Jewish Music Print Advertising

Over the years, I've had quite a few conversations with various band owners about print advertising for the Jewish market. I've also experimented with some myself.

In my opinion, and this has been confirmed to me by many I've spoken to who have tried it, print advertising in various local Jewish media doesn't pay. The media are overpriced relative to the benefits, and don't result in increased work, unless you're willing to charge the lowest price.

Note: I'm not talking about a short specific campaign involving articles, free CD's, etc, just a paid listing/ad in the music services section of a newspaper/magazine.

In my own experience, an ad I ran years ago in one paper brought in two types of inquiries...

1) Calls from the paper's competitors trying to sell me ads in their papers.

2) Calls from people who were calling everyone listed in the section and making their decision based solely on price. Since there are other bands advertising in these sections, who have no problem booking a job at below scale, and then sending kids or unqualified musicians out to play it, there is simply no way I could/would compete on price. My expenses are higher because I insist on hiring good musicians, which costs more.

An ad in another publication got me a junk mail subscription. I'm still receiving mail from those folks.

The only benefit some advertisers I spoke to have found, is that in some cases, if people were looking for them specifically, they might find their phone number in one of these papers. That said, if these people were looking for their number and couldn't find it in the paper, they'd still be able to find it, so they didn't see too much benefit in that either.

Obviously, the chance of booking a job off an ad exists, and that's why some still advertise. (There are also some bands who advertise, but don't pay their bills, so it doesn't cost them to do so. This is unethical, of course.) In my opinion though, the price of Jewish advertising in general, and simcha services ads in particular are significantly overpriced.

A few years ago, one of the popular Jewish websites contacted me to try and sell an ad. Their price was absurd. Moreso were their stats. Being new at this, their salesman gave me information he probably shouldn't have. At the time, this website was claiming 40,000-60,000 hits a day. Yet, when I asked for the number of hits to their simcha directory the number of hits was twelve. That is before subdividing those hits into individual categories like music, flowers, makeup, catering halls etc. Needless to say, I told him their rates were quite unreasonable.

I did make a counter-offer which I've since made to a number of other J-media salespeople. That offer? If they'll run a free ad for a short time period, and I book even one gig off it, I'd buy an ad. They've all turned it down. I think these people know that their ads don't work well enough and that's why they won't do it. It's simple really. If an ad venue was productive, I'd obviously pay to keep it. Their unwillingness to stand behind their product is telling.

There is another issue with much of the J-media advertising as well and that is timeliness.

For example, one New-Jersey based J-ad publication, The Network, mailed their Purim issue out late this year and last. The result, it arrived after Purim. This made the color front page ad for Mishloach Manos baskets as well as the various other Purim-related ads inside irrelevant. I'd be pleasantly surprised to hear that they had contacted these advertisers to offer refunds, but I haven't heard that they have, even to the tzedaka with its full page color ad soliciting Matanos L'evyonim.

If anyone has any J-music advertising stories to share, please send 'em on in.

Breaking Kabbalistic News!

Here's a Madonna update!

It's Giveaway Friday - Free Stuff for Ya'll

Over at Amazon.com, theyr'e giving away free World Music sampler downloads!

There's a JDub sampler and an Israeli music sampler as well as lots more interesting music. And, the price is right.

If you have an iLok or any Line 6 DAW interfaces, you can get a free license for their amp modeling plug-in, POD Farm Once again, the price is right.

Enjoy!

New Intellectual Property Psak

Here's some good news for people who compose music for the chareidi market. I wonder if ACUM will pro-rate a major percentage of the fees towards those composers.

At any rate, this is big, as both Rav Elyashiv and Rav Ovadya Yosef have endorsed the idea that Dina D'malchusa Dina applies to intellectual property. This is the approach that I have been suggesting for years and it logically extends to other areas of music/intellectual property rights like downloading. It represents a direct rejection of Rabbi Dovid Cohen's allowing people to download/copy songs/sell hard drives full of music without payment to the rights holders.

If the JM industry is smart, they will, as I have been suggesting for years, invest in publicizing this psak and its implications.

More Peeps

The Choirmaster

This peep comes over, flashes his pitch pipe, and says: "Don't comp us under the chupa. It won't work." He also says "There are four of us and only one of us can sing on key." He's not wrong.

The Prissy Caterer

This guy's a real class act. We're playing a six hour affair at which the band was supposed to be getting dinner. Due to some scheduling mishaps, the party is running late, and the caterer decides to make up the time by shortening the time alloted for dinner, and having us start the second dance set after only a short break. Naturally, he refuses to feed the band until after all of the guests are fed. Also, naturally, that's the point at which he already wants us to start the next set.[Brief digression: This situation, where the caterer refuses to feed the band before all the guests are served, comes up frequently. It is inconsiderate, because it ensures that the band will not have time to eat (unless there are speeches.)] At any rate, we don't get meals, despite having been promised them. After this dance set, we take a short break for dessert. We have a bunch of dance requests left to play, and are supposed to start up again in five minutes and play through the end of the gig. The folks in the kitchen again refuse to feed us "until after the guests have all been served dessert." Nice! At this point, the bride asks me if we've eaten. So I tell her we haven't. Long story short, she takes me in to the kitchen and informs the folks there that they need to feed the band now.

Two minutes later, the caterer, who was not in the kitchen when the bride came in, comes over to me and says in a peeved and condescending tone: "Did you really go over to the bride and ask for food?" Um, you don't get to be upset about looking bad in front of the client if it's your own fault. Even if meals hadn't been promised, there's really no reason for the 'tude.

From the mailbag...

Michael Fish sends in a peever.

Recently did a gig and the band was really in a groove by the 3rd song of second set when all of a sudden this older ‘gentleman’ came storming up to the band screaming at the keyboard player who was leading to play somthing yeshivish. He startled the musician so , that mid song he just waved off the band and started playing yomim.

Naftali forwards a link to a "Pete Sokolow Interview." I'm pretty sure I've linked this years ago, but Pete's a legend, so it's worth another link.

Steve Cohen writes:

When I read your story about singers who don’t know the words, it reminded me of a great club-date joke:

"A vocalist hired a piano player to accompany her at an audition for a night-club job. After listening to a couple of songs, the owner said, "Can you sing 'When Sunny Gets Blue?' It's my favorite song. If you can sing it, you're hired." The singer whispered to the piano player, "I don't know it all the way through." The piano player said, "I know it. Go ahead and start, and I'll prompt you." Reluctantly, she began: "When Sunny Gets Blue . . ." She looked at the piano player for help. He whispered confidently, "B-flat minor nine..."

From the mailbag...

Naftali writes:

My new pet peeve:

Singers that don't know the words. A singer is hired to do a gig with you; you go into a fairly popular song, and they whisper to you "I don't know the words" or "I'm not comfortable singing that". Mr. Singer, your ONLY job is to KNOW THE WORDS TO SONGS! You have nothing to shlep, you arrive 1 minute before (or after) start time and you only need to KNOW THE WORDS to songs! Do your research.

This arrived in my inbox just as I returned attending a concert. (I wasn’t playing.) At that performance, the lead vocalists screwed up the following lyrics:
1) Vena Al Tatzrichenu
2) Racheim

Both of those texts are from bentching, something they ought to be familiar with. Amazing!

Psachya writes:

Check this out: We Will Survive!

BTW, at about 3:30 of the clip, I could've sworn I saw a choson and kallah about to come in. :)

Igudsman and Joo rock! I've posted some of their other stuff in the past.

Avremi G. writes

‘This peep shows up with the score to an original composition they've written in honor of the bride and groom. Said musical masterpiece has been notated in Finale in the worst possibly way.’

