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Snowflakes Toni Braxton Arista, 2001 Tracks 1: Holiday
Celebrate
Buy it online
Reviewed by Lincoln Cho
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For a while we could forget why we loved her. We could forget the ethereal voice that touched us on some level we didn't know needed touching. In the rash of imitators that followed, we could let go of the fact that it was her, all along, that made us aware -- all over again -- of something deep we'd forgotten. And then, in one gorgeous trill, it all comes flooding back. And you wonder: How could I have ever forgotten at all? On Snowflakes, Toni Braxton sets a new watermark for Christmas albums. It is a perfect blend. Too perfect: the biggest shame of Snowflakes is that the Christmas bent of the album doesn't lend itself to everyday, year 'round play. There is very little of Snowflake that can be strictly categorized as "cover" material. There are some brilliant re-workings of Christmas standards, as well as some seasonal material brand new to this album. The result is... well... pure Toni. But the Toni that we remember: perfect form, perfect pitch with the result of -- in this album -- perfect Christmas. Braxton's rendition of the modern traditional "Have Yourself A Merry Little Christmas" is memorable in several ways. Primarily, here Braxton has opted to leave the Ralph Blane, Hugh Martin-penned standard pretty much as it was. The new dimension is in Braxton's own vocal stylings: clear, bright and traditional, but with the artist's own auditory signature. It's brilliant and memorable and, somehow, not very different from the original. Like I said, perfect. The same is true of the Mel Torme, Robert Wells classic, "The Christmas Song." (You know the one made famous by Nat "King" Cole: Chestnuts roasting on an open fire/Jack Frost nipping at your nose, ad nauseam.) Braxton's version is fresh in its clarity and essential faithfulness to the original. The resulting song is absolutely the one we remember from our childhoods, but with the Braxton magic -- back in full force after an extended hiatus -- casting its spell over the whole. Beautiful. By far my favorite track on the album -- as will likely be the case for anyone between the ages of 25 and 40 -- is the Vince Guaraldi, Lee Mendelson tune "Christmas Time Is Here." If the name of the song is not familiar, think A Charlie Brown Christmas and imagine Schroeder at the piano. If this is your connection with the song -- as it was mine -- the lyrics will be unfamiliar, but the tune will strike a happy Christmassy note in your heart. As with all of the covers on this album, Braxton's version is beautiful, faithful and -- due to her ethereal voice -- entirely her own. "Christmas Time Is Here" alone makes the album worth the price of admission. Like the Charlie Brown version, Braxton's is a languorous jazz-inspired -- perhaps even infused -- number that will effectively moisten members of Generation X's eyes as effectively as anything. The balance of the album is entirely Braxton written and co-written, including the sprightly reggae-touched "Christmas in Jamaica," featuring a duet with postmodern reggae maestro, Shaggy. Co-written with Shaggy -- he's the O. Burrell on the liner notes, if you're looking -- "Christmas in Jamaica" is sprightly, fun and -- oddly enough -- quite seasonal in feel. Exotic setting for a Like the balance of Snowflakes,
"Christmas in Jamaica" was co-written by Braxton herself
with input from talent like Keri (Mr. Toni Braxton) Lewis,
Isaac Hayes, Babyface and David Foster. In some ways,
Snowflakes is a stronger work than Braxton's
"comeback" album, 2000's Heat. Snowflakes has
balance and provides the perfect foil for Braxton's still
superlative vocal instrument. It's only too bad there's only
one season of the year conducive to spinning
Snowflakes. | December 2001 |
On Snowflakes, Toni Braxton sets a new watermark for Christmas albums. It is a perfect blend. Too perfect: the biggest shame of Snowflakes is that the Christmas bent of the album doesn't lend itself to everyday, year 'round play. |
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