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26 December 2007

KlezKamp 2007 Is Underway!

KlezKamp 2007 is underway. A good way to keep up with the daily activities is through the KlezKamp Blog. Click the link and check it out.

KlezKamp Blog

Keith Wolzinger
Klezmer Podcast

24 December 2007

Review: Spice It Up!

Review: Spice It Up!
Red Hot Chachkas


Spice It Up! is the second release by Red Hot Chachkas, of the San Francisco Bay area. The group has an eclectic sound with truly inventive arrangements of both traditional and original works. Many of the songs are composed or arranged by the band members. Some songs defy classification. They can be a blend of styles that merge into a wonderful sound that is a refreshing listening experience. All of the tracks are outstanding, but here are the the ones that really struck me.

Kostanowsky’s Sher No. 4 is a traditional sher dance that sets the tone for the album and is a jumping-off point for all that follows.

What happens when you combine Reggae with a nice Chosidl? The result is Barbara Speed’s Chosidl Diddle, which gives a new perspective on the traditional dance style. It works very well here, and the rhythm adds energy to this nice tune.

Speed gives us another great offering in Stomp It Up, a song that starts out as a Bulgar by the Clarinet, then changes to Bluegrass by the fiddle, with a nice clarinet/fiddle duet, and a somewhat Zydeco Accordion. There is a short open solo section, then we are taken through the cycle again for the finish. It’s a wonder how much music can be packed into two and a half minutes!

In a return to traditional dance, Tanz Medley is a great example of the band’s Klezmer roots. Beckerman’s Hora, Belf’s Chosidl, and Pedotser’s Tants make up this set, with some creative drumming by Michael Arrow in the middle section. Time to get up and dance!


Little Gouda is my favorite track on the album. It has a little bit of everything. It starts with a melancholy Bass solo, then the Violin takes over the melody in a slow Hora tempo, followed by the Clarinet. The song then takes a fast tempo, and runs away with a bluegrass-style Fiddle/Clarinet duo. A transition to a Bulgar gives us room for solos by the Accordion, Clarinet, and Violin. Then everyone comes back in for a high-energy finish. This is a great showcase for the Chachkas.

Cholent is more progressive in style, a free improv by the Viola and Sax. It creates an interesting mood, and show’s the group’s versatility.

A pleasant surprise is when the Chachkas turn Barbara Speed loose with her Flute on Sholom and beautiful Alto Flute on Son Kuslar, the latter a Turkish-inspired offering that is a real gem.

Shofar is another Hora, but this one comes across with an Irish feel. It’s a lovely tune, and I think the style is great and shows another side of the group.

The last track, Rocky Hora, is my favorite song title (though it has nothing in common with the similar-titled movie). This is an extended piece, at just over nine minutes, and is a great solo vehicle for the band members. The band shifts gears again, switching the instrumentation to Sax, Electric Violin, Accordion, and Electric Mandolin. The piece is a bit edgier than the others, and is a great closer for the album. Just when I thought I’d heard all that the band has to offer, they surprise yet again.

The CD package includes descriptions of each song and some nice photos of the band members. If you choose to download the tracks instead, the same information can be found on the band’s website.

The recording quality and mix is excellent, sounding equally vibrant on earbuds and in my home theater. As they claim from the liner notes: “Everything on this CD was recorded live in the studio, with no overdubs or patches.” It takes great musicianship to do that, and it shows. My only complaint would be that there’s a bit too much room ambience on the clarinet.

With 18 tracks and over 72 minutes of music, you really get your money’s worth from the album. To sum up, this is a terrific recording by a top notch group. If you’re ready for a wide-ranging adventure in Klezmer, you should give the Red Hot Chachkas a listen. They really know how to Spice It Up!

