Review: The Lithuanian Empire
I love it when a fresh new sound comes along. The thing is that The Lithuanian Empire starts with traditional Klezmer as its basis. This is evident in the opening and closing acapella Nigunim that frame the rest of this thoroughly entertaining album. From there we are taken on a musical journey that I can only describe as North American-influenced Eastern European music. There is a balance to this music that keeps the listener engaged throughout the album. Each song has its own twist on the musical tapestry. From high energy klezmer/balkan/gypsy to jazz influences, as well as classical, punk, and rock, all are carried off in a very hip way.
The first instrumental, Ol’ Daddy Sizzlegut, sets the stage for the rest of the album. A high energy Klezmer tune that is thoroughly enjoyable, it features each band member along the way.
Balkan Balebusteh is a slightly different Balkan-style tune. Balkan music seems to have become quite popular in recent years, and these tunes are making their way into the Klezmer conciousness. This is a fine example of the genre, with a 7/4 time signature in a 4-3 pattern. It has a definite groove that grabs you and takes you along for a fast-paced ride. Check out the great contemporory drumming by Lorie Wolf.
Cherry Blossom Hora is one of three compsitions by band member Andy John. This seemingly Japanese-influenced medium-tempo Hora features John on Harmonica. Being familiar with Klezmer harmonica by the band Shtreiml, I have come to appreciate the texture that the instrument brings to the table.
Eva’s Tune, I think, represents one of the cornerstones of The Lithuanian Empire’s musical language. After a percussion intro by Wolf, the trumpet comes in with the melody, followed by clarinet and accordion, then the entire band, in a straightforward 7/4 Balkan tune. But then the band drops out, leaving just the piano, bass, and drums. The trio leaps into a free-form jazz section that is completely unexpected, yet is a truly great performance on its own. I would like it in any context, but it adds a new dimension to this piece. (It just shows you that you never can predict what TLE will do next!) The accordion joins in, then the band joins in, clapping the Balkan rhythm. Finally all of the instruments join in for the coda.
Tisch Nign II is a solo piece performed by pianist Fern Lindzon. This is a delicate piece that is difficult to categorize, but I suppose it could be called a Comtemporary Doina. Don’t worry about what I call it, just listen and be moved.
Yismekhusidl, an arrangement of a Klezmer tune by Trombonist Ryan Purchase is another example of TLE’s way of doing business. Just as we get comfortable listening to the great traditional groove set by the clarinets, the piece takes a turn into a funk groove with some very nice jazz comp chords by the piano. As the piece continues, more rock backgrounds are added by the Bass and Trombone. Then we take another turn into a Led-Zeppelin style funk groove with John taking a Sitar-style solo on electric guitar. Another case of something unexpected, but it works well in this context.
aSHERville is a duet composed by John, as a play on words between the song style and his hometown. Playing Harmonica again and joined by Wolf on Drums, this is a short piece that alternates between a Bluegrass style and a Bulgar. It is full of energy and shows yet another facet of TLE’s versatility.
Devorah Nign is an original by Purchase and arranged for Clarinet, Trombone, and Piano. This is a lovely, delicate arrangement, and brings in a chamber music quality, thanks to Purchase’s classical composition background. No switching styles here, TLE let this one stand on its own.
Sushi For Shabbes, the last instrumental, continues the Japanese thread with a latin-influenced Klezmer song, featuring solos by Clarinet, Piano, and Accordion. Check out the great Bass lines here!
The Lithuanian Empire is fast becoming one of my favorite groups/albums. Their love of traditional music is evident, as is their desire to incorporate many other musical elements. To some, it may seem to be a mash-up. But there is authenticity in each element that’s mixed in, from jazz to Balkan to funk to classical. It all works. I think that this is where Jewish music is headed and I’m all for it. Long live the Empire!
To hear my interview with The Lithuanian Empire, listen to Klezmer Podcast 22.
