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03 December 2009

Klezmer Podcast 59- Dan Blacksberg

Klezmer Podcast 59- Dan Blacksberg. This episode features an interview with Trombonist Dan Blacksberg. Dan has been very active in the east coast Klezmer scene and has appeared with many well known groups. Dan talks about his Klezmer experiences, such as his work with Alan Bern's The Other Europeans project, Frank London's Klezmer Brass All-Stars, and appearances at festivals including KlezKamp, KlezKanada, and Weimar.
Run time: 31:50.

24 October 2009


A short video from Watcha Clan's appearance last July in Los Angeles. They put on a great show!

20 October 2009

Review- Traktorist

Di Naye Kapelye

I’ve been listening to Traktorist from Di Naye Kapelye for quite a while now, and I’ve become quite a fan of the group. The album embodies all the best parts of what we think of as traditional Klezmer village (or shtetl) music. While the musicianship of the group is outstanding in its own right, the collaboration with the village band from Tjaciv lends a special quality that brings us right to the heart of the Hungarian Jewish musical tradition. This music grabs you and doesn’t let go until the very end.

The vocal selections immediately transport you to the local village hangout, and you feel as though you’re spending the evening with a group of really close friends, having a great time, just singing. Try listening to this album without trying to join in the fun. I bet you can’t do it.

The album features some unusual instruments. When was the last time you heard solos on the Caval and Cimpoi, as well as the Vioara Cu Goarna? Well, they are featured here, and give the album a little something extra that not only adds to the authenticity, but also introduces us to a new sound that is interesting and joyful in this age of electronic instrumentation. Listen to Pastekhl/Moldavian Caval and Hamanut from Dragomiresti to hear these instruments.

Uncle Arpi’s Nokh a Bisl is a Tsimbl (Cimbalom) feature, and shows what the instrument is capable of in the hands of a master. Sadegurer Hosid is another feature, one that may be familiar to many listeners.

Yankl Falk does a terrific job on both Clarinet and Vocals. Listen to his Hasisic-inspired vocal on Hoaderes and contrast that with some nimble Clarinet work on the opener Nit Bay Motyen and also on the lively tune Pirim.

The village band from Tjaciv lends a lively folk style to the album. There is nothing quite like the village sound this group puts out. These musicians have soul to spare and it shows through on this recording. The performance is completely genuine, with some wandering intonation. But this is a window into village life, and this is the gift they give to the listener, whether a serious student of Carpathian music or a casual listener. You cannot help but let yourself be transported to Tjaciv and see with your ears what life is like there. Listen to Baj Van Medley, Hutsul Medley, 7:40, and Chernobyl. I’ve heard 7:40 many times before, and even played it quite a bit myself, but it never sounded like this. See for yourself. Chernobyl has a Russian feel to it, and Falk is featured again on the Yiddish lyrics.

Michael Alpert is one of my favorite musicians on the planet, and makes a guest appearance here with DNK. Mashke is my favorite among his tracks. Trading verses with Falk, he blends well with the group. He has a story to tell, and he gets his point across, even if you don’t understand Yiddish.

Bob Cohen has a wonderful way of interpreting this material on Violin. Listen to his emotional intro to Moldvai Zhok. When he’s not soloing he blends with the rhythm instruments to give us that village vibe that makes this album so memorable.

As an extra surprise we get to hear Josh Dolgin on two tracks, playing Accordion and Piano. It’s rare to hear him play the traditional folk style, but he is a serious musician and he brings his love and dedication to the art to DNK and does an admirable job.

The recording quality is very good and the album sounds great on computer speakers and earbuds, but really opens up when I listened on my home theater system. There is a nice balance between the instruments and vocals and the mix sounds very even throughout. I couldn’t find any engineering/mixing/mastering credits for the album, except that it was produced by Yankl Falk. But I have an idea that Bob Cohen had a hand in the recording process.

The 20-page CD booklet is quite good. It contains information about each track, some very good quality photos of the band, tracks, personnel, and some additional info.

I like the fact that DNK takes such care to find the music, bands like Tjaciv, and then pulls off an album of village music like this. They’ve been at it for a long time, and they are true masters. Listen for yourself and see if you don’t agree that DNK is one of the best bands around.

Di Naye Kapelye
Oriente Musik RIEN CD 69

1. Nit Bay Motyen (Trad. arr. Cohen/ Técsö) 3:12
2. Traktorist (Trad./lyrics by Emil Saculets, arr. Cohen/ Técsö) 2:07 

3. Pastekh / Moldavian Caval (Trad. arr. Cohen/ Técsö) 5:55

4. Schwartz's Sirba / A Briv Fun Yisroel (Trad./lyrics by I.Schwartzmann, arr. Cohen/ Técsö) 2:53

5. Baj Van Medley (Trad. arr. Cohen/ Técsö) 2:51
Az Nisht Keyn Emine (Trad. arr. Cohen/ Técsö) 4:58

7. Hamanul from Dragomiresti (Trad. arr. Cohen/ Técsö) 2:22

8. Uncle Arpi's Nokh a Bisl (Trad. arr. Cohen/ Técsö) 1:49

9. HoAderes (Trad. arr. Cohen/ Técsö) 3:05

10. Sadegurer Hosid (Trad. arr. Cohen/ Técsö) 1:41

11. Hutsul Medley (Trad. arr. Cohen/ Técsö) 3:51

12. Mashke (Trad. arr. Cohen/ Técsö) 5:47
Pirim (Trad. arr. Cohen/ Técsö) 2:50
Moldvai Zhok (Trad. arr. Cohen/ Técsö) 2:38

15. “7:40” (Trad. arr. Cohen/ Técsö) 4:02
Chernobyl (Trad./lyrics by Michael Alpert, arr. Cohen/ Técsö) 3:29

total time 53:30

Di Naye Kapelye:

Bob Cohen – violin, vocals, koboz, Carpathian drum, vioara cu goarna (Stroh fiddle), cimpoi (Moldavian bagpipe) 

Yankl Falk – vocals, clarinet

Antal (Puma) Fekete – kontra, Carpathian drum

Gyula (Kosztya) Kozma – bass 

Ferenc Pribojszki – cimbalom, caval, Carpathian drum

Special guests:

Michael Alpert (vocals, violin, percussion) – 3, 4, 6, 12

Aron Cohen (vocals) – 6

Josh Dolgin (accordion, piano) – 4, 10

The village band from Tjaciv (Técsö), Carpatho-Ukraine – 5, 11, 15, 16:
Joska Csernavec (bayan accordion),
Misu Csernavec (tsymbaly),
Jura Csernavec (drum, plonka, voice),
Ivan Popovics (violin)

Tom Popper and Imre “Kutyuli” Keszthelyi (chorus vocals)

Di Naye Kapelye
Oriente Misik

18 October 2009

Klezmer Podcast 58- Klezfactor

Klezmer Podcast 58- Klezfactor. My interview guest this week is Mike Anklewicz from the band Klezfactor, based in Toronto, Canada. The band's latest album is Klezmachine. Anklewicz talks about recording the album, his recent experiences at Weimar and KlezKanada, his work with the band Zebrina, and his future plans.
Run time: 25:55.

