United Breaks Guitars! Awesome!

Update:
Art inspires art. Here's "United Breaks Guitars - Northwest Breaks Dulcimers."

E. forwards a link to "Michael Jackson sings "Bei Mir Bist Du Shein" with the Jackson 5 and Carol Burnett.

He also emails a link to Gershon Veroba's blog post, "Michael Jackson and us..." Worth reading.

Finally, Bobo Bubalinsky writes:

Apparently I live a sheltered life, having never heard a Disco Hora.  So I did what any modern person does and googled it.  Found many an amusing clip YouTube - Jewish Drumming demo #3 Disco Hora variations so thanks for enlivening my life.

I was however well aware that a large portion of the early NY Punk scene were jews.  Watch End Of The Century http://www.endofthecentury.com/  the Ramones biopic. All not so nice jewish boys from queens.  

Like Lenny Kaye I also have kept that cantorial sound somewhere in my world.  For most of the past 25 years I have been involved in instrumental music, and a few years ago I began adding Klezmer tunes to our sets (but in a n almost Ska like way).  We have recently recorded a song written by my great grandfather Israel Isaac Axelrod/Shamfrof/Shaw "Oif Der Fater" http://www.reverbnation.com/tunepak/162595 .  He wrote it at the end of the 19th century, or the very beginning of the 20th, and I changed it a bit.  Give it a spin if you care to.

That last link doesn't work, but you can hear the song in the player on the right hand side of Bobo's Blog.

Frank London and Lorin Sklambegr's latest Nigun project album is out. Titled Tsuker-Zis, it replaces Uri Caine/Rob Schwimmer's piano with Oud/Guitar/and Indian drums.

Check it out here:


Here's a YouTube clip that give's a good "on the bandstand" perspective of what a musican on the Brookly JM circuit might be sitting next to.

While we're on YouTube, check out the middle of this clip for a Lipa Schmeltzer Yiddish rap badkhones.

Vos Iz neais posts" Acapella Music and the Three Weeks."

Tzig takes on Yehuda Green. He's very wrong about Rabbi Citron.

Here's a J-Post article "Eliyahu: Prefer Jail Over Women Singing."

Finaly, the Jewish Music Report reviews Yisroel Srully Williger's "The Rebbe's Nigun."

This part is odd:

My first reaction after listening to The Rebbe’s Nigun was to pull out my copy of Hakadosh Baruch Hu… Chesed and give a listen. A few of the songs on that CD really blew me away. Pinky Weber’s Yashov is just gorgeous. Williger’s kids join him on Neiros Shabbos. Wow! Where has he been hiding those kids? I would have loved to hear even more of the Williger boys. And Niggun Nevo? It’s worth buying Hakadosh Baruch Hu…Chesed for this song alone. All these years we thought Srully Williger’s trademark song would be Hu Klal, but maybe not. The only fault I can find with this Shlomo Katz composition is that it inspired too many singers to try to come up with a signature niggun of their own. With the possible exception of Eitan Katz’s The Dmin Niggun, none have managed to even come close to emulating Williger’s success with Niggun Nevo.

The author gives Williger credit for Niggun Nevo, which was a dance hit before Williger released the album. The inclusion of that song on that disc is a classic example of a Yeshivish singer jumping on the bandwagon (ouch) of a song that's already a hit on the NCSY MO circuit and is already making inroads into the black hat circuit, and quickly releasing a version of it.

In other words, Williger had nothing to do with the song becoming popular. He chose it because it was one of the new hits on their way in at the time of the album's release.

Over at JMR, a reader pointed out to the review author that the song was written and being publicly performed by Shlomo Katz, and the author demonstrates exactly the lack of knowledge that some artists count on when they pull this sort of unauthorized cover/bandwagon jump. As well, obviously, there is no accounting for taste, and "Kol Isha" is entitled to her opinion that the Williger version took a good song and "blew it out of the water," but personally, I think his cover was lame, and did not do the song justice. I'm also reliably informed that the use of that song was unauthorized and that no royalties have been paid to Shlomo, which is simply not right.

I've been thinking that there needs to be a term to describe the difference between a low-paying gig that is desirable and one that is not.

In other words, I've been looking for a way to describe the difference in pay necessary to tempt me to accept, for example, a six hour loud Chassidic disco gig with a "banger" drummer and shred guitarist from a local "Bands R' Us" office vs. an acoustic klez gig, or a creative collaboration that is four hours away by car. Typically, I'm more willing to be accommodating in the latter scenario, when the pay is on the low side, compared to the former.