The Lithuanian Empire
The Lithuanian Empire
2007
Keith Wolzinger
Klezmer Podcast
Links:
The Lithuanian Empire
TLE MySpace
20 November 2007
Review: Refuge Rock Sublime
Review: Refuge Rock Sublime
Mare Winningham
When Craig Taubman told me earlier this year that his company had released an album by Mare Winningham I was a bit perplexed. I was familiar with her work as an actress, but I didn’t have any idea of what the album would be about. Dramatic reading or music? Well, I recently received a copy and what I found far exceeded my expectations.
Be prepared to let go of any notions you have of what Jewish music is. This is a collection of songs about Judaism and comes from a very different place than Europe-rooted Jewish music. This is truly an American album and is done in a -- get ready-- Country Music style.
The first thing that struck me about Refuge Rock Sublime was the deep spirituality form the original somgs by Winningham. The other thing that was surprising to me was how natural the Hebrew lyrics sound in this context. It is amazing how the language and ideas expressed can be adapted and made universal in such an intersting way.
There are six originals by Winningham, and she composed music for two existing poems. There are also some liturgy-based songs in Hebrew, and one of the most moving versions of Hatikvah that I have heard.
A few songs worth noting:
My Fixed Point is a song about the values to be learned from the Torah and how central its teachings are in Jewish life. This is expressed in the line: “My Torah will be a fixed point in my life.”
Wall Of Prayer is about the protective power of prayer, whether we pray for ouselves or others.
The World To Come is about a vision of the afterlife and reuniting with our departed ones.
A Convert Jig is about what she learned during her conversion to Judaism. I like the line: “I will be a Jew like all of you and dance a convert jig.”
Oh Moses answers her question of who you would most like to meet. Who wouldn’t like to have dinner with Moses if given the chance?
The recording quality is outstanding, thanks to Producer Tim Crouch and Engineer Jon Raney. I love the clarity and blend of the guitar, mandolin, and fiddle throughout the album.
The lyrics are not included in the packaging, nor did I find them online. I hope they will be made available sometime soon.
Refuge Rock Sublime is a remarkable achievement, and deserves serious consideration as an addition to any collection of Jewish music in the truest sense. I feel like dancing a Jig myself. How about you?
Refuge Rock Sublime
Mare Winningham
Craig n’ Co.
2007
Keith Wolzinger
Klezmer Podcast
Links:
Refuge Rock Sublime
Craig 'n Co.
Mare Winningham
When Craig Taubman told me earlier this year that his company had released an album by Mare Winningham I was a bit perplexed. I was familiar with her work as an actress, but I didn’t have any idea of what the album would be about. Dramatic reading or music? Well, I recently received a copy and what I found far exceeded my expectations.
Be prepared to let go of any notions you have of what Jewish music is. This is a collection of songs about Judaism and comes from a very different place than Europe-rooted Jewish music. This is truly an American album and is done in a -- get ready-- Country Music style.
The first thing that struck me about Refuge Rock Sublime was the deep spirituality form the original somgs by Winningham. The other thing that was surprising to me was how natural the Hebrew lyrics sound in this context. It is amazing how the language and ideas expressed can be adapted and made universal in such an intersting way.
There are six originals by Winningham, and she composed music for two existing poems. There are also some liturgy-based songs in Hebrew, and one of the most moving versions of Hatikvah that I have heard.
A few songs worth noting:
My Fixed Point is a song about the values to be learned from the Torah and how central its teachings are in Jewish life. This is expressed in the line: “My Torah will be a fixed point in my life.”
Wall Of Prayer is about the protective power of prayer, whether we pray for ouselves or others.
The World To Come is about a vision of the afterlife and reuniting with our departed ones.
A Convert Jig is about what she learned during her conversion to Judaism. I like the line: “I will be a Jew like all of you and dance a convert jig.”
Oh Moses answers her question of who you would most like to meet. Who wouldn’t like to have dinner with Moses if given the chance?
The recording quality is outstanding, thanks to Producer Tim Crouch and Engineer Jon Raney. I love the clarity and blend of the guitar, mandolin, and fiddle throughout the album.
The lyrics are not included in the packaging, nor did I find them online. I hope they will be made available sometime soon.
Refuge Rock Sublime is a remarkable achievement, and deserves serious consideration as an addition to any collection of Jewish music in the truest sense. I feel like dancing a Jig myself. How about you?