Klezmer Podcast 57- The Sway Machinery

Klezmer Podcast 57- The Sway Machinery. There is so much music going on this week, including a concert by my own band, South Coast Simcha Band, on Oct. 11 in Bellflower, California. My interview guest is Jeremiah Lockwood of The Sway Machinery, a band that combines traditional Chazzanut with the powerful sound of a Rock/Blues horn section. We hear Anim Zemiros, a track from the album Hidden Melodies Revealed by The Sway Machinery.
Run time: 17:48.

30 September 2009

Klezmer Podcast 56- Klezmania

Klezmer Podcast 56- Klezmania. My guest on this episode is Freydi Mrocki of the band Klezmania, based in Melbourne, Australia. We chat about Jewish life in Australia and the Klezmer/Yiddish music scene in Melbourne. We also hear Ikh Hob Dikh Tsu Fil Lieb from Klezmania's latest album Shmoozin'.

Run time: 33:42.

Listen now here: Blubrry

18 September 2009

Klezmer Podcast 55 Posted

Klezmer Podcast 55- Edouard Kagansky.

I met so many interesting people this year at KlezKanada. One of them is Edouard Kagansky, an Accordion player originally from Moldova, now living in Canada. Kagansky has a vast repertoire of music that includes Jewish, Russian, Hungarian, Romanian, Greek, Turkish, Macedonian, and Bulgarian. And probably some others as well. He has a real passion for the music and was excited to pass along his knowledge to those of us who attended KlezKanada this year. Pay close attention to the interview because his English is a bit difficult to understand. But it is worth it to hear what he has to say.
Run time: 37:22

This episode is available on iTunes and at:

08 September 2009

"A Redele" CD Release Party- Jake Shulman-Ment

"A Redele" CD Release Party
Wednesday, September 30, 2009
@ The Museum at Eldridge Street
12 Eldridge Street, NYC, NY
$15 adults/$12 students and seniors

Brooklyn-based violinist Jake Shulman-Ment is among the leaders of a new
generation of Klezmer and Eastern European folk music performers. On his
debut solo recording, A Redele (A Wheel), he leads an all-star band
presenting ecstatic, soulful original compositions and improvisations as
well as old Jewish and Gypsy songs and melodies, inspired by his extensive
travels in Romania and Hungary, as well as his deep roots in New York Jewish
music. Join us in celebration of the release of this exciting new album of
Yiddish music!


Jake Shulman-Ment - violin, vocals
Benjy Fox-Rosen - bass, vocals
Ben Holmes - trumpet
Art Bailey - accordion
Pete Rushefsky - tsimbl

Make reservations for the concert at www.eldridgestreet.org

For sound samples and to order the CD today, visit:

26 July 2009

Klezmer Podcast 54- Watcha Clan In Los Angeles

Klezmer Podcast 54- Video podcast with Watcha Clan. This marks the first video podcast for the show. My guests are the members of Watcha Clan, who performed in Los Angeles on 17 July, 2009 on their North America tour.
Run time: 25:18.

23 June 2009

Oye Cuba! A Journey Home Preview Reel

OK, slightly off topic. But, Arturo O'Farrill is one of my favorite band leaders. His music is great and full of meaning. Please watch this video.

14 June 2009

Review: The Yiddish Part

The Yiddish Part
Anakronic Electro Orkestra

I have been following Anakronic Electro Orkestra for about a year now, and have been anticipating the release of their first album, The Yiddish Part. Based in Toulouse, France, this quartet of Klezmer musicians has found a way to bring Klezmer music into the world of electro beats and samples. I have been impressed with many of the Klezmer bands in Europe today, and I think that AEO is among the best out there today. The arrangements are all by the band’s leader, Mikael Charry, who put together this jigsaw puzzle of sounds and created some great music.

The Yiddish Part is a short album, containing only five tracks, but it is clear that they have focused a lot of energy on this project and I hope that there will be more tracks ready for release soon.

opens the album with a high-energy rhythmic melody by the Clarinet, accompanied by driving percussion, Accordion, and cool electronic sounds. After a Drum break, it switches to more of a reggae beat with the Keyboard taking over the melody.

Terk In America
is full of percussion and electronics, backing up the familiar melody in the Clarinet. I have to give AEO kudos for this arrangement. I like the very traditional Klezmer Clarinet sound mixed with the fast-paced electronics, steady drums, and smooth Accordion pads. I have not heard the song done this way before, and I’m sure they will be recognized for it.

Why Is It Funny? Is my favorite track on the album. I think it showcases the essence of what AEO is all about. The Clarinet melody is traditional Klezmer, but the electronic sounds are innovative, and the drums are more of a hard-hitting rock style. A horn section of Trumpet, Trombone, and Sax make a guest appearance as well. I must point out the Accordion work here, also of a traditional nature, is prominently featured along with the Clarinet. I keep coming back to this song and am excited when it pops up on my playlist.

Speak With Ghosts mixes sampled vocals with the music. It moves to a short interlude with the Clarinet in the low register, then suddenly changes to a fast tempo with the Clarinet taking off with the Accordion over the pulsing electronics and Percussion. There is a cool Clarinet/Accordion vibe here that blends well with the rest of the band’s sounds.

Free Klarinet Screamin’ In My Head is AEO’s take on a Doina. This is a Clarinet feature that makes liberal use of sampling and overdubs to make the instrument sound like one of the electronic machine sounds. It’s definitely not a tune that you can sing along with, but it shows what the band can do when they twist the music around in a way that pushes the envelope just a bit as they blur the line between acoustic and electronic. The Clarinet is no longer just an instrument, but a new bank of sound samples that the band has to work with. It took a while for me to catch on to this, but now I get it.