The term I'd use to describe this is "Klezmer Dollars." Think of it as being similar to dog years. Klezmer dollars are worth more than US dollars. So, an appealing gig, say playing with some world-class klezmorim, for instance, although it might not pay the same as hauling a sound system/sub-leading Hassidisco at "Ateres Whatever", would still be comparable, because the pay is effectively equal.

This concept doesn't negate the need for musicians to maximize income, so I wouldn't turn down a Hassidisco gig on the off chance that I'd pick up one of equivalent pay in klezmer dollars. Obviously, I do have to make a living. It does explain why some offers that might not be appealing on a purely financial level, nevertheless are.

The artist buildings in Hell's Kitchen effectively do honor klezmer dollars, BTW, with rent being a percentage of income. I know quite a few musicians who live there. If only I could convince my mortgage holder to accept payment in klezmer dollars!

This link gets its own post. Beis Yakov of Monsey, a frum girls high school, has now banned dancing from it's annual production on tznius grounds.

This is simply nuts! I hope the community expresses its outrage directly to the school. These girls have so few outlets as it is! It's not like they didn't have all sorts of rules/restrictions on the dance movements/music at the annual production before this latest idiocy. Remember, we're talking about a "for women only" performance. This is not Judaism!

Labels: Bans

Vos Iz Neias profiles frum Latin singer Miriam Sandler.

Hirhurim is discussing Torah as music.

Vocal superstar Jo Amar, has died. Baruch Dayan Emet!

Jewish Music Report reviews Shloime Kaufman's "Avodas Tzedakah."

Jewschool posts a Cuban Jewish Jazz davening.

Anon writes:

I had this experience when I was a guest at a wedding last week. I asked the Chosson before the wedding if he has the music taken care of and he said that his friend 'has a band'. At the wedding, I saw familiar musicians (Ron Bertolett, Mike Koon, etc) but I saw a band name I've never heard before. I realized that we can use a lot more bands out there, so I decided with the economy in the shape thats its in, i'm coming out with a new product:

"My Friend Has a Band" kit

Includes:

1-Full color music stands and business cards with your original band name
2-7 Music books by Avremi G
3-A phone book with 200 musicians's contact info (we'll even throw in Mordechai Ben David's cell phone #- so you can say "I work with MBD")
4-all inclusive guide with topics covering marketing to friends and guys in your Yeshiva ("yes, we have the same musicians as Neginah and Neshoma but we charge much less") and much more!

This has been an ongoing issue for years. Usually, these guys book one or two moderately successful gigs (meaning they got through them without any severe trainwrecks). Then, they spectacularly crash and burn either when the client has specific musical needs other than Shwekey, or on a moderately busy day, when Psachya, Mike Coon, et al, aren't available.

Psachya writes:

One thing I've learned over the years as a bandleader is that, when it comes to band prep, everything is relative. Two examples:

On a recent gig, the prep said that the choson wanted a "long first dance set". The caterer wanted to give me 15 minutes. I negotiated him up to 25 minutes. In the more yeshivish weddings, 25 minutes is "just getting warmed up" - I hoped the choson (who is a friend of mine) wouldn't be annoyed at the short length of the set.

Sure enough, after the set, the choson came up to the bandstand. "The music is great," he said, "but try to keep the next dance set shorter. The dancing went on forever!"

Go know.

The following night (a yeshivish wedding), the prep included requests for (count 'em) 13 hora/disco-type tunes. Followed by the statement, "Please don't overdo the horas." (!!)

What can I say? Everything's relative.

Shloime Kaufman emails about his new release to raise funds for A T.I.M.E. (an organization helping couples with infertility issues.):

Shloime Kaufman's Avodos Tzedakah album is in all Judiaca stores or the CD is available for download on MostlyMusic.com, and features Dovid Gabay, Baruch Levine, Abie Rotenberg, Michoel Pruzansky, A.K.A. Pella, Sholom Jacobs and contains songs composed by Yitzy Waldner and Baruch Levine. The CD is presented by and PROCEEDS WILL GO TO BENEFIT A T.I.M.E., which is the premier, internationally acclaimed organization that offers advocacy, education, guidance, research and support through our many programs to Jewish men, women, and couples struggling with reproductive health and infertility.

You can hear audio clips and buy the album here.

Steven I. Weiss emails:

Jewish Punk Rockers. I thought you might enjoy some of what's said in this week's newscast.
There's a lot more in the broadcast version, though we'll be posting some additional clips on the Web soon.

