Off the Review Stack...

Mesivta of Waterbury - Stay With Me

This new release, featuring songs composed and performed by students and alumni of the Mesivta of Waterbury (with some guest musicians), is quite a pleasant surprise, with nice vocals and understated production. I really like the approach the guys took on this one.

The album captures a nice folk-rock blend that sounds like the Rabbis' Sons meets Yosef Karduner. These are nice contemporary settings of mainly the usual types of liturgical texts like Ani Ma'amin, Gam Ki Elech, Oseh Shalom, Hashem Melech, etc. with two (and a half) original English songs.

The arrangements are largely guitar based, although there are some nice guest turns on percussion, violin, and clarinet on some tracks. There's also a nice vibraphone solo on "Hold On." All in all, a very tastefully done project. And, you can tell that at least some of the people involved have an appreciation/love for older Jewish music.

Fave tracks include "Hashem Melech" with a great acoustic guitar intro, and "Mishoich", which really captures a Karduner vibe with strong rhythmic acoustic guitar, and percussion, but no drum set.

Amazon has the album here: http://amzn.to/1GWga6m

SoCalled - Peoplewatching

Josh Dolgin aka SoCalled first came to my attention with his "SoCalled Seder" project. He followed that up with "Ghettoblaster", a nice album including a homage to Jewish Cowboys as well as a slammin’ version of that Yiddish classic "Belz", which you can hear over the closing credits to "Midlife Crisis", a Yiddish Seinfeldesque mini-series on YouTube. He was a also a key member of "Abraham Inc." A klez-funk collab he did with clarinetist David Krakauer and trombonist Fred Wesley. SoCalled has been on the faculty of various Klezmer programs as well as performed for numerous Jewish music festivals. 

His recent recordings are more pop-oriented dance music, rather than specifically Jewish, albeit with diverse influences including klezmer in the mix. That said, you can’t take the Jewish out of SoCalled’s music, no matter how upbeat and danceable it might be.

On "Peoplewatching", Socalled takes a look at the Good Book and learns from the stories that “It’s not enough that I succeed; everyone else must fail.” Another good lyric: An eye for an iPad/slaves of the phone/land of the imprisoned/ and home of the drones

"Peoplewatching": Nice funky horns on this track! "So many greedy ones/causing all the needy ones."

"Never See You Again" has some profanity as well as a nice trombone solo

In "Extra Ordinary", Socalled confesses that “It’s not kosher, but sometimes I’m a pig.” He also claims to be a door-to-door Wikipedia salesman, among other things.

"Fire on Hutchison Street" is a song about how Shabbos candles caught a curtain on fire at an apartment across the street from Socalled’s place…

“An audience assembles across Hudson Street to watch/Hasids there to see the fire blazing/movies and TV forbidden/ so this is the show to watch/ police cars, smoke, and fireman quite amazing"

Fave tracks include “Everyone Must Fail”, “Peoplewatching”, “Extra Ordinary” and “Fire on Hutchinson Street”.

Lots of fun wordplay! Forget the Grammy, Socalled's "gonna wait for the whole Ounce-y."

Amazon has the album here: http://amzn.to/1NJcHcz

Mames Babegenush: Mames Babegenush

This a gorgeous klezmer project from Denmark. It's a nice pop/klez hybrid with Balkan overtones and an experimental bent. The band also cites influences from Michael Jackson, Brian Eno, and Phillip Glass.

I liked this one. The musicianship and arrangements are superb! 

Fave tracks include"Isortok Nights", "La Loteria en Babylonia","Hanganu", and "Gathering Nigun", but the whole thing is excellent!

Sergio Mendes - Magic

This Grammy nominated album has no Jewish content whatsoever, but is nevertheless a fun album. Nice Latin piano/keys from Sergio Mendes, mainly on upbeat dance collaborations with various guest vocalists. Bossa/Samba/jazz/dance pop.Not the sort of album I typically get here for review, but fun nonetheless.

Fave tracks include "Simbora", "Don't Say Goodbye" (featuring John Legend), and "Samba de Roda".

Amazon has the album here: http://amzn.to/1HGNMQm

Gear Review: Gruv Gear Muver 6 Multi Mode Longbed Cart

So a few months back, I ordered a Gruv Gear Muver 6 Multi Mode Longbed Cart. I'd been using the Rock N Roller R10 Cart for the last many years, like most in this end of the business, however, I was never really happy with it. So, when mine was stolen, I decided to try the the  Muver 6 instead.

There are very few options for folding carts that can haul serious gear, and also easily fit in a car. Since I couldn't find a local dealer who stocks these, after researching as best as possible on line, I took a chance and ordered one online. After using it for a few months, I can say that on the whole, I am very pleased with it. After a few weeks, of use I also ordered the optional table accessory, which allows me to turn it into a table, which has been quite handy on occasion.

