David Yamasaki Trio, A Christmas Wish Review

by Stamish Malcuss

On A Christmas Wish, guitarist David Yamasaki joins Robert Shinoda and Shoji Ledward for nine seasonal selections shaped by acoustic strings and the expressive language of jazz. Rather than rebuilding these songs from the ground up, the trio explores the possibilities within their familiar contours.

The combination of guitars and ukulele gives the recording its distinctive character. Yamasaki and Shinoda play guitar, while Ledward contributes both guitar and ukulele. Across the program, melodic lines, chordal accompaniment, and independent figures move between the instruments. Their contrasting timbres make the different musical roles easy to follow, even as the players occasionally join in harmonized passages.

Vince Guaraldi’s “Christmas Time Is Here” illustrates the ensemble’s sensitivity to melody. The tune unfolds lyrically over gently arpeggiated accompaniment, with occasional harmonized movement adding warmth to the texture. A relaxed jazz-waltz pulse carries the performance forward, allowing the soloists to introduce flowing jazz phrases without disturbing its reflective atmosphere. The final statement brings a few additional melodic embellishments, giving the interpretation a natural sense of progression.

“My Favorite Things” provides a more active display of the group’s arranging craft. A recurring minor-key guitar figure establishes the medium-tempo waltz before developing into counterpoint against the melody. Accompanying parts create moving inner voices, while modal interchange and reharmonized cadences introduce fresh harmonic colors. These details give the performance an evolving character, drawing interest toward the relationships between the lines rather than the complexity of any single part.

The addition of bassist Shawn Conley and drummer Abe Lagrimas Jr. gives the track a broader rhythmic foundation. Their support allows the guitar accompaniment to become more animated, while the ukulele solo develops scale-based phrases that resolve toward recognizable melodic points. The resulting interplay creates momentum without crowding the acoustic texture.

“Silent Night” approaches its familiar material through a different rhythmic setting. An opening bass-line figure outlines the harmony before the performance settles into a straight-eighth-note feel in 4/4. Flowing arpeggios establish movement beneath the melody, and occasional chord substitutions introduce harmonic tension at carefully chosen moments. The improvisations bring individual phrasing and melodic character to the carol, while the ensemble maintains a cohesive musical identity.

Other selections broaden the album’s expressive range. “Frosty the Snowman” offers playful, country-influenced gestures, while “We Three Kings” introduces a darker atmosphere through minor-key harmony and repeating figures. On “I’ll Be Home for Christmas,” ukulele chord-melody textures establish an intimate setting before the guitars enter to expand the sound.

The original title composition, written by the late Aaron Aranita and featuring vocalist Rachel Gonzales, adds a personal dimension to a program otherwise centered on established seasonal repertoire.

 A Christmas Wish is a project where a melody needs only a sensitive moving accompaniment, where a harmonic substitution can change the direction of a phrase, and where an independent instrumental line can bring additional depth to a familiar progression.

Yamasaki, Shinoda, and Ledward have created a holiday recording in which three individual musical voices contribute to a unified acoustic sound. Its warmth makes it inviting seasonal listening, while the craft behind the arrangements offers plenty for jazz enthusiasts and fellow guitarists to appreciate.