Robert Zimmerman is feeling freilach because Christmas is coming.

JWisdom.com posts a Sermon In A Song featuring Journeys.

Metal Jew posts about the release of a Chanukah-themed metal album in "Hanukah Gone Metal."

Here's a website that compiles many music videos done in tribute to the Chabad shluchim, Rabbi Gavriel and Rivka Holzberg HY"D, who were murdered in the terror attacks in Mumbai last year.

Gruntig posts a video clip, "The Rock Band Family" that gives a glimpse into the messianic insanity that had emerged in Crown Heights by the early '90's.

The professor is in: "Weird Al explains AutoTune."

Finally, here's what just might be the world's worst Nirvana cover.

E. emails a link to A Jewish Star - Singing Competition.

Wolf Krakowski emails a link to Vilna: A Yiddish song, sung by Fraidy Katz, which he directed.

A reader is looking for a violin teacher in Brooklyn who teaches youngsters. Any suggestions for him?

Zvi writes:

I noticed you wrote a few articles about your woes of the Jewish Advertising world.
I'm wondering if you've had any positive experiences of specific media and can make suggestions.
Specifically, I'm curious if you've tried smaller publications, such as shul or school newsletters?

Also, have you considered the advantage of Branding a product/band, through continued advertising, as opposed to a specific ad->sale result? When you said, "if people were looking for them specifically, they might find their phone number in one of these papers", I suspect that is the result of long-term and effective branding. It is possible that by seeing that ad many times, and associating it with the positive experience of reading that paper, the person has grown familiar and trusting to that band.

Interested in hearing your experience and feedback.

My response:

I have had positive results on the local level with targeted small advertising campaigns. However, they have to be distinctive, meaning not just running a business card sized (or smaller) ad exactly where all of my competitors are advertising. The ubiquitous small ads typical of the Jewish band listings in the Jewish Press, for example, do not achieve this, IMO. I prefer to find advertising opportunities where my competitors aren’t, rather than where they are.

As far as long term effective branding... When you write: “When you said, "if people were looking for them specifically, they might find their phone number in one of these papers, I suspect that is the result of long-term and effective branding”, the successful branding has been achieved by the paper running the ads for their entertainment section itself, not by the ads themselves for the bands. In other words, based on my experience as well as extensive conversations with some formerly regular advertisers, when they are looking for a specific phone number (and even that is less common in recent years, given the ubiquity of the internet), people might know to turn to that section because they know there are ads there. However, the ads themselves are generally not productive.

In my opinion, given the nature of live music, it is much more effective to direct advertising dollars elsewhere.

Some quick examples:
For the price of a typical ad buy, the band could pay a small group of musicians to perform live at a public charity event.
For the same price, the band could give away hundreds of demo CD’s (assuming they’ve already recorded the material.)

Either of these is much more likely to bring in work, compared to an ad. Plus, you don’t have the negatives of those ads which I’d mentioned in my posts on the subject.

The Jewish Music Report posts "Ethnomusicology – the Americanization of Niggunim," the notes for a lecture given to an ethnomusicology by the Chabad shaliach at the University of Washington. Natch, it reflects a Chabad-centric view of the subject

Over at Vos Iz Neias: "Satmar to Open Subsidized Wedding Hall." Complete wedding package including music, entertainment [fake] flowers. and photographers for less than $10,000. I think they should offer a Vegas-style option too. It'd save even more $$$.

Failed Messiah posts a video report on Menachem Philip's chazara b'she'ala, "Haredi Music Star Leaves Orthodoxy."

The Volokh Conspiracy takes on the typical "yeshivishe lomdus" approach to copyright law in "Yeah, That’s A Good One." I have no reason to think Bluebeat.com is owned by chareidim, but their logic sounds an awful lot like that of the typical Vos Iz Neias/Yeshiva World/Matzav commentor.

Speaking of... Matzav assures us that contrary to what you might think, all is hunky-dory in Shwekey land. They know because the brother who is allowed to use his last name on his CD's says so. Great investigative reporting!

Frum Satire posts a rap video. Nothing like sampling an old Jewish boys choir record to make your beatz!

The Forward posts "A Concerto for Ancient Hebrew Ram’s Horn."I've heard Avitsur play. He has a wonderfully rich and warm sound.

Jewish Guitar Chords has added a random song generator. Why decide what to play, when this page will do that for you?

Over at Circus Tent, !זינג, וועלוול זינג

The story behind Guitar Center. Behind The Music (That Sucks)!

Finally, the ultimate explanation of Progressive Rock!

Lenny Solomon writes:

Innovations continue to come from Shlock Rock.

Lenny Solomon and Shlock Rock have released their first Music Video from their new album No Limits. Lenny plans on releasing one video a month until March.

