November 15th, Butterfly Buzz will proudly present Israeli singer Yasmin Levy At Ace Hotel DTLA

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Yasmin Levy - Los Angeles with Special Guests

11/15/2017
The Theatre at Ace Hotel

Butterfly Buzz is proud to present Yasmin Levy’s Los Angeles premiere collaboration performance alongside special Iranian guest artists Faramraz Aslani, Shahrokh Moshkin Ghalam & Hamed Nikpay!

Tickets Available Online ONLY bflybuzz.com/YasminLevy
Limited Preferred Seating Available
Contact: 888-779-8489

A unique and historic concert of an exceptional Israeli singer joined by these prominent performers, amplifying the message of unity through art. The concert will be hosted at the historic The Theater at Ace Hotel; a delicately restored 1920’s movie palace originated by Mary Pickford and Charlie Chapman.

Yasmin Levy sings in Ladino, an ancient form of the Spanish language that was kept alive by the Sephardic Jews. With a deep, spiritual, and moving style, Yasmin Levy is a leading voice in Ladino song and culture. In addition to being a leading voice in Ladino song and culture, she is a contemporary singer/songwriter, performing in modern Spanish, as well as bringing the flavors of Flamenco, Turkish and Persian music all together into a style of her own.

Yasmin Levy made it her cause to recast and transmit the disappearing musical legacy of Ladino, the Judeo-Spanish language of the Sephardic Jewish communities that were driven from Spain in the late 15th century. Amongst Sephardic Jewish communities across North Africa, Turkey, the Balkans and the Middle East, Ladino survived as a language until almost vanishing in the 20th Century. Yasmin Levy’s father, Yitzhak Levy, was the head of the Ladino department at Israel’s National Radio, but Yitzhak died when she was only a baby. Before his passing, he had taught her mother the songs, and in turn she taught her daughter.

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Klezmer Podcast 133- Ori Kaplan of Balkan Beat Box

Balkan Beat Box In Hollywood

Klezmer Podcast 133- Ori Kaplan of Balkan Beat Box. Balkan Beat Box was back in Los Angeles and put on a wonderful show. Ori Kaplan was kind enough to spend a few minutes with me before the show to talk about the latest happenings with the group and their latest release, Shout It Out. The band continues to surprise with each new album, and the trend continues with this album. We also hear the track Kum Kum. I apologize for some audio difficulties during the interview.

Run time: 16:45

Audio Player

The Kalimutke Philharmonia: Gypsy Jazz-Klezmer Fusion

This just in....

Klezmer At Ashkenaz 2014

Klezmer Podcast 117: Briga This episode begins a series of interviews made during the Ashkenaz Festival 2014 held in Toronto. My guest on this episode is Brigitte Briga Dajczer of the band Briga, based in Montreal. She has released several albums to date, and here we listen to Filipovtsi Kutchek from her album Wake. Run time: 22:50.

Sandaraa - "Haatera Taiyga" [original]

Sandaraa is a new band from Lahore, Pakistan and Brooklyn, New York. The group is fronted by vocalist Zeb Bangash (Zeb and Haniya) and features Brooklyn musicians Michael Winograd on clarinet, Eylem Basaldi on violin, Patrick Farrell on accordion, Yoshie Fruchter on guitar, Benjy Fox-Rosen on bass and drummer Richie Barshay. Sandaraa explores a vast repertoire of South Asian material (from Balochistan, Afghanistan and beyond,) while blending it with the sounds of Eastern Europe, the Balkans, and more. The group was founded in the fall of 2013, with the help of the Center for Traditional Music and Dance, and the MAP fund.

Sandaraa: Zeb Bangash, Michael Winograd, Eylem Basaldi, Patrick Farrell, Yoshie Fruchter, Benjy Fox-Rosen, Richie Barshay

www.sandaraa.com
www.facebook.com/sandaraamusic

Video by Magdalena Hutter (www.magdalenahutter.com)

Klezmer Podcast 100- Trans Siberian March Band

Trans Siberian March Band:




The Tractor Makers' Ball

Klezmer Podcast 100- Trans Siberian March Band. Welcome to the 100th episode of Klezmer Podcast. Since it began in January 2007, I have met amazing musicians from around the world, and have made friends with so many of them. The fans have been wonderful as well, and I appreciate your support. While in London recently, I attended the Victory At Stalingrad 70th Anniversary Night Out, which featured Trans Siberian March Band as the headliner. The band plays a mix of Eastern European styles, and is as much fun to watch as they are to listen to. They are dedicated to their music, and have put their own twist on the traditional sounds, plus writing originals in the same style. We hear the track Sher from the album The Tractor Makers' Ball.
Run time: 17:15.

Listen to Klezmer Podcast 100 here:



Video from Victory At Stalingrad 70th Anniversary Night Out:

Klezmer Podcast 97- Klezwoods

Klezmer Podcast 97- Klezwoods. There are many bands sprouting up around Boston these days, and Klezwoods has been bringing their own style to the scene for a few years now. I sat down to visit with Sam Dechenne to get an idea of what is happening with the band. We also hear the track Egypt Trip from their latest album The 30th Meridian From Cairo To St. Petersburg With Love.
Run time: 26:02

Klezmer Podcast 91- Balkan Beat Box

Click the button below to play:


Klezmer Podcast 91- Balkan Beat Box. My interview guest on this episode is Tamir Muscat of Balkan Beat Box. The band was in Los Angeles recently, on tour for their new album Give. We hear the track No Man's Land. Run time: 15:30

Balkan Beat Box -Move It- at The Conga Room

Watch Balkan Beat Box from The Conga Room:

Balkan Beat Box- Move It from Klezmer Podcast on Vimeo.