Refuge Rock Sublime
Mare Winningham
Craig n’ Co.
2007
Keith Wolzinger
Klezmer Podcast
Links:
Refuge Rock Sublime
Craig 'n Co.
Review: Yiddish Songs For The Soul
Review: Yiddish Songs For The Soul
Hy Wolfe
At the heart of much of Jewish Music lives a Yiddish soul, and Hy Wolfe has tapped into this legacy with “Lider Far Der Neshome”, Yiddish Songs For The Soul. Wolfe gives us a cross-section of Yiddish music that follows the Jewish migration from Eastern Europe to North America. Wolfe’s years of experience in Yiddish Theater are on display here with a wonderful voice that delivers a rich and enjoyable performance on every track.
Jewish culture is full of both great joy and deep heartache. The music must be able to convey these themes to the listener in such a way that they are enjoyable to listen to, and Wolfe succeeds from one end of this spectrum to the other.
A song of the hardship of rural life in Russia, In Vinter Farnakhtyn Oyf Rusishe Felder, is translated:
The winter sun sets in the Russian fields:
Where could it be more desolate, where could I be more alone?
The theme of life in Russia is continues with “A Zelner Bay Froyem-Yosl,” a song about the conern an observant family has about their son maintaining an observant lifestyle while serving in the Russian Army (he doesn’t).
Love songs abound in Yiddish music as well, and I like “Khavivele,” a song of longing for a girl from the Negev.
Songs of happiness can also be found, and in “Khasisimlekh,” we hear about the joy of the Chasidim as they dance, sing, and raise their glasses. They have no worries as they rejoice with the Rebbe.
Yiddish culture found its way finally to North America, and onto Yiddish Theater and Cabaret stages. These songs mix Yiddish with English, and are very clever.
“I’m A Litvak And She’s A Galitz” is a song about a happily married couple who love each other very much, except that they speak different Yiddish dialects and can’t get along.
“Umglik Blues” is a jazzy blues with a typical theme of many southern Blues songs: the distraught husband from The Bronx whose wife left him to run off to Atlantic City with Lapidus, the delicatessen owner. Still, he offers to take her to Miami Beach if she’ll come back to him. Now, who could refuse such an offer?
Jewish life in the American South is the theme of “Number Four Humentash Lane,” a Gershwin-style theater song, in which Wolfe tells us what he is looking forward to when he gets back to his home in the Deep South.
The album includes a 24-page booklet with complete Yiddish lyrics and English translations, and photos of Wolfe from his performances. The arrangements by Herbert Kaplan, even though MIDI-based, are very well done, and never overshadow Wolfe’s vocal sensitivity and depth.
“Yiddish Songs For The Soul” is dedicated to Wolfe’s parents, who came from Poland. It is easy to see the love and dedication that went into this album, and the feeling he has for life in the old country. Listen and get connected with your own Yiddish soul.
Lider Far Der Neshome
Yiddish Songs For The Soul
Hy Wolfe
Yiddishland Records
2005
Keith Wolzinger
Klezmer Podcast
Link:
Hy Wolfe
Hy Wolfe
At the heart of much of Jewish Music lives a Yiddish soul, and Hy Wolfe has tapped into this legacy with “Lider Far Der Neshome”, Yiddish Songs For The Soul. Wolfe gives us a cross-section of Yiddish music that follows the Jewish migration from Eastern Europe to North America. Wolfe’s years of experience in Yiddish Theater are on display here with a wonderful voice that delivers a rich and enjoyable performance on every track.
Jewish culture is full of both great joy and deep heartache. The music must be able to convey these themes to the listener in such a way that they are enjoyable to listen to, and Wolfe succeeds from one end of this spectrum to the other.
A song of the hardship of rural life in Russia, In Vinter Farnakhtyn Oyf Rusishe Felder, is translated:
The winter sun sets in the Russian fields:
Where could it be more desolate, where could I be more alone?
The theme of life in Russia is continues with “A Zelner Bay Froyem-Yosl,” a song about the conern an observant family has about their son maintaining an observant lifestyle while serving in the Russian Army (he doesn’t).
Love songs abound in Yiddish music as well, and I like “Khavivele,” a song of longing for a girl from the Negev.