The audio quality is quite good. The electronic machines are not overpowering, and the Drums on Zibn are clean, with good detail on the Cymbals. The Clarinet and Accordion blend well together. The album sounded full and lively on my home theater system and on my car system, but lost some of the punch on my laptop computer’s speakers. Kudos to engineers Manu Cabrol, Ludovic T. Kierasinski, Lionel Nicod, and Benjamin Joubert.

The CD package I received was a sleeve with the wonderful artwork and logo on the front and the track list/credits on the back.

Anakronic Electro Orkestra are well on their way to earning wider recognition for their unique style and recognizable sound. They’ve made a great start and I wish them much success. Give their music a listen and see for yourself.

Keith Wolzinger
Klezmer Podcast

The Yiddish Part
Anakronic Electro Orkestra

Band Members:
Mikael Charry / Machines
Ludovic T. Kierasinski / Basse
Corinne Dubarry / Accordeon
Pierre Bertaud du Chazaud / Clarinette

Track List:
1. Zibn 4:02
2. Terk In America 3:57
3. Why Is It Funny? 4:05
4. Speak With Ghosts 4:37
5. Free Klarinet Screamin' My Head 2:36

Anakronic Electro Orkestra

28 May 2009

New Event- Berkeley, CA June 4, 2009

Thursday, June 4
Ashkenaz, 1317 San Pablo, Berkeley CA
Klezmer Céilidh
Doors at 8:00 p.m.; Show at 8:30 p.m.

A Céilidh (pronounced kay-lee) is a traditional Gaelic dance party, from the days before discos and nightclubs. But the 2 bands tonight are anything BUT traditional, merging Klezmer, Ska, Celtic music and much more into their own unique, high-energy styles.

The Mad Maggies are some crazy musicians from the San Francisco Bay Area who play world-inspired, roots-driven rowdy folk fusion. Tonight’s show follows up on the recent release of their 3rd CD, “Skull and Magpies.” The Mad Maggies are Maggie Martin on vocals and accordion, clarinetist and whistle blower Rhian Robinson, tuba player Johnny Blood, alto saxophonist Adrian Gormley, trombonist Lawrence Jarach, J.X. Lovejones on tenor sax and clarinet, drummer Billy Dee Boom, bassist Lewis Wallace, and guitarist Gary Wium.

Bay Area klezmer band Go Van Gogh also doesn’t fit the usual categories. As the members explain, they’re “not your bubbe and zadie’s klezmer band. Call it country music, but we’re not sure what country. Music for a Middle Eastern Western, Balkan surf ska, with a Western Swing Ethiopian twist. Whatever you call it, we play it, and you can dance to it.”

The band’s roots trace back 15 years to a duo formed by Connie and Jesse Walkershaw for their original songs, with various band accompaniments. Eventually the lineup became Go Van Gogh, currently with Connie Walkershaw on soprano and alto saxophone, Michelle Walther on violin, Brad Bechtel on lap steel, Alex Roitman on accordion, Sam Tsitrin on guitar, Jesse Walkershaw on bass, and Kelvin Burton on drums. In concert Go Van Gogh’s repertoire includes original tunes, a century-old klezmer song written by a great-grandfather, and klezmer standards including “The Odessa Bulgar,” “Fun Der Khupe,” and “Be Happy Jews.”

18 May 2009

Review: Song Of Songs

Song Of Songs
Inbar Bakal

Inbar Bakal has made a great first impression with the release of her debut album Song Of Songs (Shir Ha Shirim). Though not yet a household name, the Israeli-American singer brings a welcome freshness to the World Music scene. She has a smooth vocal quality that is ethereal and immediately recognizable. The source material for the album comes from ancient Hebrew biblical texts, yet Bakal reaches back through her Yemenite/Iraqi roots to create a fusion of Middle Eastern textures and American contemporary Electronica. The result is a remarkable listening experience that allows for a deep connection to the music.

This rich musical soundscape results from the collaboration between Bakal and visionary Producer/Arranger Carmen Rizzo, who masterfully combines the Middle Eastern instruments Tabla, Oud, Bouzouki, and Saz with Keyboard, Synth, and Percussion elements. The music is consistent throughout the album, giving the feeling that these songs really are a collection and belong together.

The songs do vary in rhythmic texture. Hallelujah is an expressive piece in 12/8 time, while my favorite track, The Bride, seems to be in ¾ time but with a 10-bar phrase. To me this is the most Middle Eastern sounding piece on the album.

The songs are mostly in Hebrew, with The Bride sung in Yemenite and English. The vocals are set back a bit in the mix and blend well with the other instruments, never overpowering. There are occasional moments of extra processing such as delay effects on Hallelujah and long tail reverb on Meditation. These are effective, though, and add to the emotional impact of these songs.

I must mention the outstanding musicianship of the players on this album. Dimitry Machlis is amazing on Oud, Bouzouki, and Saz. His musical contributions help to set the tone for the album. He lays down some very nice accompaniments and fills, perfectly complementing the vocals. He gets plenty of space to solo as well, and I enjoy every one of those moments. Satnam Singh Ramgotra is a masterful Tabla artist, adding to the Eastern feel and texture of the album.

The audio quality is excellent. I like the way it is mixed in a contemporary World Pop style, making it easy on the ears and appealing to a wide audience. Kudos to producer Carmen Rizzo. I could not find engineering/mastering credits, but kudos to these artists also.

The promo CD I received is a simple package consisting of a sleeve with song titles, credits, and photos. No insert or liner notes, but you can check Bakal’s website for more details.

The album is short, containing six songs, but they are all high quality songs. Bakal did not feel a need to include more songs just to make a full album. I like this approach because it shows that Bakal is more interested in the quality of her music than the quantity. And with the resulting lower purchase price, there is certainly no barrier to obtaining the album either on CD or via download.

I am very impressed with Song Of Songs. Bakal and Rizzo have done a remarkable job of bringing this music to a Western audience. This is an adventure in listening, and as I allowed myself to be transported to another time and place, I am mindful of the beauty of the music and the emotional depth of the underlying context. I don’t know what turn Bakal’s music will take next, but rest assured, it will be something you won’t want to miss.

Keith Wolzinger
Klezmer Podcast
You can hear my interview with Inbar Bakal on Klezmer Podcast 48.

