Allow me the possibly heretical thesis statement, but I’ll argue that few musicians of any generation have not been impacted by the Great American Songbook. I’m certainly no exception. But while I adore the lyrical twists, the melodic surprises of Cole Porter, I submit that there’s music of my lifetime that feels just as iconic, swingin’, swoony and witty as that of the greats who came before.  So I’ve set out to explore what I affectionately call the New Testament of the Great American Songbook.  The stuff that came after. Presently, the Gospel According to Nilsson.    

Harry Nilsson is still not in the Rock And Roll Hall of Fame.  Their loss.  In my view, he is the post-modern son of Cole Porter and Richard Rodgers. He had a wit and whimsy with words, more minimalist than his forefathers, and he brought a fresh-whipped dollop of rock ‘n’ roll swagger and irreverence to his own soaring melodies and sparkling chord choices.   His life, his work, his reputation is all so sweet, sour and a bit naïve.  Perhaps that was what took me down the rabbit hole during the pandemic.  The catharsis of processing our world with my own take on sweet and sour naivete. 

Then again, as one woman famously said, “It takes a village,” and I would not have made this album without a community of musicians who have gathered each year in Los Angeles—and more recently, on Zoom--to pay tribute to Nilsson on his birthday.  Every year like a summer Christmas toy, I would unwrap, disassemble and reassemble one of his songs and re-arranged it to my liking. Over the years, I came to wholly relate to Harry’s childlike spirit and how he reminded me that we play music.  Not “work” on music.   That feels like a bygone era, indeed!  

This album of artisanal music, hand-crafted with locally sourced musicians observing strict Covid safety protocol kept me sane, and I hope it makes you crazy!    Nilsson was my perfect pandemic pod. 

Danette Christine

November 2021 

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"Harrytic" CREDITS: 

One (Picasso Version) 

Bass/Vocals:  Danette 

Drums:  Steve Ferrone 

B3 Organ:  Phil Parlapiano 

Guitars:  Rober Luis 

Early In The Morning (For Mama Chase)* 

Bass/Vocals:  Danette 

Triangles:  Nelson Bragg & Bob Gannon 

Wurlitzer electric piano:  Phil Parlapiano 

Salmon Falls 

Vocals:  Danette 

Drums/Percussion:  Zev Shearn-Nance 

Bass:  Rene Camacho 

Keys:  Phil Parlapiano 

Guitar:  Rober Luis 

Synths and Soundscapes:  Francisco Torres & Danette 

Think About Your Troubles (Río Renderizção) 

(Arrangement:  Francisco Torres) 

Vocals:  Danette 

Drums:  Aaron Serfaty 

Percussion:  Joey De Leon 

Bass:  Rene Camacho 

Piano:  Andy Langham 

Nylon Guitar and Tres Guitar:  Rober Luis 

Saxophone & Flute :  Sal Lozano 

Trombone and Bass Trombone solo:  Francisco Torres 

Trumpet:  Wayne Bergeron 

Additional guitar: James Saéz 

Remember (Habana Love Session) 

(Arrangement:  Francisco Torres & Danette Christine) 

Vocal:  Danette 

Congas & Percussion:  Giancarlo Anderson 

Timbales:  Joey De Leon 

Bass:  Rene Camacho 

Piano:  Andy Langham 

Saxophone:  Sal Lozano 

Trombone:  Francisco Torres 

Trumpet:  Wayne Bergeron 

Wasting My Time 

Bass/Vocals:  Danette 

Rubboard:  Randy Lewis 

Ukulele, Piano:  Phil Parlapiano 

Trombone solo:  Ivan Pyzow 

 

Produced by Danette Christine 

Mixed by James Saéz, Mastered by Stephen Marsh 

Recorded Covid-safely at The Barn, Tritone Studio and The Audio Labs. 

Album design:  Todd Westover 

Album photography:  Portia Brugger 

All songs written by Harry Nilsson except (*) Hickman, Jordan, Bartley 

Generous Genuine Gratitude for:  These great musicians, especially Francisco Torres, Phil Parlapiano, Roberto Luis, Steve Ferrone for saying yes.  James Saéz for friendship, expertise and expecting greatness.   Kevin Axt for picking up the phone.  Mario Candelario & Mark Trejo, who taught me my tumbao, which changed everything.   Todd Westover, a beautiful artist worthy of our love, Bill Bingham for holding the mirror to my good trouble, Anny Celsi and Sandra Tsing Loh for being in my Covid processing bubble, Sarah & Robert Sturdevant, Sam Phillips, Rich Kinney for showing up, PCC for the ProTools support.  And thank you Randy, for always speaking truth and never stopping me from reaching…and Hal Wilner. 

This album is dedicated to Zak Nilsson, Todd Lawrence/Milo Binder, and all who lobbied to get Harry in the Rock And Roll Hall Of Fame.   Without our annual gatherings, and your talent enthusiastically shared, these revisionist renditions would not exist.  

…and to Portia, a great musician and listener who in 2017, wrote in her high school paper (while obsessed with Shakespeare)…“As the car journeyeth to school,  I listened to my jams: Harry Nilsson. “Who? Thou asketh?”  If ye know not Nilsson, get thee to the record store!”  

This heretic collection is for you, too. 

Available on these streaming services

Danette is a musician, producer and music historian, fourth generation Los Angeleno, still living in California.   She has produced entertainment for four U.S. Presidents.

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Allow me the possibly heretical thesis statement, but I’ll argue that few musicians of any generation have not been impacted by the Great American Songbook. I’m certainly no exception. But while I adore the lyrical twists, the melodic surprises of Cole Porter, I submit that there’s music of my lifetime that feels just as iconic, swingin’, swoony and witty as that of the greats who came before.  So I’ve set out to explore what I affectionately call the New Testament of the Great American Songbook.  The stuff that came after. Presently, the Gospel According to Nilsson.    

Harry Nilsson is still not in the Rock And Roll Hall of Fame.  Their loss.  In my view, he is the post-modern son of Cole Porter and Richard Rodgers. He had a wit and whimsy with words, more minimalist than his forefathers, and he brought a fresh-whipped dollop of rock ‘n’ roll swagger and irreverence to his own soaring melodies and sparkling chord choices.   His life, his work, his reputation is all so sweet, sour and a bit naïve.  Perhaps that was what took me down the rabbit hole during the pandemic.  The catharsis of processing our world with my own take on sweet and sour naivete. 

Then again, as one woman famously said, “It takes a village,” and I would not have made this album without a community of musicians who have gathered each year in Los Angeles—and more recently, on Zoom--to pay tribute to Nilsson on his birthday.  Every year like a summer Christmas toy, I would unwrap, disassemble and reassemble one of his songs and re-arranged it to my liking. Over the years, I came to wholly relate to Harry’s childlike spirit and how he reminded me that we play music.  Not “work” on music.   That feels like a bygone era, indeed!  

This album of artisanal music, hand-crafted with locally sourced musicians observing strict Covid safety protocol kept me sane, and I hope it makes you crazy!    Nilsson was my perfect pandemic pod. 

Danette Christine

September 2021 

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