This first music video is called Leah's Song And I Will Pray

http://www.youtube.com/watch?v=h1vOsf1Rwa0

You can also hear Lenny talk about the new album, Jewish Music, Songwriting and the Pay What You Want Campaign on this interview on Arutz 7 at this link:

http://www.israelnationalnews.com/Radio/News.aspx/1563

To Pay What You Want and Download go to www.shlockrock.com.

Check this out. The NY Times profiles a local wedding band in "Say ‘I Do’ to Rock."

"The Hallway Smoker"

This friend of the family must have a smoke during/right after the chupa. Naturally, the best place to do so is in the hallway right outside the chupa room. You know. The one that everybody has to pass through to get to the ballroom. The one that the chosson and kallah pass through on the way to the yichud room. The one that does not have any ventilation. Yeah, that one.

"Mr. Why Did You Set Up Here?"

This peep will walk by the band countless times as they're setting up the PA and all of their gear in the same spot they always do when playing this venue. Biding his time, he waits until absolutely everything has been set up before asking "why did you set up here?" Um, because that's where the band always set up. "Well, today we need you to set up on the exact opposite side of the dance floor!" OK, don't you think you might have said something a little sooner?

"Rabbi I'm Not Going To Speak About..."
This peep always starts off by saying he won't speak long. It is then followed, natch, by a long speech, in which he lists many things he won't/can't talk about adequately, talking about each immediately after he's disclaimed his ability to do so.

"You Played My Brothers Wedding"
Um, no. We didn't. We know, because we know who did. It wasn't us.

The "Need Any Help Guy"
This peep's offer of help would feel more sincere if he hadn't just shoved his way past us while we were navigating a cart full of gear through a tight turn off a ramp onto the sidewalk. For some reason, after this peep literally shoves past us in a manner that might have knocked the cart over onto us, his offer of "need any help", made without breaking stride while walking away rings hollow. Thanks for nothing.

"Did You See The Flowers You Bought The Kallah?"
Finally, this peep takes his title from the question his mother asks him after his engagement party. It is followed up by an instruction to make sure the kallah sees them. Because nothing says "I love you" more than the flowers your mom bought and signed your name to.

Labels: Peeps

Clearing out the review stack…

Prodezra – Beats L’shem Shamayim

This disc, by beat master Rueben “Prodezra Beats” Fromey, is kicking. Fromey, best known for his recent “Change” single featuring Describe and Y-Love (which is included here), knows how to drop a groove. These beats are raw. No slick over-production here. Just good solid urban beats.

The production is pure hip-hop. No techno (or what passes for techno on most frum pop records). R&B meets Chassidic meets Hip-hop.

Fave tracks include “Change,” “Stood At Sinai” and “The South Nigun,” which features samples of old-time Lubavitch bandleader/singer Eli Lipsker on vocals.

Fromey’s website/myspace is here

Amazon has it here:



Greg Wall’s Later Prophets – Ha’orot

Bassist Dave Richards joins the original Later Prophets trio, Greg Wall, Shai Bachar, and Aaron Alexander, for their sophomore outing; a collaboration with spoken word artist Rabbi Itzhak Marmorstein, featuring musical settings of Rav Kook’s poetry and nigunim. Rabbi Marmorstein reads Rav Kook’s poetry in a combination of the original Hebrew and English translation, while the band plays jazzy grooves behind him. The album also includes two instrumental arrangements of nigunim composed by Rav Kook, ZT”L.

It’s a Beatnik Beit Midrash, where the Rabbis (Marmorstein and Wall) school listeners in Rav Kook’s writings as well as in the art/power of the Jazz groove. Come learn!

If you’ve ever wondered what a frum poetry slam might sound like, spin this one.

Amazon has it here:



Gershon Veroba – 2nd Impressions

Gershon Veroba’s 2nd Impressions is a follow-up in his successful Impressions series wherein he takes well-known pop/rock songs, writes educational Jewish-themed lyrics to them, and performs them as close to the original as he can. Usually, that’s pretty spot on. The arrangements are faithful to the originals, and Veroba’s vocal stylings usually capture the essence of the original artists’ performances.

This type of Jewish edutainment, popularized by Shlock Rock, can often be corny, but working within the premise, Veroba manages to mostly stay away from the clichés of the genre.

This record also features several guest vocalists, including two boys who fill for female vocalists on “Run From the Egyptians,” a spoof of the Bangles “Walk Like An Egyptian” and Tom Bowes, who covers a rewrite of Journey’s “Don’t Stop Believin’.”

Veroba’s website is here.

CD Baby has the album here.