Song Of Songs
Inbar Bakal
Electrofone Records

Band Members:
Inbar Bakal- Vocals
Jaime Muhoberac- Keyboards
Santam Singh Ramgotra- Tablas
Dimitry Machlis- Oud, Bouzouki, Saz
Carmen Rizzo- Programming, Drum, Keyboards

Track List:
1 The Battle of Jerusalem
2 Song of Ascendance
3 The Bride
4 Song of Songs
5 Hallelujah
6 Meditation

Inbar Bakal
CD Baby

29 April 2009

Review: Klezmer Killed The Radio Star

Review: Klezmer Killed The Radio Star
Mames Babegenush

I’ve been following Mames Babegenush for the last couple of years and have been looking forward to the release of their debut album, Klezmer Killed The Radio Star. The wait is over, and I can tell you that this is an album that is destined to make its mark on the Klezmer landscape. The Denmark-based sextet has a sound that combines the best parts of old and new Klezmer to create a sound all their own. Imagine traditional European Klezmer, filtered through mid-20th century American Klezmer styles of New York, Philadelphia, and Chicago, then updated with a modern European twist. They have a big sound, led by a horn section comprised of Clarinet, Trumpet, and Sax. The result is a very entertaining Klezmer sub-genre that is my personal favorite. The talent here runs deep, from soul-searching Doina to the wild madness of the Sirba and Bulgar. They have a knack for playing in both a straight traditional style and then switching to a more rock-influenced style. Both work very well and show a respect for the music’s roots as well as pushing the envelope just a little.

I’m not going to try to pick a favorite song, because they are all great songs and medleys. Many are longtime favorites that I have played myself, and some are new to me. The arrangements are very good and give each soloist plenty of space.

The opening track, Noch Der Havdole, starts with a quiet Accordion intro, then adds Drums in a very traditional Klezmer style. The Horns and Bass join and start to build up the song and pick up the tempo to the end. I really liked the Sax counter melody, a nod to the New York style that I like so much. Nice use of the Wood Block, too.

Tepliker Sher starts with heavy Bass and Rock Drums, then the Accordion joins before the Horns come in with the melody. This is probably the fastest I have heard this song performed, building up a good head of steam right to the end.

Bessarabian Hora/Sirba is a nice change of pace, a slow ¾ Hora to start. I know this one as Romanian Hora and I like this arrangement for the nice background accompaniment with the Trumpet, Sax, and Clarinet taking solo turns. The Sirba picks up the tempo into a nice two-beat tune with Clarinet, Sax, and Muted Trumpet. The tune changes again into a Bulgar and picks up the tempo some more. A clever false ending brings on yet another tune, keeping the energy going right to the end.

Clarinetist Emil Goldschmidt takes on the Doina with a soulful and traditional sound that evokes the style of Brandwein and Tarras. Trumpeter Bo Rande takes over to start In A Rumeynisher Shenk, still in a slow tempo. He gets a sweet, smooth sound from the horn that I like very much. Clarinet and Sax take turns as well, adding their special touches. I like the background parts played by each horn behind each soloist. That makes for a great sounding band. The tempo picks up, switching between a two-beat and Bulgar rhythm. Drummer Christian Horsted does a great job here as well.

Fun Tashlikh is a popular song from the repertoire, and it has been recorded many times in recent years, but Mames Babegenush opens it up a bit more with a strong Bulgar tempo and giving the Horns and Accordion some room to explore the fun world that this song is capable of creating. I like this particular arrangement very much.

Kojak is another great tune, showing how well the band blends all the instruments into a great arrangement. The Drums and Bass really drive the band here, changing the pace a bit with a steady Balkan rhythm. There is an open section for an extended solo from Rande on Trumpet.

Galatas is a Bulgar feature for Clarinetist Goldschmidt and Trumpeter Rande. Heavy driving Bass and Drums make this a fun song to listen to. This is a traditional tune, but they take it to a completely new level.

Opshpiel far di Makhetonim starts with slow Drums, then the Clarinet enters with the solo melody. Goldschmidt is in top form here, delivering a soulful and gritty sound that shows his considerable talent. Sax takes over the melody with Trumpet accompaniment. Then a fast Bulgar starts with a song I know as Bukovina Chusid’l. This is another favorite of mine, and again I like the Bass and Drums here a lot.

Zol Zay Gelebt/Bulgar ala Naftule
starts with a fast Freylekhs in a Chicago style. There is room for an open Clarinet solo before moving on to the next tune that I know as Purim Nigun. It is a good, fast Bulgar with a nice arrangement.

Fufzehn Yahr von der Heim Awek
starts with a lovely Trumpet Doina which leads into the main theme. This is a beautiful song that shows the depth and sensitivity of the band. Lukas Rande shows some nice Sax work as well, before Goldschmidt takes over on Clarinet. The horn accompaniments are very nice here. The song changes character to a Terkish style, then changes to a Russian March to end the piece. The contrasting styles make this one another favorite track.

Nigun is an unaccompanied Accordion solo from Nicolai Kornerup and it adds a nice touch to the album. Many times the Accordion does not get a moment to shine, but this gentle tune is a nice way to show us the softer side of the instrument and also eases us back to our own world as we say goodbye to Mames Babegenush.

The audio quality is excellent, with an extended low end that gives punch to the Bass and snap to the Kick Drum. The Drums and Cymbals are some of the best I’ve heard. The Accordion is blended nicely, and the Horns sound very clear. I did notice some room ambience on the Clarinet and Sax during the solo moments, but it doesn’t detract from the performance in any way. The mix sounded wonderful on my home theater and only lost a bit on the bottom end when listening on earbuds.

I had a pre-release copy of the album, so I did not have the full CD package. I did see the album artwork, though, and there appear to be album credits along with band photos and some pretty outrageous graphics. I’ll update this after I receive a production copy.

Mames Babgenush have hit upon a winning combination of artistry and originality while simultaneously being faithful to the tradition and pushing the genre forward. Klezmer may have killed the radio star, but Mames Babegenush has brought us a breath of fresh air. Well done, guys.

Keith Wolzinger
Klezmer Podcast

Klezmer Killed The Radio Star
Mames Babegenush

Band Members:
Emil Goldschmidt > Clarinet
Bo Rande > Trumpet
Lukas Rande > Saxophone
Nicolai Kornerup > Accordeon
Andreas Møllerhøj > Bass
Christian Hørsted > Drums

Track List:
1 Noch der Havdoleh
2 Teplikher Sher
3 Bessarabian Hora
4 Sirbas
5 Doina
6 In a Rumeynisher Shenk
7 Fun Tashlikh
8 Kojak
9 Galatas
10 Opshpiel for di Makhetonim
11 Zol Zayn Gelebt
12 Bulgar ala Naftule
13 Fufzehn Yahr fon der Heim awek
14 Nigun

Mames Babegenush MySpace

24 April 2009

Klezmer Podcast 51- Watcha Clan

I posted Klezmer Podcast 51, featuring an interview with Watcha Clan from Marseilles, France. You can listen from iTunes and:
Klezmer Podcast

21 April 2009

Watcha Clan New CD

I just received this CD announcement from Watcha Clan. Look for a review and podcast interview soon!