I’m sure Sibelius is capable of equally atrocious output.

It's possible. In this particular case, the "composer" happened to have used Finale.

Daybay writes:

NYC based Jewish musician,

I read the following in The Yated (July 17, 2009 edition) in a column by Yossi Kamiel entitled Binni Blitz and the Bored Businessman, and thought you might was to address it. In his column he has one of his fictional characters say,

"My father asked a shailah and the rov told him that we're not allowed to listen to them (acapella cds) during Sefirah or the Three Weeks either. He said that there is no difference between them and regular music tapes. So even though we miss listening to these songs and albums, still, no frum Yid would even think of doing something that is not allowed in halacha."

Thank you,

A frum Yid who might think of doing something that is not allowed in halacha, but, b'H, would never do something that is not allowed by halacha.

Even Rabbi Belsky allows listening to certain kinds of acapella recordings during sefirah. So, this characterization (I assume it’s fiction) is inaccurate, even according to those who prohibit some acapella recordings during sefirah.

It’s also against common sense.

I posted his psakim on this and my comments on them here.

United Breaks Guitars - Song 2

Revenge is sweet!

Hot Weather is Bringing Out Da Peeps

Some more peeps for y'all...

"Weed Guy"

This peep, who is not African or African-anything, shows up to an Orthodox wedding with a dashiki over his long hair, a T-shirt, shorts, and Birkenstocks. Observing him over the course of the event, we notice that he keeps making loud puffing exhalations, as though he's taking a bong hit. Then, he comes and stands next to us, and we get a closer look/sniff. Turns out, his lungs are so full of weed, that despite not having toked in hours, he can give himself a contact high just by holding his breath for a few seconds and then exhaling. Pass the Doritos, man!

"Mr. Eat Over The Keyboard"
This peep helps himself to food from the buffet, and then proceeds to stand directly in font of the band, holding his plate over the keyboard as he eats. Considerate. At least he didn't get any Lo Mein on the keys this time.

"Rabbi Rush"
No relation to the conservative talk show host. This peep is in a hurry. No reason why. He just is. So, the wedding starts at 6, he has them do the badekin at 6:10 and starts the chupa at 6:12. Did we mention he's also coordinating the schedule for the dinner which is also taking place in his shul. Did you know you can do an entire Ortho-Chasidic wedding in 2 hours? Rabbi Rush thinks you can.

"Full-Time Clown"
It is common for people to dress up at affairs as a shtick, dancing for a few minutes in a costume of one sort or another. This isn't good enough for the full-time clown, though. This friend of the bride shows up to the ceremony in full clown outfit --suit, wig, funny shoes, and face paint -- and spends the entire affair in character.

"The Composer"
This peep shows up with the score to an original composition they've written in honor of the bride and groom. Said musical masterpiece has been notated in Finale in the worst possibly way. Mathematically it all works out, but visually it's a mess. For example, instead of a dotted quarter note, you might have a dotted eight note tied to three sixteenth notes in a row tied to each other. Imagine an entire page or two of this. Ah, the beauty of HyperScribe aka why trained music copyists are not out of work just yet.

Oh Deer!, Dear! Giraffe!

Parshablog links to yet another bizarre Jewish music article by a Rabbi who is simply making stuff up. Let's just say that his position demonstrates a lack of awareness of dance styles and practices both in and out of the frum community.

From the mailbag...

The Klezmer Shack's Ari Davidow writes:

Shalom Rav Dm,
I wrote a few words about the koren siddur on the Hebrew type blog http://www.ivritype.com/hebrew/ most of which are there just to point you to a link to a wonderful article in tablet mag--How Eliyahu Koren used typography to encourage a new way to pray (http://www.tabletmag.com/life-and-religion/8297/prayer-type/) by Joshua J. Friedman.

It is worth noting that although it has been common to use the dueling languages approach to including Hebrew and English (where the Hebrew is placed to the extreme right; English to the left, so that the eye has to jump the entire width of the spread to go from one starting point on the same line to the other), the calligraphers and early typographers who created the great polyglot siddurim of the Middle Ages were quite aware that when you want the eye to go back and forth between languages, it is critical that the distance between them be as short as possible--that Hebrew and Latin share a common spine (as is the case with the Koren siddur).

But layout depends on purpose. If you have a safe assumption that the readers will use either one language or the other, keeping them far apart (the dueling languages position) is good. Producing two separate books would be even better! More on the Hebrew type blog, of course. (And even more when I finish redoing the blog so that it is more usable. Sorry about that.)

Ari Davidow
Hebrew typesetter, extraordinaire

I seem to have gotten blog smicha lately from various correspondents. Was it the Luft series?

Sneak Attack Media's Miles Grosovsky emails some PR about SAM client, Matisyahu. It included the following photo. Jewish heroin chic. Just what we wuz missing.

Here's a link to a video of the single he's promoting: Matisyahu: One Day.

Hallelujah, It's A New Bo'ee Kallah...

... by Ohad!. Personally,I prefer Achinoam Nini's version.

The Koren Siddur on Yedid Nefesh

I recently received the new Koren Siddur with Rabbi Sir Jonathan Sacks' translation. This is a beautiful siddur. If you're looking for a nice English translation of the traditional siddur, this one is well worth checking out. It is far superior to the popular Artscroll Siddur. Rabbi Sacks' prose is a much more enjoyable and meaningful read.

Two interesting things about this siddur:

1) The Hebrew pages are on the left with the English translations on the right hand pages. This unconventional approach --usually its the reverse -- makes sense because you start reading in the center, no matter which language you're reading. This makes it easier to flow from one to the other. Additionally, it means that if you usually daven from the Hebrew, there's a shift in the direction you're looking which may affect right-brain left-brain cognition and therefore, at least in the short term, change your kavannah experience. More on that concept here.

2) The version of "Yedid Nefesh" Koren chose to use is based on the original handwritten manuscript by the author, Safed kabalist Rabbi Elazar Azikri (1533-1600). The changes make the poem even more beautiful, and some of the seemingly difficult to translate in context words become clear. Of course, this is not the way Jewish communities sing the words, but perhaps people will start to use this version. Just beautiful!

Why I Cancelled Bridezilla Today!

Today, for the first time ever in my career, I cancelled on a client.

The back story: A few weeks ago, I was hired to play music for a wedding ceremony tomorrow afternoon. The father-of-the bride and I reached an oral agreement and he then put his daughter in touch to discuss the specifics of the event.

The bride called me a few hours later. In our initial conversation, she told me that she had a compilation CD with some modern Israeli songs she really liked, and I told her I'd be happy to transcribe/play any of them she wanted. She promised to email the artists/song titles when she got home, and drop off the CD if I needed it.

Then, nothing. No phone calls or emails. After several days of this, I left a message on her cell asking her to call me/email the information. No response.

Finally, today, the day before her afternoon wedding --I do have an evening gig as well tomorrow-- she answered the phone when I called and proceeded to make lame excuses about why she hadn't been in touch; saying that since it's so close to the gig, maybe she should just play CD's instead, because I don't know the songs she wants. Since she's never ID'd them, I can't say this for certain, but based on her description of the compilation CD she liked, I'd say that there's an 80% chance I know those songs, a 95% chance I have the sheet music for them, and a 100% chance I could have played them had she gotten me the CD even a day or two ago.

Based on comments she made in our conversation, my impression is that this was purely anti-Orthodox bias. (Her dad is Orthodox. She isn't.) She seemed to feel that an Orthodox musician would be incapable of playing an instrumental version of an Israeli pop song. Remember, we're not talking vocals here, where there could be an issue of accent, etc.