A bit about my needs, cart-wise. I am often hauling either a keyboard setup (keyboard, amp, keyboard stand. mic stand, gear bag, book bag), a PA setup (speakers, mixer, stands, speaker poles), miscellaneous other musical instruments, or all of the above.

The Rock N Roller R10 Cart  I'd had was less than ideal for many of these functions. I had difficulty fitting a keyboard on it comfortably. If I stood the keyboard case up on its end, I'd need to strap it to the handle, and the handle would be flush against the keyboard case, meaning I couldn't use that side to pull/push the cart. Lying the keyboard flat on the cart required leaving one of the handles folded down, and piling all of the gear on top of the keyboard case. However, the lack of a bed meant that the plastic SKB flight cases wouldn't stay on the cart, and would slide off easily at the slightest incline or bump.

As well, in this fully extended position, the cart was difficult to maneuver around sharp turns, a situation that arises frequently, like when wheeling a cart full of gear through a busy kitchen load-in at a venue.

In addition, the cart felt less than solid in the fully extended position. As a result, I found myself putting a lot more stress on my back, than I ought to have needed to maneuver the cart.

I also found that the inflatable tires lost air frequently, and even had to replace the back tires several times. (It goes without saying that the front wheels needed frequent replacement.)

The Muver 6  avoids all of these issues. Its multiple configurations allow me to use it in either flat-bad or half-sizes, without having any of these issues. The fully-extended flat-bed version is secure, allowing me to lay the keyboard(s)flat on the bottom and pile all of my gear on top, taking one trip, without worrying about spillage. The large wheels in the middle (meaning six wheels on the ground) both help to support the gear, and make cornering a breeze. You can see how this works on the demo video on Gruv Gear's site.

In its smaller, partially folded mode, the handles curve slightly out. so that even when standing the keyboard case up on its end, I can still push/pull the cart from that side.

Its solid tires can't lose air. Time will tell about their durability, but so far, they seem to be holding up nicely.

Some examples of recent scenarios where the Muver 6 made things much easier for me compared to the Rock N Roller Cart ...

1) A gig in Brooklyn. I had to park several blocks away from the venue, and navigate my cart with a keyboard setup down several cobblestone streets and broken sidewalks in an industrial area. The  Muver 6  handled the trip easily, and using the table option instead of a separate keyboard stand made for a much simpler, balanced load. Had I had the Rock N Roller Cart, I would have had much more difficulty navigating the cobblestones, wouldn't have been able to easily push/pull from either side, which was necessary on several occasions, and in my experience, my gear would have fallen off the cart several times.

2) A gig at the Museum of Natural History. I parked in the museum lot, and entered the museum at the opposite end of the building from the "Whale Room" where the gig was. Using the cart, I was able to easily and smoothly pull it the entire length of the museum, (about one large city block), in no time, without the unpleasantness and exertion pulling the Rock N Roller Cart would have entailed. I know this because IIRC, the last time I played there, I used the Rock N Roller Cart. (Sometimes, I don't need to bring any gear to those sorts of gigs, as back line is rented.

In short, the Muver 6 stands out over the Rock N Roller Cart virtually every way. About the only points the Rock N Roller Cart has in its favor is weight (about half that of the Muver 6 ), and that it folds up more compactly that the Muver 6. I feel that this is a worthwhile trade-off. The Muver 6 is also more expensive, but the build quality is significantly better, and worth the premium.

I should note that Gruv Gear makes another cart, the  V-Cart Solo - Multi-Position Personal Utility Cart, that may be a good option for some of you, instead of the Muver 6. That cart folds up smaller, and also has a unique angle that lets you push it as a tilted back dolly. It's also about half the weight of the Muver 6. I opted for the Muver 6  due to its ability to corner easily when fully extended. For those with less gear to haul, or for whom this isn't an issue -- and for bassists/guitarists, who want to be able to move an amp stack around the room/use the cart as an amp stand -- this looks to be a great option. That cart also has an extension option, the Gruv Gear XL Frame Extension for the V-Cart Solo that seems like it would make it a good option for drummers and others with slightly more gear that the V-Cart Solo alone can hold. They also offer a Carpeted Deck option for it. And, there's a brace option, the Gruv Gear Stage Wedge for V-Cart Solo, that let's you use it as an amp stand for your guitar/bass amp.

For people with even less gear to haul, they offer the Solo Lite Multi-Position Personal Utility Cart.

Since no local retailers seem to carry these, I can't speak to the specifics of the other two Gruve Gear carts, but based on my experience with the  Muver 6, I would not hesitate to buy either of these as needed.

In short, these are solid, practical carts for the gigging musician, that can hold your gear in a variety of configurations, and reliably get you and your gear to the gig. You can find more info here: GRUV GEAR website.

In Review: Siach Hasadeh

Off the (virtual) review stack...