WATCHA CLAN presents :


Nu album coming out the 3rd of april

released by Piranha (Berlin)

available on LP and Download

Diaspora Remixed is a community global beat project featuring
electro-world DJs met on the tour trail around Europe. Transglobal
Underground, Shazalakazoo, EarthRise SoundSystem, Dunkelbunt, Dj Click,
Gaetano Fabri, BalkanXpress, Undergang, Spark, Mars Exist, Barrio
Populaire and Stratman put their personal spin on W-Clan's Diaspora
Hi-Fi, a 2008 World Music Charts Europe top album.


1.Lei Lei Ha (TransGlobal Underground remix)

2.Balkan Qoulou (Shazalakazoo remix)

3.Balkan Qoulou (Dunkelbunt remix feat Cloud Tissa & MC Killo Killo)

4.Tchiribim (Balkan Xpress remix)

5.Goumari (EarthRise SoundSystem remix)

6.Goumari (Shazalakazoo remix)

7.Diaspora Dub (Undergang remix)

8.Limu (Mars Exist remix)

9.Goumari (Dj Click remix)

10.Eli (Gaetano Fabri remix)

11.Eli (Barrio Populaire remix feat Fil-a-fil)

12.Goumari (Spark remix)

13.Les courbes de ton corps (Stratman remix)

available on:

itunes, CD1D, Piranha, emusic, juno, dj download...

Distribution France by Discograph / Germany by Indigo

Digital distribution by Zebralution

We would like to thank all friends, partners and promoters who help us to diffuse the Diaspora Sound...

Peace, Salam, shalom...

Cheers from Marseille.

More infos on:


17 April 2009

Klezmer Podcast 50- Ljova And The Kontraband

I have posted Klezmer Podcast 50 with guests Ljova and Inna from the group Ljova And The Kontraband. You can listen from iTunes, Klezmer Podcast and Blubrry

14 April 2009

Review: Traveling The Face Of The Globe

Review: Traveling The Face Of The Globe
Oi Va Voi

I have to admit that I am a newcomer to the music of Oi Va Voi. Having said that, I can say that their music is immediately recognizable as their own, mixing several musical styles with their London Pop groove and creating a signature sound that I would call World Pop. Oi Va Voi have put together a magic combination of pop music and lyrics, with the elements of Gypsy/Klezmer/Latin/Flamenco rhythms and melodies. This is what we are presented with in great abundance on their new album Traveling The Face Of The Globe. The title grabbed my attention right away. Traveling and music go together very naturally, so I was eager to see what the band had came up with and whether the music would live up to the title.

The opening track, Waiting, sums up my feeling of having missed out on Oi Va Voi for the 10 years they have been together, since their days at Oxford. The song has a feeling of anticipation, with a good hook and a nice background of pizzicato strings and smooth horns. And we are introduced to the lush vocals of Bridgette Amofah.

I Know What You Are switches gears and shows how the band starts to mix world styles with pop lyrics. The song starts with a Klezmer Clarinet in a slow hora tempo with Accordion providing the rhythm. Amofah sneaks in with the vocal in a subdued low key. The song builds from there with the addition of drums, horns, and more strings. A Cantorial interlude keeps the Jewish feeling going as the song builds in intensity then drops suddenly back to the simple, quiet ending.

The title track, Traveling The Face Of The Globe, starts out again with a Klezmer-style intro using a Bulgar rhythm, then switches abruptly to the pop vocal of Amofah, yet is sprinkled with Klezmer fills from the horns. This song speaks of travels around the world and mentions a number of sites and countries. A hot Trumpet solo break from David Orchant adds to the excitement and leads back to the vocal.

Every Time is my favorite track, and shows a different side of the band. A mellow intro leads to the smooth, airy vocal of Stephen Levi, who adds a bit of Cantorial improvisation along the way. Later, the song shifts character in true Oi Va Voi fashion. A haunting Klezmer Clarinet break leads into a high energy vocal from Amofah with a pop style background. Then Levi returns with the opening theme overlaid. I really like the way these two different melodies mix, the mellow with the energetic. It’s a very interesting bit of arranging.

S’Brent features guest Yiddish Vocalist Agi Szaloki in a slow ¾ tempo. A solo from Violinist Anna Phoebe adds to the cultural authenticity of the song, before moving to a heavier pop instrumental through to the end.

Magic Carpet takes us a bit further afield on the world music stage, starting in a Latin electronic feel and ending in a Middle Eastern String/Percussion vibe. As the band’s only instrumental track, it serves as a showcase for the great musicianship and arranging talent of the band. I really like the way the Trumpet and Clarinet sound together on this track.

Dusty Road is another feature for Amofah, slightly reminiscent of American Folk music. But then a Jazz Trumpet comes along to mix things up. Adding an Electric Guitar and Violin break changes things yet again. And check out the Jew’s Harp and Whistling at the end adding a cool effect.

Foggy Day is my second favorite song. Opening with solo Acoustic Guitar, Amofah again treats us to her heartfelt Vocal and her ability to convey a feeling of isolation in a small town shrouded in fog and gloom. She walks the streets in anonymity, unseen, and nobody knows her name. Then she sings of climbing above the city to a dreamy place in the sun with bight water and clear skies. In true Oi Va Voi fashion, they sneak into a Flamenco Percussion rhythm which somehow is a perfect juxtaposition to the slow Vocal.

Wonder is a nice ¾ tempo pop ballad with an airy Vocal by Amofah accompanied by Acoustic Guitar and Violin.

Long Way From Home
is another favorite of mine. A memorable Vocal melody mixes with a great rhythmic rock accompaniment from the Guitar and Bass, as well as Klezmer fills from the horns.

Stitches And Runs
is a fun song that starts with strings and drums and moves to Clarinet and Vocal. The middle section changes character with a slower tempo, then picks back up for the ending.

The final track, Photograph, features guest Vocalist Dick Rivers with a French monologue and English Vocal. The weary sound of his voice perfectly fits the reflective and somber feeling of the song. The subdued accompaniment from the band lets the voice carry the song, giving a final farewell to our global travels.

