Review: Hodu

Review: Hodu
PHP

There seems to be a growing number of Jewish bands these days, and I find that to be very encouraging. One of these new groups is PHP, who has released their debut album, Hodu. PHP has a contemporary sound and a good range of material in both Hebrew and English. Their music is enjoyable and inspirational.

The opening song is Hema, a Hebrew song that has a great groove, slightly Reggae. The lyrics and vocal harmonies are great, and they bring in some very nice touches, such as flute, a horn section, a ripping guitar solo, and a very cool keyboard sound.

Malchus is another great song, featuring a horn section break, and a trombone solo at the end. As a trumpet player, I really enjoy the blend of the horns with the guitars and keyboard. A good arranger can use this to great effect, and it shows here.

Waiting is my favorite track on the album. Beyond the nice vocals and English lyrics, the musicianship of the band really shows with some tasty acoustic guitar at the beginning and end, acoustic piano in a jazz style that reminds me of Dave Grusin, a nice synth string section, and innovative percussion. The chorus has a nice hook. I found myself unable to resist singing along.

I was, however, a bit disappointed with the title track, Hodu. Another Reggae-influenced song, I found it repetitive, with a lack of excitement in the vocals. There is some nice electric guitar, though. I’m just not sure why this was selected as the title track.

PHP gets back in the groove, though, with a very good song, Shiru Lo. I found it to be the best vocal arrangement on the album with a nice backing vocal harmony. Nice instrumental work, too, especially the Keyboard solo. And the wind sound at the beginning and end adds a feeling of lonely desolation.

A-minor Nigun is unique among these songs. I haven’t heard a nigun that grooves as well as this. The vocal harmonies and horn arrangement add a sense of joy to the great melody. And there are some great guitar solos.

Yedid Nefesh and Yik’raini round out the vocal tunes. Both are nice songs that give us more of that great PHP sound.

There are two instrumental tracks, Hallway Jam and Cabin Jam (& Hidden Track). Hallway Jam is a fine interlude between the vocals and is a change of pace for PHP. It has an acoustic folk song quality with some talented guitar and percussion work, as well as a rainstick (always a nice touch). Cabin Jam, on the other hand, has a real open jam feel to it, and is very listrenable. I love this sort of thing, and wish it could have gone on longer. Hidden Track is a short, fun bit. I won’t give it away, but it’s definitely worth listening to.

On the technical side, I was very impressed with the engineering and production quality of Hodu. The mix is great, with the vocals nicely balanced and the instrumentals clean and distinct. It sounded great on my home theater setup as well as on headphones, earbuds, and small speakers.

As I have only the AAC files and album cover art, I don’t have the full album credits or song details. And I couldn’t find these on the PHP website. Only the band members are listed there-

Pinny Farkas ~ Drums; Payis
Doni Joszef ~ Rhythm Guitar; artwork
Aryeh Kunstler ~ Bass; Vocals
Ahron Rosenthal ~ Guitar; Lead Vocals

I like PHP very much and highly recommend Hodu to anyone with an interest in their Jewish Jam style. It’s a wonderful debut for them and I look forward to hearing more from these rising stars.

Keith Wolzinger
Klezmer Podcast

Hodu
PHP Sameach Records
2008

Link:
PHP

Review: Trafik

Review: Trafik
Veretski Pass

There are times when a musical performance completely transcends our notions of what we think of as “good” music, regardless of the genre. Such is the case with Trafik, the new release from the trio Veretski Pass. When you are presented with such distinctive material, virtuosic musicianship, and excellent engineering, you have the ingredients for an amazing album.

The music originates from Eastern Europe in the Carpathian region, where the real Veretski Pass is located. The traffic referred to in the album title is the transiting of various peoples through the area. Musical styles from the neighboring cultures in the region are blended together and transformed into a sound that is unique to this group.

Trafik consists of nine suites, each with its own thematic idea. Some of the suite or track titles are slang phrases from the cultures represented; others are more descriptive. One of my favorites is Zero Dark Hundred, a beautiful Violin doina. Others, such as the suite Full Bow of Horse have the titles Dov the Cow Swimmer and Noisy Dog. There is also the lovely Tango Under the Influence, an accordion feature, with a steady rhythmic Bass line underneath. If you are curious about these titles go to the Veretski Pass website and Klezmer Podcast 18.