Yoni Kaston and Joel Kerr's new album, Siach Hasadeh -- Song of the Grasses, features their moving arrangements of old Chasidic nigunim which they perform on clarinet  and bass, often in conjunction with oud, harmonica, or string quartet.

A friend, thinking I'd enjoy this project, had sent me a link to the band's music page, just before Yoni emailed a review link. He was right. I found this recording interesting both in terms of song selection as well as musical approach.

This is rich, introspective music, beautifully arranged and performed. The melodies are largely Breslover nigunim, including both well-known and lesser-known melodies. There is one nigun each from Karlin, Lubavitch, Modzitz, Radishitz, and Tolne, as well as one Sephardic tune, "Agadelcha."

The liner notes include a little bit of background information about the source for each song, which is always nice.

Kaston's sensitive clarinet playing is soulful and tasteful, and the musicianship on the album is excellent. The musicians all communicate nicely throughout,maintaining the spiritual focus of the melodies while at the same time adding their own personal expression. The tracks feature various configurations of the musicians, which makes for nice timbral shifts from track to track. 

Fave tracks include "Niggun Firn Di Tsadikkim In Gan Eyden", which features Jason Rosenblatt's soulful harmonica upfront and some tasteful improvisation mid-way through, Kaston and Kerr's duo version of "Tfilas Tal", and "Tolner Niggun" on which Ismael Fencioglu's oud joins the duo. I transcribed that one to play with the band at the wedding of a member of the Tolner Rebbe's family last week.

"Siach Hasadeh - Song of the Grasses" is a very worthwhile album. Definitely check this one out.

The band's website is here. 

 Amazon has the album here:

Off the Review Stack...

"Hear, O Israel - A Benefit Compilation From the Artists of the 4th Annual Boston Jewish Music Festival."

This disc is a fundraiser for the Boston Jewish Music Festival, and features seventeen tracks contributed by artists who participated in the 2013 BJMF.

The disc includes a nice cross-section of Jewish music, ranging from klezmer to electro-pop, solo guitar to chorus, and Yiddish song to contempo-Reform rock.

The artists on this album are Shura Lipovsky, Lerner & Moguilevsky, Guy Mendilow Ensemble, Noah Lubin, Dan Nichols and Eighteen, Tim Sparks, Ezekiel's Wheels, The Tarras Band, Daniel Kahn & the Painted Bird, The Josh Nelson Project, Peter and Ellen Allard, Stereo Sinai, Mazal, Mika Karni's Kol Dodi, The Epichorus, Zamir Choral of Boston, and Andy Statman.

It includes both previously released tracks and new/unreleased material.

Artists I had not heard before that resonated for me included Shura Lipovsky (Yiddish song), Noah Lubin (Singer/songwriter), and Mika Karni's Kol Dodi (Middle-Eastern).

As in any collection of this sort, there are bound to be artists whose work resonates, and those whom don't appeal. Overall, the collection is a nice snapshot of the recent festival offerings, and the proceeds go towards ensuring that the BJMF can continue to offer diverse programming of Jewish music.

You can order the album here: bostonjewishmusicfestival.org/donate

In Review – Zevy Zions: Bolero Fantasia

Bolero Fantasia is the fourth volume of accordion solos performed by Zevy Zions. As on his other discs, Zions nicely plays through accordion repertoire, including tunes composed or arranged by Pietro Deiro, Pietro Frosini, and Charles Nunzio.

The recording also includes Zions’ own arrangements of Saint-Saens’s “The Swan” from “Carnival of the Animals” and an accordion reduction of Haydn’s Serenade (from his String Quartets Opus 3, No 5). Sweet!

Naturally, there’s well-played klezmer here too. “Klezmer Suite #4” is a tribute to the late clarinetist Paul Pincus, and features Zions’ tasteful performance of a Doina, Volakh, and Skochna that Pincus used to play. “Klezmer Walk” is a ten-minute long medly of three khosidls; “Drohobitsher Khusid”, Dem Tsadek’s Zemer’l”, and “Tate Ziser.”

I enjoyed this disc a lot. The musicianship is excellent, clearly performed by someone who loves this music, and it’s a very happy-making album. Zions' mastery of accordion technique, from solo bass lines to bellows shakes, from quick arpeggios to his tasteful reed switching, his approach takes full advantage of the sonic possibilities of the accordion.

You can read my reviews of Zevy's three earlier accordion albums here.

You can find more information and order the album at Zevy's website.

Review/Giveaway: "Light and Shade" - Jimmy Page's "Oral Autobiography

Random House has just published "Light and Shade: Conversations with Jimmy Page" by Brad Tolinski, and they were kind enough to send me a review copy as well as to give away a free copy to a reader. (See below for details on how you can win the free copy).

The book is an "aural autobiography" of Led Zeppelin guitarist Jimmy Page, as told to Guitar World editor Brad Tolinski over the course of multiple conversations. The book is especially notable because none of the band members has ever penned an autobiography, or cooperated with a biographer.