Keith Wolzinger
Klezmer Podcast

Spice It Up!
Red Hot Chachkas
2007

Links:
Red Hot Chachkas
RHC On MySpace

14 December 2007

Review: Sheynville Express

Review: Sheynville Express
Sisters Of Sheynville

Sheynville Express is the new release from Sisters Of Sheynville, the all-female Yiddish Swing-Klez group from Toronto. SOS, as they refer to themselves, bases their vocal style on the recordings of the Barry Sisters. But to pigeonhole them would be a great mistake. The sound is a great combination of a contemprory feel while holding true to the Swing tradition. Fronted by Vocalists Isabel Fryszberg and Lenka Lichtenberg, the three-part harmonies are intricate, but easy to listen to.

Probably the most inventive arrangement on the album is I’m An Old Cow Hand. Yes, it’s the old Western-style tune you may be familiar with, but they’ve added Jewish lyrics. “I’m an old cow hand from Bathurst and Grand” is a reference to a Jewish neighborhood in Toronto. After the second verse the song goes from a western swing into a German Goldenshteyn Bulgar, then to a latin clave, then a Western movie theme, and back to swing. I like the changing styles. Along with the new lyrics, this song covers a lot of territory.

Then there’s the Yiddish classic Chiribim. A favorite song for many, the middle section is infused with great jazz solos by Saxophonist Jane Fair and Pianist Fern Lindzon. Lindzon also provides the third vocal harmony on the album.

I must mention the outstanding rhythm section of Fern Lindzon on piano, Rachel Melas on Bass, and Lorie Wolf on Drums. These ladies are terrific! They shift between swing, bulgar, latin, and contemporory jazz with ease and absolutely nail each style.

The group is rounded out by the horns with Kinneret Sagee on clarinet, and guests Jane Fair on Sax and Rachel Lemisch on Trombone. They have a great sound, and Sagee’s Clarinet evokes the time of many of these songs, when Benny Goodman and Woody Herman were in their heyday.

While these songs are a combination of English and Yiddish, there is one absolute gem among them. Zivot je jen nahoda is a great song that starts in English, but comes around again in Czech, the native tongue of Lichtenberg. To hear this in three-part harmony is unusual and exciting. It’s clear the language is not easy to pronounce. I tried to sing along, but I almost hurt myself. (Not really, but I think I need some Czech lessons.)

Blues Stay Away From Me is a lovely change of pace as a slower song, as is Halfmoon, an original by Isabel Fryzsberg, done in a similar style

Another pleasant surprise is Lichtenberg’s arrangement of Sheyn vi di Levone, a well-known Yiddish swing song. This time it is done at a halftime tempo, which allows SOS to bring out more nuance, giving the song a very different feeling.

For Klezmer lovers there is A Vaybele a Tsnie, a Freylachs that is high energy and makes you want to get up and dance.

The album also includes such classics as Ketsele Broyges, Yidl Mitn Fidl, Di Grine Kuzine, and Ooh, Mama!. These are all very well done and enjoyable to listen to. This is what makes Yiddish really swing!

The last song, Ay, Ay, Hora, is a great closer. It is in a fast two and gives a last taste of the great SOS sound.

Speaking of the SOS sound, the recording and engineeering quality on the album is outstanding. Every vocal and instrument is clear and well-defined, and the mix sounds great on everything from earbuds to my home theater. Much credit goes to Producer Eric Stein, of Beyond The Pale and the Ashkenaz Festival, for bringing out the best the group has to offer.

I really liked the musical arrangements of Fern Lindzon, who has a great understanding of the varied musical styles on the album. The vocal arrangements by Lenka Lichtenberg are wonderful as well, highlighting the vocal talent of these gifted singers.

The 16-page CD booklet is nicely laid out, with both Yiddish and English lyrics and plenty of photos. One of the pages is about the concept for the album and the background of the band.

While these ladies are not really sisters, and there is no place called Sheynville (they say it is really a special place in their hearts and minds), the music here is genuine and impassioned. It left me wanting more. So stamp my passport, I’m hopping on the Sheynville Express!

