In the mail... Hamakor - The Source
Following in the footsteps of SoulFarm and Moshav Band, Hamakor is the latest Solomon brother fronted band. The band, fronted by Nachman Solomon, describes it's music as "a unique blend of Rock & Roll and electronica combined with a root like Jewish message."
In general, the production style sounds very 70's rock. The band's simple groove-based approach works nicely. Its not virtuoso musicianship, just groovy trance rock, played by a tight band. Did we mention keyboards? Unlike the other Solomon brother bands, Hamakor features keyboards as an integral part of their sound. Benjamin Ross Frimer plays the parts, which are mainly rock piano, and pads and leads with lots of filter sweeps. Did we mention the filter sweeps? Not just relegated to filling in the background, these parts play a prominent role in the group's overall sound.
The album includes original English and Hebrew songs, as well as settings of Im Eshkacheich and Eliyahu Hanavi.
Album opener "The Source" sounds reminiscent of what EMF would sound like if they'd brought the Black Crowe's Chris Robinson in as frontman, mainly due to Solomon's affectation of a Southern drawl. There's a filter swept synth breakdown on "Lost Man". Look for the hidden bonus track at the end of "Should've Known" -- a live acoustic, unplugged version of the song.
Tuesday, November 13, 2007
Monday, November 12, 2007
State of the Union
Check this out! The stagehands union is not going to be picketing the HASC Ohel concert tonight.
Where they go above and beyond is here:
So, Yasher Koach to the stagehands union! (HT, HT)
On the official Local One website, union president James J. Claffey, Jr., writes, "Local One has just been made aware that a fund raiser for mentally challenged children was scheduled for tomorrow, November 12, 2007 in the Marriott Marquis Theatre . . . Please be advised that I am removing the picket line at the Marriott Marquis Theatre so that this worthy event can carry on for the benefit of these children. After the load-out of the event, the picket line will resume along with all others.This is obviously the right thing to do, as well as being in their own self-interest. Imagine the negative press if they picketed a private fundraiser for the mentally challenged?
Where they go above and beyond is here:
"In addition, Local One refuses to work under the expired collective bargaining agreement that we are exercising our legal rights against. We will work the event free of charge for the benefit of this Organization."In other words, they're working this one, gratis. Now, I realize they're trying to make a point about not working under the expired collective bargaining agreement, but really, they could have quietly accepted payment for their work on this event. After all, it's not a regular show, it's a one-off fundraiser for a photogenic charity.
So, Yasher Koach to the stagehands union! (HT, HT)
Wednesday, November 07, 2007
Name That Band!
Psycho Toddler is soliciting band name suggestions for his acoustic/klezmer group.
A few suggestions:
Tea and Kreplach
Rhozinkes Mit Mandolin
Go Know
Put On A Sweater
A few suggestions:
Tea and Kreplach
Rhozinkes Mit Mandolin
Go Know
Put On A Sweater
Sunday, November 04, 2007
In Which Dm Goes to Jail
Since I mentioned it...
A number of years back, I got a call from a singer I had been doing some work with. He wanted to know if I would be willing to come up with him and two other well-known singers to perform for the Jewish prisoners at the Otisville Federal Penitentiary upstate on the night before Shavuot. Although I was not convinced that it fell into the category of a "mitzvah gig", I volunteered to do it so long as he would drive me there and back. I figured that if nothing else, I'd get a good story out of it. As expected, I did.
When he showed up to pick me up that night, the mandatory sidekick all these guys travel with was along for the ride. I got into the car and "Sidekick" asks if I'm hungry. I ask what he has, assuming he'll offer chips, cookies, and the like. Instead, he asks if I'd like shnitzel or stuffed cabbage.
Turns out there are quite a few trays of shnitzel, stuffed cabbage, deli, etc. in the back. The guys than tell me that the real reason the concert was scheduled is so that we could smuggle the food into the prison. It turns out that the brother of one of the prisoners owned a restaurant and they'd set this event up as a way of getting the food into the prison for Shavuos. This guy wanted to "give kiddush" for all his friends. Apparently, you couldn't legitimately bring in that amount of food in, so it had to be smuggled in. I felt uncomfortable with the situation, but there wasn't much I could do at that point, so I just kept quiet.
The other two singers were driving up in another car and every now and again, "Sidekick" would check in with them via cell phone. (This will be relevant on the way back.)
When we got to the low-security prison, a Chassidish man in prison uniform comes out and motions to us to park behind the building. We park and get out of the car. One of the guards comes over and asks the singer why he parked in the back, instead of parking in one of the clearly marked visitor parking spaces in front. The singer tells him that one of the prisoners directed us to park there. The guard asked which one it was, and the singer replied, "oh, they all look the same." The guard first asked us to move the car, but since we'd already gotten out and begun unloading, he relented and let us leave the car there, even though it was out of sight of the guard booth.