At that point, after listening to several rude comments, I called her on her inconsiderate behavior, read her the set list of Israeli pop tunes I'm playing at tomorrow evenings affair, told her I would no longer be available to play her affair, and that she should use her CD's. I also wished her the best of luck in her marriage, and advised her that I hope she treats the other vendors more appropriately.

It's amazing what some people think they can get away with. If she didn't want me to play her affair, she had plenty of opportunity to be honest about her concerns early on. Passive aggressive behavior like this is grossly unfair to the musician, who may have turned down other work for the slot and made plans around their performance schedule and it's just not "mentchlikh."

That's Not Just Rock, It's Jerusalem Stone

Israelity reports: "Legendary Rock Bassist Chooses Jerusalem Stone."

Exactly How Out of Touch Is Agudas Yisroel? Updated 3x

This much!

The mind boggles! The recent scandals in the frum community do warrant introspection and even an emerdzshency asifeh. However, choosing Rabbi Avremel Schorr, one of the rabbis behind the international chilul Hashem that was the Lipa concert ban, to be the public face of propriety here smacks of tone-deafness at best and hypocrisy at worst. For shame!

UPDATE: And if you thought they couldn't make it any worse...

A writes:

Seeing just a few words about last night's Agudah "asifa", I now rest my case. Everything I have complained about for years, about how Agudah is an enabler by restraining criticism and PR about violators and honoring ex-cons, has been proven true in one fell swoop. Schorr, the Spinker Rebbe, and Brafman on a single bill? Why did they diss Kolko?

Can you even imagine how they would have crowed had YU invited Madoff, Tendler & Boesky to chair an event?

The unmitigated chutzpa of these "shaina yidden" who sit in their shteebels on mizrach with ex-cons, who have the first-class dining room at the Agudah convention, stroking their paunches with self-satifaction while they look down at the "amcha" that actually live Torah lives while they act frum but act like the proverbial "tzaddik in peltz" not dealing with the real world.

For several years now there has been an effort to stop the illegal posting of ads on lightposts, especially since the great majority of violators were Frum organizations.

To spread the word on the very important Agudah meeting combatting illegal behavior, guess where they posted the ads?

Yep.

You just can't make this stuff up.

A Yeshiva World report and audio of the speeches is here.

UPDATE 2:

The Spinka Rebbe apologized publicly, Nathaniel Popper reports for the Forward's Bintel Blog. he writes:

The most surprising moment of the night came at the very beginning, when the Grand Rabbi of the Spinka sect, Naftali Tzi Weisz, at right, took the stage for an unscheduled appearance. Weisz was arrested in a separate money-laundering case in 2007, and just last week he pleaded guilty, reportedly accepting a jail term. Before heading off to serve that term, Weisz delivered an obviously emotional mea culpa for his wrong-doings, first in Yiddish and then in awkwardly translated English.

“Unfortunately we have to admit in public that things happened that were not supposed to happen,” Weisz told the men in attendance (women were not invited to the forum). “We must have to express our wish that these matters will never happen — we have to commit that in the future this will never happen again.”

Weisz spoke in great detail about the compliance program that the Spinka board has entered with the government and he said, “Our community, baruch hashem, is not lacking in smart experienced lawyers and accountants that are willing to teach the tzibur [community], how to conduct their communal affairs in a manner that is in compliance with the law in all respects.”

UPDATE 3:

I've checked out the video of the Spinka Rebbe's speech and I'm on the fence about this one. I'm leaning towards Tzig's characterization of it. I'm not sure there was a point.

In following up, I've seen people raise two other issues that are relevant to this discussion. These are: 1) the choice of venue and 2) one of the methods for publicizing the event.

With regard to the venue, there is an ongoing battle between the Visnitz Yeshivah's management and the neighbors. (For more on this, see here, for example.) In my opinion, Agudah choose poorly in this regard. Remember, the event took place during the Nine Days, when there are no weddings in the community. There was no shortage of other venue options. The message sent, presumably inadvertently, is unfortunate and undermined the theme of the asifah.

With regard to the illegal posting of flyers on streetlamps... I've commented in the past on this and it's just wrong. Again, the message sent is that laws do not need to be obeyed, which again undermined the ideas the asifah was meant to convey.

In short, Agudah took a worthwhile concept, and through poor handling, turned it into a caricature. For an organization that claims to be politically savvy, this was a huge misjudgment and yet another self-inflicted black-eye.

What Is "Reasonable"?

So the Belz Chasidim have announced new takanos restricting wedding expenditures. I like this one:

For instance, the parents of the groom are instructed to choose between a bracelet and a mixer as a gift for the bride during the engagement period.

This part is troubling, though.

Luckily, the new plan includes not only restrictions, but also some benefits. The document's authors have taken a number of steps to help families lower the cost of the wedding by getting entertainers, photographers and wedding bands to agree to charging reasonable prices for their services.

What is a reasonable price? How is that different from market rates?

A Musician's Revenge

United Breaks Guitars! Awesome!

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

From the mailbag...

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.

7/13/09 Link Dump

Frank London and Lorin Sklamberg'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 gives 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.

Klezmer Dollars

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!

Going off the Deep End

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!

7/1/09 link Dump

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.

Band-o-matic

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.

From the mailbag...

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.

Peeps!

"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?

From the mailbag...

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 Peeps

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 groom wanted him to sing because he's close, and voila!

An Abundance of 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.

Tal-Mood Music

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

Who Needs The Waldorf...

when you can throw a lavish Bar Mitzvah in jail.

6/10/09 Link Dump

Rabbi Dovid Landesman writes about badly behaved bochurim at weddings in "Houston, We’ve Got A Problem!"

Meanwhile, the Times Herald-Record reports on pre-wedding violence in Satmar.

Sara Smith writes about the Haredization of weddings in "My Story: Aliza's Haredi Wedding"

In the Forward... "Why Straight People Go to Gay Synagogues." the end of the article talks about transgender Jewish hip-hop artist Harvey Katz.

Also in the Forward, a review of "The Songs of a Wandering People."

Modern Uberdox posts about "Niggunei Hisorerus Novhardok."

Michael Makovi posts on "Kol B'Ishah: A New Analysis."

Teruah posts about Sruly Meyer's move from Sameach to Mostly Music.

Mottel posts "Reactionary Jewish Music."

Here's an article by Rabbi Murray Singerman: "Dancing in the Footsteps of Reb Shlomo: An Halakhic Analysis of the 'Carlebach Minyan'."

It's Peep Season Again!

"The Micro-Manager"

This peep, usually a school or kiruv org admin, needs to call the tunes at the gigs played at his venue. "No!" he'll shout, running over during a dance set. "The kids don't know this song!" Umm, they did the last four events we played at your place this year. And that's not including the multiple times it was played/sung at this past year's retreat. Or the events we played it at last year.

"Mr. I Need Your Card"

This peep comes over towards the beginning of the event and tells the bandleader "I'll need you card" in a way that makes it clear he has an imminent gig. Then they disappear before they can be handed a card. They will not come over again, and it will turn out to be impossible to find them among the 500 other guests at the affair.

"Need A Peep"

This Chassidic couple stands in close conversation on the other side of the room during a chupa. Then, with quick resolve, the husband, closely followed by his wife, walks past the open exit door and across the room, only to put his car keys down on the keyboard. His wife will immediately pick them up and head out to the parking lot. TMI.


"Everything Carlebach"

This peep needs to use a Carlebach melody for everything. He even sings Akdamus on Shavous using Carlebach's Od Yishoma (San Fransisco) instead of the traditional melody. Now that's just wrong!

From the mailbag...