Sheynville Express
Sisters Of Sheynville
2007

Keith Wolzinger
Klezmer Podcast

Links:
Sisters Of Sheynville
SOS On MySpace

20 November 2007

Review: The Lithuanian Empire

Review: The Lithuanian Empire

I love it when a fresh new sound comes along. The thing is that The Lithuanian Empire starts with traditional Klezmer as its basis. This is evident in the opening and closing acapella Nigunim that frame the rest of this thoroughly entertaining album. From there we are taken on a musical journey that I can only describe as North American-influenced Eastern European music. There is a balance to this music that keeps the listener engaged throughout the album. Each song has its own twist on the musical tapestry. From high energy klezmer/balkan/gypsy to jazz influences, as well as classical, punk, and rock, all are carried off in a very hip way.

The first instrumental, Ol’ Daddy Sizzlegut, sets the stage for the rest of the album. A high energy Klezmer tune that is thoroughly enjoyable, it features each band member along the way.

Balkan Balebusteh is a slightly different Balkan-style tune. Balkan music seems to have become quite popular in recent years, and these tunes are making their way into the Klezmer conciousness. This is a fine example of the genre, with a 7/4 time signature in a 4-3 pattern. It has a definite groove that grabs you and takes you along for a fast-paced ride. Check out the great contemporory drumming by Lorie Wolf.

Cherry Blossom Hora is one of three compsitions by band member Andy John. This seemingly Japanese-influenced medium-tempo Hora features John on Harmonica. Being familiar with Klezmer harmonica by the band Shtreiml, I have come to appreciate the texture that the instrument brings to the table.

Eva’s Tune, I think, represents one of the cornerstones of The Lithuanian Empire’s musical language. After a percussion intro by Wolf, the trumpet comes in with the melody, followed by clarinet and accordion, then the entire band, in a straightforward 7/4 Balkan tune. But then the band drops out, leaving just the piano, bass, and drums. The trio leaps into a free-form jazz section that is completely unexpected, yet is a truly great performance on its own. I would like it in any context, but it adds a new dimension to this piece. (It just shows you that you never can predict what TLE will do next!) The accordion joins in, then the band joins in, clapping the Balkan rhythm. Finally all of the instruments join in for the coda.

Tisch Nign II is a solo piece performed by pianist Fern Lindzon. This is a delicate piece that is difficult to categorize, but I suppose it could be called a Comtemporary Doina. Don’t worry about what I call it, just listen and be moved.

Yismekhusidl, an arrangement of a Klezmer tune by Trombonist Ryan Purchase is another example of TLE’s way of doing business. Just as we get comfortable listening to the great traditional groove set by the clarinets, the piece takes a turn into a funk groove with some very nice jazz comp chords by the piano. As the piece continues, more rock backgrounds are added by the Bass and Trombone. Then we take another turn into a Led-Zeppelin style funk groove with John taking a Sitar-style solo on electric guitar. Another case of something unexpected, but it works well in this context.

aSHERville is a duet composed by John, as a play on words between the song style and his hometown. Playing Harmonica again and joined by Wolf on Drums, this is a short piece that alternates between a Bluegrass style and a Bulgar. It is full of energy and shows yet another facet of TLE’s versatility.

Devorah Nign is an original by Purchase and arranged for Clarinet, Trombone, and Piano. This is a lovely, delicate arrangement, and brings in a chamber music quality, thanks to Purchase’s classical composition background. No switching styles here, TLE let this one stand on its own.

Sushi For Shabbes, the last instrumental, continues the Japanese thread with a latin-influenced Klezmer song, featuring solos by Clarinet, Piano, and Accordion. Check out the great Bass lines here!

The Lithuanian Empire is fast becoming one of my favorite groups/albums. Their love of traditional music is evident, as is their desire to incorporate many other musical elements. To some, it may seem to be a mash-up. But there is authenticity in each element that’s mixed in, from jazz to Balkan to funk to classical. It all works. I think that this is where Jewish music is headed and I’m all for it. Long live the Empire!