We entered the prison, leaving the car doors unlocked, and set up for the show. After first davening mincha, we began the concert. I'd say there were about twenty people at the show. (There were more at Mincha.) Some of the Jewish inmates refused to attend because they were embarrassed and a few skipped the show for "religious reasons." It was a very strange gig.
Incidentally, the prison has a vending machine with "Meal Mart" deli sandwiches in it. And a Daf Yomi shiur.
It was interesting to speak to the prisoners. Some were clearly embarrased by what they'd done, but others were just as clearly not remorsefull at all. One guy proudly informed me what he'd done to get there. (It involved fraud with Govt. programs.)
Before we left, some of the prisoners came and snuck the food out of the car.
One of the most surreal moments of my life has to have been sitting in jail playing the song the prisoners requested, "Just One Shabbos" with its chorus of "Just one Shabbos and we'll all be free" as they all sang along.
Finally, to cap the night off...
On the way back, "Sidekick" was on the phone repeatedly with the singers in the other car and was laughing hysterically. Eventually, he told us that the other guys were, um, er, getting high and it wasn't on Torah. In other words, these guys (who had a reputation for uh, indulging) were stupid enough to bring the stuff into a Federal prison, potentially getting us all into trouble. Nice.
It was quite a night.
Note: Names have been omitted to protect the guilty.
A number of years back, I got a call from a singer I had been doing some work with. He wanted to know if I would be willing to come up with him and two other well-known singers to perform for the Jewish prisoners at the Otisville Federal Penitentiary upstate on the night before Shavuot. Although I was not convinced that it fell into the category of a "mitzvah gig", I volunteered to do it so long as he would drive me there and back. I figured that if nothing else, I'd get a good story out of it. As expected, I did.
When he showed up to pick me up that night, the mandatory sidekick all these guys travel with was along for the ride. I got into the car and "Sidekick" asks if I'm hungry. I ask what he has, assuming he'll offer chips, cookies, and the like. Instead, he asks if I'd like shnitzel or stuffed cabbage.
Turns out there are quite a few trays of shnitzel, stuffed cabbage, deli, etc. in the back. The guys than tell me that the real reason the concert was scheduled is so that we could smuggle the food into the prison. It turns out that the brother of one of the prisoners owned a restaurant and they'd set this event up as a way of getting the food into the prison for Shavuos. This guy wanted to "give kiddush" for all his friends. Apparently, you couldn't legitimately bring in that amount of food in, so it had to be smuggled in. I felt uncomfortable with the situation, but there wasn't much I could do at that point, so I just kept quiet.
The other two singers were driving up in another car and every now and again, "Sidekick" would check in with them via cell phone. (This will be relevant on the way back.)
When we got to the low-security prison, a Chassidish man in prison uniform comes out and motions to us to park behind the building. We park and get out of the car. One of the guards comes over and asks the singer why he parked in the back, instead of parking in one of the clearly marked visitor parking spaces in front. The singer tells him that one of the prisoners directed us to park there. The guard asked which one it was, and the singer replied, "oh, they all look the same." The guard first asked us to move the car, but since we'd already gotten out and begun unloading, he relented and let us leave the car there, even though it was out of sight of the guard booth.
We entered the prison, leaving the car doors unlocked, and set up for the show. After first davening mincha, we began the concert. I'd say there were about twenty people at the show. (There were more at Mincha.) Some of the Jewish inmates refused to attend because they were embarrassed and a few skipped the show for "religious reasons." It was a very strange gig.
Incidentally, the prison has a vending machine with "Meal Mart" deli sandwiches in it. And a Daf Yomi shiur.
It was interesting to speak to the prisoners. Some were clearly embarrased by what they'd done, but others were just as clearly not remorsefull at all. One guy proudly informed me what he'd done to get there. (It involved fraud with Govt. programs.)
Before we left, some of the prisoners came and snuck the food out of the car.
One of the most surreal moments of my life has to have been sitting in jail playing the song the prisoners requested, "Just One Shabbos" with its chorus of "Just one Shabbos and we'll all be free" as they all sang along.
Finally, to cap the night off...
On the way back, "Sidekick" was on the phone repeatedly with the singers in the other car and was laughing hysterically. Eventually, he told us that the other guys were, um, er, getting high and it wasn't on Torah. In other words, these guys (who had a reputation for uh, indulging) were stupid enough to bring the stuff into a Federal prison, potentially getting us all into trouble. Nice.