Yonah Lloyd writes "Seeking Hiney Matov by Jewish Blues":

Hi fellow bluesers - I asked permission from Shmuel "Steve" Simenowitz to seek out his legendary "Hiney Matov" song online, as I would like a digital copy.  He said ok.  He doesn't have one himself, nor the tools to make one, so if I do find it, I'll send it to him as well.

Anyway, if any of you have it or are able to find it, please share the wealth this way!

Kathy writes in looking for Adi Ran's first disc, which does not seem to be available on line at the moment. Anyone know who has these in stock here?

E. forwards a link to a Ynet article on Gershon BVeroba's latest, "Is This Pop Hit Kosher?"

A Simple Jew forwards a link to "A Niggun From The Sudilkover Rebbe."

Finally, proof that klezmer is emotionally engaging, even to those who don't want to like it. Estevão Carlos Botelho Egas, who apparently just found out about Paul Pincus's passing writes:

GOT TO HELL MR. PINCUS!, FINALLY WE ARE TOTAL FREE OF YOUR HORRIBLE AND KITCHES SONGS!

GOD HATE US ALL!
Estevão Carlos Botelho Egas
Projetista da Engenharia e Projetos de Instalações Industriais
Mangels Indústria e Comércio Ltda.
Tel.: 55 11 4341-1688 Cel.: 9388-3540 Fax.: 55 11 4341-8975
e-mail: e.botelho@mangels.com.br

Classy.

Guilty Plea In Melzer Case

The Jewish Week is reporting that Adam Melzer has plead guilty.

...according to Kenneth Ralph, assistant prosecutor in Bergen County, Melzer pled guilty to four counts of endangering the welfare of children. He will be evaluated as a sex offender before sentencing, scheduled for Aug. 28.

Depending on the outcome, Melzer could be sentenced to up to three years in prison or placed on supervised parole for life.

Earlier posts on this can be found here and here.

Not Dschingis!

Rokhl Kafrissen writes about Dan Kahn for the Forvitz in "Partisan or Parasite?". Check it out!

From the mailbag... (New Blog edition)

Bert Stratton's got a blog. He'll be posting daily; at least until Yiddish Cup's new CD. "Klezmer Guy" drops on June 28th. He writes:

YIDDISHE CUP’S NEW BLOG,
UPDATED FREAKING DAILY.

You’re not looking at the blog right now.
You’re looking at an announcement,
which is screaming:

PLEASE CHECK OUT
YIDDISHE CUP’S NEW BLOG AT
www.yiddishecup.com/blog

The blog is “Klezmer Guy: Real Music & Real Estate.” It’s similar to Yiddishe Cup’s previous “gossip” emails, but to the 10th power.

Here are some sample post headings:


SHARP SALAMI . . . My clarinet teacher used to eat salami sandwiches during my lessons.

THE THING I DO WITH MY HANDS . . . Play clarinet.

BOUNCED CHECK . . . I've never gotten a bounced check at a gig in 20 years. Why?

SOFT SEATS . . . That's what bookers call college auditoriums. Cushy gigs.

A SLICE FROM THE KLEZ PIE . . . The klez scene is slightly bigger than a 12-inch pizza. Inbred? Rye.

BAGGIES ARE USEFUL . . . To pocket smoked fish.

ACCORDING TO THE TALMUD . . . Pay your musicians after every gig. How to be a bandleader.

THE LOWEST NUMBER STICKS . . . When you say "$6,500-$6,800," the client only hears the "$6,500" part. Negotiating for arts majors.

---
BERT STRATTON, a.k.a. Klezmer Guy, was a Sun Newspapers reporter. His articles have appeared in Rolling Stone, Downbeat and The World. He won two Hopwood Awards.

---
The blog will be updated daily through June 28 –
the day Yiddishe Cup's new CD, KLEZMER GUY, comes out.

Yosef Sukenik writes:

Hello,
After doing my best to help the cause I'd like to ask your readers to take a few minutes to help improve the Wikipedia article on Contemporary Jewish music.  Today Wikipedia is a major info source and it would help us all to have a clear unbiased history and summary.

Please contribute your knowledge: Contemporary Jewish religious music - Wikipedia, the free encyclopedia

Please keep in mind:
Try for a neutral point of view.  We are informing.  We are not promoting specific artists.
Please source as much as you can.  Newspaper articles, album liner notes, anything.
Don't worry if you don't use the correct code formatting.  Someone else will fix it.

Much love and thanks,
Yosef

Adam Andersen writes:

So this isn't jewish music, but it does relate to your email address
quite nicely.

"I DONT WANNA HEAR YOUR BAND!"

Thanks for fighting the good fight & keeping music blogs not-lame!

Letter To The Hamodia Editor (More Rabbi Wolfson Content)

The following letter and response appeared in Hamodia on May 6th.



Yochonon Donn's response demonstrates clearly that he and Rav Wolfson both lack comprehension of some of the music terminology and history used in the original article and that Donn doesn't understand some of the points made in H. Meyer's letter. There are errors of fact and logic in this response. This is simply embarrassing!

A question for Rabbi Wolfson... (one of many that can be asked)...

According to your expressed view, what is the date at which the accepted rules of music were finalized? Since music and music theory has been in a continuous state of evolution, any assertion that certain popular styles of music "are not composed according to the accepted rules of music" implies that the rules must have been finalized at some earlier point, to the exclusion of current practice. So, lishitascha, when did this take place?

Upcoming Jew-Mu Gigs

There are a bunch of creative Jewish music gigs coming up over the next bit.

Here's some info cut/pasted from the promo emails...

Sunday 5/10 at 11 AM: Klook! at City Winery

Details:

Introducing... Klook!

Eleonore Weill (Paris) - Baroque Recorder, Accordion
Madeline Solomon (London) - Flute
Jake Shulman-Ment (New York) - Violin, Accordion
Pete Rushefsky (New York) - Tsimbl

at the City Winery Klezmer Brunch this Sunday, 11AM - 1:30PM! Bring Mamele!

$10 cover

City Winery
155 Varick Street
New York, NY
curated by Michael Dorf
City Winery

Monday 5/11 at 9 PM: Eitan Katz, Nochi Krohn, and Avi Feinberg at Aish Kodeh's Lag BaOmer Hilula

Details:

Eitan Katz and Nochi Krohn will be performing at the annual Aish Kodesh Lag B'Omer Hilula at 8:30 p.m. on Monday, May 11th at the Young Israel of Lawrence Cedarhurst (corner of Spruce and Broadway in Lawrence). Rav Moshe Weinberger will be delivering words of hisorerus. Suggested donation, $10. Separate seating.

Tuesday 5/12 at 7 PM: Breslov Bar Band at the Carlebach Shul

Details:

Breslov Bar Band - Lag Baomer Concert @ Carlebach Shul

Tuesday, May 12, 2009
7:00pm
305 West 79th Street
$15 cover

From melancholy midnight meditations to funky/punky affirmations of the One, the Breslov Bar Band explores musical expressions of the Breslov Chassidim from the traditional to the contemporary... Rock, Middle-Eastern, Punk, Jazz... it's all there!

The group's repertoire includes old dveykus melodies and ecstatic nigunim, as well as contemporary Breslov folk and rock music. The band members combine their passion for Jewish music with their strong roots in rock, jazz, and world music.

Website:BreslovBarBand.com

Tuesday 5/12 at 9 PM: Yoshie Fruchter's Pitom and Michael Winograd's Infection at Zebulon.

