A Klezmer Funk Remix Saturday, May 3, 2008 at 8pm

A KLEZMER FUNK REMIX
ABRAHAM INC.
TICKETS AVAILABLE AT:  APOLLO THEATER BOX OFFICE   253 WEST 125TH STREET
   CALL 212.253.5305 OR VISIT APOLLOTHEATER.ORG
SAT MAY 3 2008 @ 8PM
TICKETS $35
Celebrate James Brown’s birthday with a special weekend of FUNK!
The Apollo Theater Art & Soul Series presents
ABRAHAM INC.
Featuring David Krakauer, Fred Wesley and Socalled
A Klezmer Funk Remix
Saturday, May 3, 2008 at 8pm | Tickets $35
Abraham, Inc. is a head-on musical collison!
Fusing the geniuses of klezmer champion and clarinet virtuoso, David Krakauer, funk/jazz legend,
trombonist, Fred Wesley, and hip-hop renegade, Socalled - Abraham, Inc. ushers in a new musical
era.  Featuring a killin’ band with a three-piece horn section led by Wesley and special performance by
rapper C-Rayz Walz, this world-premiere concert promises to sweep audiences away with its ecstatic
wailings, bold-face funk, and pulsating hip-hop beats.
  Don’t miss the free Abraham Inc. events leading up to the big show!
May 1, 2008 at 7:30pm, the Apollo Theater Foundation, Inc. and the Jewish Community Center will present, The
Collaborative Spirit: The Soul Music of Abraham, Inc., a conversation with David Krakauer, Fred Wesley and
Socalled with WNYC’s Leonard Lopate.   JCC in Manhattan, 334 Amsterdam Avenue at 76th Street.
May 2, 2008 at 7:00pm, the Apollo Theater Foundation, Inc. and the Museum of African American Cinema honors
funk superstar, James Brown, with a special screening of Remembering James Brown.  The Apollo Theater Sound-
stage.
       Free programs - limited seating.  For more details visit www.apollotheater.org

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Review: Traveling Show

Review: Traveling Show
Metropolitan Klezmer

An exciting facet of today’s Klezmer scene for is the mix of genre-bending sounds that are being created by an increasing number of very talented groups. This is a welcome trend and shows a worldwide acceptance of Jewish musical traditions. One of the most important discoveries I’ve made is Metropolitan Klezmer and their latest release, Traveling Show, a live recording that encompasses a wide range of musical tastes that truly has something for everybody. The band’s energy and interaction with a very appreciative audience put this at the top of my list of live Klezmer recordings.

Traveling Show really has two meanings: The band as it is heard “on the road” while touring, as well as the global roots of the repertoire, North American, Eastern European, Balkan, Latin, and Soviet Yiddish Theater. All are represented with truth, originality, and musicality.

Metropolitan Klezmer does a marvelous job of taking medleys of well-known Klezmer songs and piecing together the best parts in stylistically creative ways, making mini-suites of these musical treasures.

My favorite track on the album is Baltic Blue, an original composition by reed player Debra Kreisberg. It is a Jazz-influenced Terkisher that opens up for solos from Accordion, Sax, Muted Trumpet, and Trombone, and backed by delicate Percussion, Accordion, and some very tasty Acoustic Bass. Kreisberg is a versatile performer, with a great Clarinet sound on the Klezmer tunes and some free flowing Sax on the Swing/Jazz tunes.

The focal point for the group is Vocalist Deborah Karpel, who leads the musical journey with great style. From Yiddish swing favorites like Ot Azoy Neyt a Shnayder and Abi Gezunt to the Balkan-backed Pick A Pocket Or Two to the traditional A Yid, A Kaptsn, the melancholy Mayn Rue Platz, and the distinctive Musikalisher Tango, she gives a nuanced performance that is among the best of today’s interpreters of Yiddish song.

More fun breaks out on Klezmerengue, a latin-flavored rendition of Yosl, Yosl; a “klezmographied” rendition of Guys & Dolls & Bagels, and the Dixieland- flavored version of Ikh Bin A Kleyner Dreydl.

Pam Fleming gives us a soulful Flugelhorn on Kalarash Khupe & Frolic, Mayn Rue Plats, and An Alter Nign. The rest of the time she leads the horns with some very spirited trumpet playing, and fills in nicely on the jazz numbers.

Ismail Butera plays the role of the energetic Accordionist with masterful solos on Mostly Rumanian Finale and Encore, some short solos on other tracks, and restrained accompaniment throughout the album (as there is no keyboard). I think Accordionists are generally underappreciated, but Butera makes you take notice of his inspired performance.

Michael Hess is a great violoinist, but really makes his mark here with his Ney Flutes on S’vivon, Terk In Amerike, Ney Taxim, and Striver’s Sher.