Songs of happiness can also be found, and in “Khasisimlekh,” we hear about the joy of the Chasidim as they dance, sing, and raise their glasses. They have no worries as they rejoice with the Rebbe.
Yiddish culture found its way finally to North America, and onto Yiddish Theater and Cabaret stages. These songs mix Yiddish with English, and are very clever.
“I’m A Litvak And She’s A Galitz” is a song about a happily married couple who love each other very much, except that they speak different Yiddish dialects and can’t get along.
“Umglik Blues” is a jazzy blues with a typical theme of many southern Blues songs: the distraught husband from The Bronx whose wife left him to run off to Atlantic City with Lapidus, the delicatessen owner. Still, he offers to take her to Miami Beach if she’ll come back to him. Now, who could refuse such an offer?
Jewish life in the American South is the theme of “Number Four Humentash Lane,” a Gershwin-style theater song, in which Wolfe tells us what he is looking forward to when he gets back to his home in the Deep South.
The album includes a 24-page booklet with complete Yiddish lyrics and English translations, and photos of Wolfe from his performances. The arrangements by Herbert Kaplan, even though MIDI-based, are very well done, and never overshadow Wolfe’s vocal sensitivity and depth.
“Yiddish Songs For The Soul” is dedicated to Wolfe’s parents, who came from Poland. It is easy to see the love and dedication that went into this album, and the feeling he has for life in the old country. Listen and get connected with your own Yiddish soul.
Lider Far Der Neshome
Yiddish Songs For The Soul
Hy Wolfe
Yiddishland Records
2005
Keith Wolzinger
Klezmer Podcast
Link:
Hy Wolfe
Review: Menorah- Songs From A Jewish Life
Review: Menorah- Songs From A Jewish Life
Shelley Posen
Don’t be misled by the title. Menorah is not an album of Chanukah songs, but a truly remarkable collection of original songs about Posen’s observations of Jewish Life. When I received the CD I didn’t listen to it right off. I spent some time first with the 28-page booklet that comes with it. I found that reading through the booklet helped prepare me for the truly inspired music I was about to hear.
In the booklet’s introduction, Posen explains that the album title comes from a treasured family Menorah that was handed down from his grandmother to his mother and finally to him. It’s not really about the Menorah, though, but about how it binds together the generations of his family. And it is done in such a way that is both moving and joyous. Full lyrics and song notes are included and a Glossary of Terms is available on his website.
As I read through the booklet, the lyrics’ poetry and depth of feeling resonated with me. The humorous songs are very clever and the more serious songs convey a deep love of family and Jewish tradition.
The music is very well done, with styles taken from many different genres. One of my favorite songs, Street Corner Havdalah, is done in a perfect do-wop style, and is a tribute to Dion and the Belmonts. Check out the 4-part harmony, especially at the end of the song.
Another favorite is Will Their Children Light The Candles, Posen’s Klezmer-styled song about his concern whether or not his future grandchildren (and all of ours as well) will maintain a Jewish identity, observing the holidays and traditions, or abandon it for an assimilated life. This song includes my friends, the Toronto-based band Beyond The Pale, and adds an authenticity that perfectly matches the sentiment of the lyrics.
One of the more clever songs is Home For Shabbes, a song about New York Jews rushing home on the subway on Friday afternoon, worried about arriving before Shabbes begins. Beyond The Pale joins again for this mashup of Klezmer-meets-Gilbert and Sullivan. It’s great fun!
Posen’s loving tributes to his mother are evident in Fork Garden, My Mother’s Old Menorah, and Angels To The Light. I won’t go into detail here, but trust me, these pull at the heartstrings and are the the real gems to be found here.
On the humorous side, there is Dim Sum (or, One in a Minyan), about an Orthodox Jew seeking out a tenth man in a local Chinese restaurant. (What better place to look?) Cholent is a blues/shuffle about the traditional Shabbes dish. (This song got my daughter’s attention, as she gets to sample Cholent every year at Jewish Camp. It’s her favorite song.) The food theme continues with Everybody Loves Shabbes But The Chickens, done in a March style. The chickens wonder if we might like something else as a meal for a change? And, Finders Kippers, a bluegrass tribute to a favorite breakfast dish.