Details:

I and my erstwhile Pitom collaberators are super psyched to be coming back to our fave joint Zebulon this Tuesday evening to play some music from our new record, some new music that is not on the record, and just have fun and make some glorious noise! Joining us will be Michael Winograd's Infection (and his army of swine flu fighters).. a seriously killer band - you will not be let down. It also happens to be the Jewish holiday of Lag Baomer - so come celebrate with us, have a beer, do a dance, shave your beard.

**SHOW INFO
WHERE: Zebulon, 258 Wythe Ave, Williamsburg (L Train to Bedford)
WHEN: Tuesday, May 12th 9pm
NO COVER**

Sunday 5/17 at 11AM, Klezmerfest CD Release Party at City Winery

Details:

I am pleased and proud to announce the release of Klezmerfest's second CD, "Life of the Party," featuring Jordan Hirsch, Greg Wall, Aaron Alexander, Zev ZIons, and Brian Glassman. We will be performing in celebration on May 17th, with sets starting at 11:00, at:

City Winery
155 Varick Street
New York, NY

There is a $10.00 cover charge.

Check out our first release, "Party Music" at CD Baby: KLEZMERFEST!: Party Music. Ari Davidow of Klezmershack had this to say about it: "this album is simply a delight. Many are the medleys as the band puts traditional tunes in a simkha context. Like I said, the sound is smooth as silk and the feet can't stop moving. For a change, here is a band guilty only of absolute truth in advertising: This is perfect "Party Music". Enjoy!"

Wednesday 5/20 at & PM: Joey Weisenberg's Niggunim Unplugged at the Eldridge Street Synagogue

Details:

Please join me for a special concert of Jewish music at the Eldridge Street Synagogue in New York City on Wednesday, May 20th, 7:00 pm.  I'll be performing with a wonderful ensemble, including:

Benjy Fox Rosen -- Bass
Llova Zhurbin -- Viola
Jake Shulman-Ment -- Violin, accordion
Joey Weisenberg -- vocals, mandolin, clarinet, percussion

Please reserve a seat at:

New York Events at The Museum at Eldridge Street

If you know people who would enjoy this show, please let them know about it.

I'll look forward to seeing you there!

From the mailbag...

Rabbi Moshe Yeres writes:

you link to
Here's a video of an attempt to revive old Jewish wedding traditions. I'm not convinced the soundtrack music is authentic period music. [/sarcasm]
 
It seems to me that this post is of messianic judaism
there are alot of signs for that in teh video including but not limited to how they phonetically pronounce teh name of G-D , plus shofar usage, plus new moon.
i am sure if you will research teh group you will find them not to be a jewsih grouop but messianic judism toye who believe in jesus
Moshe Yeres

I don't think these are messianic Jews (aka Christians). There's no mention of Jesus/Yeshua in the entire ceremony. They're historical revivalists who attempted to recreate old Jewish wedding traditions. Obviously, they are not Orthodox, but it doesn't appear from this that they are Christian.

Mindy writes;

I do not know who translated the lyrics, but this was performed in Satmar camp in 1993, it was beautiful. The chorus goes:

און דער רבי האט מיך צו זיין הארץ צוגעדריקט
זיינע ווערטער האט יעדן דערקוויקט
געזאגט "קיין חילוק צו מען איז זייער יונג אדער עלטער מען איז
די רייד פון די תורה אפהיטן מען מוז"

I don't remember all the lyrics by heart, it's ages ago, and I also don't know the source, but it was performed in camp, I wonder if it was translated by the camp heads or something.

If anyone knows who translated it, or of a recording, please let me know.

Sruly shares a link: "Auto-Tune the News: Obama Flashback."

Joel Shares another: "In Praise of Auto-Tune." It's an Auto-tune link-fest!

"Rotzeh B'ilum Shemo" writes:

On Vocalist Shea Rubinstein's offer to perform for free: "Music Star Offers Free Performances to Charities and Nonprofit Organizations: “I Want to Give Back to Those Who Give to Many.”

Here is my personal opinion. For this one, you can leave my name out of it.


Why Should other singers follow in his footsteps?

If he wants to perform for free - then let him, but don't tell people in the music business where to give their Tzedaka to.
Maybe the Hall, Caterer, Photographer, Printer, and all the other vendors should be donating their ENTIRE services as well?

Many singers rely on these events to support their families. I'm not against giving a good deal, but to donate all your services and hope that everyone else will do that is simply crazy.

I personally believe that this is just a well disguised ploy to get publicity.  If it is, congratulations - you got a gig, Shea!

I'd be interested to hear what others think too. I think this offer deserves a post of its own, as time permits.

5/7/09 Link Dump

The Cool Jew asked a bunch of boys' choir leaders about whether they use pre-recorded tracks in concert.

Do you think that it's ok to use a pre-recorded song during a concert performance? If yes how often are you doing it and why do you feel it necessary?

The answers are revealing and in some cases, one might say, deliberately misleading.

The Life-Of-Rubin Blog had two posts on the topic that I was going to link, but he has apparently deleted them.

Klez clarinetist Michael Winograd makes the Forward 36 under 36. So did Girls' Night On! founder Leslie Ginsparg, Anat Cohen, Y-LOVE (Yitz Jordan), Gilad Hekselman, and Michelle Citrin.

Avraham Fried has released an a-capella album to benefed Yad L'shliach.

The Klezmer Shack posts"Yid Vicious: Car-less Klezmer in Madison."

Teruah posts "Death of a JDub Saleman."

Here's a great clip - "Breslov Books vs. Mendy Pellin."

Here's a video of an attempt to revive old Jewish wedding traditions. I'm not convinced the soundtrack music is authentic period music. [/sarcasm]

Finally, it's time for wedding photos.

Yiddish Lyrics Question

Asya writes:

In my fieldwork, I came across a lyric sheet with an unattributed Yiddish translation of Abie Rotenberg's "The Place Where I Belong" from the Journeys, Volume 1 album. It begins thus:

Toyre hakdoyshe, azoy ikh heys
Ikh bin geshribn gevorn in yor tov resh hey
Durkh yankele der soyfer an oyved hashem
Dos gantse khiyus nor geleygt in dem.

Does anybody know where this translation comes from? Is it on a recording anywhere? Wikipedia says that Rotenberg has collaborated with Mordechai ben David, Avraham Fried, Yehuda Schechter, and Yaakov Shwekey, but I could not find the song on any of their albums.

It is possible that the translation was done by a Hasidic woman and has never been recorded, but I want to make sure I can't find it somewhere before assuming this.

Anyone have any info about this?

Mic Check This... Orthodox Female Rapper Rinat Guttman

This is too cool...

Who says tznius women can't bring it?

Hat tip: The Curious Jew, who posted a link to a YU Observer interview with Breslov-influenced Ortho-rapper Rinat Guttman.

From the mailbag... (More Rabbi Wolfson Content)

S. writes:

I really appreciated your post on R. Wolfson's article.

I see in your explanation you explained the novelty of black and white keys, but didn't really mention that the equally tempered scale of twelve notes itself is recent (late 16th century)! Possibly R. Wolfson simply meant to speak of major and minor, which are not recent, but he used an idiom that would be comprehensible to readers (everyone knows what black and white keys on a keyboard look like), however he did not mean to suggest that the keyboard goes back to Yuval. However, he is still embarassingly wrong about the antiquity of the various modes current in Western music!

I thought you might be interested in seeing an example of a rabbi who understood music, back when rabbis were not Charedim or modern, just the most learned segments of the nation, who therefore were most likely to know things and therefore wrote treatises on numerous subjects outside of the yeshivishe massechtos.

Rav Saadyah Gaon:

http://onthemainline.blogspot.com/2006/02/guess-who-said-it.html

Chazak ve-ametz!

