While selected Protestant hymnals carry the hymn, its apparent English ethnicity conveyed by its language, melody, and possible social use require adaptations to make it appropriate for liturgy. It is much more likely to be found in Episcopal and Anglican hymnals in the USA, Great Britain, Canada, and Australia, as well as a number of Catholic collections. Indeed, “God rest you merry gentlemen” does not appear in earlier Methodist hymnals. This is a somewhat curious entry in a United Methodist hymnal supplement. To save us all from Satan’s power when we were gone astray.Ĭomfort and joy O tidings of comfort and joy. God rest you merry, gentlemen, let nothing you dismay,įor Jesus Christ our Savior was born upon this day, Likewise, each time the band starts to perform his lighthearted, whimsical arrangement live, he thinks he’ll screw it up.Ĭharming humility aside, Goodwin and company nailed it with a magnificent version that came across like the emotional centerpiece of a show that mostly featured dynamic, alternately sensual/soulful and explosive arrangements of well-known carols and chestnuts a la “Little Drummer Boy” (done as an otherworldly super-hip Latin romp), “Hark The Herald Angels Sing,” “Winter Wonderland” (featuring a fun drums and brass call and response) and “Have Yourself A Merry Little Christmas.” Besides the Williams piece, one of the show’s most unexpected delights was a tasty Latin-tinged rendition of “A Christmas Carol,” a relatively obscure (think: new and fresh!) piece from the 1992 musical “Scrooged,” made all the more poignant because of the recent passing its legendary composer, Leslie Bricusse.Traditional English Carol Worship & Song, 3052 He cited fond memories of hearing Alpert’s classic “Taste of Honey” riding on the bus to school.Īnd although The Phat Band recorded John Williams’ iconic “Home Alone” theme “Somewhere in My Memory” on their 2015 holiday collection A Big Phat Christmas, Goodwin said that anytime he’s had the opportunity to meet with the legendary film composer and conductor, he gets tongue tied. There were two beautiful key moments during the rousing, emotional and ultra-entertaining Christmas show by Gordon Goodwin’s Big Phat Band at Vibrato Grill Jazz where the storied composer, arranger and leader of what is perhaps the hippest big band in existence set aside his stature as a 4-time Grammy winning industry vet and offered the kind of childlike reflection that pairs perfectly with his 18 piece ensemble’s ongoing blasts of holiday cheer.Īfter the delightfully funked out, swinging jam through the opener “Carol of the Bells” (featuring a fiery tenor sax solo by Eric Marienthal) and a sassy romp through “Santa Baby” fueled by the soloing energy of Brian Scanlon (tenor sax) and Mike Rocha (trumpet), Goodwin – leading on piano and keyboards at stage left – mentioned just how remarkable it was that he and his storied ensemble were playing at the club owned by the legendary Herb Alpert.
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