It was quite a night.
Note: Names have been omitted to protect the guilty.
10/31/07 Link Dump (Delayed edition) - UPDATED
Inadvertently saved this as a draft 'stead of posting. So, here it is with some mo' links.
Orthomom calls on Cardinal Eagen to use his influence in "Church Endorses Message of Hate?"
Dahlia Topolosky has released Kol Nearim, an album on which she sings her children's movement lyrics set to the melodies of Rabbi Shlomo Carlebach. (Via Teruah.) Update: after having "Waddle Like A Penguin" in our ears all weekend, there's a 50/50 chance we'll wind up singing those lyrics next time we play the song at a gig.
Over at Tzelem-Currents, JR writes about a program bringing music to adult cancer patients and to prisons. One of these days, we'll post about the concert we played at Otisville Federal Penitentiary.
There's a new blog on learning to play tsimbl called Learning Tsymbaly. (Via KlezmerShack.) Looks interesting.
Ben Jacobson finally got around to reviewing the 'matics "Wonder Wheel" last week. He also reviews Lanzbom and Solomon's "Chabad Sessions" and Karduner's "Breslever Melave Malka."
We reviewed "Wonder Wheel" here and the Karduner disc here.
Here's an album we'd like to hear. It's by Shuli Rand, who starred in Ushpizin. (Yes, that is a mikvah. Glas he resisted the urge to put some greasy kugel on a fishook. Oh, nevermind!)
Bangitout.com reports Mare Winningham Spotted @ Ramath Orath. We reviewed her album, "Refuge Rock Sublime", here.
Sameach Music has posted a video preview of the HASC DVD they're releasing soon. This is a DVD of a live concert held in NYC. Judging by the preview it gives a good overview of the current state of Chassidic pop music. (The state is Nevada, more specifically Vegas, circa 1979, in case you were wondering.)
Ever wonder what would happen if somone applied LendingTree.com's concept and slogan to the Jewish wedding band industry? One of JB's friend's has done so.
So, if you've been dying to send your event information to some anonymous musician with no contact info on his site, so that he can try to book your affair, that's the place to do it.
There was a website aimed at Jewish musicians a few years back called getagig.com, I believe. The concept was similar in that they also expected people to give them personal information despite the fact that they also didn't publish any contact info or ID on their site, (although it was clearly unzere, as they say in French). That didn't work out too well either.
Finally, here's John Tendy's secret Jewish identity. Shh! Don't tell.
UPDATE 11/7/07:
One of the SimchaTree folks writes: “We are not booking any affairs rather we put consumers in touch with the orchestras, dj's etc. who can potentially give them what they want.”
Orthomom calls on Cardinal Eagen to use his influence in "Church Endorses Message of Hate?"
Dahlia Topolosky has released Kol Nearim, an album on which she sings her children's movement lyrics set to the melodies of Rabbi Shlomo Carlebach. (Via Teruah.) Update: after having "Waddle Like A Penguin" in our ears all weekend, there's a 50/50 chance we'll wind up singing those lyrics next time we play the song at a gig.
Over at Tzelem-Currents, JR writes about a program bringing music to adult cancer patients and to prisons. One of these days, we'll post about the concert we played at Otisville Federal Penitentiary.
There's a new blog on learning to play tsimbl called Learning Tsymbaly. (Via KlezmerShack.) Looks interesting.
Ben Jacobson finally got around to reviewing the 'matics "Wonder Wheel" last week. He also reviews Lanzbom and Solomon's "Chabad Sessions" and Karduner's "Breslever Melave Malka."
We reviewed "Wonder Wheel" here and the Karduner disc here.
Here's an album we'd like to hear. It's by Shuli Rand, who starred in Ushpizin. (Yes, that is a mikvah. Glas he resisted the urge to put some greasy kugel on a fishook. Oh, nevermind!)
Bangitout.com reports Mare Winningham Spotted @ Ramath Orath. We reviewed her album, "Refuge Rock Sublime", here.
Sameach Music has posted a video preview of the HASC DVD they're releasing soon. This is a DVD of a live concert held in NYC. Judging by the preview it gives a good overview of the current state of Chassidic pop music. (The state is Nevada, more specifically Vegas, circa 1979, in case you were wondering.)
Ever wonder what would happen if somone applied LendingTree.com's concept and slogan to the Jewish wedding band industry? One of JB's friend's has done so.
So, if you've been dying to send your event information to some anonymous musician with no contact info on his site, so that he can try to book your affair, that's the place to do it.
