Pat a Pan is a little French (Burgundian) carol revolves around the nativity. Willie and Robin, possibly shepherds, are urged to bring their flutes and drums to celebrate the birth of Christ. The song is a favorite of children who enjoy imitating the flute (tu re lu re lu) and drum (pat a pat a pan). Get more information about Pat a Pan on wikipedia.

O Come, O Come Emmanuel is a translation of the Latin text, "Veni, veni, Emmanuel" which dates back to at least the 12th century. It is possible that the music comes from a 15th Century French processional for Franciscan nuns, but there are indications that it may origins that are 8th Century Gregorian. Get more information about O Come, O Come, Emmanuel on wikipedia.

Also slipping into the mix of this arrangement is a verse from God Rest Ye Merry Gentlemen. Though the author is unknown, this carol appears to have been sung long before it was published in 1833. It is thought to be one of the most popular carols of the 19th century and it even appeared in Charles Dickens' A Christmas Carol (1843). More about this carol can be found here.

Willie, bring your little drum; Robin, get your flute and come;
On these instruments you’ll play. Tu-re-lu-re-lu, Pat-a-pat-a-pan,
We will listen as you play for a joyful Christmas day.

O, come, o, come, Emmanuel and ransom captive Israel, 
That mourns in lonely exile here until the Son of God appear. 
Rejoice! Rejoice! Emmanuel  shall come to thee, O Israel!

From God our heavenly father a blessed angel came
And unto certain shepherds brought tidings of the same
How that in Bethlehem was born the Son of God by name.
O tidings of comfort and joy.

Arrangement and orchestrations by Ricky Tims, published by Ricky Tims Music/BMI  2009 All Rights Reserved.

Ricky plays: piano, toy piano, keyboards, hand percussion, soprano recorder, and sings all male vocals.

Drum kit: Bob Mater

Female vocals: Kat Bowser

Digeridoo: Jeff Bilyeau

This piece began when I recorded hand drums to create a rhythm bed for some yet decided tune. I let the rhythm loop and played various familiar Christmas tunes over it. Pat a Pan is the tune that stuck and the arrangement flowed from there. While I have great affection for slower, more meditative - almost cinematic music (such as The Holly and the Ivy and Let All Mortal Flesh Keep Silence), I realize that within any concert or recording there must be songs that get toes a-tappin' and heads a-bobbin'. Certainly this arrangement does just that.

My previous associations with O Come, O Come Emmanuel were chant-like - mysterious, slow, and well - Gregorian. At first it was a bit awkward for me to use O Come, O Come Emmanuel on top of such a driving rhythm. However, it felt so right, and the "Rejoice" sections were very uplifting and so full of energy that I continued on. For those of you who may be purist in regards to the treatment of carols, I hope you will find this particular setting appropriate.

The addition of the didgeridoo was originally intended to extend the song for the concert version. However, once it was included it seemed so natural to include it on the album as well.