To hear my interview with The Lithuanian Empire, listen to Klezmer Podcast 22.


The Lithuanian Empire
The Lithuanian Empire
2007


Keith Wolzinger
Klezmer Podcast

Links:
The Lithuanian Empire
TLE MySpace

Review: Refuge Rock Sublime

Review: Refuge Rock Sublime
Mare Winningham

When Craig Taubman told me earlier this year that his company had released an album by Mare Winningham I was a bit perplexed. I was familiar with her work as an actress, but I didn’t have any idea of what the album would be about. Dramatic reading or music? Well, I recently received a copy and what I found far exceeded my expectations.

Be prepared to let go of any notions you have of what Jewish music is. This is a collection of songs about Judaism and comes from a very different place than Europe-rooted Jewish music. This is truly an American album and is done in a -- get ready-- Country Music style.

The first thing that struck me about Refuge Rock Sublime was the deep spirituality form the original somgs by Winningham. The other thing that was surprising to me was how natural the Hebrew lyrics sound in this context. It is amazing how the language and ideas expressed can be adapted and made universal in such an intersting way.

There are six originals by Winningham, and she composed music for two existing poems. There are also some liturgy-based songs in Hebrew, and one of the most moving versions of Hatikvah that I have heard.

A few songs worth noting:

My Fixed Point is a song about the values to be learned from the Torah and how central its teachings are in Jewish life. This is expressed in the line: “My Torah will be a fixed point in my life.”

Wall Of Prayer is about the protective power of prayer, whether we pray for ouselves or others.

The World To Come is about a vision of the afterlife and reuniting with our departed ones.

A Convert Jig is about what she learned during her conversion to Judaism. I like the line: “I will be a Jew like all of you and dance a convert jig.”

Oh Moses answers her question of who you would most like to meet. Who wouldn’t like to have dinner with Moses if given the chance?

The recording quality is outstanding, thanks to Producer Tim Crouch and Engineer Jon Raney. I love the clarity and blend of the guitar, mandolin, and fiddle throughout the album.

The lyrics are not included in the packaging, nor did I find them online. I hope they will be made available sometime soon.

Refuge Rock Sublime is a remarkable achievement, and deserves serious consideration as an addition to any collection of Jewish music in the truest sense. I feel like dancing a Jig myself. How about you?

Refuge Rock Sublime
Mare Winningham
Craig n’ Co.
2007

Keith Wolzinger
Klezmer Podcast

Links:
Refuge Rock Sublime
Craig 'n Co.

Review: Yiddish Songs For The Soul

Review: Yiddish Songs For The Soul
Hy Wolfe

At the heart of much of Jewish Music lives a Yiddish soul, and Hy Wolfe has tapped into this legacy with “Lider Far Der Neshome”, Yiddish Songs For The Soul. Wolfe gives us a cross-section of Yiddish music that follows the Jewish migration from Eastern Europe to North America. Wolfe’s years of experience in Yiddish Theater are on display here with a wonderful voice that delivers a rich and enjoyable performance on every track.

Jewish culture is full of both great joy and deep heartache. The music must be able to convey these themes to the listener in such a way that they are enjoyable to listen to, and Wolfe succeeds from one end of this spectrum to the other.

A song of the hardship of rural life in Russia, In Vinter Farnakhtyn Oyf Rusishe Felder, is translated:

The winter sun sets in the Russian fields:
Where could it be more desolate, where could I be more alone?

The theme of life in Russia is continues with “A Zelner Bay Froyem-Yosl,” a song about the conern an observant family has about their son maintaining an observant lifestyle while serving in the Russian Army (he doesn’t).

Love songs abound in Yiddish music as well, and I like “Khavivele,” a song of longing for a girl from the Negev.