Tolinsky's easy interviewing style reflects a deep familarity with Page's work, and there are excellent questions and follow-ups throughout.

In addition to the author's conversations with Page, he has also included context-adding interviews with Jeff Beck, Chris Dreja (Yardbirds), John Paul Jones, Led Zep publicist Danny Goldberg, Paul Rogers (Bad Company, The Firm), Jack White, and fashion designer John Varvatos.

Topics discussed in the book include: the influence of the Blues on Page's music, his time as a session guitarist, his time with the Yardbirds, a whole lot of detail about the Led Zep recordings, Page's production concepts, the making of the Led Zep movie "The Song Remains The Same", drummer John Bonham's death, Page's controversial collaboration with Whitesnake's David Coverdale, and more!

"Light and Shade" also contains a neat chapter wherein guitarist Jimmy Brown -- who transcribed every note of Page's guitar on all of Led Zeppelin's studio releases -- highlight ten songs that he feels demonstrate the uniqueness of Page's playing.

I found the book to be a very pleasant and informative read about Jimmy Page and about Led Zep. I especially found the parts about Page and the band's creative process intriguing.

This book is essential reading for Led Zeppelin fans, and even non-fans will find Page's reflections and the insights into his creative process quite fascinating.

You can read an excerpt of the book here.

Amazon has the book here:

 

As I mentioned above, Random House is willing to give a free copy of the book to one lucky reader. Here's how you can win it. Simply send in your written description of your best "rock guitar" moment. My email address can be found in the sidebar. It can be a description of a show you attended or a recording you love. "Jewish" rock guitar (since this is a "Jewish music" blog) or secular rock guitar moments are both acceptable. It doesn't need to be long. One or two paragraphs is fine. I'll choose the piece I find most evocative, and Random House will send the winner a copy of the book. You've got two weeks! May the best writer win! G'luck!

In Review: Ten Recent Albums

Just in time for the Hanukah gift buying season…

1) Jay Rapoport - "With All Your Heart"

Pianist/vocalist Jay Rapoport calls his style of Jewish music “Ruach Rock!”
Blending rock/gospel style piano and keyboards with educational lyrics, Rapoport sings of the importance of asking questions, exercising your Judaism, Torah study vs. action, and more.

Rapoport teaches at the Religious School of Congregation Rodeph Shalom in NYC, for which he wrote several of these songs, to musically reinforce each year’s educational theme.

I’d describe this set as Hebrew school lessons recast as rock songs; where the venue is a classroom instead of a pub. If my Yeshiva teachers had turned their lessons into rock songs, I’d have paid more attention in class, I’m sure.

Jay’s website is here: here.

Amazon has the album here:



2) Richard Locker - "Masterpieces in Transcription"

Cellist Richard Locker's "Masterpieces in Transcription" is a wonderful set featuring Locker's classical cello playing a nice program of songs. Of special interest is his solo performance of three transcriptions of Yossele Rosenblatt recitatives, “N’kadesh”, “Mimkom’cho”, and “Mi Sheberach.”

On this disc, in addition to the aforementioned Rosenblatt recitatives: Cesar Frank’s “Sonata in A Major”, Tchaikovsky’s “Entra'acte Symphonique Pour M. Leopold Auer” from “The Sleeping Beauty” and “Pas D' Action” from “Swan Lake”, Mozart’s “Rondo in C” (K. 373), Paganini’s “Caprice Op.1, No. 13”, George Perelman’s “Hebraisch” and “Hebrew Chant and Dance”, and Torrie Zito’s “Ballade.”

Locker has a beautiful warm resonant tone and both the cello and piano (there are several pianists on this recording) is wonderful throughout. I particularly enjoyed the performance of the Perelman pieces, which were new to me. (“Hebrew Chant and Dance” is based on the Yiddish melody I know as “Sha Shtil.”)

Richard Locker's website is here.

Amazon has the album here:



3) Three CD's of solo accordion music by Zevy Zions - "Olive Blossoms", "Dizzy Accordion", and "William Tell"

Zevy Zions is a fantastic accordion player. Zions, who plays accordion with Klezmerfest, and was the accordionist on Andy Statman’s “Learn to Play Klezmer” video for Homespun Records, has studied accordion with legendary accordionist Charles Nunzio.

Recently, he recorded a series of albums featuring mainly traditional accordion repertoire, adaptations of Classical music, and some klezmer. These albums are all excellent, and I’m hard put to single one out. There are lots of classic accordion songs by Frosini, Nunzio, and Gart, particularly on the first two albums, and lots of arrangements of classical repertoire too, especially on the third, “William Tell.”