The mix on this CD is excellent, with each instrument clear and distinct, and just the right amount of processing on the vocals. It sounded great on everything from earbuds to my home theater. Since I had only a promotional copy of the CD I do not have a full list of credits or complete liner notes. The packaging was minimal. I will update this review if I can get a full production copy of the album, which has a release date of 11 May, 2009.

It is clear that Oi Va Voi have established themselves as a force on the worldwide pop scene, and adds a twist by adding ethnic influences to their original compositions. I love the sound of the group and look forward to seeing what direction their music will take next. I highly recommend this album to both those who are already Oi Va Voi fans and those that are seeking out new music. Oi Va Voi have won me over and I will be following them closely.

As a suggestion for anyone who for whatever reason doesn’t want the entire album, I would recommend that you at least purchase my favorite tracks: Every Time, Foggy Day, and Long Way From Home.

Keith Wolzinger
Klezmer Podcast

Traveling The Face Of The Globe
Oi Va Voi
Oi Va Voi Recordings OiVaVoiCD2

Band Members:
Nik Ammar (Guitar, Vocals)
Bridgette Amofah (Vocals)
Josh Breslaw (Drums)
Stephen Levi (Clarinet, Vocals)
David Orchant (Trumpet)
Anna Phoebe (Violin)
Lucy Shaw (Bass)

Track List:
Waiting 4:10
I Know What You Are
Travelling The Face Of The Globe 3:48
Every Time 5:36
S'brent 3:56
Magic Carpet 4:34
Dusty Road 3:17
Foggy Day 3:36
Wonder 3:16
Long Way From Home
Stitches And Runs 3:38
Photograph 3:43

Oi Va Voi MySpace
Oi Va Voi interview on Klezmer Podcast

24 March 2009

Klezmer Podcast 48- Jewlicious Festival 5.0

I have posted Klezmer Podcast 48, an extended special episode from the Jewlicious Festival 5.0 recently held in Long Beach, California. Interview guests and music include Aharit Hayamim from Jerusalem; Jewdyssee from Berlin; Inbar Bakal from California; and festival organizer Rabbi Yonah Bookstein. The podcast is available from iTunes and:

13 March 2009

Review: New King Of Klezmer Clarinet

New King Of Klezmer Clarinet

The Clarinetist known simply as Yom has made a bold statement with his album New King Of Klezmer Clarinet. Billed as a tribute to Naftule Brandwein, who called himself the King Of Klezmer Clarinet, Yom takes a look at the Klezmer tradition and expands on it, breathing new life and energy into these songs. While paying tribute, Yom shows off his considerable talent playing at lightning-fast tempos and with great intensity. Yom gives a full and sometimes gritty Clarinet sound, but can also back off and give a more impassioned performance.
The songs presented here are some of Brandwein’s best known compositions, plus one from Dave Tarras, and three by Yom himself.

Yom plays so many notes on the fast songs that I just follow along with the chord changes, because there is not much straight melody. Don’t get me wrong, these are amazing performances, and Yom shows a high degree of virtuosity throughout the album.

It’s difficult to pick just one favorite, because I have at least three. I really got into Where Were You Before Prohibition? sometimes known as Sholem’s Bulgarish; The Boiling Hot Bulgar with some wild playing on the intro, then right into Der Heyser Bulgar at a blazing tempo; and Cascade Of Sins, also known as Fun Tashlich, with some more great playing, a gritty clarinet tone, and increasing to breakneck speed at the end. Clarinet enthusiasts will really enjoy these tracks.

I have to mention the wonderful sidemen on this album. The first thing I noticed is the awesome Tuba performance by Benoit Giffard, who does an amazing job of keeping up with Yom on the fast tunes. He throws notes out as fast as Yom and manages to keep a rock steady tempo at the same time. I haven’t experienced Tuba playing like this before. Just amazing. The other great contribution is by Pianist Denis Cuniot, who is given some nice solo space on The Joyful Wedding and Introduction, and does a tremendous job accompanying Yom on his wild adventures throughout the album.

The audio quality on the album is excellent. Each instrument is clearly defined, and the Tuba accompaniment, though prominent, never overshadows the soloist. The mix sounded great on everything I played it on, and there was a good punch from the Tuba and Tapan when played through my home theater. Kudos for Engineering/Mixing by Philippe Teissier Du Cros, and Mastering by Raphael Jonin.

The album package is a six panel foldout. There is a full page with biographical information about Brandwein, and a page with track list, band members, and credits. Photos are excellent, and the image of the New King Of Klezmer Clarinet sitting on his throne with his instrument and scepter is both iconic of Yom and a clever marketing strategy.

I find this album to be a great set of Klezmer tunes and is fitting as a tribute to Brandwein. I highly recommend this to those who love innovative Clarinet playing, have a historical interest in the music of Naftule Brandwein and Dave Tarras, and who enjoy great Klezmer music. Long live Yom!

Keith Wolzinger
Klezmer Podcast

New King Of Klezmer Clarinet
Buda Musique 860169

Yom (clarinet)
Denis Cuniot (piano)
Alexandre Giffard (tapan)
Benoît Giffard (tuba)

Track List:
1. The Jew In Jerusalem 3:59
2. Where were you before prohibition? 2:42
3. The hot boiling bulgar 6:03
4. Kallarash 3:52
5. The rabbi's disciple 5:48
6. Cadence 1:34
7. Naftule attitude 1 2:31
8. Naftule attitude 2 1:42
9. Cascade of sins 3:03
10. Oh daddy that's good 5:55
11. The joyful wedding 5:39
12. ? 0:59
13. Tarras' sirba 3:37
14. Introduction 3:38

Buda Musique

25 February 2009

Review: Never Mind The Balkans Here's Max Pashm

Review: Never Mind The Balkans Here's Max Pashm
Max Pashm Band

The Max Pashm Band grabbed my attention with the release of their new album, Never Mind The Balkans Here’s Max Pashm. The band immediately hits you with their engaging style and British sense of humor. This band is F-U-N! The band’s MySpace page lists their musical style as KlezmerBalkanGreekGypsyPunk with Electro-beats. That’s quite a mouthful, but that’s what they are. When you listen you can hear all these elements weave their magic.

Klezmer fans will recognize band members Merlin Shepherd on Clarinet and Polina Shepherd on Piano and Vocals. But also take note of the outstanding Bouzouki of George Kypreos and Vocals by Eugenia Georgieva, plus guest appearances from the bands Fanfara and Baghdaddies. The Max Pashm sound is a unique blend of traditional Greek/Balkan/Gypsy & Klezmer music, fused with high energy electronic beats & digitally manipulated fx.