Also on the album are songs of a more liturgical nature. Eliyahu is a Klezmer prayer for Eliyahu to return at Pesach, dedicated to the Jews of York, England, in the year 1190. Shepherd is a Caribbean-style song about biblical heroes who were shepherds for a time. Ani Adam is a beautiful Hebrew vocal duet with a delicate instrumental and choir background.
Lastly, there is A Scottish Tale of Purim, a short standup comedy story spoken by Posen, recorded at a live event.
I like Posen’s singing style very much. He reminds me of Tom Lehrer, able to deliver humor, reverence, and sentimentality with equal skill. The background musicians and vocalists are outstanding, and the arrangements by Paul Mills and Martin van de Ven are a highlight. Mills also had his hand in the fine engineering on the album, handling the Producing, Recording, and Mixing duties.
Menorah is a joy to listen to.I like the varied music styles, but keeping the Jewish/Klezmer tradition alive as well. The singing and musicianship are top notch, the arrangements are thoughtful, the album “sounds” great, and the booklet is quite well done. It is clear that much love and dedication has been poured into this album. Posen’s Menorah is as much a gift to us as his mother’s Menorah is a gift to him.
Menorah- Songs From A Jewish Life
Shelley Posen
Well Done Music
2007
Keith Wolzinger
Klezmer Podcast
Link:
Shelley Posen
Shelley Posen
Don’t be misled by the title. Menorah is not an album of Chanukah songs, but a truly remarkable collection of original songs about Posen’s observations of Jewish Life. When I received the CD I didn’t listen to it right off. I spent some time first with the 28-page booklet that comes with it. I found that reading through the booklet helped prepare me for the truly inspired music I was about to hear.
In the booklet’s introduction, Posen explains that the album title comes from a treasured family Menorah that was handed down from his grandmother to his mother and finally to him. It’s not really about the Menorah, though, but about how it binds together the generations of his family. And it is done in such a way that is both moving and joyous. Full lyrics and song notes are included and a Glossary of Terms is available on his website.
As I read through the booklet, the lyrics’ poetry and depth of feeling resonated with me. The humorous songs are very clever and the more serious songs convey a deep love of family and Jewish tradition.
The music is very well done, with styles taken from many different genres. One of my favorite songs, Street Corner Havdalah, is done in a perfect do-wop style, and is a tribute to Dion and the Belmonts. Check out the 4-part harmony, especially at the end of the song.
Another favorite is Will Their Children Light The Candles, Posen’s Klezmer-styled song about his concern whether or not his future grandchildren (and all of ours as well) will maintain a Jewish identity, observing the holidays and traditions, or abandon it for an assimilated life. This song includes my friends, the Toronto-based band Beyond The Pale, and adds an authenticity that perfectly matches the sentiment of the lyrics.
One of the more clever songs is Home For Shabbes, a song about New York Jews rushing home on the subway on Friday afternoon, worried about arriving before Shabbes begins. Beyond The Pale joins again for this mashup of Klezmer-meets-Gilbert and Sullivan. It’s great fun!
Posen’s loving tributes to his mother are evident in Fork Garden, My Mother’s Old Menorah, and Angels To The Light. I won’t go into detail here, but trust me, these pull at the heartstrings and are the the real gems to be found here.
On the humorous side, there is Dim Sum (or, One in a Minyan), about an Orthodox Jew seeking out a tenth man in a local Chinese restaurant. (What better place to look?) Cholent is a blues/shuffle about the traditional Shabbes dish. (This song got my daughter’s attention, as she gets to sample Cholent every year at Jewish Camp. It’s her favorite song.) The food theme continues with Everybody Loves Shabbes But The Chickens, done in a March style. The chickens wonder if we might like something else as a meal for a change? And, Finders Kippers, a bluegrass tribute to a favorite breakfast dish.
Also on the album are songs of a more liturgical nature. Eliyahu is a Klezmer prayer for Eliyahu to return at Pesach, dedicated to the Jews of York, England, in the year 1190. Shepherd is a Caribbean-style song about biblical heroes who were shepherds for a time. Ani Adam is a beautiful Hebrew vocal duet with a delicate instrumental and choir background.