As far as klezmer/Jewish music content, each album includes a Klezmer suite and “Dizzy Accordion” has versions of “Sharon’s Bulgar” and “Firn Di Mekhotinim Aheim”. “Olive Blossoms” has an arrangement of “Keili, Keili.” The klezmer suites consist of a doina, zhok, and freylakhs or --on "William Tell"-- a forshpiel, tekisher, and freylakhs. On Olive Blossoms, the doina is followed by a Jacob Hoffman zhok and then a killing version of “Oy Tate S’iz Gut!” On “Dizzy Accordion”, the suite is a doina, “Nokh A Glezyzl Vayn”, and “Tante’s Bulgar.” On “William Tell”, a forshpiel is followed by “Araber Tants” and then “Kalla’s Freylakh.”

I’ve been a fan of Zions’ accordion work with Klezmerfest. (I reviewed their latest here.)These discs are a nice opportunity to hear him solo.

Incidentally, Zions is looking for opportunities to perform some of this repertoire, so if you have any, please let him know.

Zevy Zions's website is here.

Amazon has “Olive Blossoms” here:



Amazon has “Dizzy Accordion” here:



Amazon has "William Tell" here:




4) Shlock Rock - "A Shabbat in Liverpool"

Here’s a concept. Set texts of Kabbalat Shabbat and Shabbat Zemirot to Beatles melodies. On this recording, Shlock Rock bandleader Lenny Solomon does just that. The result is an album of familiar melodies and familiar texts.

Some of the adaptations are:
“Shalom Aleichem” to “With A Little Help From My Friends”.
“Lo Tevoshi” to “Penny Lane”.
“Yigdal” to “When I’m Sixty-Four”.
“Ein Kelokeinu” to “Let It Be”.
“Askinu Seudoso” to “Come Together”.

Sacrilegious? To the Beatles? To the texts? Why not check out the album and decide for yourself?

The Shlock Rock website is here.

Amazon has the album here:



5) Asher Hillel Burstein - "Am Kadosh"
Safam meets Billy Joel. Chazan Asher Burstein’s Am Kadosh features his his original music and Hebrew lyrics as well as settings of some liturgical texts. This outing also reminds of Jonathan Rimberg and Jeff Braverman’s Shoresh collaboration.

Much like Safam, Am Kadosh mines the intersection between American pop and traditional Jewish song modalities. Burstein’s voice is in great form here. “Tefilat HaTam” is a pretty waltz. “Shir HaShabbat” is a debka. “Mhayra” is a freylakhs. “HaGevul” is a funky tune with some jazzy brass. “Limdu” is a khosidl. Album closer “Gott Fun Avrohom” is a fifteen-minute through-composed piece.

Lyrical topics include simple faith, Shabbat, redemption, and more.

The album is available at the Am Kadosh website.

6) Yiddish Princess - "Yiddish Princess EP"

If Jon Bon Jovi and Kate Bush had a love child…

On their debut EP, Yiddish Princess features their hard-rocking settings of trad Yiddish songs. Fave tracks include “Ver Vet Blayben” “Oy Avram” and “Az Nisht Keyn Emune”, but the whole thing is great.

Vocalist Sarah Gordon (Yiddish diva Adrienne Cooper’s daughter), is supported by a powerhouse rock band, which includes Avi Fox-Rosen and Yoshie Fruchter on guitars, and Klez clarinet virtuoso Michael Winograd on synths! I wanna sub in this band!

Don’t miss this one!

The band's website is here.

Amazon has the EP here:



7) Eden - "The Knock At The Door"
Eden reinvents themselves for this outing, featuring a harder “alternative” sound. This EP includes five songs: “Yigdal”, “Lo Yisa Goy”, “The One Above”, “Lecha Dodi”, and “Kaddish”.

Eden is: David Ben-Yshay - Vocals, Bass Guitar, Moshe Axelrod – Guitar, Motti Shanet – Drums.

Eden's website is here.

Amazon has the EP here:



8) Julie Silver - "Reunion"

I’d seen Julie Silver’s name around for a while, but first became aware of her music through her beautiful “Sim Shalom” on the Ruach 5761 compilation.

“Reunion” is Silver’s first new release in ten years.

This album features 12 songs, including three settings of liturgical texts, “Dodi Li”, “R’fa-einu”, and “Halleluya (Psalm 150)”, and nine songs with original English lyrics. “Meditation” includes the “Yehiyu L’ratzon” and original English lyrics. The music is soft pop/rock.

On “Step By Step”, Silver sings about entering the “water of creation.”

“Barefoot Sisters” is a song about a meeting with St. Patrick on a mountain. It seems like an odd choice for a Jewish-themed album. One “40 days on the mountain” reference is the only tenuous Jewish connection I see to this song. In the song, Silver asks “What would St. Patrick do?”

“Guide My Steps” is a prayer asking for guidance. Silver duets nicely here with a male vocalist. (The digital album they sent me doesn’t include any liner notes or info about who this singer is.)

“Been To Canaan” features smooth jazz style saxophone. Sample lyric: “Because I’ve been to Canaan and I won’t rest until I go back again.