Lorin Sklamberg and Susan McKeown – Saints and Tzadiks

On "Saints and Tzadiks," Grammy-winning vocalists Loring Sklamberg and Susan McKeown, who won for the Klezmatics’ “Wonder Wheel”, continue their collaboration on a set of Yiddish and Irish songs.

The vocalists are well matched with each other as well as with the material. There are a number of medleys of similar themed Irish and Yiddish songs.

The arrangements are sparse and compelling and the backup band, which includes klezmer violinist Jake Shulman-Ment and Aidan Brennan on acoustic guitar, among others, is first-rate.

My fave track is “Oakum.” But it’s a tough call.

“Prayer for the Dead” blends “Johnny I Hardly Knew Ye,” “Kh’bin Oysgeforn Felder,” and “Deus Meus Adiuva Me.” Powerful stuff!

The lyrics on “Father and Son” are intense and Sklamberg sings it solo, without any musical backing, letting the words speak for themselves. It’s amazingly and sadly just as relevant today as much as when it was originally penned.

Don’t miss this one!

The duo’s MySpace is here.

Amazon has it here:


Yiddishe Cup – Klezmer Guy

This album features eight live tracks and six studio tracks by the Cleveland-based Yiddishe Cup.

The material includes Chassidic music, klezmer and Balkan music, some Yiddish and English singing, a cover of Halleluja (the Israeli version) featuring Hawaiian lap steel guitar, a klezmer-style medley of three Bernard Herrman tunes, and an original Klezmer composition by keyboardist Alan Douglass, and a beat-box DJ mashup of klezmer with hip hop.

In other words, this one is all over the place by design.

There are a lot of great klezmer bands out there, but not too many cover and update the Borsht-belt style humor of Mickey Katz et al. To me, the humorous songs and arrangements are Yiddish Cup’s strength, and with this disc, I find myself wishing the band had included more of that on this record.

There are some fun moments, like the tribute to Dutch prog-rock group Focus on Anim Zemiros. It doesn’t really match the rest of the arrangement, but the absurdity makes it fun. I feel like the band might have been better served recording some more of that material.

Also, the live sound on the recording doesn’t showcase the band’s strengths. I much prefer their last record. That said, Klezmer Guy is a good encapsulation of where Yiddishe Cup’s head is at these days. (I couldn’t resist that one. Get it? Cup. Head. Oy!)

My review of their previous release, “Meshugene Mambo,” is here: Klezmer with a Slice of Wry

Yiddishe Cup’s website is here.

Amazon has it here:



Kol Noar Boys Choir

This is the Kol Noar Boys Choir's debut album. I’m not a fan of the boys choir genre. Understandably, I was skeptical of this one. The mostly R&B inflected pop is not my favorite taste, but it is well-executed here. The most notable part of this Ortho-pop choirs’ approach is the lack of screeching/shouting that typifies the genre. Producer Mo Kiss arranges to the boys’ strengths, featuring smooth-sounding solos and harmonies.This is a much more musical approach that makes for a significantly improved listening experience when compared with his competition. You won’t hear any straining on this one. If you like frum boys choirs, but could do without the screeching kids, this one is worth a spin.

Kol Noar’s website is here.

Amazon has it here:


Ben Epstien – Shirei Halevi’im

This independent release by singer/songwriter Ben Epstein features his indie-pop settings of the Shirei Halevi’im, the “Songs of the Day” which the Levi’im (Levites) would sing in the Beit Hamikdash (Temple.)

Epstein writes sweet hooky melodies, and his understated vocals make for pleasant listening. The light production lets the melodies and vocals stand on their own. No fancy arranging tricks here. Just intelligent Jewish guitar pop.

Fave tracks include “Sunday,” and “Wednesday” which has a Spin Doctors influence.

A hidden bonus track sets Ana B’koach to Shlomo Carlebach’s “Lord, Get Me High.”

CD Baby has the album here.

Klezmerfest – Life of the Party

This is Klezmerfest’s second album and the quintet is in fine form here. Of particular note are outstanding performances by accordionist Zevy Zions and trumpeter Jordan Hirsch, but the entire group, which includes drummer Aaron Alexander, bassist Brian Glassman, and clarinetist Greg Wall, is excellent.

Zions’ original “Cape May Bulgar” showcases his virtuosity and his strong understanding of klezmer. This tune and Aaron Alexander’s original contribution “Blagan Balaban” fit nicely alongside the group’s renditions of mostly well-known klezmer dance melodies.

Alexander’s statement of the head of “Fun Tashlikh” on solo drum set is a neat creative touch as is bassist Brian Glassman’s bowed melody playing on "Kishinever Bulgar.”

This is a well-played trad-style Klez album with a few modern touches around the edges. You will want to dance.

I couldn’t find this disc on CD Baby or Amazon. I hope the band rectifies this soon, as this is a great klezmer dance record, with wonderful musicianship throughout, and people really ought to get to hear it.

