London Klezmer Quartet-- A World in London with Cultural Co-operation - 9th December 2015

DJ Ritu presents the UK’s longest-running music show focused on the cosmopolitan sounds and stories of Londoners. This week: live music from The London Klezmer Quartet. Produced by Cultural Co-operation.

A World in London with Cultural Co-operation - 9th December 2015 by Resonance Fm on Mixcloud

Klezmer Podcast 125- The Spike Orchestra

Sam Eastmond of The Spike Orchestra is a composer, arranger, and Trumpet player in London, UK. The latest album GHETTO is an exploration of WW II life in the Warsaw Ghetto, through a suite of pieces comprising a 20- piece big band, a 10- piece Spiketet, and a Trumpet/Voice duo. Eastmond describes the genre loosely as “Cartoon- Post-Bop Jazz and Klezmer music with a big band.” And that about sums it up. Enjoy our lively, wide-ranging discussion, and a fresh take on Jewish Music. We hear the full track Uprising, and a snippet of Child Smugglers from the album.

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Interview with Ljova Lev Zhurbin

Closer Emigre Ljova Zhurbin by Jewishmusicinstitute on Mixcloud

Join City of London Sinfonia for this modern-day tale of immigration from Russian to the USA with music by New York composer and musician, Ljova. Coming from a family who moved from Moscow to New York as communism fell in 1990, Ljova’s unique musical voice combines classical music with his own blend of Russian folk, jazz, Balkan gypsy and Klezmer. Performing on viola and violin alongside the Orchestra, this exciting CLoSer concert sees Ljova bring his haunting and exciting music to East London.

Klezmer Podcast 108- London Klezmer Quartet

Klezmer Podcast 108- London Klezmer Quartet. This episode features a return visit with Ilana Cravitz of London Klezmer Quartet. LKQ have released their second album, Welcome to Butterfield Green N16. The album features both classic klezmer pieces and new works composed by Cravitz and band members Susi Evans and Carol Isaacs. We hear the track Butterfield Green Kolomeyke from the album. Others mentioned in the interview are Henry Sapoznik,  Suzy Klein and Ernie Gruner. Run time: 21:44.

Klezmer Podcast 105- Shir

Klezmer Podcast 105- Shir. My interview guest on this episode is Ivor Goldberg of the band Shir, based in london, UK. Shir have released three albums, play in Klezmer, Israeli, and Sephardic styles, and sing in Hebrew, Yiddish, and Ladino. We hear two tracks, Shecharchoret and Silver Wedding, both from the album Ashk'farad. Run time: 32:33.

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Klezmer Podcast 103- Klezmer Kollectiv

Klezmer Podcast 103- Klezmer Kollectiv. Among the new crop of Klezmer bands in the UK is Klezmer Kollectiv. They’ve been spreading the joy to young audiences in clubs around the London area, and have garnered a loyal following. I met up with three of the band members: Adam Cross-Clarinet; Jacob Shaw-Sax; James Hulme-Cajon. We hear the track Uberklez from the album Live at Green Note. This interview was recorded on 17 February 2013.
Run time: 28:16.

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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:

Review- The Klezmatics: On Holy Ground (DVD Video)

It is a rare thing to get an intimate, behind-the-scenes look at a popular band of any genre, let alone a World Music one. But The Klezmatics is certainly one worthy of the celebration and scrutiny that comes with documentary filmmaking. Erik Greenberg Anjou takes us on a journey of intimacy and insight as he looks at life both on the road and at home in The Klezmatics: On Holy Ground.

The film opens with the band on tour in Michigan, throwing us right into what a musician’s life on tour looks like. This is not the rock-star life of private jets and hotel suites. Yet the dedicated professionalism and enthusiasm the band shows could hardly be matched by the household names we know from the rock/pop music scene. These folks are the rock stars of this genre.

There is a learning process with Yiddish-based Klezmer music. It’s not just a matter of sitting down and writing songs. There is a vast existing repertoire that must be mastered  before anything else can happen. An early scene shows Lorin at the YIVO Institute For Jewish Research, looking through the sound archives and playing old Yiddish 78 records. Then we see him, along with Lisa, practicing with his Yiddish teachers at the Workmen’s Circle Library. 

We see Frank riding a bike through Manhattan, Trumpet case slung over his shoulder. He has a pragmatic view of the work a musician does: “Well, you have to work. That’s a given. So you might as well enjoy what you do.” So true. If you you don’t enjoy it, why bother?

Matt and Paul did not grow up Jewish, but found their own path to Klezmer and are able to bring much to it. Paul says they take the sounds of Klezmer music and add things to it from their own personal experiences. This makes it a living tradition.

The film features a segment with Joshua Nelson, probably the most unique performer in the genre. Known as the Prince of Kosher Gospel Music, Nelson grew up in an Orthodox Ethiopian synagogue, where the music is syncopated in a way very similar to American Gospel. Nelson had previously collaborated with The Klezmatics on the Brother Moses Smote The Water album, and we get to see him perform Ki Loy Nue and Elijah Rock. 

The film focuses on the Woody Guthrie project, Wonder Wheel, showing the creative process the band used to create the album. We hear from Nora Guthrie about her collaboration with the band to set music to her father’s lyrics. Lisa talks about finishing a song that has incomplete lyrics. Frank talks about the band’s group decision making, describing it as a band without a leader, an anarchist collective. The album gets nominated for a GRAMMY® award, and we follow the band to Los Angeles as they perform at Walt Disney Concert Hall. Wonder Wheel wins in the World Music category, and we see a marketing strategy session at the office of the band’s label, JMG. We see JMG President David McLees talk about the importance of the win and the positive effect he hopes it will have on album sales.  Unfortunately, JMG later went out of business, and the band members talk about the impact this had on them. 