On “Where Am I”, Silver sings about how she feels about the Torah portion about vows, which tells how men can annul their wives/unmarried daughters vows.

Julie's website is here.

Amazon has the album here:



9) Peter and Ellen Allard - "Little Taste of Torah"

Peter and Ellen Allard write hooky singable songs for children. This album is a great example of their approach. There are songs for Chagim like Tu B’Shvat (“For Trees”), Rosh Hashana (“Shofar Blast”), Yom Kippur (“May You Be Sealed”). There are songs about Lashon Hara, Baby Moses, Torah, Kriyat Yam Suf (“Nachshon” and “Wall of Water”), Tzedaka, and more.

The vocals and music on this are excellent and the songs are both educational and a lot of fun. Well-performed Jewish kiddie rock that parents will enjoy too.

I like this one a lot.

The Allards' website is here.

Amazon has the album here:



10) Prodezra Beats - "Proud to Be" EP

The follow-up to his “Beats L’shem Shomayim” (which I reviewed here), “Proud To Be” sounds more produced. I liked the rougher “street” sound of BLS more. This is a deeply Jewish rap EP.

"Faith" is about emunah. “Faith in the face of a world of drama. The man with emunah, ain’t nobody calmer…”

“Let Me In”, a duet with Nachman, is about coming closer to God.

“Proud to Be” is my fave track on this one. Powerful lyrics and nice synth background. Check this: “cause I’m a Lubab, Litvish, Breslov, shtreiml-wearing Jew….”

“Soul of Moshiach is an instrumental arrangements of the Chabad nigun, best known as “We Want Moshiach Now”.

Amazon has it here:



Up next, reviews of Craig Taubman's latest, "How Good" and the forthcoming reissue of Marty Levitt's - "King of the Klezmers". (I'd promised a review of that one, but am holding off until the new distributorship puts the album back in print.)

Behind On Reviews

So, I've fallen woefully behind on reviews and the stack has been piling up...

I've just loaded the review CD's/zip files into iTunes, and am hoping to get to them in the near future.

Here's what's on tap.

1) Jay Rapoport - "With All Your Heart"
2) Richard Locker - "Masterpieces in Transcription"
3) Three CD's of solo accordion music by Zevy Zions - "Olive Blossoms", "Dizzy Accordion", and "William Tell"
4) Shlock Rock - "A Shabbat in Liverpool"
5) Asher Hillel Burstein - "Am Kadosh"
6) Yiddish Princess - "Yiddish Princess EP"
7) Eden - "The Knock At The Door"
8) Julie Silver - "Reunion"
9) Marty Levitt - "King of the Klezmers"
10) Peter and Ellen Allard - "Little Taste of Torah"
11) Prodezra Beats - "Proud to Be" EP

In Review: Eight Recent Albums

Clearing out the review stack…

Prodezra – Beats L’shem Shamayim

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

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

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

Fromey’s website/myspace is here

Amazon has it here:



Greg Wall’s Later Prophets – Ha’orot

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

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

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

Amazon has it here:



Gershon Veroba – 2nd Impressions

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

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

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

Veroba’s website is here.

CD Baby has the album here.

Lorin Sklamberg and Susan McKeown – Saints and Tzadiks

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

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

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

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

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

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

Don’t miss this one!

The duo’s MySpace is here.

Amazon has it here:


Yiddishe Cup – Klezmer Guy

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

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

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

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

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

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

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

Yiddishe Cup’s website is here.

Amazon has it here:



Kol Noar Boys Choir

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

Kol Noar’s website is here.

Amazon has it here:


Ben Epstien – Shirei Halevi’im

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

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

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

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

CD Baby has the album here.

Klezmerfest – Life of the Party

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

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

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

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

Update: Amazon has the album here:



Enjoy!

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”

In Review: Klezmer Juice: Jewfro, Moshe Skier Band:Light Up The World, Rebecca Teplow: Kaveh/Hope, Shmuel Laser:Blues for Temima

Off the review stack...

Klezmer Juice: Jewfro

You have to love someone who's recorded a Matisyahu klezmer tribute album. Amazon has Gustavo Bolgach's "Klezmer Tribute to Matisyahu" here:


Jewfro features Bolgach's arrangements of mostly traditional Klezmer and Israeli chestnuts including Bashana Haba'a, Oseh Shalom, and even Hava Nagila. There are also two original tracks. One of these, "Librescu Tango", is an upbeat number dedicated to the late Liviu Librescu. Librescu, a Holocaust survivor, was the professor at Virginia Tech, who gave his life blocking the door to his classroom when a gunman rampaged on campus, so that his students could escape. I like the idea of dedicating an upbeat number in his memory.

Bolgach's clarinet tone/approach sounds like he's been influenced by Giora Feidman. Think Fiedman after a bissel mashke. Oh, and he's playing for dancers. On this album, Bolgach blends traditional tunes with other musical flavors including boleros and tangos.