Songs of happiness can also be found, and in “Khasisimlekh,” we hear about the joy of the Chasidim as they dance, sing, and raise their glasses. They have no worries as they rejoice with the Rebbe.

Yiddish culture found its way finally to North America, and onto Yiddish Theater and Cabaret stages. These songs mix Yiddish with English, and are very clever.

“I’m A Litvak And She’s A Galitz” is a song about a happily married couple who love each other very much, except that they speak different Yiddish dialects and can’t get along.

“Umglik Blues” is a jazzy blues with a typical theme of many southern Blues songs: the distraught husband from The Bronx whose wife left him to run off to Atlantic City with Lapidus, the delicatessen owner. Still, he offers to take her to Miami Beach if she’ll come back to him. Now, who could refuse such an offer?

Jewish life in the American South is the theme of “Number Four Humentash Lane,” a Gershwin-style theater song, in which Wolfe tells us what he is looking forward to when he gets back to his home in the Deep South.

The album includes a 24-page booklet with complete Yiddish lyrics and English translations, and photos of Wolfe from his performances. The arrangements by Herbert Kaplan, even though MIDI-based, are very well done, and never overshadow Wolfe’s vocal sensitivity and depth.

“Yiddish Songs For The Soul” is dedicated to Wolfe’s parents, who came from Poland. It is easy to see the love and dedication that went into this album, and the feeling he has for life in the old country. Listen and get connected with your own Yiddish soul.

Lider Far Der Neshome
Yiddish Songs For The Soul
Hy Wolfe
Yiddishland Records
2005


Keith Wolzinger
Klezmer Podcast

Link:
Hy Wolfe

Review: Menorah- Songs From A Jewish Life

Review: Menorah- Songs From A Jewish Life
Shelley Posen

Don’t be misled by the title. Menorah is not an album of Chanukah songs, but a truly remarkable collection of original songs about Posen’s observations of Jewish Life. When I received the CD I didn’t listen to it right off. I spent some time first with the 28-page booklet that comes with it. I found that reading through the booklet helped prepare me for the truly inspired music I was about to hear.

In the booklet’s introduction, Posen explains that the album title comes from a treasured family Menorah that was handed down from his grandmother to his mother and finally to him. It’s not really about the Menorah, though, but about how it binds together the generations of his family. And it is done in such a way that is both moving and joyous. Full lyrics and song notes are included and a Glossary of Terms is available on his website.

As I read through the booklet, the lyrics’ poetry and depth of feeling resonated with me. The humorous songs are very clever and the more serious songs convey a deep love of family and Jewish tradition.

The music is very well done, with styles taken from many different genres. One of my favorite songs, Street Corner Havdalah, is done in a perfect do-wop style, and is a tribute to Dion and the Belmonts. Check out the 4-part harmony, especially at the end of the song.

Another favorite is Will Their Children Light The Candles, Posen’s Klezmer-styled song about his concern whether or not his future grandchildren (and all of ours as well) will maintain a Jewish identity, observing the holidays and traditions, or abandon it for an assimilated life. This song includes my friends, the Toronto-based band Beyond The Pale, and adds an authenticity that perfectly matches the sentiment of the lyrics.

One of the more clever songs is Home For Shabbes, a song about New York Jews rushing home on the subway on Friday afternoon, worried about arriving before Shabbes begins. Beyond The Pale joins again for this mashup of Klezmer-meets-Gilbert and Sullivan. It’s great fun!

Posen’s loving tributes to his mother are evident in Fork Garden, My Mother’s Old Menorah, and Angels To The Light. I won’t go into detail here, but trust me, these pull at the heartstrings and are the the real gems to be found here.

On the humorous side, there is Dim Sum (or, One in a Minyan), about an Orthodox Jew seeking out a tenth man in a local Chinese restaurant. (What better place to look?) Cholent is a blues/shuffle about the traditional Shabbes dish. (This song got my daughter’s attention, as she gets to sample Cholent every year at Jewish Camp. It’s her favorite song.) The food theme continues with Everybody Loves Shabbes But The Chickens, done in a March style. The chickens wonder if we might like something else as a meal for a change? And, Finders Kippers, a bluegrass tribute to a favorite breakfast dish.