Lastly, there is A Scottish Tale of Purim, a short standup comedy story spoken by Posen, recorded at a live event.
I like Posen’s singing style very much. He reminds me of Tom Lehrer, able to deliver humor, reverence, and sentimentality with equal skill. The background musicians and vocalists are outstanding, and the arrangements by Paul Mills and Martin van de Ven are a highlight. Mills also had his hand in the fine engineering on the album, handling the Producing, Recording, and Mixing duties.
Menorah is a joy to listen to.I like the varied music styles, but keeping the Jewish/Klezmer tradition alive as well. The singing and musicianship are top notch, the arrangements are thoughtful, the album “sounds” great, and the booklet is quite well done. It is clear that much love and dedication has been poured into this album. Posen’s Menorah is as much a gift to us as his mother’s Menorah is a gift to him.
Menorah- Songs From A Jewish Life
Shelley Posen
Well Done Music
2007
Keith Wolzinger
Klezmer Podcast
Link:
Shelley Posen
22 October 2007
Review:Shuff!- Den Flygande Bokrullen
Review: Shuff!
Den Flygande Bokrullen
When Den Flygande Bokrullen contacted me on MySpace to add me to their friends list, I was immediately intrigued and looked up their profile page. Imagine, a Klezmer band from Sweden! ( I do have some Swedish heritage.) When I listened to their song samples, I was hooked. DFB (as they refer to themselves) has a street-klezmer sound that grabs you and takes hold of your soul. This is joyous, raucous music that spans several genres of Eastern European music. Besides Klezmer, there are Balkan, Turkish, and Romanian songs.
The band has a great blend of instrumentation, and everyone is featured at some point on the album. Even though the group is brass/woodwind centered, I very much enjoyed “Manos,” which features some very nice Mandolin/Piano work, and “Barbanjo,” which starts off with Banjo/Accordion. I think the most serious and lovely piece is the final “Leipzig,” a delicate brass choir piece with sax, but no rhythm section.
Of the 15 songs on the album, 5 are original compositions by members of the band. The band as a whole takes credit for all of the arrangements.
The recording has a great “live” feel to it. Even though this is a studio recording, the band draws you in and the listener feels part of the action. I’ve listened to this album several times and each time it ends I start it over again, just to hear a little bit more.
If your taste leans toward brass/woodwind klezmer do yourself a favor and give Shuff! a listen. You can thank me later.
Tak!
Shuff!
Den Flygande Bokrullen
Arko Records, 2007
Keith Wolzinger
Klezmer Podcast
Links:
Den Flygande Bokrullen
DFB On MySpace
Den Flygande Bokrullen
When Den Flygande Bokrullen contacted me on MySpace to add me to their friends list, I was immediately intrigued and looked up their profile page. Imagine, a Klezmer band from Sweden! ( I do have some Swedish heritage.) When I listened to their song samples, I was hooked. DFB (as they refer to themselves) has a street-klezmer sound that grabs you and takes hold of your soul. This is joyous, raucous music that spans several genres of Eastern European music. Besides Klezmer, there are Balkan, Turkish, and Romanian songs.
The band has a great blend of instrumentation, and everyone is featured at some point on the album. Even though the group is brass/woodwind centered, I very much enjoyed “Manos,” which features some very nice Mandolin/Piano work, and “Barbanjo,” which starts off with Banjo/Accordion. I think the most serious and lovely piece is the final “Leipzig,” a delicate brass choir piece with sax, but no rhythm section.
Of the 15 songs on the album, 5 are original compositions by members of the band. The band as a whole takes credit for all of the arrangements.
The recording has a great “live” feel to it. Even though this is a studio recording, the band draws you in and the listener feels part of the action. I’ve listened to this album several times and each time it ends I start it over again, just to hear a little bit more.
If your taste leans toward brass/woodwind klezmer do yourself a favor and give Shuff! a listen. You can thank me later.
Tak!
Shuff!