Zal Schreiber writes:

THAT said….I know the gist of what was said here was perhaps a bit sarcastic in tone (at least, at times), but I think the comment the Xmas Music is Avoda Zarra needs to be mitigated a bit.

My Rov knows music, world philosophy, real Kabbalistic zaachen, and about the waltz….and has his favorite Classical Music composers (Sibelius is his favorite, I believe) , and I asked him about music (I have some relationship with that being a Levi from both my parents, a”h, growing up with Chazzanis and Presley, and classical music, playing in wedding and, ahem, other bands..and then working for a/thee major secular music corporation in the world for 16 years…..)

So I asked my Rov about music, and he said, MAYBE Handel and his Messiah are not to be listened to, otherwise, I don’t think popular Xmas music is really something to be stoned for…for listening to, and is (real) Avoda Zarra. (Church hymns for JC MIGHT be a no-no….)

And he also said that Waltz music has roots in things we shouldn’t really speak about in public, BUT, because we really don’t know about those particulars and because it’s a way bygone issue, that we’ve embraced it in Jewish music (and shouldn’t worry). Otherwise, we would toss out Shlichey Tzibur on a regular basis.

PS. You should take Dovid Kerner’s music, seriously, folks, as he composes and records it l’Shaim Shamayim. He’s a man with a(n important) message, and he puts it to song.
In the dangerous world we live in, it’s his own way of letting other to know to take heed. For the sake of Klal Yisrael.

Greg Wall forwards a link to a J-Post writeup of Pioneers for a Cure.

"The Modzits Fan"
Don't ever make the mistake of playing a Modzitzer melody when this peep is at the gig. We made that mistake recently, playing three such tunes. Sure enough, he was drawn to the bandstand, like a moth to a flame, wanting to talk Modzitzer nigunnim. Since we couldn't talk right then, he waited until the end of the affair, hung around while we packed up, and then held us up after we'd loaded our car, sharing his B.Z. Shenker impersonations (spot on), thoughts on various Modzitzer melodies, digressions into the attributes of various well-known cantors (alive and dead), and more. Oy!

"The Greedy Cheapskate"
A while back we met the "Renegotiator" (here and here.) This peep puts 'em to shame. Or should that be, this peep has no shame. The "Greedy Cheapskate" hires us for a morning Bat Mitzvah. Tells us it'll be for two to two and a half hours.

The Friday before the Sunday gig, he calls and says it probably won't go over, but if it does need to go fifteen minutes over, would that be OK. Figuring we might as well be nice, since we've charged him for the slot, and have three hours between gigs anyway, we tell him we'll do it at no additional charge. A nice gesture, we thought. This character, though, saw it as an opening to renegotiate. After all, if we're willing to play two hours and forty five minutes for that fee, why should he pay the same amount for only two and a half hours. No class! Naturally, this peep tries to short us forty dollars at the end of the gig too.

"Mr. I'll Never Hire You For My Wedding"
This fine fellow (it's always a guy) is a friend of someone at the wedding who can sing. Allegedly. He comes over all night long, demanding that we let his friend sing one more song. Note: He's not just asking to give his friend the mic during a dance set. He wants his friend to be given a showcase, singing a featured song, while all assembled watch and take in his awesomely incredible vocal talents. The friend wouldn't mind said showcase, but would never push for it this aggressively and rudely. Naturally, we refuse. After all, he's sung one song at the family's request. And, much as this peep wants this to happen, there is a wedding going on, we've got dance sets to play, etc, so we decline. Multiple times. Before, after, and during the dance sets. The kicker. At the end of the gig, "Mr. I'll Never Hire You For My Wedding" comes over and says: "I'll never hire you for my wedding." Given his personality, that's not exactly an unwanted outcome. Who says sechar mitzva behai alma leka?

Labels: Peeps

Aryeh comments on the Rabbi Wolfson article:

It's very clear that Mr. Donn is not acquainted with music theory at all. When I read the article to one of my music teachers he had many questions on the work.

Fist of all if you have only seven notes, you'll will not get to far. there isn't a single song played with only 7 of the 12 notes the scale has. and even then most music take several range of Octaves.

The color of the Piano keys and it's name (KEYS) has nothing to do with music style at all. Music can not harm you unless it's too LOUD!!!

The Composer  behind the music can harm IF you know who he is and what he stands for. For example you would not want to go to a Chupa with Mendelssohn march, since he was a son of a meshumad and he said jewish music is lack of color.