Also on the album are songs of a more liturgical nature. Eliyahu is a Klezmer prayer for Eliyahu to return at Pesach, dedicated to the Jews of York, England, in the year 1190. Shepherd is a Caribbean-style song about biblical heroes who were shepherds for a time. Ani Adam is a beautiful Hebrew vocal duet with a delicate instrumental and choir background.

Lastly, there is A Scottish Tale of Purim, a short standup comedy story spoken by Posen, recorded at a live event.

I like Posen’s singing style very much. He reminds me of Tom Lehrer, able to deliver humor, reverence, and sentimentality with equal skill. The background musicians and vocalists are outstanding, and the arrangements by Paul Mills and Martin van de Ven are a highlight. Mills also had his hand in the fine engineering on the album, handling the Producing, Recording, and Mixing duties.

Menorah is a joy to listen to.I like the varied music styles, but keeping the Jewish/Klezmer tradition alive as well. The singing and musicianship are top notch, the arrangements are thoughtful, the album “sounds” great, and the booklet is quite well done. It is clear that much love and dedication has been poured into this album. Posen’s Menorah is as much a gift to us as his mother’s Menorah is a gift to him.

Menorah- Songs From A Jewish Life
Shelley Posen
Well Done Music
2007

Keith Wolzinger
Klezmer Podcast

Link:
Shelley Posen

22 October 2007

Review:Shuff!- Den Flygande Bokrullen

Review: Shuff!
Den Flygande Bokrullen

When Den Flygande Bokrullen contacted me on MySpace to add me to their friends list, I was immediately intrigued and looked up their profile page. Imagine, a Klezmer band from Sweden! ( I do have some Swedish heritage.) When I listened to their song samples, I was hooked. DFB (as they refer to themselves) has a street-klezmer sound that grabs you and takes hold of your soul. This is joyous, raucous music that spans several genres of Eastern European music. Besides Klezmer, there are Balkan, Turkish, and Romanian songs.

The band has a great blend of instrumentation, and everyone is featured at some point on the album. Even though the group is brass/woodwind centered, I very much enjoyed “Manos,” which features some very nice Mandolin/Piano work, and “Barbanjo,” which starts off with Banjo/Accordion. I think the most serious and lovely piece is the final “Leipzig,” a delicate brass choir piece with sax, but no rhythm section.

Of the 15 songs on the album, 5 are original compositions by members of the band. The band as a whole takes credit for all of the arrangements.

The recording has a great “live” feel to it. Even though this is a studio recording, the band draws you in and the listener feels part of the action. I’ve listened to this album several times and each time it ends I start it over again, just to hear a little bit more.

If your taste leans toward brass/woodwind klezmer do yourself a favor and give Shuff! a listen. You can thank me later.

Tak!

Shuff!
Den Flygande Bokrullen
Arko Records, 2007

Keith Wolzinger
Klezmer Podcast

Links:
Den Flygande Bokrullen
DFB On MySpace

Review: Voyage- Trio Helene Engel

Review: Voyage
Trio Helene Engel

Voyage is the aptly titled album from Montreal-based Trio Helen Engel. Voyage takes the listener on a journey through the Jewish musical world. The versatile Engel sings in Yiddish, Hebrew, French, Ladino, and English. With the help of Henri Oppenheim, the arrangements have an authentic sound unique to each region visited by these songs. The album touches on the music of Poland, Ukraine, Morocco, Spain, France, Russia, Israel, and North America.

Voyage is the fifth album by Engel, though her first with the current Trio, which was formed in 2005.

The first track, Introduction, starts with the sounds of a noisy club audience, who gradually gets quiet as the band begins to play and Engel appears and begins to sing wordlessly. From there we are along for the ride as Voyage goes on its globetrotting adventure.