There was a website aimed at Jewish musicians a few years back called getagig.com, I believe. The concept was similar in that they also expected people to give them personal information despite the fact that they also didn't publish any contact info or ID on their site, (although it was clearly unzere, as they say in French). That didn't work out too well either.
Finally, here's John Tendy's secret Jewish identity. Shh! Don't tell.
UPDATE 11/7/07:
One of the SimchaTree folks writes: “We are not booking any affairs rather we put consumers in touch with the orchestras, dj's etc. who can potentially give them what they want.”
Friday, November 02, 2007
Time Fo' Some Mo' Peeps
It's that time again...
Here are some peeps we met at recent gigs.
"168 BPM Girl"
This chick NEEDS her freilach at 168 BPM or faster. If you slow down to 167 BPM, she's back at the bandstand, demanding "fast music we can dance to." (Yes, we did test to determine her exact tolerance level.)
The Rabbinical School Dropout
As best we can tell, he's either a dropout, or one of those people who stay in school for years, but never finish. To make a few bucks, he accepts a gig officiating at a small wedding for unaffiliated but traditional-minded Jews in a restaurant. Don't know exactly how these folks chose him. At any rate, he officiates, forgetting about the Ketubah, among other things. Good thing Rabbi Dm was there to remind him.
The Yeshivishe Translator
This guy gives a Dvar Torah in full-on yeshivish "Yinglish". He does stop to considerately translate two terms for his mixed audience. Those terms: Beit Hamikdash and Har Sinai. Considerate, but so pointless. We feel confident that anyone who needed those translated could not have understood the rest of his Dvar.
Here are some peeps we met at recent gigs.
"168 BPM Girl"
This chick NEEDS her freilach at 168 BPM or faster. If you slow down to 167 BPM, she's back at the bandstand, demanding "fast music we can dance to." (Yes, we did test to determine her exact tolerance level.)
The Rabbinical School Dropout
As best we can tell, he's either a dropout, or one of those people who stay in school for years, but never finish. To make a few bucks, he accepts a gig officiating at a small wedding for unaffiliated but traditional-minded Jews in a restaurant. Don't know exactly how these folks chose him. At any rate, he officiates, forgetting about the Ketubah, among other things. Good thing Rabbi Dm was there to remind him.
The Yeshivishe Translator
This guy gives a Dvar Torah in full-on yeshivish "Yinglish". He does stop to considerately translate two terms for his mixed audience. Those terms: Beit Hamikdash and Har Sinai. Considerate, but so pointless. We feel confident that anyone who needed those translated could not have understood the rest of his Dvar.
Wednesday, October 31, 2007
Fom the mailbag...
Naftali comments on "Book 'em, Dano - Organizing Your Gig Book":
It's not the same thing. I had the chance to buy one for $200 and passed. I’ve researched those and it seems that there is a large unsatisfied customer base. They also require you to transfer all of the files into their own proprietary format. Basically, it lets you view documents and add edits. It’s also an MP3 player. The build quality/reliability factor is not good, I’m told. There's a newer version out that may have fixed some of these issues, but I'm not sold.
This system doesn’t allow for transposition on the fly, as I described, and having multiples for each band member would be redundant, from a cost perspective. I envision a system with one computer (the bandleader’s note pad) with linked screens for the musicians. I’m imagining a tablet Mac with linked screens running a software system that is a cross between Sibelius and Adobe Acrobat.
For the moment, it would be more effecient to buy a dedicated tablet computer if one wanted to go that route. I think the technology is almost there, but not quite, and the software hasn’t been written yet. At least, I’m not familiar with a solution.
One of the big hurdles would be navigating transposition issues when transposing an arrangement results in some lines being outside an instruments range. Also, managing the different screen outputs.
There’s also no internet subscription service for sheet music like that available yet. It’d have to be 100% reliable. And, the venues aren’t wired for net access either.
But, while we’re talking technology, I wonder what will happen if the von-man-band set discovers Ableton Live? Instead of keyboardists, we’ll have DJ’s with sophisticated song marker setups enabling them to play a dance medley and jump to any tune, or even part of tune on demand. It’s a lot of work, but it’s definitely doable, I’d think.
Hadassah writes:
E. forwards a link to a Dudu Fisher profile.
This computer system already exists....I saw it at Guitar Center. It is a flat screen (surrounded by rubber...I guess to protect it from the rigors of the road) and you mount it on a mic stand.I assume he's talking about the Music Pad Pro.
It's not the same thing. I had the chance to buy one for $200 and passed. I’ve researched those and it seems that there is a large unsatisfied customer base. They also require you to transfer all of the files into their own proprietary format. Basically, it lets you view documents and add edits. It’s also an MP3 player. The build quality/reliability factor is not good, I’m told. There's a newer version out that may have fixed some of these issues, but I'm not sold.