Xmas Music ins't kosher, it's avodah Zarah.

And if you'r a Squarer Chosid G-d forbid if you sing a Breslever Nigun.

When Midzitz introduced the Walz in the Jewish music world, it was critized since it is a coed dance.

Carlbach was also critisized and his songs where banned, when he was know as a dropout from Yeshivishe derech...

With similar token, the Mishnayos Kahaty was banned in many circles becouse of his views on politics not because his writtings. The same with Shteizaltz.

The bottom line is there is nothin Kosher or non Kosher about music, but reather about message send by 1) the composer 2) the player (or singer) 3) and the lyrics.

Dovid Kerner writes:

While our families were off together spinning the kids around on the local carousel, Steve and I spent some time today recording World Series of Hate. You can listen to it here.

E. comments on the NY Post headline for the Shwekey in Jail performance:

they could have come up with something punnier like locking them up and throwing away the Shwe-key.

Psachya's having a peep-filled season too.

He writes:

Hey, just got my own bumper crop of June peeps. Here they are:

"The Siblings From Hell"

They come over to you with a predatory smile and say, "Hi, I'm the choson's brother," and proceed to make your life miserable. Occasionally, it's the other way 'round - when they've been making your life miserable for a half hour and you tell them to bug off, they say "Do you know who I AM? I'm the kallah's BROTHER!!" These people need to be ignored at all cost - as opposed to the siblings who are actually trying to help.

"The World Expert On Everything"

That's the teenager who was explaining to the drummer that his (the drummer's) technique stinks, he's not half as good as the drummer he saw last week, and "everybody" thinks the band is awful today. (Everyone else I spoke to thought the band rocked, but go know. And trust me, this particular drummer didn't deserve that.) And what is the source of his breathtaking musical expertise? As he explained to us, he a) really likes music, and b) goes to lots and lots of weddings.

"The Just One More Song Guy (Or Gal)"

This person will come over to you after you've been stowing your gear for at least three minutes and say, "Oh, c'mon! Just one more song!" (This is never the person who is actually responsible for paying your bill.) Don't EVER give in to him. Or her. EVER.

And that brings us to...(drumroll...)

"The Most Important Person At The Wedding"

That would be the kallah, right? Wrong! It's also not the choson. Or their parents. Or the rabbi. Or the rich uncle from Chicago. Or the bandleader, the caterer, the photographer, or the limo driver. Nope, that would be the chazzan who strolled into the ballroom just as you were about to start the second dance set, and demanded to be given a mike IMMEDIATELY so that he could torture the guests for ten or fifteen minutes. Never mind that everyone else in the room wants to dance. Never mind what the choson and kallah want. Never mind if they even know who he is. He needs a mike NOW, because he is the most important person at the wedding! And don't you forget it! (And as with the last peep, never give in. Guard your microphones with your life.)

OK, that's all for now.

I remember one gig where the kallah started to cry when the chazzan sang because he was ruining her wedding. (She wanted light violin instrumental music during dinner.) Turned out he wasn't related to anyone. He was just a Chassidic W'berg local who wanted to have the thrill of singing for a crowd with a six piece backing band, something he could never have afforded to pay for. So he just strolled in to a local wedding hall, told the band the grrom wanted him to sing because he's close, and voila!

Labels: Peeps

There seems to be a bumper crop of "peeps" this season. Here are some more.

"My Speech Must Start Now!"

This peep absolutely needs to start his/her speech THIS VERY SECOND! No need to cue the band, wait for them to end the song, or even ask permission to use their mic. Such formalities are for plebes. Not for someone with something this important to say.
Invariably, this peep is also a "can't be bothered to say thank you" peep at the end of the affair.

The "I Can't Believe I Have To Wear A Suit" Guy

This peep wears a suit that looks like its from the 1970's. A neat trick, considering that he was born in the late '80's. Always accessorizing his afro and aforementioned suit with a big satin kipah, this peep adds a touch of nostalgia with his inadvertent impersonation of "Saved By the Bell's" Screech.

"Italian Aria Guy"
This chazzan, classically trained in Russia approximately 70 years back, wants to sing Italian opera arias during dinner. Lots of them. He doesn't bring music and won't be denied the mic. "It's easy, you'll just follow me," he says, launching into one obscure aria after another. Guess he can't tell the difference between the Met and a shul social hall.

Labels: Peeps

C'mon NY Post! Surely you could come up with a better headline than Lockup Crooner's Tal-Mood Music.