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Critical Acclaim for Mister Rogers Swings!

During 1968-2001, Mister Rogers’ Neighborhood was one of the most popular of all children’s television series. Its laidback and warm host Fred Rogers had a music degree and always made sure that jazz was heard on his programs. Holly Yarbrough, in her jazz recording debut, pays tribute to Mister Rogers by singing 16 of his songs including his opening and closing themes “Won’t You Be My Neighbor” and “It’s Such A Good Feeling.” But rather than this being strictly a children’s CD, the music is actually sophisticated bop-oriented jazz. Ms. Yarbrough interprets the friendly lyrics with an attractive voice, sensitivity and a solid sense of swing. She is joined by guitarist Richard Smith, pianist Lori Mechem’s trio, violin, cello and three horn players including the late tenorman Boots Randolph. The solos and arrangements are high-quality jazz and Holly Yarbrough’s singing is a delight.

---Scott Yanow, author of ten jazz books including Jazz On Film, Jazz On Record 1917-76 and Trumpet Kings

Excerpts from Syndicated Columnist Maxwell Chandler’s in-depth review:

The album’s initial description would make it seem a thing of kitsch or at best an ironic thing for hipsters to put on during a cocktail party. Not at all, aside from the words to the well known “Won’t You Be My Neighbor” this is a legitimate album free from all camp. Someone devoid of knowledge of Mister Roger’s music would just think it is a really good jazz album. An odd starting off point for a project, to be sure, but one which surprisingly succeeds.

Although this is the music of Fred Roger’s, the album is not meant to “teach life lessons”. It has been said that a good singer could sing the phone book and it would sound good. What could in other people’s hands come across as overly saccharine; works here. Throughout the album Holly’s voice gives off a sexy but fun vibe similar to June Christy in a good mood.

“I Like to be Told” adds a sultry component to the album. Here is Mister Rogers with a martini in his hand, breaking hearts. Without overacting or burying the original intent the song is subtly changed in Holly’s hands. There is a laconic blues, the piano softly tinkling in the spirit of the best saloon songs

The album over all is happy but manages to switch emotional gears; although always within the realm of the positive. When called for, Holly’s vocals have a romanticism without an overly burning immediacy which would effect the delightful organic sense of tension. The slow smolder makes Holly’s magic all the more potent.

The entire piece can be found at:
http://www.jazzreview.com/article/review-6525.html


Biography

Holly Yarbrough was born in Santa Monica, California. Her father, Glenn Yarbrough is a well-known recording artist with over seventy albums in his discography. Her Grandfather was a square dance caller in the Black Hills of South Dakota, and her Grandmother sang with the Paul Whiteman Orchestra.

Holly has studied at the Interlochen Arts Academy, Bard College and the Nashville Jazz Workshop. After attending at her Grandfather's bedside while he was in hospice care, she began volunteering for hospice through Compassion in Action.

Since 2006, she has worked for Alive Hospice in Nashville, Tennessee. She is currently pursuing certification as a therapeutic musician through the Music for Healing and Transition program.

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