This system doesn’t allow for transposition on the fly, as I described, and having multiples for each band member would be redundant, from a cost perspective. I envision a system with one computer (the bandleader’s note pad) with linked screens for the musicians. I’m imagining a tablet Mac with linked screens running a software system that is a cross between Sibelius and Adobe Acrobat.
For the moment, it would be more effecient to buy a dedicated tablet computer if one wanted to go that route. I think the technology is almost there, but not quite, and the software hasn’t been written yet. At least, I’m not familiar with a solution.
One of the big hurdles would be navigating transposition issues when transposing an arrangement results in some lines being outside an instruments range. Also, managing the different screen outputs.
There’s also no internet subscription service for sheet music like that available yet. It’d have to be 100% reliable. And, the venues aren’t wired for net access either.
But, while we’re talking technology, I wonder what will happen if the von-man-band set discovers Ableton Live? Instead of keyboardists, we’ll have DJ’s with sophisticated song marker setups enabling them to play a dance medley and jump to any tune, or even part of tune on demand. It’s a lot of work, but it’s definitely doable, I’d think.
Hadassah writes:
why the hell did matis leave chabad????? chabad was HIM ! he did soooo great......Psachya writes:
Regarding Weber's Flute Sonata - if you haven't already, try Patelson's. They're at 160 West 56 Street, about a block from Carnegie Hall.They've always been my go-to place for classical sheet music. They also have a website at Patelson.com . Good luck!They didn't have it.
E. forwards a link to a Dudu Fisher profile.
Tuesday, October 30, 2007
But Is It Really Stealing?
THE LIFE-OF-RUBIN BLOG posts about a dispute ongoing on the Yahoo Jewish music board. In short, a musician posted a list of albums he's owned that were lost or damaged and asked for people to send him mp3's. Another music industry member responded that this would be stealing. LoR agrees citing dina d'malchusa.
I don't agree and I also believe L-o-R's assertion of Dina D'malchusa is incorrect. I'm not aware of an actual case, but I'm certain that if the RIAA filed suit against someone for illegaly downloading songs, and the downloader was able to provide proof that he'd purchased all of those songs legally (i.e. he produced a crate of his old cassettes of all of those albums), then the case would be dismissed.
Assuming the original poster has in fact purchased the albums, I think he should be allowed to make copies. Intellectual property is just that, and once it's been paid for, the producers have no right to demand further payment from the same consumer, unless they go to further expense. The fact that the buyer lost it is irrelevant.
Here's a thought experiment. I buy a CD. Can I import it into iTunes w/o paying the producer an additional fee? Ok, now I take the disc out of its case and drop it. It still plays though. Can I still import it into iTunes w/o paying? How about if I step on it and it cracks slightly, but still plays? What if it's broken, but I'd burned a backup copy for my car? (Which, contrary to many JM producer's assertions is clearly legally protected Fair Use.) At what point does the producer "earn" the right to be paid again?
I do think that if a remastered or otherwise (arguably) upgraded version is released, then one should not be allowed to download those files on the premise that he'd paid for an earlier version of the album. (I use the word "arguably" because, IMO, many of the"remastered" JM releases are a step down from the originals.)
L-o-R also presents a false analogy:
I've posted many times about illegal downloading and why it's wrong. I don't beleive this falls into that category.
I don't agree and I also believe L-o-R's assertion of Dina D'malchusa is incorrect. I'm not aware of an actual case, but I'm certain that if the RIAA filed suit against someone for illegaly downloading songs, and the downloader was able to provide proof that he'd purchased all of those songs legally (i.e. he produced a crate of his old cassettes of all of those albums), then the case would be dismissed.
Assuming the original poster has in fact purchased the albums, I think he should be allowed to make copies. Intellectual property is just that, and once it's been paid for, the producers have no right to demand further payment from the same consumer, unless they go to further expense. The fact that the buyer lost it is irrelevant.
Here's a thought experiment. I buy a CD. Can I import it into iTunes w/o paying the producer an additional fee? Ok, now I take the disc out of its case and drop it. It still plays though. Can I still import it into iTunes w/o paying? How about if I step on it and it cracks slightly, but still plays? What if it's broken, but I'd burned a backup copy for my car? (Which, contrary to many JM producer's assertions is clearly legally protected Fair Use.) At what point does the producer "earn" the right to be paid again?
I do think that if a remastered or otherwise (arguably) upgraded version is released, then one should not be allowed to download those files on the premise that he'd paid for an earlier version of the album. (I use the word "arguably" because, IMO, many of the"remastered" JM releases are a step down from the originals.)
L-o-R also presents a false analogy:
If I buy a car and it gets stolen, can I go into the dealership and just take a new one?This analogy is false because there are costs to the seller in taking another car. In this case though, the artist does not incur any additional costs.
I've posted many times about illegal downloading and why it's wrong. I don't beleive this falls into that category.
Tuesday, October 23, 2007
10/23/07 Link Dump
The Klezmershack links to two podcasts about the Strom-a-thon. We'd linked the Forward's coverage, but hadn't seen Nextbook's. Listening to the Nextbook podcast, it sounds like Strom has little respect for the musicians participating. I'm sure he didn't mean to sound that way, but that's how it comes across. At any rate, this event is getting way too much coverage considering what it was, or rather, wasn't.
Speaking of the KlezmerShack, Ari has posted a nice review of the Lituanian Empire's debut disc. We met some of the musicians last year. Sound like it's worth checking this one out!
Still more at KlezmerShack... "Tango controversy !" It's nice that Ari's begun posting more frequently.
Cole Krawitz writes movingly about the cantor from his childhood in "Memory in Song."
Here's a blog for women who perform for women only audiences to share information.
Finally, check out this drummer's strong backbeat!
Speaking of the KlezmerShack, Ari has posted a nice review of the Lituanian Empire's debut disc. We met some of the musicians last year. Sound like it's worth checking this one out!
Still more at KlezmerShack... "Tango controversy !" It's nice that Ari's begun posting more frequently.
Cole Krawitz writes movingly about the cantor from his childhood in "Memory in Song."
Here's a blog for women who perform for women only audiences to share information.
Finally, check out this drummer's strong backbeat!
Monday, October 22, 2007
Book 'em, Dano - Organizing Your Gig Book
I've been meaning to raise this topic for a while.
Years ago, I conceived a system for managing sheet music at gigs. It involved a linked tablet computer system with individual screens for each musician. It would allow the bandleader to call up songs, have the music immediately displayed on each musician's screen in their instruments key, with their parts (if any), and would allow for transposing entire arragements on the fly to accompany guest vocalists. An internet connection and a full libarary/joint partnership with Hal Leonard and other major music publishers would allow bandleaders to fulfill virtually any request.
Due to cost, current technology limitations, and many other reasons (including laziness), I'm not going to develop/use such a system anytime soon.
In the meantime, I've been trying to figure out the best way to organize music books for the band for gigs. I'm interested in hearing how other musicians create their books AND how they manage/update them from season to season. If there is interest, I'll describe my current binder system, but I'm not totally satisfied with it and am interested in hearing other approaches.
For purposes of this discussion, I'd like to mainly focus on Jewish music repertoire, although secular repertoire is also of interest. Beuller?
Years ago, I conceived a system for managing sheet music at gigs. It involved a linked tablet computer system with individual screens for each musician. It would allow the bandleader to call up songs, have the music immediately displayed on each musician's screen in their instruments key, with their parts (if any), and would allow for transposing entire arragements on the fly to accompany guest vocalists. An internet connection and a full libarary/joint partnership with Hal Leonard and other major music publishers would allow bandleaders to fulfill virtually any request.
Due to cost, current technology limitations, and many other reasons (including laziness), I'm not going to develop/use such a system anytime soon.
In the meantime, I've been trying to figure out the best way to organize music books for the band for gigs. I'm interested in hearing how other musicians create their books AND how they manage/update them from season to season. If there is interest, I'll describe my current binder system, but I'm not totally satisfied with it and am interested in hearing other approaches.
For purposes of this discussion, I'd like to mainly focus on Jewish music repertoire, although secular repertoire is also of interest. Beuller?
Sheet Music Needed
Does anyone know where I can get the sheet music for Weber’s Flute Sonata No. 1? I can't seem to find a retailer that carries it. Thanks.
What Your J-Media Advertising Dollar Gets You - UPDATED
Ever wonder what your J-media advertising dollar gets you?
One ad we ran in a local advertising publication netted us the following. (They misspelled our name and address in their database, allowing us to track which mailings were coming from them.)
Since its unclear at this time if they sold the mailing list or only did the mailing on behalf of those listed below, and whether the below listed companies knew how the names on the list were obtained, I'm witholding the names of the private companies whose mailings we received. They may be blameless here and if so, do not deserve bad press.
I am listing the tzedakas because given the state of ethics in the fundraising community, they do not deserve the benefit of the doubt. In addition, some of their fundraising literature is offensive (I wrote about this in "Tzedakah Tatzil M'Advertising Expenses."
Here's a partial listing:
Tzidkas Yosef Naftali - Financial Assistance for Needy Families in Eretz Yisroel. Mainly for the Yomim Tovim. (4 letters from two different local residents)
Diskin Orphan Home of Israel
Gates of Chesed - A Public Service Publication by the Center for Community Resources (Magazine)
Nechomas Yisroel (Newspaper and "Super Raffle" mailing)
Yom Tov Relief Fund - Rabbi matisyahu Solomon (1 letter)
Matanos L'evyonim Gomlei Chesed - Rabbi Matisyahu solomon (1 letter)
A wig maker (2 postcards)
An insurance brokerage (1 postcard)
A Judaica store (1 postcard)
Subscription offer for a Heimish newspaper (1 postcard)
Passover ad for a confectionary store (1 postcard)
Kupat Ha'ir (numerous full-color brochures)
Kupat Aniyei Eretz Yisrael (numerous full-color brochures)
Care to guess if we renewed the ad buy?
UPDATE: Found a few we'd missed!
A flyer from a Kosher supermarket
Another two postcards from a wigmaker.
A fundraising letter from Rav Shmuel Birenbaum for Reavim Gam Tzemaim Argentina
A fundraising letter from an Israeli business man with a very ill wife.
Another Tzidkas Yoseph Naftali letter.
One ad we ran in a local advertising publication netted us the following. (They misspelled our name and address in their database, allowing us to track which mailings were coming from them.)
Since its unclear at this time if they sold the mailing list or only did the mailing on behalf of those listed below, and whether the below listed companies knew how the names on the list were obtained, I'm witholding the names of the private companies whose mailings we received. They may be blameless here and if so, do not deserve bad press.
I am listing the tzedakas because given the state of ethics in the fundraising community, they do not deserve the benefit of the doubt. In addition, some of their fundraising literature is offensive (I wrote about this in "Tzedakah Tatzil M'Advertising Expenses."
Here's a partial listing:
Tzidkas Yosef Naftali - Financial Assistance for Needy Families in Eretz Yisroel. Mainly for the Yomim Tovim. (4 letters from two different local residents)
Diskin Orphan Home of Israel
Gates of Chesed - A Public Service Publication by the Center for Community Resources (Magazine)
Nechomas Yisroel (Newspaper and "Super Raffle" mailing)
Yom Tov Relief Fund - Rabbi matisyahu Solomon (1 letter)
Matanos L'evyonim Gomlei Chesed - Rabbi Matisyahu solomon (1 letter)
A wig maker (2 postcards)
An insurance brokerage (1 postcard)
A Judaica store (1 postcard)
Subscription offer for a Heimish newspaper (1 postcard)
Passover ad for a confectionary store (1 postcard)
Kupat Ha'ir (numerous full-color brochures)
Kupat Aniyei Eretz Yisrael (numerous full-color brochures)
Care to guess if we renewed the ad buy?
UPDATE: Found a few we'd missed!
A flyer from a Kosher supermarket
Another two postcards from a wigmaker.
A fundraising letter from Rav Shmuel Birenbaum for Reavim Gam Tzemaim Argentina
A fundraising letter from an Israeli business man with a very ill wife.
Another Tzidkas Yoseph Naftali letter.
Friday, October 19, 2007
Sisfsosaf Dovevos Bakever
Mo C forwards a link to his new CD release, K'shoshana. The CD features previously unrecorded songs by the late Rabbi Shlomo Carlebach as performerd by Aaron Razel, Chaim Dovid, and Shlomo Katz.
Thursday, October 18, 2007
J-Music News Roundup
So once again, a survey of J-arts coverage in the Jewish media discovers that only the Forward has any worthy music coverage this week.
Alexander Gelfand writes about "The Anti-Fiddler."
Jon Kalish podcasts from the Strom-a-thon on Eldridge Street. Mark Rubin shares some thoughts on the event here.
Also in the Forward: "Battle Forming Over Jewel of Yiddish Stage."
Alexander Gelfand writes about "The Anti-Fiddler."
Jon Kalish podcasts from the Strom-a-thon on Eldridge Street. Mark Rubin shares some thoughts on the event here.
Also in the Forward: "Battle Forming Over Jewel of Yiddish Stage."
Tuesday, October 16, 2007
From the mailbag...
D. writes:
Craig writes:
I’m quite happy with Sibelius at this point, so I’m not staying on top of Finale’s updates anymore. They lost me as a user because of bad customer support, and Sibelius’ support is superb.
If you’re teaching about music technology, you might find some of the music tech blogs helpful.
Here are two of my current faves:
Create Digital Music
ProTooler
Aryeh writes:
Shalom writes about my konsonans retro: a podolian affair review.
“You know you are playing at a yeshivish wedding when you have more fanfares than songs at the chupa”E. forwards a link to Life of Rubin's Yossi Zweig interview.
Chupa- Pney Lelbon, Bilvovi, Ani Maamin
Fanfares- Crazy Train, Rock you Like a Hurricans, Baker Steet, YEAH By Usher…..
Craig writes:
I just read your 2005 Review of Finale vs. Sibelius and found it very informative. Have you had a chance to look at the latest versions of each? I teach a course in music technology and, for the moment, I am showing my students both programs. But it's expensive to keep them both updated. Any words of wisdom you can offer are much appreciated.I have not upgraded Sibelius as yet. The new version adds VST support, which is nice, but I’d prefer if they fixed the issues with slurs, as that’s more important to me. I’ve been monitoring the Sibelius chat page, and it looks like there are some bugs in this version, so I’m waiting until they issue an update or two before deciding to upgrade.
I’m quite happy with Sibelius at this point, so I’m not staying on top of Finale’s updates anymore. They lost me as a user because of bad customer support, and Sibelius’ support is superb.
If you’re teaching about music technology, you might find some of the music tech blogs helpful.
Here are two of my current faves:
Create Digital Music
ProTooler
Aryeh writes:
hi, my name is Aryeh. I'm really a piano player, but the yamaha digital piano i use also plays rhythms and that sort of thing. sometimes I like to fool around using them, but the keyboard doesn't come with any rhythms that can really be used for freilachs or good horahs, and that sort of thing. You can't create rhythms on the keyboard, and I wouldn't be able to anyway. Do you know where I would be able to get a hold of some that I could play with? By the way, I think it would be a really good idea if you would put up some keyboard playing tips in your blog, cuz i don't think there are any on the net. All I know is that you play chords very low using your left hand, and the melody in the right hand. And there are usually 4 different variations within the rhythm. Is there anything else to it other than that? Thanks.Any von-man-bands want to shoot this guy some pointers?
Shalom writes about my konsonans retro: a podolian affair review.
In your blog you wrote:MoC forwards a link to an article about the Beit Shemesh music festival.
> Amazon has it here:
They say so, but I looked there, and it seems they don't actually have any to sell. You can, however, get it from http://cdbaby.com/cd/konsonansretro , where they also have some samples to download (sounds like good stuff). Price is $20.
Monday, October 08, 2007
In Review - konsonans retro: a podolian affair
Berlin-based klezmer uber-clarinetist (or should that be Klarinettist?) Christian Dawid recently gave me his latest disc, konosans retro: a podolian affair. The disc features Dawid's collaboration with the Baranovskys, a family of musicians from Zagnitkiv, a Podolian village near the Moldavian border. Here's the band's website.
Writing a review for this disc has been an irritating experience! Reason is, I keep being distracted by the music, and have to stop working to pay attention. It's my own fault, really, for even trying to get something else done at the same time. (It doesn't help that I've developed the habit of playing along with klezmer recordings lately. Or at least, this recording.)
This is a very nice set! The musicianship is wonderful and the unique repertoire the Baranovskys play -- a blend of Moldovan, Ukranian and Hassidic influences -- is a lot of fun.
Podolia is the birthplace of Hasidism, and those with a Hasidic bent will find deep meaning in the Ukrainian folk song "Oy u hayu pri Dunayu."
In a forest near the Danube, a nightingale is singing. I'm sick with my lonliness and want to fly where my lovely one is nowNaturally, given its origins, the band's repertoire includes Ukranian and Hasidic melodies like "Shabes Nign" as well as tunes with Moldovan, Gypsy, and Russian influences.
The album opening to "Moldovskaya Polka" -- a clarinet doina with warm brass chords behind it -- is sweet! And the set stays up throughout. The horn section is tight, and the musicians who play with the Baranovskys complement them nicely. In addition to Dawid, that would include drummer Guy Schalom and guest clarinetist Gennadiy Fomin.
Favorite tracks include: "Moldovskaya Polka", "Khasitsky Freylekhs", "Podilska" (which features nice interplay between Dawid and guest clarinetist Gennadiy Fomin), "Doina and Sher No 13"(with a gorgeous sax doina), and "Trombon Hora", which features Vitaly Baranovsky on the trombone, but it's hard to pick just a few.
Summing up, "a podolian affair" is a well-played disc of interesting klez repertoire. Great tunes and great musicianship. What else needs to be said?
Amazon has it here:
Monday, October 01, 2007
Choir Wars!
It appears that we have a winner in the ongoing YBC/MBC competition. Technical problems indeed.
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