Den Flygande Bokrullen
Arko Records, 2007
Keith Wolzinger
Klezmer Podcast
Links:
Den Flygande Bokrullen
DFB On MySpace
Review: Voyage- Trio Helene Engel
Review: Voyage
Trio Helene Engel
Voyage is the aptly titled album from Montreal-based Trio Helen Engel. Voyage takes the listener on a journey through the Jewish musical world. The versatile Engel sings in Yiddish, Hebrew, French, Ladino, and English. With the help of Henri Oppenheim, the arrangements have an authentic sound unique to each region visited by these songs. The album touches on the music of Poland, Ukraine, Morocco, Spain, France, Russia, Israel, and North America.
Voyage is the fifth album by Engel, though her first with the current Trio, which was formed in 2005.
The first track, Introduction, starts with the sounds of a noisy club audience, who gradually gets quiet as the band begins to play and Engel appears and begins to sing wordlessly. From there we are along for the ride as Voyage goes on its globetrotting adventure.
The musical styles vary, but the high level of musicianship is steady throughout. The backing by Oppenheim, violinist Marie-Niege Lavigne, and guest guitarist Jean Desrochers, is a perfect match for the voice of Engel. The instrumental solo breaks are well done, and I especially enjoyed the jazz violin work by Lavigne on Bai Mir Bistu Sheyn.
The CD insert is a four-page booklet with French and English bios of the band members and a brief description of the album. The lyrics, translations, and information about each song are available on Engel’s website. They are quite extensive, with the lyrics being translated into French and English. If you like a variety of Jewish song styles, and a classically-trained voice backed by a great ensemble, then have a listen to Trio Helene Engel. Bon Voyage!
Voyage
Trio Helene Engel
2007
Links:
Helene Engel
Voyage Lyrics and Notes
Trio Helene Engel
Voyage is the aptly titled album from Montreal-based Trio Helen Engel. Voyage takes the listener on a journey through the Jewish musical world. The versatile Engel sings in Yiddish, Hebrew, French, Ladino, and English. With the help of Henri Oppenheim, the arrangements have an authentic sound unique to each region visited by these songs. The album touches on the music of Poland, Ukraine, Morocco, Spain, France, Russia, Israel, and North America.
Voyage is the fifth album by Engel, though her first with the current Trio, which was formed in 2005.
The first track, Introduction, starts with the sounds of a noisy club audience, who gradually gets quiet as the band begins to play and Engel appears and begins to sing wordlessly. From there we are along for the ride as Voyage goes on its globetrotting adventure.
The musical styles vary, but the high level of musicianship is steady throughout. The backing by Oppenheim, violinist Marie-Niege Lavigne, and guest guitarist Jean Desrochers, is a perfect match for the voice of Engel. The instrumental solo breaks are well done, and I especially enjoyed the jazz violin work by Lavigne on Bai Mir Bistu Sheyn.
The CD insert is a four-page booklet with French and English bios of the band members and a brief description of the album. The lyrics, translations, and information about each song are available on Engel’s website. They are quite extensive, with the lyrics being translated into French and English. If you like a variety of Jewish song styles, and a classically-trained voice backed by a great ensemble, then have a listen to Trio Helene Engel. Bon Voyage!
Voyage
Trio Helene Engel
2007
Links:
Helene Engel
Voyage Lyrics and Notes
04 October 2007
Review: Budowitz Live
Review: Budowitz Live
Budowitz
Budowitz Live is the latest release from Budowitz, a klezmer group that brings new life to the music of the Eastern European Jews. I first became aware of Budowitz in 2001, but it was only recently that I took the next step and became seriously interested in the the group and the truly wonderful music that they bring to the world.
The group is fronted by Josh Horowitz (Tsimbl/Accordion) and Cookie Segelstein (Violin) who together wrote most of the arrangements on the album. They are joined by Christian Dawid, a favorite Clarinet player of mine, and string players Tamas Gombai, Sandor Toth, and Zsolt Kurtosi. Some of the songs are original compositions, but blend completely into the soundscape that Budowitz so ably lays out for us.