Klezmer Podcast 74- Molotow Brass Orkestar

Click the link below to listen:
Molotow Brass Orkestar



Klezmer Podcast 74- Molotow Brass Orkestar. The interview guest on this episode is Reimar Walthert of Molotow Brass Orkestar. The group is based in Switzerland and plays a blend of Klezmer, Gypsy, and Swiss folk music. The self-titled album is available from WM Recordings. We hear the track Baym Rebin's Sude- Galitzianisher Tanz.
Run time: 27:42.

Klezmer Podcast 69- Babayaga

Klezmer Podcast 69- Babayaga. On this episode my interview guest is Yann Le Glaz, Saxophonist and leader of Babayaga, a band based in France. The band plays an eclectic mix of traditional and modern Klezmer with some Balkan influences. Yann talks about his interest in Klezmer, a new Vocalist for the band, and an upcoming DVD project. We also hear a track from the self-titled Babayaga album Le Petit Gogol Aux Ciseaux.
Run time: 30:29.

Klezmer Podcast 53- Balkan Beat Box

I have posted Klezmer Podcast 53 featuring Balkan Beat Box. Available on iTunes, http://klezmerpodcast.com and on Blubrry

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
2008

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


Links:
Max Pashm MySpace
Max Pashm Shop

Klezmer Podcast 47- Max Pashm

I have posted Klezmer Podcast 47 featuring Max Pashm from the UK. You can listen on iTunes, klezmerpodcast.com and Blubrry.

Link:
Max Pashm MySpace

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
2008

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
Guest
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)

Links:
Municipale Balcanica Website
MySpace

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.

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!

Review: STriCat- rats & gentle people

rats & gentle people
STriCat



A fresh approach to music is always a good thing, and STriCat is a shining example of what can happen when the constraints of musical expression are removed. At first blush, the band’s composition of Trumpet, Accordion, and Cymbalom would seem somewhat unlikely, but any reservations are overcome once you hear them. The result is some of the most unique music that I have heard.

The music is truly original, with each of the band members contributing original compositions. In fact, the band is listed as the Producer on the album credits. So, these guys show a level of commitment not often seen today. Composing, arranging, performing, producing. They do it all.

But what does the music sound like, you ask? They put out a lot of music for being a trio. I would describe the sound this way: relating to a jazz combo, think of the Trumpet as, well, the Trumpet; think of the Accordion as the Tenor Sax; think of the Cymbalom as the rhythm section. It’s an uncanny combination. Levelt (Trumpet) and van Tol (Accordion) to me sound like Miles Davis and John Coltrane. The parts fit exactly the way they should, and the harmonies are there, too. Vink (Cymbalom) really drives the group, and sets the style whether it be swing, Bebop, a fast Balkan Sirba, or a slow Hora.

The opening track, Driving Madness is an American-style contemporary big band tune. It has a great melody, excellent Trumpet break/solo, and even an a capella shout chorus. It serves to whet the appetite for all that follows on the album.

Lay Dee “p” is a slower solo by Trumpeter Levelt with Accordion accompaniment. It is the shortest track, but shows the introspective side of the group.

Asphalt, my favorite track, could be the title track for the album. With a strong Bebop influence, the combination of muted Trumpet with Accordion works well and shows that you can really swing on any instrument! I like the a capella coda, too.

Toni is the most Balkan styled tune. While still jazzy, it follows closely with much of the Balkan Brass music I have heard. And check out the great Accordion solo by van Tol.

Have A Seat and Hear My Degu A Comin’ are stylistically similar, with both using the short Balkan trill as part of the melody. Very interesting tunes, one fast and the other slow. I keep singing Hear My Degu to myself when no one is around. You will, too.

Dracula is an interesting contrast in styles. While the Accordion and Trumpet solos are the highlight here, this track has a most interesting melody. Take a Blakan theme and cross it with Lee Morgan’s A Sidewinder, and you have the essence of STriCat.

The two Sirbas on the album, Sir Bah and Sirba Voor Susanna are STriCat’s vision of the traditional folk song, the latter played on muted Trumpet.

The sound quality is excellent. I had good results on everything I listened on- car, computer, and home theater. The Trumpet is clearly the lead instrument, but you never lose the Cymbalom or Accordion in the mix. Great engineering by Micha de Kanter.

The CD package has no liner notes, only the track listing, personnel, and credits on the back cover. There are some great photos of the band members on the foldout. The web site has more info, including sound and video clips.

I can easily recommend Rats & Gentle People. This is truly World Music, and STriCat has hit on a fresh concept that should gain a wide following.

Keith Wolzinger
Klezmer Podcast

rats & gentle people
STriCat
Karnatic LAB records (KLR 012)
2007

Personnel:
Bokkie Vink - cimbalom,
Theo van Tol - akkordeon,
Gijs Levelt – trompet

Track Listing:
Driving Madness 6:09
Have A Seat 4:18
Lay Dee 'p' 2:49
Mohawk Territory 5:07
Sir Bah 5:50
Loose Ends 5:45
Asphalt 6:11
Toni 5:33
V 5:23
Hear My Degu A Comin' 7:02
Dracula 5:27
Sîrba Voor Susanna 3:26

Links:


STriCat
MySpace
Karnatic LAB