Oh, the irony!
Monday, June 11, 2018
Wednesday, June 06, 2018
BD'E Stacy Phillips Z"L
A Star Ascends To Bluegrass Heaven
I hadn't known he went to MTA for High School.
His Klemzer book he wrote for Mel Bay is great.
Amazon has it here:
I hadn't known he went to MTA for High School.
His Klemzer book he wrote for Mel Bay is great.
Amazon has it here:
Sunday, May 27, 2018
Sunday, April 29, 2018
Wednesday, April 11, 2018
"It's Like Adam Sandler and Lipa Schmeltzer Riding in A Pickup Truck"
Over at Kickstarter... Yidneck Records presents "ChanuKountry: the album" by Avi Frier
Made me laugh... and so here's the link.
Made me laugh... and so here's the link.
Wednesday, April 04, 2018
Thursday, March 29, 2018
Monday, March 26, 2018
Sunday, March 25, 2018
It's Peep Season
Drama Mama
This peep will come to a Motzei Shabbos Melave Malka at a hotel where the extended family has been celebrating a simcha all weekend. She'll be upset. The reason? At this specific meal, her son -- (the ba'al simcha) has not yet talked to her in the first 20 minutes or so. When the woman she's venting to in front of us says "he probably didn't see you yet, should I get him?" she responds: "No. I want to see how long it'll take him this time."
Who Are You
This peep is someone we've grown up with on our block or else have been in yeshiva with for a time. We'll recognize them on sight, but they won't recognize us at all. Eventually, they'll come over to offer a compliment on the music, at which point it becomes perfectly clear that they don't know who we are, despite watching us play for a while.
This peep will come to a Motzei Shabbos Melave Malka at a hotel where the extended family has been celebrating a simcha all weekend. She'll be upset. The reason? At this specific meal, her son -- (the ba'al simcha) has not yet talked to her in the first 20 minutes or so. When the woman she's venting to in front of us says "he probably didn't see you yet, should I get him?" she responds: "No. I want to see how long it'll take him this time."
Who Are You
This peep is someone we've grown up with on our block or else have been in yeshiva with for a time. We'll recognize them on sight, but they won't recognize us at all. Eventually, they'll come over to offer a compliment on the music, at which point it becomes perfectly clear that they don't know who we are, despite watching us play for a while.
Saturday, March 24, 2018
Wednesday, March 21, 2018
Friday, March 16, 2018
Not Iron Butterfly, But A Nice Hard Rock Shwekey Cover
A 3D video (you can click and drag on it to view 360 degrees of the recording studio) of a rocking cover of Shwekey's Im Eshkachech.
Thursday, March 08, 2018
Sunday, February 25, 2018
Lin-Manuel Miranda's - Jew(ish) Acapella Singer
Over at the Jerusalem Post... Lin-Manuel Miranda's Jewish a capella roots
Wednesday, February 14, 2018
Interesting Court Decision
Over at the Volokh Conspiracy... Taylor Swift Decision: Copiers Gonna Copy, Copy, Copy
Tuesday, January 30, 2018
From the mailbag...
Kenneth Lyonswright writes:
I'm a Chicago based cantorial soloist, and I also compose music of my own.
Here's my soundcloud--these are songs that I recorded for the congregation I work at. https://soundcloud.com/user-401304917
Here's my YouTube channel--I'm recording a new song every single week in 2018! They all revolve around Jewish ideas and themes. https://www.youtube.com/channel/UCwpwX1EiRv6BnQ7BtMuVEXQ?view_as=subscriber
Thanks for taking the time to listen--and of course, for doing what you do!
Sunday, January 28, 2018
Friday, January 19, 2018
Sunday, January 14, 2018
More Peeps
"The Break Music Guy"
This peep is the one who will come over while the band is on break and some music is playing through the PA and remark "oh, so the keyboard plays itself!" or "so you guys just play along to recordings!" or another similar comment. It's always a guy, for some reason.
"The Back of the Room Dancer"
This peep can be spotted singing and dancing along to the music at the back of the room. She (it's always a she) can often be found attempting to lure her boyfriend/significant other, or even sometimes girlfriends onto the dance floor. Although she is often unsuccessful, we appreciate the positive feedback about song choice.
Thursday, January 11, 2018
Tuesday, January 02, 2018
Friday, December 29, 2017
In Review: Joey Weisenberg "The Torah of Music" & Joey Weisenberg and the Hadar Ensemble Nigunim Vol. VI: “By the Waters of Babylon”
I first came to know Joey Weisenberg when I heard him play a CD release event for klezmer clarinetist Michael Winograd. He played a beautiful mandolin improvisation that showed his deep roots in Klezmer and traditional Jewish modalities. So, a few years back, when I heard that Joey was writing and recording his own nigunim, I kind of expected to hear neo-klezmer melodies/arrangements. A YouTube search revealed that I was wrong. And so, I've checked in with Joey's output from time to time and followed along with his prolific output.