The opening track, Imnul (Kish Mayn Tokhes) shows what Max Pashm is all about. The first thing we hear is a scratchy old radio broadcast saying “This is Radio Pashm calling.” Reminiscent of the famous “This is London calling” from WW II, we then hear the old radio tuning through the stations when suddenly the wind begins to blow and we hear the call of the solo Trumpet with Bouzouki. Then we hear the Brass, Electronica, and Yiddish Vocals. This is a true blending of styles, and gets us in the right frame of mind for all that follows. Fanfara appears again on Manea-K, where the Balkan theme is prominent in the Brass, but also sounds authentic on Bouzouki and Clarinet in their own styles.

Fight On The Streets continues with an opening radio quote from Churchill that puts us in the fighting mood. The heavy beats behind the Greek/Klezmer theme make for an interesting blend. Unlikely as it seems, this is one of the best tracks on the album. The band does an excellent job with songs of this sort, blurring the line between the musical cultures.

Max does an amazing job on the (primarily) Greek tunes as well, bringing in some top notch Greek musicians to ensure authenticity, to which he adds just the right amount of Electronics and Beats. Using Bouzouki, Baglama, Tsoura, and Cretan Lyra, the tracks Rembeteli, Klezmernaki (with guest band Baghdaddies), Once Upon A Time In Hellas bring Greek music to the forefront of the World Music scene, with high energy and interesting DJ effects. Also of note is the Clarinet solo by Pavlos Papadakis and Greek Vocal on Rembeteli. The a cappella Bulgarian Vocal on I Neno is ethereal and serves as a nice break in the action.

Klezmer gets its own special treatment by Max. Anarchy has a Yiddish Vocal, mixed with English Rap and Electronica, but nimbly blending a traditional song along the way. If I have to single out a favorite track on the album, this would be the one, as it has all the elements I look for in a great, hip Klezmer song.

The Calling gives a nice instrumental solo break with a beautiful Cretan Lyra solo, reminiscent of a Klezmer Violin of Eastern Europe.

Max changes gears on The Tongue (Lick a Little). Once again the song starts with a scratchy old 78 record sound with Clarinet and Bouzouki, then morphs into the contemporary Pashm sound with the Club beats and English Rap mixed with a traditional Jewish Nign. Then the song switches to a Greek version of the theme before returning to the Klezmer version again. It is quite fascinating to me how the Klezmer and Greek styles can be switched so easily and also blended together to create a more unique style. It’s difficult to describe, but is thoroughly enjoyable.

Angels is another example of Pashm blurring styles. Using Bulgarian Vocal, English Rap, Vocorder effects, a blend of Electronic Beats, and a snippet from U.S. President Bush, the song is high energy, fun to listen to, and shows what the band is really capable of.

Maximus Taximus is a fitting conclusion to the album. A trance-like drone with Bouzouki solo and ethereal Vocal hearken back to the Greek tradition once more before fading away with the voice of Radio Pashm in our ears one last time.

The mix on this album is remarkable. Without attention to detail an album like this can get lost with all the electronic effects. But great care was obviously taken to get the balance just right. The electronics never overpower the instruments, though the power of the low- end bass effects can certainly be felt when played back at the proper volume. Vocals are weaved through the mix: at various times up front, blended more into the fabric of the instruments, or nearly a whisper to give that ethereal feeling. A great job by (wait for it…) Max Pashm, who not only leads the group, but arranged, mixed, and produced the album; plus excellent Mastering by Ray Staff and Martin Giles.

The CD package is a simple foldout affair with no booklet insert, only the list of songs, band members, and credits. The brightly colored graphics (which, by the way, match the graphics on the websites) really jump out and scream for attention.

I found the Max Pashm Band last year and had been anticipating the release of this album for quite some time. It has exceeded my expectations, and I can give it a very enthusiastic recommendation. If your musical taste hovers around contemporary World Music/Klezmer/Greek/Balkan Brass, there will be something here for you. Radio Pashm is calling. Answer the call, already!

Keith Wolzinger
Klezmer Podcast

Never Mind The Balkans Here's Max Pashm
Max Pashm Band
Elektrikos/Organikos Records EO102

You can hear my interview with Max Pashm on Klezmer Podcast 47

Track List:

1. Imnul
2. Fight On The Streets
3. Rembeteli
4. I Neno
5. Klezmernaki
6. Anarchy
7. The Calling
8. The Tongue
9. Once Upon A Time In Hellas
10. Manea-k
11. Angels
12. Maximus Taximus

Max Pashm MySpace
Max Pashm Shop

24 February 2009

Klezmatics On Tour

The Klezmatics are currently on tour.
Here are the dates:

2/25/2009 Orcas Center Eastsound WA (360) 376-2281 x1 www.orcascenter.org
2/26/2009 Broadway Center for the Arts Tacoma WA (253) 591-5890
2/27/2009 Arden Theatre St Albert AB (780) 459-1541 www.ardentheatre.com
2/28/2009 Chan Centre, Chutzpah! Festival Vancouver BC (604) 822-9197
w Joshua Nelson-Brother Moses Smote the Water
3/1/2009 Kirkland Performance Ctr Kirkland WA (425) 893-9900 3pm
matinee www.kpcenter.org
3/3/2009 Yoshi's Jazz Club San Francisco CA (415) 655-5600 www.yoshis.com
3/5/2009 Royce Hall, UCLA Los Angeles CA (310) 825-2101 www.uclalive.org
3/6/2009 Royce Hall, UCLA Los Angeles CA private outreach www.uclalive.org
3/7/2009 University of Arizona Tucson AZ (520) 621-3341 www.uapresents.org
3/8/2009 Jewish Community Center Houston TX (713) 551-7255 Jewish
Community Center presentation www.jcchouston.org

Lorin Slamberg, Frank London, Lisa Gutkin, Matt Darriau, Paul
Morrissett, with guest drummer Aaron Alexander.

06 February 2009

01 February 2009

Review: Road To Damascus

Review: Road To Damascus
Municipale Balcanica

Of the growing number of Klezmer/Balkan bands in Italy, Municipale Balcanica has the widest reach. And it’s fairly obvious why. Their ability to absorb the music of other cultures and then filter it through an Italian sensibility gives a fresh vibe to the genre. MB (as they like to be called) are a collective of highly talented musicians, but beyond that they bring a spirit to the music that cannot be denied. From a frenzy to slow, beautiful melodies, to peaceful meditation, to their plea for peace where there is war, MB has the ability to evoke all of these emotions from their listeners.