The 2-disc set is taken from live performances in Switzerland and is organized into suites from ten geographic regions of Eastern Europe, including Mogiolev, birthplace of my paternal grandfather. I find it particularly helpful to regionalize these songs, as there is a clear distinction between the musical styles and emotional impact these songs convey, based on the locality of the people who originated them. Budowitz takes us on tour with them through the villages and countryside of these areas, evoking a strong sense of place and community from each song.
You know, being slightly Geekish, I always have to say something about the quality of the sound. For those of you who opt to get the CD, or a high-quality download, you’re in for something special. This has to be one of the most pristine live recordings I’ve heard. Live recordings can be dicey, especially when using two venues for the performances. Budowitz assembled a first rate team for recording, mixing, editing, and mastering this intricate material. The mix sounded great on computer speakers, earbuds, and my home stereo. But, when I tried it on my home theater system and switched to the DTS Neo:6 mode and listened in 6.1 surround, I felt like I was in the front row of the concert. Trust me, give it a try!
Finally, I want to mention the 12-page insert booklet that comes with the CD package. Produced by Horowitz and Segelstein, the booklet does not contain lengthy “liner notes”, but rather, short descriptions of each song, stating its purpose and origin. That’s enough for me. We don’t all have to be musicologists to enjoy great music. We also are treated to four pages of a photo collage that give us a glimpse into the life of the group while on tour (plus what appears to be some klezmer-loving pets!).
What more can I say? I’m a brass player, but I love this album. If you are into string/tsimbl/accordion style klezmer you will love the authentic feel and presence this album delivers. I highly recommend you make room on your shelf or hard drive for Budowtitz Live!
Budowitz Live
Budowitz
Golden Horn Records
2007
Keith Wolzinger
Klezmer Podcast
Links:
Budowitz
Golden Horn Records
Klezmer Podcast
Budowitz
Budowitz Live is the latest release from Budowitz, a klezmer group that brings new life to the music of the Eastern European Jews. I first became aware of Budowitz in 2001, but it was only recently that I took the next step and became seriously interested in the the group and the truly wonderful music that they bring to the world.
The group is fronted by Josh Horowitz (Tsimbl/Accordion) and Cookie Segelstein (Violin) who together wrote most of the arrangements on the album. They are joined by Christian Dawid, a favorite Clarinet player of mine, and string players Tamas Gombai, Sandor Toth, and Zsolt Kurtosi. Some of the songs are original compositions, but blend completely into the soundscape that Budowitz so ably lays out for us.
The 2-disc set is taken from live performances in Switzerland and is organized into suites from ten geographic regions of Eastern Europe, including Mogiolev, birthplace of my paternal grandfather. I find it particularly helpful to regionalize these songs, as there is a clear distinction between the musical styles and emotional impact these songs convey, based on the locality of the people who originated them. Budowitz takes us on tour with them through the villages and countryside of these areas, evoking a strong sense of place and community from each song.
You know, being slightly Geekish, I always have to say something about the quality of the sound. For those of you who opt to get the CD, or a high-quality download, you’re in for something special. This has to be one of the most pristine live recordings I’ve heard. Live recordings can be dicey, especially when using two venues for the performances. Budowitz assembled a first rate team for recording, mixing, editing, and mastering this intricate material. The mix sounded great on computer speakers, earbuds, and my home stereo. But, when I tried it on my home theater system and switched to the DTS Neo:6 mode and listened in 6.1 surround, I felt like I was in the front row of the concert. Trust me, give it a try!
Finally, I want to mention the 12-page insert booklet that comes with the CD package. Produced by Horowitz and Segelstein, the booklet does not contain lengthy “liner notes”, but rather, short descriptions of each song, stating its purpose and origin. That’s enough for me. We don’t all have to be musicologists to enjoy great music. We also are treated to four pages of a photo collage that give us a glimpse into the life of the group while on tour (plus what appears to be some klezmer-loving pets!).
What more can I say? I’m a brass player, but I love this album. If you are into string/tsimbl/accordion style klezmer you will love the authentic feel and presence this album delivers. I highly recommend you make room on your shelf or hard drive for Budowtitz Live!
Budowitz Live
Budowitz
Golden Horn Records
2007
Keith Wolzinger
Klezmer Podcast
Links:
Budowitz
Golden Horn Records
Klezmer Podcast
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