The musical styles vary, but the high level of musicianship is steady throughout. The backing by Oppenheim, violinist Marie-Niege Lavigne, and guest guitarist Jean Desrochers, is a perfect match for the voice of Engel. The instrumental solo breaks are well done, and I especially enjoyed the jazz violin work by Lavigne on Bai Mir Bistu Sheyn.

The CD insert is a four-page booklet with French and English bios of the band members and a brief description of the album. The lyrics, translations, and information about each song are available on Engel’s website. They are quite extensive, with the lyrics being translated into French and English. If you like a variety of Jewish song styles, and a classically-trained voice backed by a great ensemble, then have a listen to Trio Helene Engel. Bon Voyage!

Voyage
Trio Helene Engel
2007


Links:
Helene Engel
Voyage Lyrics and Notes

04 October 2007

Review: Budowitz Live

Review: Budowitz Live
Budowitz

Budowitz Live is the latest release from Budowitz, a klezmer group that brings new life to the music of the Eastern European Jews. I first became aware of Budowitz in 2001, but it was only recently that I took the next step and became seriously interested in the the group and the truly wonderful music that they bring to the world.

The group is fronted by Josh Horowitz (Tsimbl/Accordion) and Cookie Segelstein (Violin) who together wrote most of the arrangements on the album. They are joined by Christian Dawid, a favorite Clarinet player of mine, and string players Tamas Gombai, Sandor Toth, and Zsolt Kurtosi. Some of the songs are original compositions, but blend completely into the soundscape that Budowitz so ably lays out for us.

The 2-disc set is taken from live performances in Switzerland and is organized into suites from ten geographic regions of Eastern Europe, including Mogiolev, birthplace of my paternal grandfather. I find it particularly helpful to regionalize these songs, as there is a clear distinction between the musical styles and emotional impact these songs convey, based on the locality of the people who originated them. Budowitz takes us on tour with them through the villages and countryside of these areas, evoking a strong sense of place and community from each song.

You know, being slightly Geekish, I always have to say something about the quality of the sound. For those of you who opt to get the CD, or a high-quality download, you’re in for something special. This has to be one of the most pristine live recordings I’ve heard. Live recordings can be dicey, especially when using two venues for the performances. Budowitz assembled a first rate team for recording, mixing, editing, and mastering this intricate material. The mix sounded great on computer speakers, earbuds, and my home stereo. But, when I tried it on my home theater system and switched to the DTS Neo:6 mode and listened in 6.1 surround, I felt like I was in the front row of the concert. Trust me, give it a try!

Finally, I want to mention the 12-page insert booklet that comes with the CD package. Produced by Horowitz and Segelstein, the booklet does not contain lengthy “liner notes”, but rather, short descriptions of each song, stating its purpose and origin. That’s enough for me. We don’t all have to be musicologists to enjoy great music. We also are treated to four pages of a photo collage that give us a glimpse into the life of the group while on tour (plus what appears to be some klezmer-loving pets!).

What more can I say? I’m a brass player, but I love this album. If you are into string/tsimbl/accordion style klezmer you will love the authentic feel and presence this album delivers. I highly recommend you make room on your shelf or hard drive for Budowtitz Live!

Budowitz Live
Budowitz
Golden Horn Records
2007


Keith Wolzinger
Klezmer Podcast


Links:

Budowitz

Golden Horn Records

Klezmer Podcast

15 September 2007

Review: The Golem of Bathurst Manor

The Golem Of Bathurst Manor by KlezFactor is a wonderful album of progressive jazz-influenced klezmer. Leader Mike Anklewicz takes the lead on a musical journey that is unique to the Toronto-based group. The album pays homage to the klezmer tradition with four well known klezmer tunes arranged to showcase KlezFactor’s signature sound. Anklewicz chooses saxophone rather than the traditional clarinet along with violin to create a different vibe. The use of electric guitar and electric bass completes the transformation to a style that is new and engaging to listen to.