Their second album, Road To Damascus, encompasses all of these qualities. There is a broad range of emotions and musical styles here, and that translates into a thoroughly enjoyable listening experience. Road To Damascus, besides being the title track, is a good description of what this project is all about: The journey the band figuratively takes from their small town in southern Italy passing through the Balkans, Turkey, and the Middle East, with excursions to Eastern Europe and North Africa. Italians have been world explorers since the days of Columbus, so it comes as no surprise that a musical curiosity is what drives MB to explore, embrace, and thrive on the musical styles of other cultures.

The CD booklet tells in a poetic way the context for the album:

Damascus is far away,
And the road to get there
Is never safe
And that’s why it is fascinating…
And first you meet ancient tales
And dances
And feasts
And tears
And wars
And games
And light
And then you tell stories never heard before
Damascus is near
And the road to get there
Is always dangerous
Is always awesome

MB’s Italian-infused Balkan/Klezmer style is best exemplified by the opening track, Gypsy Train, with its alternating between a fast two-beat rhythm and a Bulgar rhythm. This is their signature sound, and provides a reference for the rest of the album. Other tracks that are styled along these lines are Libano and Alma Cocek.

Jewish music is a big part of the MB mix, as heard on Kolomeyka and Hava Nagila Club Version. Kolomeyka is the song familiar to fans of Klezmer music, and they perform a good, straightforward version of it. On the other hand, the remix of Hava Nagila gives us a fresh look at what is arguably the most recognizable Jewish melody. Trust me, you haven’t heard it this way before. And note the excellent Violin solo.

The Vocal songs on the album are of a wide variety. L’orso Ballerino (The Amazing Dancing Bear) is sung in Italian and sounds a bit like Italian circus music, which would be natural to accompany a dancing bear, but has some Balkan background lines from the band as well. My favorite vocal is L’Aria Migliore (Freshest Air). The Italian language sound beautiful, even if you don’t understand it, and the vocal style on this song is reminiscent of the almost whispering style of the Brazilian singer Joao Gilberto. This is a lovely song, and includes a sensitive Flugelhorn solo by Paolo Scagliola, who adds so much throughout the album. Usti, Usti Baba is a song from Macedonia, sung in the original language. The band does a great job as a Balkan brass band to back the vocal. This song is traditionally performed just before the wedding ceremony. But the addition of grunge Guitar makes it a bit more Punk- just the right ingredient for MB to make it their own. Contessa (bonus track) begins with a Piano solo before the band comes in and the Italian vocal begins. I don’t have the English translation, but the song sounds like a lot of fun for the band.

Some songs lean more toward a Middle Eastern/North African sensibility. Artigiana Di Luma has a Balkan background rhythm and Turkish melody. Radish Lam is my favorite song on the album. Starting with and old scratchy 78 record sound then moving into a clear, modern sound, it has a Middle Eastern melody, percussion, good Clarinet solo, and Electric Guitar. To me, this song blends all the elements that MB does so well. Road To Damascus, the title track, goes even further to the Middle East, adding a Saz to the band’s instrumentation, as well as some electronic effects to keep it current. A Flugelhorn solo sounds great against the strong rhythmic background, as does the lonely sound of the Clarinet. This song gives the feeling of mystery found in the Middle East.

Art is part joy, but also part pain, and The Syndrome Of Babylon is MB’s response to the Gulf war in Iraq and Kuwait. The song is in 5/4 time, an irregular rhythm to show the feeling of war. It has sound clips of radio calls between military units, the voice of the first President Bush, a melody of Brass against Reeds, and a distorted Guitar. The effect is to express danger, pain, and the inhumanity of the conflict. Behind all this, a voice whispers the Lamentation of Gilgamesh, which translates as:

For whom have I laboured?
For whom have I journeyed?
For whom have I suffered?

Another bonus track is the Caravan Club Mix, a feature for Clarinet with added electronic sounds. A fun song to end the album.

The album sounds excellent, thanks to the enginnering by Claudio Kougla De Leo, and mastering by Antonio Porcelli. The mix sounds consistent, and all the instruments come through clearly. The vocals are well balanced with the band, and sound stunning on L’Aria Migliore.

There is a good 12-page booklet with the CD which includes most lyrics, credits, musicians, track list, and some excellent photos.

Municipale Balcanica is clearly on the road to success in the world music scene, and Road To Damascus is one journey of many they will be taking. I, for one, am enjoying going along for the ride. Congratulations to Municipale Balcanica for an outstanding and memorable album.

Keith Wolzinger
Klezmer Podcast

You can hear my interview with Municipale Balcanica by clicking here.

Road To Damascus
Municipale Balcanica
Felmay Records FY8140

Band Members:
Michele de Lucia : clarinet
Armando Giusti : alto sax, baritone sax
Nico Marziale : percussion and effects
Raffaele Piccolomini : tenor sax, soprano sax
Giorgio Rutigliano : electric bass
Paolo Scagliola : trumpet ,flugehorn
Luigi Sgaramella a: drums
Raffaele Tedeschi a: voice, electric and acoustic guitar
Francesco Moneti dei MODENA CITY RAMBLERS : violin, saz, electric guitar
with the participation of:
Alessandro Paparella: mandolino
Giuseppe Volpe: accordion, piano
Giuseppe Dantes: tuba

Track List:

1. gypsy train (3.21)
2. libano (5.11)
3. orso balerino (3.23)
4. kolomeika (3.39)
5. l'aria migliore (5.03)
6. artigiana di luma (4.44)
7. radish lam (4.28)
8. alma cocek (4.08)
9. road to damascus (5.21)
10. usti usti baba (6.36)
11. symdrome of babylon (4.05)
12. contessa (4.01)
13. hava nagila club version (remix by Australian musician Beam Up Brian May) (5.35)
14. caravan club version (remix by Australian musician Beam Up Brian May) (5.06)

Municipale Balcanica Website

Klezmer Podcast 46- Municipale Balcanica

I have posted Klezmer Podcast 46 featuring Municipale Balcanica and their new album Road To Damascus. The podcast is available at iTunes or Klezmer Podcast.com or Blubrry. Check them out at Municipalebalcanica.com.

11 January 2009

Trumpet Triumph

Just found this from the new MySpace page for Roy Paci, Frank London & Boban Markovic Orkestar. Frank has outdone himself this time. Trumpet geeks unite!