S.

http://onthemainline.blogspot.com

E. forwards a link to vocalist Shea Rubinstein's offer to perform for free: "Music Star Offers Free Performances to Charities and Nonprofit Organizations: “I Want to Give Back to Those Who Give to Many.” I'd be interested to hear what people think of this.

Yerachmiel Altizio writes:

Please promote our upcoming show on your site/blog:

Merkavah - The Hasidic Funky Jam Band w/ Shalom Pasternak's Kabbalah Dream Orchestra

Sunday, May 31 7pm, at Puppets Jazz Bar - 481 5th Avenue, Park Slope, NY 11215

$10 per set, $15 for both bands!

KDO - 7pm, and Merkavah - 8:30pm.

I'm getting to this late, but Greg Wall emails a link to a free download of Am Yisrael Chai at the Pioneers for a Cure website.

Aaron Alexander writes:

I humbly announce that May 17th shall be the day of the CD Release Concert for the new recording by the great New York klezmer band, Klezmerfest! 
The new CD will be entitled "Life of the Party!" and features great traditional klezmer standards and a couple originals by band members.
It's our sophomore release. The first one was called "Party Music", here's a little of what Ari Davidov of Klezmershack had to say about it: 
"It's solid, delightful, entirely danceable klezmer music as it has been played for generations, by musicians who are very, very good at playing it."-Ari Davidow, Klezmershack
This one features the same working band, all a little bit older and wiser (except me - I'm just a little loopier and more tired from lack of sleep!) 
Liner notes were written by the legendary Pete Sokolow!

The band is:
Aaron Alexander - drums,
Brian Glassman - bass,
Zev Zions - accordion,
Jordan Hirsch - trumpet, 
Greg Wall -  clarinet

The festivities will begin at 11am at City Winery and we'll play 'til around 2:30 or so.
KIDS are welcome! Please bring them!

City Winery 155 Varick Street (between Spring and Vandam Streets)New York, New York 10013
By Subway: 1 / 9 to Houston Street or Canal Street; C / E to Spring Street
By Bus: M20 downtown or uptown, M6 uptown, M21 crosstown
Customer Service: 212.608.0555

We hope you can make it out!

I've heard this disc and it's well-worth checking out.

There are a lot of Jewish music events upcoming in the area. Time permitting, I'll try to post a roundup. If you have a local show in the next two weeks or so, please let me know.

From the mailbag... (Rabbi Wolfson Content)

Shalom writes:

I suppose Rabbi Wolfson has never seen a harpsichord... don't they have the opposite pattern of black and white keys to a piano? And they pre-date pianos by two centuries at least.

Do you remember a song called "Computer Game", by the Yellow Magic Orchestra from about 1979? Took me a few listens to realise that with the exception of the second part of the bridge, it's entirely played on the black keys -- and it's far from being a "mournful" tune. (Not to mention Chopin's Etude, Opus 10, number 5, which can't conceivably be called mournful either.)

I suppose that if he's talking to an audience that's even more musically uninformed than he is, he might sound plausible.

As I said, the factual errors in the rabbi's essay make a compelling argument for establishing music education in frum schools,if for no other reason than preventing rabbis for embarrassing themselves.

Clarification On The Rabbi's Musical Ignorance

The Wolf writes:

Thank you for your most recent post. Can you clarify, for the non-musically inclined, what the musical errors by Rav Wolfson are?

Sure.

The white key/black key distinction is fairly recent, as keyboard instruments and that color scheme are not that old. Most instruments don't have this distinction at all. A violin, or clarinet, for example, don’t have black keys. Yuval predates the concept of white/black keys by five thousand years or so. (That's a low-ball estimate assuming he takes the chronology of Maaseh Breisihis literally.)

The key of A minor and some other minor modes use white keys only.

In the keys of D, E, and A, the black keys make the key major by raising the minor third you’d have using only white keys by one half-step.

One can play slow depressing songs using only white keys and cheerful melodies using only black ones.

It's quite clear that Rav Wolfson does not understand what "minor" and "major" mean, what the black/white keys mean, or how happy/sad melodies are constructed.

From the mailbag...

Yitzy Spinner writes:

Your recent inclusion of the cell phone at the chuppah peep reminds me of a story that happened a few years back at the Excelsior on Route 9. I was under the chuppah preparing to sing Mi Adir as the groom was walking down the aisle with his parents. It's usually one of the few moments within the entire ceremony when people are actually quiet. My spot by the canopy gave me a great view of what was about to transpire. As luck would have it, as the groom and co. were mid-aisle, a cell phone that seemed to be on full volume rang. It turned out that phone belonged to none other than the groom's father, who then answered it! He kept walking but politely told the caller something to the effect of 'I can't talk now - I'll call you back'!!!

Jeremy Gimbel writes:

The newest album from Jeremy Gimbel & Shira Tirdof, Let it Happen, is available now at JeremyGimbel.com !

Here is what people are already saying about Let it Happen:

* "Jeremy Gimbel's music moves your body...and your soul!" -Craig Taubman, "Friday Night Live"
* "This is the Jewish album I've been waiting for!" -Ira Miller, Director of Informal Education, Potomac, MD
* "This CD provides a fantastic blend of liturgy and Torah that you rarely find in today's Jewish music." -Matt Jerome, Youth Director, Plantation, FL
* "An event to be experienced. I laughed, I cried, I spent half an hour trying to nail the female harmony on 'Only Start.'" -Adam Blotner - Song Leader, Los Angeles, CA


Let it Happen, the second studio album from Jeremy Gimbel & Shira Tirdof, presents two meaningful sides of Jewish music. The first half -- "Side A" -- includes five songs that each tell a story. "Salaam Achshav" is about our need to stop merely talking about peace and working together towards our common goals. "Only Start" is a ballad of the possible unrequited love between Eliezer, Abraham's slave who finds Isaac a wife, and Rebecca, the future wife of Isaac. "Joe's Blues" is what Joseph would have sung if his brothers left him with a guitar after they abandoned him. "Make it Through" imagines what was going through Miriam's mind right before the Israelites crossed the sea out of Egypt. Lastly, "By A River" is a melancholy song of the Israelites' emotions after the destruction of the Temple. The second half -- "Side B" -- includes five songs that are musical settings of Jewish prayers. "L'cha Dodi," "Eitz Chayim Hi," and "Adon Olam" are upbeat and fun versions of classic prayers. "Sh'ma" and "Elohai N'tzor" are slower but bring out the emotion of the prayers. All of these melodies are easy to sing by yourself or with a group. Listen and try to open your mind to the possibilities these stories and melodies possess. Let it Happen.

Let it Happen is available now at JeremyGimbel.com for $10.

Check it out & thanks for your continued support,
Jeremy Gimbel & Shira Tirdof

E. wants to know who wrote "Niggun Shloime." The mp3 was released to market the Shloime Dach's Orchestra's forthcoming wedding CD. The marketing for that one has been interesting, like the claim that the drummer on the recording, Benny Koonyevsky, is just making a name for himself on the orthodox simcha scene in recent years, playing a number of gigs with the band. In reality, Benny, who has recorded with Avraham Fried and Dbbie Friedman, among others, has been a first-call drummer on the NY simcha scene since at least the early nineties.

karol wrote:

Hi, I came across your blog while looking for Jewish wedding mp3 downloads.  We're getting married this weekend, actually leaving tomorrow, and are in a last-minute scramble to find traditional Jewish wedding songs (Hava Negila, Havenu Shalom Alechem, etc.) for our dj to play.  Any chance you have these and might be willing to send them along to me?