Anklewicz shows his range on the six original compsitions he wrote for this album. From the progressive title track to the smooth sound of “Negev,” these originals are full of fresh ideas and styles. KlezFactor takes us to their world of first-rate musicianship, dynamic improvisation, and innovative arrangements.

I also have to mention the excellent production and engineering. The mix is great and the sound is detailed enough to hear the softest cymbal hits and background percussion.

If you like some jazz with your klezmer, or a little klezmer with your jazz, you would do well to check out Mike Anklewicz and KlezFactor. They certainly are a factor on the international Klezmer scene today.

The Golem Of Bathurst Manor
KlezFactor
Standback Records, 2005

Keith Wolzinger
Klezmer Podcast

31 July 2007

Review: Vayte Shtern by Vira Lozinsky

Review:
Vayte Shtern (Distant Stars)
Vira Lozinsky

Vayte Shtern is the first album released by Yiddish Singer Vira Lozinsky. Ms. Lozinsky, a Moldova-born Israel immigrant, is a fresh voice in the world of Yiddish song. This self-produced album blends Jewish, Moldavian, and Gypsy musical styles in such a way that the listener seems to be transported, becoming part of the landscape of the “old country” in the old days. There is a mix of joy and sadness in these songs that reflects the character of the people who have left, as well as those who stayed.

This is the Yiddish of native speakers, not that of those who simply pick up the lyrics and learn the pronunciation. In fact, nearly half of these songs are from the hand of Lozinsky’s father, Yiddish poet Michael Felsenbaum. This authenticity is such a part of the music that it would be difficult to imagine these songs performed in any other language.

The musical arrangements by Regina Dricker, Lev Kogan, and Hanan Winternitz are sparse, consisting of piano and an occasional clarinet or violin. But this leaves plenty of room for Lozinsky to take us on her musical journey and to delight us with her considerable talent and emotional range.

An interesting effect used on two of the songs is a synthesized wind, which evokes an image of a cold, hard winter in the Shtetl. Another effect is the occasional increased reverb, which gives us a sense of distance, or leaving, or even of a dream.

The songs’ themes range from love and joy to loss and hardship. The album package includes some photos, full Yiddish lyrics, and a limited English translation. I do wish for a full English translation to appear sometime in the near future. But as a musician, the English lyric to Dos Kleyne Tsigaynerl (Little Gypsy) brought home to me the importance of music to the Jewish and Gypsy people:

I am a small but good-looking Gypsy.
I don’t know where I was born.
My mother deserted me, my father was killed.
The only thing that has kept me alive
Is the fiddle that my father left me.
Oh, my fiddle, my dear friend-
You are the only one who knows.

This is an album of great depth and meaning. The music supports the singing, and the singing, without question, draws the listener into the very special world of a unique and interesting blend of cultures. Vayte Shteren by Vira Lozinsky deserves a serious listen and should be added to your collection of Yiddish recordings.


Keith Wolzinger
The Klezmer Podcast

18 May 2007

Upcoming Episode 11

I am in the process of preparing Klezmer Podcast 11, in which I interview Seth Kibel of the Alexandria Kleztet. There will also be a couple songs played. Look for it in about a week.

Keith

15 May 2007

Welcome!

Welcome to the Klezmer Podcast Blog. I am jumping into the blogoshpere and catching up to the rest of the world. This will create synergy with the website and MySpace. Plus, this will become an online community where everyone will be able to post and respond. I'm very excited about the possibilities here. Everyone is welcome and I look forward to experiencing this new way of communicating and sharing my thoughts and activities.

Please also check out the website and MySpace pages:

http://klezmerpodcast.com/

http://myspace.com/klezmerpodcast


You can also find me at the iTunes Store here:

Klezmer Podcast

KlezKanada 2006 Podcast


Thanks for viewing my Blog!

Peace,
Keith