UPDATE: Greg Wall emails that CD Baby has fixed their catalogue problem and the album, which should have been listed, can be found here.

Labels: Reviews

Pinchos Vorst forwards a link to a video of his impersonations of Chassidic pop singers like Ohad!

E writes:

A rebbe at Reishit tweeted these links "בזכות ר' לוי יצחק בן שרה סאשע"
 
http://www.youtube.com/watch?v=FYE0n1tQiaUr

http://www.youtube.com/watch?v=kq0sXRAtpCY
 
Personally, I find it a little off putting and inappropriate to be playing guitars at a holy rabbis grave (or anyones grave for that matter).

Personally, I'm more perturbed by the spelling of the village name.

Anon writes:

"Shwekey, Ad Bli Dai" is the understatement of the century ;)

Truth in advertising.

Finally, a press release.

Nulite Music, Inc. proudly announces the release of Sy Kushner's second CD of original Jewish music. Performing with some of New York's top klezmer musicians, Sy takes us on a mulifaceted musical journey but always with Jewish sensibilities. So fasten your seat belt and come along for the musical journey.

Also available are books for C and Bb instruments with the music from the album.

The Jewish Music Report looks at some "Alternative Jewish Music: Great Artists." There are many frum artists with international reputations. It's nice to see a site that primarily focuses on commercial Chassidic pop music take a look at some of these artists.

While we're on the subject... this is a good place to mention Rabbi Greg Wall's installation as rabbi of the Sixth Street Synagogue in NYC. To celebrate, the shul is having a concert retrospective, looking at Wall's musical work over the past twenty years. Several of his projects will be performing, including Hassidic New Wave, Later Prophets, Klezmerfest, Unity Orchestra, and more.

The installation/concert (and Greg's 50th B-day celebration) will take place at the Sixth Street Synagogue on October 31, 2009 at 8:30pm. The address is 325 E. 6th St. (between 1st and 2nd) and admission is $18 at the door.


Neshama Carlebach's new record, a collaboration with the Green Pastures Baptist Church choir is now out. You can listen to the album and buy ithere.

Marching on Mein Shtetl Yass. Check out their other clips, these guys are good! The leader of that band, Na'or Carmi has a new collaboration with clarinetist Chilik Frank that's also well worth checking out. You can hear a clip off that project here.

Over at DovBear, a post on Simchat Torah: " Why don't the Women Dance?

David J. Hahn posts on "Motivating Musicians as a Bandleader."

Hey, it's another Ortho boys choir!The Yitzy Bald Boys Choir.

Ha'aretz interviewed Menachem Philip in an article on people who've left Orthodoxy,"The Ties That Continue To Bind."Ha'aretz interviewed Menachem Philip.

Filmmaker Meni Philip, formerly a well-known famous Haredi (ultra-Orthodox) singer, who recently presented his short film "Sinner," at the festival in Venice, says he is sometimes suddenly "thrown back" to his previous self. For example, when he choked up upon hearing a song by Haredi singer Mordechai Ben David on the radio. Philip himself recently embarked on a journey to learn about secular music, and discovered the Beatles and classical music. He has also shed any "religious jargon," as he describes it, in his own singing. But, in spite of everything, he admits, there is Haredi music that touches him deeply, "because of your childhood. It makes your stomach do flip-flops."

I met with Philip, who has been "outside" for nine years, to discuss a heartrending scene in his documentary film "Let There Be Light" (2007), which recounts his personal story and that of his brother, who also left religious life. The scene takes place at a Purim party organized by Hillel, a nonprofit Israeli organization catering to those who leave the ultra-Orthodox community. Philip performed one of his melancholy hits from the past - "Rabbi Ishmael Said" - before an audience of people who were no longer Orthodox. Dressed in totally secular clothes, in some cases to an extreme because of Purim, they sang along with him, in tears.

"Usually those who have recently left religion refuse to hear such songs," says Philip, "but it was Purim and it was appropriate. After all, I used to be their singer, when they were ultra-Orthodox. They simply melted."

Finally, some video over at Vos Iz Neias ... " MBD: Zealots Slander Jewish Concerts With Fabricated Lies."

Teruah compares two different approaches to album promo copy. Methinks he gives way too much credit to the Chasidi News approach. I don't think too many people in the frum world find those informative either. I know that I usually don't, and I know who most of the people being name-dropped are.

Of course, Chasidi News' poor Hebrew to English manglings don't help things, but even the Hebrew album previews usually contain little if any useful information. It's even worse in context, where an email features twenty or so new albums all featuring "the best of composers" and "hits".

One of these days, we just might have to do a "Best of Chasidi News" post.