I emailed a link to an an album page at OyTunues. Why do I think Karol wasn't looking to pay for these tracks? Could it be because there was no thank you response?

Itzchak writes:

New CD release:

"HA'OROT-THE LIGHTS OF RAV KOOK" by 'Greg Wall's Later Prophets Featuring Rabbi Itzchak Marmorstein'  is now released on Tzadik Records.


The Later Prophets are:
Rabbi Greg Wall on saxophones, clarinet, shofar and moseno (Japanese wooden flute) -"the Jewish John Coltrane".
Shai Bachar- Israeli virtuoso jazz piano player .
Dave Richards- bass .
Aaron Alexander-drums
Rabbi Itzchak-spoken word.


This CD has 12 poem/songs in various combinations of Hebrew and English as well as 2 instrumental two nigunim/melodies that were originally composed and sung by Rav Kook and his circle. (67 minutes of musical Rav Kook Torah).


The CD is being released on Tzadik Records whose founder, John Zorn wrote about it:


"A leading figure in the Jewish music scene for over thirty years, Greg Wall is one of the pioneers in blending Jewish music with jazz. His newest recording with his powerful ensemble Later Prophets is a colorful and provocative mixture of jazz and Jewish poetry and features the spiritual writings of Rabbi Avraham Itzchak HaCohen Kook, recently voted the most influential person in the shaping of modern Israel. Kook was a unique blend of the traditional and modern- and the music follows suit, with funky grooves, improvisations and even a few of Kook's own compositions. With texts read by one of the greatest living scholars of Kook and his milieu, this is an important document of Jewish mysticism."

Cuts from the album can be heard on http://www.myspace.com/orotharav.
A short video clip from their recent concert in NYC can be viewed here.

Reviews and interview about the CD:
http://www.israelnationalnews.com/News/News.aspx/130735

http://www.myjewishlearning.com/blog/?p=1759

The CD ( $20 including s &h) can be acquired through
www.haorot.org
Payment secured through Pay Pal.

At this time of intense upheaval, Rav Kook offers an illuminating and inspiring understanding of our greatest possibilities and what we need to do to actualize them.

"And a generation will awaken and come to life,

singing to beauty and to life,

and suckling unending delight

from the dew of heaven."
Rav Kook, from 'The Whispers of Existence'

Eitan Katz emails about his newest album and writes

...With this Torah, I released my latest album last month. I felt that each of the nigunim (whether mine or not) had the ability in them to bring the listener to a deeper and more meaningful connection to Hashem. I felt that the nigunim would allow a person to see how deep their neshama really is. And I tell everyone who buys the CD that this is what I felt, but if you don’t feel that way about the nigunim, if you feel they are just commercial and not uplifting, please do me favor- don’t listen to them!

But will he give refunds? You can buy the album here.

Rob Tanenbaum and Sean Altman each wrote to thank me for my post, "Happy Passover, Let's Eat." I neglected to include links to their current projects in that post. You can find Sean at JEWMONGOUS and Rob at GOOD FOR THE JEWS. Now, let's eat!

Steven W. writes:

Miami's "ezri me'im Hashem" sounds very similar to which recent rock song?

Finally, Matt Garville writes:

I thought your readers might be interested in Theodore Bikel’s upcoming benefit concert at Carnegie Hall. Pasted below is the press release for the event.

Thanks,
Matt

Broadway and Jewish folk music legend Theodore Bikel to be saluted at Carnegie Hall

WHAT:
“Theodore Bikel: The First 85 Years” – Broadway a legend Theodore Bikel, a lifelong social justice advocate, will celebrate a rich career devoted to art and activism with a star-studded 85th birthday benefit concert at Carnegie Hall. All proceeds will go to the Juvenile Law Center.

WHO:
Confirmed performers to-date include: Theodore Bikel, Alan Alda, Arlo Guthrie, Rosemary Harris, David Amram, Beyond the Pale, Artie Butler, Patricia Conolly, Judy Kaye, David Krakauer, Tom Paxton, Serendipity 4 (Shura Lipovsky, Merima Kljuco, Tamara Brooks, and Theodore Bikel), Noel Paul Stookey and Peter Yarrow, Susan Werner, Michael Wex.

WHEN:
7:30pm Monday, June 15, 2009

WHERE:
Carnegie Hall, Stern Auditorium/Perelman Stage, 57th Street and Seventh Avenue, New York City

TICKETS:
Tickets go on sale April 16th and range from $30 to $500. www.jlc.org./bikel


BROADWAY AND FOLK LEGEND THEODORE BIKEL CELEBRATES A LIFE OF

ART & ACTIVISM WITH AN 85th BIRTHDAY CONCERT AT CARNEGIE HALL

June 15th concert to benefit Juvenile Law Center; tickets go on sale April 16th

http://www.jlc.org/bikel

New York (April 16th) – Broadway and folk legend Theodore Bikel, a lifelong social justice advocate, will celebrate a rich career devoted to art and activism with a star-studded 85th birthday benefit concert at Carnegie Hall on Monday, June 15, 2009.

The concert will benefit Juvenile Law Center (www.jlc.org ), the pioneering, non-profit law firm dedicated to protecting the rights and well-being of children in the child welfare and juvenile justice systems. Bikel will be joined by Alan Alda, Arlo Guthrie, Rosemary Harris, David Amram, Beyond the Pale, Artie Butler, Patricia Conolly, Judy Kaye, David Krakauer, Tom Paxton, Serendipity 4 (Shura Lipovsky, Merima Kljuco, Tamara Brooks, and Theodore Bikel), Noel Paul Stookey and Peter Yarrow, Susan Werner, and Michael Wex. Honorary committee co-chairs for the event include Barbara Cook, Frank Langella, Pete Seeger, John C. Whitehead, and Elie Wiesel.

Bikel made his Carnegie Hall debut in 1956 and went on to forge an extraordinary career as a musician, actor and activist. His stage and screen credits include such classic films as The African Queen and The Defiant Ones and the 1959 Broadway premiere of The Sound of Music, in which he originated the role of Captain Von Trapp. He has performed the role of Tevye in Fiddler on the Roof more than 2,000 times and is currently starring in a national tour of Sholom Aleichem: Laughter through Tears.

A leading light in the folk-music scene of the 1960s, Bikel was a co-founder of the Newport Folk Festival and has been a powerful advocate for peace, human rights, and social justice for more than five decades – from the civil rights movements in the United States to apartheid in South Africa to promoting peace and religious pluralism among Israel and its neighbors.

“Throughout my life I have been equally passionate about music and social justice, and have allied myself with others whose use guitars, banjos, fiddles and words to conquer fear and injustice,” said Bikel. “I can think of no better way to celebrate that life than a night of music with some of my nearest and dearest friends, and no more deserving cause than protecting the rights of our nation’s most vulnerable children.”

All proceeds from the concert will go to Juvenile Law Center, which works to protect children’s rights and interests in the child welfare and juvenile justice systems. Juvenile Law Center, which provides legal services at no cost to its clients, is currently heading litigation in the Luzerne County, Pennsylvania judges scandal, a court corruption case that has made international news as one of the most egregious violations of children's rights in U.S. legal history. The organization’s work on the case was recently covered by 20/20 (http://abcnews.go.com/Video/playerIndex?id=7194700), the New York Times (http://www.nytimes.com/2009/03/28/us/28judges.html?_r=2), and People magazine.

“Theodore Bikel was at the forefront of the social justice movement that led to the creation of organizations like Juvenile Law Center, and we’re awed and honored that he chose to turn his 85th birthday celebration into an incredible gift for us,” said Robert Schwartz, Executive Director of Juvenile Law Center. “Theo is not only helping to promote the rights of people around the world, but also providing a true inspiration the vulnerable children who seek justice and protection.”