The trio consists of highly talented musicians Cookie Segelstein (Violin); Joshua Horowitz (Button Accordion, Tsimbl); and Stuart Brotman (Cello, Tilinca, Baraban). They have a communal approach to arranging their music, combining traditional melodies with original compositions in such a way that the line is blurred between the two. They have a way of making original works sound just like a traditional village melody. And it works the other way around, too. As Segelstein says: “We decided to just play music we like, and if we didn’t like it we’d rewrite it.” They also blend their own compositions with improvisations to come up with some very interesting musical forms.

One of the suites that I like a lot is The Pass, consisting of Red Mist and Risen Ground, with Brotman playing the Tilinca, or Carpathian Flute, a simple village instrument that seems to have a life of its own. We hear a Tilinca doina, followed by a lively dance. The last section, Klyucharkier Kolomeyke and Hutzulka is a fast dance with Brotman switching to Balaban (or Poik, a drum/cymbal setup) and Horowitz on Tsimbl.

But the music is more that just dances. The slower songs, like the Hora tracks are moving, but not in a sentimental way. They simply reflect the feeling of the music from this region. And the folk fiddle style is in high gear on Three Wheels Czardas. Segelstein is just as much a master of the folk fiddle as she is of the doina, and everything in between.

Now, just a bit about the engineering of Trafik. From a technical point of view, this album is a finely crafted work of art. The album was recorded “live” with very little editing. There are no overdubs or reverb. It was recorded in a recital hall with great natural acoustics. The only editing was to combine the best “takes” together. In fact, only 15 edits were made on the album. For a more in-depth look at the recording process look at Recording Trafik with Veretski Pass by Yves Feder, recording master for Tiny Radio
Productions on the Veretski Pass website.

The CD package has a minimum of information. Only track title information, credits, and special thanks are included. The group’s website has some additional information, such as a Glossary for both the Suite and Track Titles, bios, instrument information, photos, and the aforementioned look at the recording process.

I find Trafik to be a great look into the world of Eastern European village music. I highly recommend this album to anyone who has an interest in the Carpathian klezmer style, or who just appreciates a masterful performance of this deep and meaningful music. It is a celebration fit for the young and old alike. Don’t “Pass” this album up!

Keith Wolzinger
Klezmer Podcast

Trafik
Veretski Pass
Golden Horn Records
2008

Links:
Veretski Pass
Golden Horn Records
VP At Sacramento
VP On Focus580

Review: Who Stole The Kishka?!

Review: Who Stole The Kishka?!
Ed Goldberg and the Odessa Klezmer Band

Who Stole The Kishka?! is the latest album by New Jersey-based Ed Goldberg and the Odessa Klezmer Band. The band started in 1984 and has been very active in the area’s music scene. The album’s 17 songs cover a lot of territory, as they touch on the Jewish styles from around the world (but with an American flair).

Goldberg is the soul of the group, providing all the arrangements, as well as performing on Accordion, Piano, Bass, Electronic Bouzouki (Yes!), and Vocals.

Among my favorite tunes on the album are Meron Nigun, which features the Trumpet/Sax (a combination I found enjoyable throughout the album) and some nice percussion, as well as my first taste of the Electronic Bouzouki, which I have come to appreciate as an alternative to the more conventional mandolin/guitar/banjo. Avinu Waltz is a nice piece that flows gently and features Trumpet/Sax and Clarinet/Sax, and some nice accordion. Otchi Chornia is a favorite Russian-style song, with some great Piano/Accordion. Check out the Piano accompaniment behind the Sax solo! I’ve been a fan of Yiddish Charleston for a long time, and the band does a great job with this American-style tune. Turk In America is my favorite clarinet feature. It also has some great percussion, and Goldberg keeps busy on Electronic Bouzouki/Bass/Accordion.

If you like Polka, check out Sax Polka. It’s a great Sax/Trumpet/Accordion piece. I didn’t quite get it at first, but after listening to it a few times I came to appreciate this tune and the authenticity the band brings to it. The title track, Who Stole The Kishka?!, is the other Polka-style song here, and features Goldberg on the Vocal.

There are other Vocals to be found here, including Klezmer Medley, a collection of well-known Yiddish songs, O’Mamme, Bin Ich Farliebt, Israeli Medley, and Oif’n Pripetshik.

The CD insert is a two-sided sheet with four paragraphs about the music and the band. I did find band member bios on the group’s website, though.

Odessa Klezmer Band is a group the values the American Klezmer style, and it comes across in this recording. As to the answer for Who Stole The Kishka?! you’ll just have to listen to find out!

Keith Wolzinger
Klezmer Podcast

Who Stole The Kishka?!
Ed Goldberg and the Odessa Klezmer Band
2006


Link:
Odessa Klezmer Band