Reut Regev is teriffic at pumping out the Trombone accompaniment throughout the album, but gets limited exposure. She has some great solo work, however, on Baltic Blue, Grandma’s Dance, and Abi Gezunt.

Dave Hofstra is a very talentd Bass player, laying a perfect foundation for the band across all the musical styles on the album, especially on Baltic Blue, and a beautiful solo on Abi Gezunt. But the surprise comes from his doubling on Tuba on C Minor Bulgar and Ken O’Hara Freylekhs, Pick A Pocket Or Two, Striver’s Sher, and Kalarash Khupe and Freylekh.

Finally, we meet the unsung heroine of the group, Drummer Eve Sicular, who lays a perfect groove, whether Klezmer, Balkan, or Swing. She is among the best on the scene today. But let’s not stop there. She also had a hand in arranging all but one of the nineteen songs on the album, and was involved in mixing and editing, plus serving as the Producer, and writing the liner notes and Yiddish translations. It’s a daunting task to take on so much of the behind-the-scenes work on a project like this, and she has pulled it off with a very clean, crisp recording that will sound great on anything you play it on. Live recordings are difficult to get right, but this is one of the best-engineered live albums I’ve heard.

Speaking of liner notes, the cleverly-packaged insert is an 8-page foldout booklet that gives a good introduction to the album, as well as notes about each of the songs and some of the English/Yiddish lyrics.

One last thing to mention is the bonus track, Comes Love, a beautiful studio recording made by Sicular’s smaller group, Isle Of Klezbos. It’s flowing lyric is set to a Tango/Yiddish Waltz and leaves some room for some more solos from the band members.

Traveling Show is at the top of my list for albums to recommend. It has every Jewish style and would be a great first album to buy if you are just starting to get into Klezmer/Jewish music. It’s got a home on my playlist for a long time to come. And who knows, maybe Traveling Show might be coming to your town.

Keith Wolzinger
Klezmer Podcast

Traveling Show Metropolitan Klezmer 2007 Rhythm Media Records RMR 005
TRACKS:
1. Uncle Moses' Wedding
2. Ot Azoy Neyt a Shnayder
3. Miracle Melody: A Nigun & The Poor Man's Tune
4. Shpil du Fidl, Shpil
5. Guys & Dolls & Bagels (Adelaide's Khazones, Lucky Freylekh,
Bublichki/Beygelekh)
6. Traveling Dreydls (S'vivon & Spinning Mojo)
7. C Minor Bulgar & Ken O'Hara Freylekhs (Dance Medley)
8. Mayn Rue Plats
9. Pick a Pocket or Two
10. Baltic Blue
11. Kalarash (Parts 1 & 2)
12. Uskudar Taxim & Terk in Amerike
13. Ney Taxim & Tailor's Sher (Soviet Yiddish Theater)
14. Striver's Sher (Soviet Yiddish Theater)
15. Grandma's Dance/Mikhoels' Tune/Lebedik un Freylekh
16. Muzikalisher Tango
17. Mainly Rumanian Finale (Doyna, Hora, Sirba, Volokh)
18. Encore: Abi Gezunt Medley & Klezmerengue
19. Klezbonus Track: Comes Love

Links:
Metropolitan Klezmer
MK MySpace

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Review: Eyn Velt

Review: Eyn Velt
Brian Bender and Little Shop Of Horas



Brian Bender has an adventurous musical spirit that is reflected in the tracks of Eyn Velt, his latest CD release. Combining his gift for mixing melodies and rhythms from different cultures with his multi-instrumental abilities creates a distinctive sound that can be readily identified as his own. While it is not uncommon these days to find Jewish melodies mixed with other cultures, Bender has collaborated with some of the best known Jewish musicians and added an outstanding cast of backing musicians that combine to give a compelling listening experience. The CD booklet describes the music as “Original and traditional Jewish melodies blended with Latin, Caribbean, African, and Middle Eastern rhythms.”

Bender has composed four original songs for Eyn Velt and arranged all of the songs. He performs on Trombone, Trumpet, Baritone Horn, Melodica, Keyboards, Percussion, and Vocals. Quite an impressive range of abilities. He also has some of the best-known guest artists appearing on the album, such as Alicia Svigals- Fiddle, Frank London- Trumpet, and Stu Brotman- Bass. I must also mention the outstanding Flute/Sax performances by Lise Brown.

What we find on these tracks is a blending of Jewish melodies with rhythms and backgrounds from many different cultural traditions. We end up with a style of world fusion music that has Bender’s signature sound on each track. Yet, each song’s arrangement lives up to the tradition of the particular culture. While each song stands on its own, as you listen through the album there is a common thread woven by Bender that ties the album together nicely as a suite.

I cannot single out just one song as my favorite. I like them all, and find myself humming along without even thinking about it. However, if I were pressed for a response, I would pick El Judio as the most representative of the music on the album. An original by Bender, it combines a Klezmer theme with a Latin Jazz groove. Latin Jazz happens to be another favorite genre of mine, so it plays to my taste quite nicely.

The disc sounds quite good, with all the instruments, vocals, and exotic percussion clear and distinct. The CD booklet does not credit the recording engineer, but lists that the album was mastered by Jim Hemingway.

The CD booklet is a 8-page foldout with good song information, a page by Bender detailing his motivation for the album, and a bio page.

I enjoyed this album very much. Jewish music does blend well with other cultures, and this is an excellent example of how to do it right. The title Eyn Velt says it all, and should appeal to a broad range of listeners.

Keith Wolzinger
Klezmer Podcast

Eyn Velt
Brian Bender and Little Shop Of Horas
2008
Face The Music- FTM-2008

Links:
Brian Bender
Little Shop
Of Horas

Review

Review: Hilda Bronstein Sings Yiddish Songs Old And New
Hilda Bronstein


I frequently write about new, young artists and their approach to Yiddish song. The case with Hilda Bronstein is quite different. While Yiddish Songs seems to be her first release, she has a lifetime of experience with the language as the daugher of Polish immigrants. She devoted much of her life to family and career, only recently returning to Yiddish song after meeting Merlin and Polina Shepherd and collaborating to make this album. On this album she shows her command of Yiddish by using both the Polish and Litvish dialects.

The liner notes state “The songs on this album form a vibrant and colourful patchwork, each piece capturing some facet of the lives of East European Jewry- they are the expression of the very soul of a people from its darkest hours to moments of ecstatic joy.” That aptly sums up what this recording has to offer. Everything from joyous freylekhs, waltzes, and tangos to mournful songs of loss and yearning.

My favorite song on the album is Zingt Oyf Yidish, by Arkady Gendler. Written after the breakup of the Soviet Union, it celebrates the joy of being able to freely sing in Yiddish.

Other notable songs are Mayn Shtetele Belz and Dos Kleyne Tsigaynerl, both familiar, yet get a fresh, heartfelt treatment here.

A word about the musical accompaniment by the Merlin Shepherd Quartet. They are a perfect fit for Hilda’s voice on this album. The Quartet has the ability to blend perfectly into whatever style is called for on each song. Merlin has been one of my favorite Clarinetists for a long time, and he lends his signature sound here in a very tasteful way. The Quartet plays with delicacy and understatement on the slower songs, but then breaks out with unabashed joy on the faster ones. It seems as though Shepherd and Bronstein have found a framework for their music that showw both in their best light.

The engineering quality on this recording is outstanding, thanks to the Production/Engineering/Mixing efforts of Pablo Carcamo. The mix sounded great on everything from my home theater to earbuds to computer speakers. The instruments and vocals are clear and distinct, with a good sound stage and depth of tonal quality.

The CD insert booklet is very well done, and at 32 pages, covers a lot of ground. The liner notes are printed in English, German, French, and Spanish, and there are full song lyrics in both Yiddish and English.

If you’re a fan of Yiddish song, you will no doubt enjoy this album. I’ve been listening to a number of Yiddish albums recently, and this rates as one of the best.

Keith Wolzinger
Klezmer Podcast


Hilda Bronstein Sings Yiddish Songs
Old And New
Hilda Bronstein
ARC Music EUCD 2054
2007


1. Bialystok (words & music: unknown) - 3:16
2. Oyfn Veg Shteyt a Boym (words: Itsik Manger, music: sometimes credited to P. Laskovski) - 4:00
3. S'iz Finster in Gas (words: Meir Harats, music: Efim Chorny) - 2:26
4. Avreml der Marvikher (words & music: Mordecai Gebirtig) - 4:45
5. Melokhe - Melukhe (words & music: Zelig Berdichever) - 5:27
6. Ven Der Regn Zipt in Droysn (words: Mendl Lifshits, music: Efim Chorny) - 2:44
7. Gelibte (words: unknown, music: Egan) - 3:45
8. Dos Lidl Fun Goldenem Land (words & music: Mordecai Gebirtig) - 3:16
9. Zingt Oyf Yidish (words & music: Arkady Gendler) - 3:39
10. Di Sapozhkelekh (trad.) - 3:27
11. Praven Veln Mir a Khasene (words & music: Aaron Lebedeff) - 3:01
12. Dos Kleyne Tsigaynerl (words: Itsik Manger, music: Herts Rubin) - 3:40
13. Ikh Vel Dikh Keyn Mol Nisht Farbaytn (words & music: unknown) - 2:10
14. Mayn Shtetele Belz (words: Jacob Jacobs, music: Alexander Olshanetsky) - 4:34
15. A Vogn Shikh (words: Avrom Sutzkever, music: Tomà? Novotn?) - 2:37
16. Zing Brider Zing (words & music: unknown) - 5:06

Playing Time: 58:39 min


Links:
Hilda Bronstein
ARC Music

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