Amazon has the album here:



Moshe Skier Band:Light Up The World

This release by the Moshe Skier Band is a mix of new material and some redone older songs, including a Shlock Rock cover or two.

Straight-up Jewish rock in a variety of rock styles. Includes a powerful blues-rock arrangement of Tzomo Lekkho Nafshi, a Floyd-esque arrangement of Carlebach's Nachamu, and Skier's original setting of Aniyah Soara, inspired by Hurricane Katrina.

Definitely worth checking out if you like Jewish rock!

Amazon has the album here:



Rebecca Teplow: Kaveh/Hope

This disc features vocalist Rebecca Teplow singing her own settings of Tehillim. This is an interesting release. Teplow is a sweet, yet powerful singer, who effectively and effortlessly transitions from soft folksy styles to rock. The melodies are pretty and the jazz-inflected pop arrangements are quite tasteful. David Morgan's piano work is especially nice throughout.

Fave tracks include "Nachon Libi", (which features guest beat-boxing and vocals from her son, Joe Teplow), "Gam Ki Elech", "Min Hametzar", and "VaAni", but the whole disc is worth hearing.

I've asked Rebecca to write a guest post on Kol Isha from her perspective as a Modern-Orthodox woman who has released her music to the public at large, not women only, and I hope she will do so.

CD Baby has the album here. Rebecca's website is here.

Shmuel Laser:Blues for Temima

Ran into our old friend, Shmuel Laser, singing on the street in Jerusalem recently. He gave us a copy of his latest, Blues for Temima. The disc features Laser's soulful singing accompanied by some incredible Israeli musicians including pianist Avi Adrian and Yood guitarist Eliezer Blumen.

Shmuel is a terrific singer, who blends Van Morrison-esque blues, rock, and jazz influences tastefully. The musicianship is first rate as well. A true labor of love, this disc of Jewish-themed English songs is worth a listen.

Amazon has the album here:

In Review: Shir La La Chanukah

In the mail...

Shir La La Chanukah: Sing and Dance with Shirah Kline

Subtitled "Outrageously Hip Jewish Kiddie Rock", this Chanukah gift package, available directly from shirlala.com, includes a personalized gift note and a bag of chocolate Chanukah coins (by Elite under OU certification).

Aimed squarely at the little ones, this is a fun album of Chanukah songs. Shira's singing style is light and upbeat and the musicianship is wonderful throughout. The music blends diverse influences including rock, swing, Middle-eastern grooves, and even one hip-hop track.

The colorful liner booklet includes all of the song lyrics and a cartoon retelling of the Chanukah story. Translations and transliterations are provided where appropriate. "Oh Chanukah/Oy Chanukah" is performed in English and Yiddish and Jewish folk music legend Jeff Klepper guests on mandolin on that track.

Fave tracks include "Hayom Chanukah", "Where Is It?", and "Lots of Latkes." You can listen to audio samples here.

A while back, we introduced a feature, "Back Seat Review" which we'll continue here.

Backseat reviewer: "Right, it's not nice that she sings "boogie woogie, shake your tushie? [on the first song. ed.] Pauses for thought...They must have been in the bathroom when they recorded that part!"

You can find more information about Shira and all of her other albums, including the upcoming "ShirLaLa Green Album" at her website.

Off The Review Stack: Pitom, Josh Nelson, Yitzy Spinner, Craig Taubman's Lights

Off the review stack...

Yoshi Fruchter's Pitom

This disc is composer/guitarist Yoshie Fruchter's debut recording on the Tzadik record label.

This disc sounds as though members of The Ramones, Sonic Youth, and one lone violinist were the only ones to turn up for a klezmer jam session with Elvin Jones. And turn up they do! Fun for those who appreciate guitar skronk and klez-influenced riffage. Like me!

The rhythm section here is the one from Danny Zamir's former group Satlah; Shanir Ezra Blumenkrantz on electric bass and Kevin Zubek on drums. Violinist Jeremy Brown joins Fruchter to round out the band and the lead guitar and violin lay down some nice tight unison lines and intriguing improv over strong grooves, while the bass 'n drums express themselves in the background, although they too step forward at times, especially when the bass doubles the guitar & violin.

Fave tracks include "The Robe of Priestly Proportions" Parts I and II, Shikora, and Davita. "Freigel Rock" sounds like a nicely demented take on the Adam's Family Theme.

This album goes along nicely with Aaron Alexander's Midrash Mish Mosh. Double bill, anyone?

The Pitom website is here.

Amazon has it here:


Josh Nelson Project: Lift
Josh Nelson sounds like an updated Craig Taubman. Writing in a similar style, Nelson blends liturgy and original lyrics expressing positive Jewish messages with an updated pop-rock sound. The arrangements blend synths and loops with pop guitars to create hooky J-pop.