I am just home from a remarkable evening with Joey Weisenberg and the Hadar Ensemble. The event -- performance would be the wrong word -- was beautiful. The room was set up in circles, with the ensemble in the middle and rows of chairs circling around them. And, rather than perform, Joey led the room in singing (and listening) together. I was impressed and moved. Joey has the remarkable ability to get 300 or so people singing together in a way that is inclusive, respectful, and powerful. Rather than the "look at me" approach so many Jewish music presenters have, Joey graciously shares the spotlight with the members of the Hadar Ensemble, and brings everyone in the room along for the ride. Of course, I'm sure it helps that 150 of the people there were participants in Machon Hadar's spiritual singing seminar which took place this week in NYC, and so were familiar with his nigunim. However, the feeling I had was that this would work pretty much the same if no one in the room, apart from the ensemble, knew his songs. It was that powerful.
This event, as well as Joey's book and recordings, all share a purpose. That is, they all seek to bring people in through music, to encourage group singing and listening, and connection with Judaism through music. It'd be a mistake to review one of these things separately, as they are all part of the same organic whole.
I wound up at this event when I received an invite to review Joey's new book "The Torah of Music" and attend this event marking its release. The sweetener was the copy of the latest Hadar Ensemble album "By The Waters of Babylon", which includes "Shochein Ad", a tune that I've been singing/playing since I first heard it. In fact, I wound up singing an acapella Bar Mitzvah in the city, and when the cantor broke into this melody, I was the only one in the "frum" group who knew it. The entire congregation, on the other hand, joined along immediately.
A little about the music. I mentioned that it wasn't klezmer. However, it is deeply Jewish. I'd describe it as American Jewish music, deeply rooted in Jewish and American folk traditions. If Stephen Foster wrote Jewish music, it might have sounded like this. Bits of Americana, Chassidus, and even some slight Carlebach influences blend together in an organic new yet mature sound that sounds much older than it is. The albums -- this is the sixth in the series -- are all recorded live in an old shul in Brooklyn where Joey served as Baal Tefilah for seven years. Buy the album to support the artist, but then watch the album on YouTube to see how involved everyone is as these tracks were laid down. Highlights include the afore-mentioned "Shochein Ad" which begins with a beautiful vocal taksim by Rabbi Yosef Goldman. I'm also partial to "Keil Adon" which features Deborah Saks Mintz, as well as Yigdal, which in Joey's setting is a six-minute-plus Americana-infused melody that really gets at the meaning of the words. In general, Joey's songs do that, and if there weren't words repeated in the song, I'd be using "Shochen Ad" in my shul. The whole album is excellent and well worth getting. It's worth checking out the earlier ones as well. Amazon has the album here:
Which brings me to the book... As with his recordings, Joey seeks to empower the kahal to come along with him on his musical journey. The book is his attempt to do just that, sharing Torah thoughts about song, the power of music, the importance of listening, and more. Especially notable is that Joey includes a large open library of texts with translations -- roughly half the book -- so that the reader can join in the process of exploring what Judaism has to say about music and personally engage with them. The 179 texts range include pesukim from Tanach, quotes from Mishna, Gemara, and Midrash, to writings by Rishonim, Mystical and Halachik Writings, Chassidic Torah, and more.
Before getting to the open library though, Joey discusses the connection between music and prophecy, the power of music, the importance of silence, and perhaps most importantly, the importance of listening and of joining together through song. In a gentle self-effacing way, through use of sources and personal vignettes, Joey shares his understanding of and belief in the power of music. The book is a useful resource for anyone interested in the power of music and Judaism.
Amazon has the book here: Joey's approach serves as a model that anyone interested in creating serious, deep Jewish music should be aware of and be inspired by. He unites intellect and emotion to create warm, deep, and friendly inclusive Jewish music, and that's something we can use a lot more of.
I am just home from a remarkable evening with Joey Weisenberg and the Hadar Ensemble. The event -- performance would be the wrong word -- was beautiful. The room was set up in circles, with the ensemble in the middle and rows of chairs circling around them. And, rather than perform, Joey led the room in singing (and listening) together. I was impressed and moved. Joey has the remarkable ability to get 300 or so people singing together in a way that is inclusive, respectful, and powerful. Rather than the "look at me" approach so many Jewish music presenters have, Joey graciously shares the spotlight with the members of the Hadar Ensemble, and brings everyone in the room along for the ride. Of course, I'm sure it helps that 150 of the people there were participants in Machon Hadar's spiritual singing seminar which took place this week in NYC, and so were familiar with his nigunim. However, the feeling I had was that this would work pretty much the same if no one in the room, apart from the ensemble, knew his songs. It was that powerful.
This event, as well as Joey's book and recordings, all share a purpose. That is, they all seek to bring people in through music, to encourage group singing and listening, and connection with Judaism through music. It'd be a mistake to review one of these things separately, as they are all part of the same organic whole.
I wound up at this event when I received an invite to review Joey's new book "The Torah of Music" and attend this event marking its release. The sweetener was the copy of the latest Hadar Ensemble album "By The Waters of Babylon", which includes "Shochein Ad", a tune that I've been singing/playing since I first heard it. In fact, I wound up singing an acapella Bar Mitzvah in the city, and when the cantor broke into this melody, I was the only one in the "frum" group who knew it. The entire congregation, on the other hand, joined along immediately.
A little about the music. I mentioned that it wasn't klezmer. However, it is deeply Jewish. I'd describe it as American Jewish music, deeply rooted in Jewish and American folk traditions. If Stephen Foster wrote Jewish music, it might have sounded like this. Bits of Americana, Chassidus, and even some slight Carlebach influences blend together in an organic new yet mature sound that sounds much older than it is. The albums -- this is the sixth in the series -- are all recorded live in an old shul in Brooklyn where Joey served as Baal Tefilah for seven years. Buy the album to support the artist, but then watch the album on YouTube to see how involved everyone is as these tracks were laid down. Highlights include the afore-mentioned "Shochein Ad" which begins with a beautiful vocal taksim by Rabbi Yosef Goldman. I'm also partial to "Keil Adon" which features Deborah Saks Mintz, as well as Yigdal, which in Joey's setting is a six-minute-plus Americana-infused melody that really gets at the meaning of the words. In general, Joey's songs do that, and if there weren't words repeated in the song, I'd be using "Shochen Ad" in my shul. The whole album is excellent and well worth getting. It's worth checking out the earlier ones as well. Amazon has the album here:
Which brings me to the book... As with his recordings, Joey seeks to empower the kahal to come along with him on his musical journey. The book is his attempt to do just that, sharing Torah thoughts about song, the power of music, the importance of listening, and more. Especially notable is that Joey includes a large open library of texts with translations -- roughly half the book -- so that the reader can join in the process of exploring what Judaism has to say about music and personally engage with them. The 179 texts range include pesukim from Tanach, quotes from Mishna, Gemara, and Midrash, to writings by Rishonim, Mystical and Halachik Writings, Chassidic Torah, and more.
Before getting to the open library though, Joey discusses the connection between music and prophecy, the power of music, the importance of silence, and perhaps most importantly, the importance of listening and of joining together through song. In a gentle self-effacing way, through use of sources and personal vignettes, Joey shares his understanding of and belief in the power of music. The book is a useful resource for anyone interested in the power of music and Judaism.
Amazon has the book here: Joey's approach serves as a model that anyone interested in creating serious, deep Jewish music should be aware of and be inspired by. He unites intellect and emotion to create warm, deep, and friendly inclusive Jewish music, and that's something we can use a lot more of.
Wednesday, December 27, 2017
Tuesday, December 26, 2017
Saturday, December 23, 2017
Monday, December 18, 2017
Sunday, December 10, 2017
Saturday, December 09, 2017
Stop Saying I Can't Sing Because It Distracts Orthodox Men | Lilith Magazine
Over at Lilith, Cantor Deborah Katchko Gray writes on Kol Isha... Stop Saying I Can't Sing Because It Distracts Orthodox Men.
I'm very sympathetic to Cantor Gray and feel that she should be able to sing at an egalitarian event. I also think that if an Orthodox group doesn't want to co-sponsor because of her singing, that's their prerogative.
That said, there's an awful lot of either ignorance or deliberate misrepresentation in this piece. I'd like to assume it's the former.
I'm very sympathetic to Cantor Gray and feel that she should be able to sing at an egalitarian event. I also think that if an Orthodox group doesn't want to co-sponsor because of her singing, that's their prerogative.
That said, there's an awful lot of either ignorance or deliberate misrepresentation in this piece. I'd like to assume it's the former.
Thursday, December 07, 2017
Forward Thinking on Carlebach
Quite a good nuanced article on Carlebach and #MeToo at the Forward... Shlomo Carlebach And #MeToo: Should We Sing His Music?
Monday, December 04, 2017
Recent Peeps from Da Hood
It's been a while...
"The Negotiator"
This peep is very wealthy, but can't help lowballing anyway. They'll call for a small gig and when you quote a very fair price, they'll offer your mitzvah gig rate and claiming that that's the budget they can offer and that even that will be split between both families making the simcha. IOW, they're willing to pay half of that total. We just turn them down. Naturally, the negotiator will call back offering more. We turn them down again. In the end, relatively last minute, we take the gig at a small discount that is still within the range we usually get, and well above their offers. Naturally, when we get to the gig, it's quite the affair, with fine cigars, expensive hot catering, etc. After the gig, the negotiator makes sure to ostentatiously pay us, and then adds a tip, bringing it back to $20 less than the initial quote. $20 to create a negative impression. Well negotiated.
"I'll Never Use You"
This peep is a real charmer. Over the course of the event, he'll respond positively to numerous song selections, coming over to sing loudly along demonstrating his approval, giving us smiles and thumbs up signals and saying nice things about the music when we take a break. At the end of the gig though, he'll come over, introduce himself, and say: "just so you know, I'll never hire you." That's because he's a die-hard Soulfarm fan and there is simply no alternative, as far as he is concerned. He just had to make sure we knew that. Um, ok.
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