Tickets go on sale April 16th and range from $30 to $500. A pre concert VIP reception for performers to mingle with sponsors, major donors, and box seat ticket holders will be held in the Rohatyn Room at Carnegie Hall.


About Juvenile Law Center
Founded in 1975, Juvenile Law Center ( www.JLC.org ) is the oldest multi-issue public interest law firm for children in the United States. With an approach grounded in principles of adolescent development, Juvenile Law Center uses the law on behalf of youth in the child welfare and criminal and juvenile justice systems to promote fairness, prevent harm, ensure access to appropriate services and create opportunities. Juvenile Law Center uses an array of legal and other advocacy strategies to ensure that the child welfare, juvenile justice, and other public systems provide vulnerable children with the protection and services they need to become healthy and productive adults. In 2008, Juvenile Law Center was one of eight organizations around the world to receive the prestigious John D. and Catherine T. MacArthur Foundation Award for Creative and Effective Institutions.

While We Were Out...

Haaretz published an article, "The New Black Music" about Chareidi singers. This part is of interest:

The Bnei Brak-based Guardians of Sanctity and Education is conducting stubborn battles against singers who don't obey its instructions, and tries to prevent commercial bodies from cooperating with them. "Many groups that wanted to help and nurture Hasidic music prefer not to get drawn into arguments with the activists, and give up these cooperative ventures," says Lapidot. "The activists are torpedoing marketing initiatives by cell phone companies and approve only mainstream music. Many artists are harmed by that. The activists dictate to firms precise lists of artists with whom they should cooperate." He says the rabbis' decisions even affect the types of ring tones mobile providers offer their users for download.

One of the companies that has reduced its activity in the area of Hasidic music is Cellcom, whose activity in the field of ultra-Orthodox music is conducted under the name Cellcom Volume. In the past the company funded large performances, held in the context of Hakafot Shniyot, a post-Simhat Torah celebration, and sent its customers compilations with songs by the giants of Hasidic music.

But even Cellcom was forced to significantly reduce its activity. The company has a seal of approval from the rabbis' committee for communication affairs, and sells "kosher" products to the ultra-Orthodox sector that do not include content services or the ability to send text messages. The approval of the rabbis' committee has forced Cellcom to abide by the committee's instructions regarding singers it can cooperate with. The committee has also forbidden Cellcom from financing concerts.

"We don't interfere with business deals of one kind or another or with wars," says Yoni Sabag, the head of Cellcom's marketing department. "I can say unequivocally that even in the field of music, which is related to cell phones, we work closely with the rabbis' committee. We're very pleased about this cooperation and it works both ways. We listen to them regarding of other activities as well. They express their opinion and we don't oppose them. We are willing, and what they allow us to do we'll do. We won't act against a decision of any committee."

Meanwhile, Oorah settled yet another misleading solicitation practices complaint. We told you so. Any guesses as to which State AG pursues this next?

And, Hamodia included a "Melody & Harmony" section in their "Bright Ideas" Pesach supplement. The section includes an embarrassing article by Harav Moshe Wolfson, Shlita. Rav Wolfson is the Rav of Beis Medrash Emunas Yisroel and Mashgiach of Yeshiva Torah Vodaas.

Here's a taste:

SEVEN KEYS OF CHESED

There is a fundamental difference between the seven Ushpizin and the twelve shvatim, the twelve tribes of yisrael. Every Jew has a direct connection with the Ushpizin, whereas each shevet is a seperate and unique entity; the shvatim are thus a symbol of disunity.

For every seven white keys, representing the major notes on the piano, there are five black keys, representing the minor notes, each of which is half-tone higher or lower than the white key next to it. The black keys complement and harmonize with the white keys.

In general, somone who would play using just the white keys on the piano would be able to play only a lively song, while playing just the black keys would result in a sorrowful song of atzvus, sadness.

It is likely, then, that another tradition handed down from Yuval is for the keys that play major notes to be white, for happy songs, while the black keys, which play the minor notes, are black, for mournful music. White is a source of chessed for Klal Yisrael (this may be one reason why doctors wear white); on the Yomim Nora'im we wear white kittels. Black, on the other hand, represents the trait of gvurah and is a source and an expression of melancholy.

A song that is played using a combination of black and white keys mixes chessed and gvurah. Together the seven white keys and five black keys of an octave equal twelve, the number of shvatim of Klal Yisroel, which as mentioned above, can symbolize disunity. Such a song is appropriate only for galus. When Moshiach arrives, however, everything will be whiite, for there will be no atzvus.

Oy! Where to even begin? Lets just say that the musical misstatements/errors in this segment alone speak to the strong need for music education in Chareidi schools!

Happy Passover, Let's Eat!

Here a nice Passover ditty for y'all. It was written by Sean Altman and Rob Tannenbaum, who used to perform together as "What I Like About Jew." I believe they are no longer performing together. I've had the pleasure of backing Sean up on this fun number at a recent concert.

Here are two video clips of the song.

Sean Altman



Rob Tanenbaum and David Fagin's "Good For the Jews"



Have a happy and healthy Pesach!

Lucky Break - Jewish Bluegrass

Got a nice promo package from Lucky Break, a bluegrass band who are blending Shabbat Zemirot with Appalachian music. Check out "Kee Eshmerah Shabbat!"

Following in the footsteps of Andy Statman, Margot Leverett and the Klezmer Mountain Boys, and others, Lucky Break brings a sweet down home approach to Jewish music.

There seems to be a bit of a Jewish Bluegrass scene developing these days. It'll be interesting to see what it produces.

In Review; Wolf Krakowski's "Goyrl" and "Gilgul" plus

Wolf Krakowski is a man of his word. In his introductory email, he offered to send me some CD’s that “use a lot of that "jungle" rock 'n roll in my music…..lots of =kol isha= too, in case that's a problem for you.

His promo package delivered on that promise in spades. It included three discs: Krakowski’s own “Goyrl:Destiny” and “Transmigrations:Gilgul” -- both on Tzadik Records -- as well as Fraidy Katz’s “Di Alte Kashe.”

Wolf Krakowski is the Johnny Cash of Yiddish music. Backed by a solid roots rock trio, The Lonesome Brothers, and some guests, including “Goyrl” producer by Frank London, Krakowski delivers dark interpretations of Yiddish songs familiar and un. The band’s powerful arrangements nicely support Krakowski’s reedy vocals throughout. This ain't your grandma's Yiddish music. Well, actually, it is, but the arrangements aren't.

Krakowski is drawn to dark lyrics. Many of the songs are about death, dying, or leave-taking. From the brothers who slowly die in ‘Tsen Brider” to Warsaw’s Jews remembered in “Varshe” to the self-explantory “Alts Geyt Avek Mitn Roykh” all on Gilgul and martyrs remembered in“The Griber, Roter Laym” and the powerful “Hundret” on “Goyrl.”

Yet underneath it all, there is a optimistic defiance; an ode in praise of Shabes, a belief that man will not keep on repeating the sins of the past, and an optimism that Geule (redemption) will yet come. These are deep records. Check ‘em out!

Fraidy Katz’s disc takes a similar musical approach and she even duets with Wolf on ‘Gedenk” a role reversal from her duet appearances on Krakowski’s discs.

Amazon has the albums here:

Transmigrations:Gilgul


Goyrl:Destiny


Fraidy Katz’s ‘Di Alte Kashe”

Pesach's Coming! You'd Better Run....

... From The Egyptians!

New Shlomo Katz Single...

... posted at Life of Rubin. Nice!