We see The Klezmatics on tour in Poland, bringing back the music that had originated in that country. They visit with school children in Klodzko, visit the White Stork Synagogue, and perform in Wroclaw. We see Janusz Makuch, director of Yiddish Culture Festival Krakow talk about the importance of The Klezmatics to the music scene there. “You could say oh, everyone can do it, yeah? So show me the other band like Klezmatics.” He goes on to say “They are one of the most authentic bands. They don’t imitate anything.” We also hear from Christoph Borkowsky- President, Piranha Records, who was instrumental (no pun intended) in producing The Klezmatics’ early recordings. His enthusiasm is still unwavering after all these years.

There are scenes of life at home, with family and kids. We learn about the struggle to balance home life with the life of touring with the band. There is also some honest talk about the struggle to earn a decent living as a musician. Some have second jobs. Frank is seen in a number of musical settings, keeping busy as a musician, composer, and arranger. As well known as The Klezmatics are, income from the band alone is not sufficient to support the families. Quite a contrast to the public perception of the earning potential of touring bands.

This struggle to keep the money coming in boils over when Frank is taken to task for wanting to perform less with the band as he searches for a teaching job. There is some conflict and a level of dysfunction among the group, but Paul says “You know what? I would call us incredibly dysfunctional, except for one thing. We still have a band. How do you argue with that?”

We see the creative process at work again as the band meets for a workshop for a new album in Lorin’s apartment. Frank starts with a very basic outline of a song and the band builds an arrangement around the theme together. This shows their collaborative style at work. It is an amazing thing to witness. Frank says “The fire to make good new music never leaves.” And certainly, the fire for us as an audience to hear good music never leaves, either.

The Klezmatics remain at the top of the Jewish music scene, keeping up their world touring schedule as they always have. The drive to keep bringing this music to the public is a testament to the spirit and dedication the band has to each other, the music profession, and their worldwide audience. Every place The Klezmatics walk is definitely Holy Ground.

Keith Wolzinger

©2012 Klezmer Podcast

Note: Hear David McLees on Klezmer Podcast 7

Review: London Klezmer Quartet

London Klezmer Quartet have released their self-titled debut album, and if you are a fan of small group, authentic Klezmer, this album fits the bill perfectly. The group has a wonderful acoustic sound, without anything getting in the way of the purity of the music. The arrangements are spot on, and the balance is just right. Whether it be a delicate doina or hora, a bouncing sher, or a blazing freylekhs, LKQ gives a masterful performance, full of exuberance and artistry.

LKQ pays homage to some of the Klezmer greats. A pair of Dave Tarras tunes, Galatas and Bosporus feature Susi Evans on Clarinet. She is very impressive, and plays with great heart, particularly on the latter tune.

Naftule Brandwein’s Firn Di Mekhutonim Aheym is here, too, and the band does a beautiful version of it.

And Sid Beckerman’s Tants a Freylekhs is the centerpiece of a medley along with Doyne and the fast-paced Galitsianer Tensl.

Band member Carol Isaacs’ Camden Patsh is a refreshing take on the traditional Clapping Dance, common Klezmer music. It is named after a neighborhood in London.

Band members Ilana Cravitz and Susi Evans teamed up to write Starlight Hora, a tune that came to them while riding the Coast Starlight train in California.

The final tune, Nakhes Fun Kinder (reprise) is a more open and delicate version the we hear earlier on the album. Carol Isaacs switches to Piano, which is a perfect match for the more subdued and emotional feel of Clarinet and Cello. This track is my favorite on the album.

The audio quality on the recording is outstanding, thanks to engineer Jeremy Cox. The instruments are all clear, and the balance is just right.

LKQ is off to a great start with this album. I will be keeping it in my regular listening rotation for quite some time. I can recommend LKQ highly to both those just starting to build their Klezmer library, as well as those fans looking for a truly authentic sound amongst all the amped-up Klezmer that is being produced these days. Keep up the great work, ladies.

Personnel:
Ilana Cravitz- Violin
Susi Evans- Clarinet
Carol Isaacs- Accordion and Piano
Francesca Ter-Berg- Cello


 Track List:  
 1.   Galatas
 2.   Patsh (clapping) dances
 3.   A Gute Nakht (good night)
 4.   Ukrainian Sherele
 5.   Firn di Mekhutonim Aheym (taking the in-laws home) ~
       Tsum Badekns
 6.   Sher
 7.   Doyne  ~ Tants a Freylekhs ~ Galitsianer Tensl
 8.   Bosporus
 9.   Starlight Hora  ~ Lekhayim  ~ Russian Dance
10. Nakhes fun Kinder ~ Manchester Mekhutonim  ~
      Tants far Ale Mekhutonim
11. Wedding Hora
12. Nakhes fun Kinder (reprise)

 Total Time: 43:57

Klezmer Podcast 83- London Klezmer Quartet

Klezmer Podcast 83- London Klezmer Quartet. This episode features an interview with Ilana Cravitz of London Klezmer Quartet. The group has released their self-titled debut album, The London Klezmer Quartet. The band plays in a traditional style, but have added a few original tunes of their own. We get to hear one of these originals, Camden Patsh, by band member Carol Isaacs. Run time: 26:40.

Listen to the podcast here: