A Christmas jazz album that points to Jesus

Many jazz-themed Christmas albums are an ill-considered hash of cheesy arrangements that seem more like an opportunistic lunge for a quick Christmas buck than an attempt at devotion. Long on Santa and short on Jesus, they resemble the neighbor who installs a giant inflatable Santa Clause on his lawn and tosses in a manger scene under Santa’s shadow, just for one more feel-good afterthought.

Peter Furler’s new album Christmas is a welcome respite from such tacky syncretism. Furler is best known as the former frontman for Christian rock band The Newsboys. Rock roots notwithstanding, Furler crafts sophisticated, sensitive (and very mellow) jazz arrangements that respect the centrality of the lyrics and maintain a reverential awe throughout.

Delicate and delightful piano chords pave the way for Furler’s earnest crooning in “God Rest Ye Merry Gentlemen.” Dramatic pauses at the end of each phrase do what they are supposed to do—allow the listener to absorb and appreciate the inherent drama of the lyrics. A walking bass line brings a satisfying swing to while a cello sings sweet “tidings of comfort and joy.”

“We Three Kings” is the song most arrangers choose to kick it up a notch, but here Furler surprises again by striking a meditative air. A snare drum gently pitter-patters with the journey of three dignitaries traversing “field and fountain, moor and mountain” to search out the King whose coming was foretold in the heavenly host. The song’s languid pace allows the listener to dream the wise men’s dreams. Bursts of Gregorian-style background hums highlight the “Star of Wonder” and further draw the listener into a contemplation of the mysterious, divine plan.

The mournful sound of an Armenian “Duduk” horn mingles with vocal moaning to conjure up a lament worthy of captive Israel in “O Come O Come Emmanuel.” Sparse piano and a poignant string section express the brokenhearted despondency of a people groaning under the weight of waiting for their deliverer. Instead of going big on the “Rejoice” chorus, as so many arrangers do, Furler once again opts for the subtle (and more satisfying) choice of a soft and contemplative choir. For although “Emmanuel shall come to thee Oh Israel,” He is not there yet. Believers, too, can understand this sense of deferred hope, as Paul explained: “The whole creation has been groaning as in the pains of childbirth right up to the present time.”

Of course, not all Furler’s experiments succeed to the same degree, and occasionally his voice seems overly affected in trying to achieve that intimate, jazz singer feel. But these are small drawbacks and easily balanced out by the album’s positives. Two spoken word tracks provide further variety to the album. Furler retells the Christmas story with an earthy poise rendered lively by his Australian accent. In another place, he threads together prophetic scriptures while impressionistic piano swirls underscore the scope and sweep of God’s redemptive plan across history.

Jazz fans have long resigned themselves to the idea that authentic jazz playing and authentic faith affirmations don’t go hand in hand, much as they might pine for it. But with Christmas, the freedom of jazz and the freedom in Christ work together to remind us, “if the Son sets you free, you are free indeed.”