Did I mention this is an upbeat Jewish pop-rock album? The lyrics seem overly earnest at times, but I liked this one. Fave tracks include the Middle-Eastern flavored title track "Lift" and the funky closer "Hallelujah."

Josh's website is here.

Also of note, The Josh Nelson Project will be appearing on the Craig Taubman PBS special "Lights! Celebrate Hanukkah Live in Concert," which will run on PBS this December. (See next review for more about that project.)

Amazon has it here:



Lights: Celebrate Hanukkah Live in Concert

This disc of a Craig Taubman produced PBS Hanukkah special for this year's upcoming festivities -- it will air on PBS in December-- is an odd one.

The concert and album feature appearances by Alberto Mizrahi, Craig Taubman, Mare Winningham, Jewish Gospel singer Joshua Nelson as well as Josh Nelson, Michelle Citrin, Dave Koz, and the Klezmatics.

The set includes some strange choices -- like Dave Koz's easy listening treatment of that old Hanukkah classic "Somewhere Over the Rainbow." Personally, I'd have preferred to have the Klezmatics and Joshua Nelson's collaboration on "Ale Brider" from that concert instead. If you've ever wondered what Dave Koz and the Klezmatics would sound like playing on the same track, this is likely to be your only chance, as all the performers join in on the requisite finale of Hanukkah 'O Hanukkah.

I had high hopes for this one, based on the lineup. Unfortunately, the Klezmatics perform their Woody Guthrie Hanukkah songs, which I find disappointing, especially when compared to their Grammy-winning "Wonder Wheel" Guthrie material. Joshua Nelson also disappoints. It's difficult to do a non-hokey version of I Had A Little Dreidl and his Gospel take on the old chesnut comes off as corny. His Hiney Ma Tov works much better.

There are an awful lot of non-Hanukkah songs on this disc, considering it's supposed to be a holiday disc.

I liked Cantor Mizrahi's version of "Ocho Kandelikas." In general, I like his singing here, but on many of the songs, the arrangements don't do his voice justice. Michelle Citrin does a nice contempo-folk cover of "Don't Let The Light Go Out" and Mare Winningham does a pretty acoustic version of Hanerot Hallalu with a really nice fiddle solo.

Check out audio samples on Amazon and form your own opinion on this one.

Amazon has it here:



Yitzy Spinner: you and i

This is a slickly produced Chassidic pop record. On the surface, this seems like a formulaic Hassidisco album, complete with the cheesy English ballad that is de riguer for these kinds of productions. But, it's not exactly a cookie-cutter "Brooklyn JM" release. Vocalist Yitzy Spinner composed all of the material himself and as result connects to the material well. Spinner sings nicely throughout and the arrangements are a cut above the usual for this genre. In particular, Mike Boxer contributes some nice vocal arrangements.

Followers of the genre will notice that Spinner goes the extra mile production and presentation-wise; making things a touch more sophisticated and thought-out, compared to many of his peers. This is a nice solo debut Chassidic pop album. Of course, Spinner has years of experience singing with the Miami Boys Choir as a child and performing at weddings with a many local simcha bands, so this is not really his first album.

If you're not a fan of the Chassidic pop music genre, this will not seem much different than the usual, but it's worth a listen and might make a good entry point for those looking to discover more about the genre.

Yitzy's website is here and you can download a free remix of "Mi Sheshiken" from the site.

This Review Is Banned! -- Lipa Schmeltzer's "A Poshiter Yid"

Bought the new Lipa CD, "A Poshiter Yid"...

Had an interesting conversation with the Judaica store salesman. He saw me looking at the CD and came over to say "that's brand new. It's great." I told him I was buying it to support Lipa. He asked if it was "because of what they did to him" and when I said it was, he told me he agreed with me. Judging by the comments on other sites, I'm not the only one to do so.

Before I get to my thoughts on the disc, here's a story that happened while I was listening to it...

I bought the CD and took it along in the car for a shopping expedition in Boro Park the other day. I was listening to the CD while parked, waiting for a family member, when my car was bumped by a car backing into the huge parking space in front of me. So, I leaned on the horn. That didn't stop the fellow from backing straight into me again.

Before I got out of my car to check for damage, two people got out of the car and quickly, without turning to apologize or check for damage, went into the yeshiva across the street. I didn't recognize the driver, but the passenger was the Novominsker Rebbe, the Rosh Yeshiva of said yeshiva and the Rosh Agudah. He's also one of the Rabbonim behind the Lipa ban. Rumor is that it was personal for him. It seemed to fit that he'd be driven around by someone who clearly doesn't have much concern for the damage he does to others.

Take a look at the bumper rash on this car. (You can see part of the Yeshiva building across the street.)



That's not someone who parks carefully, being considerate of other's property.

There's no way they didn't notice that they'd bumped me or missed hearing the horn. The impact was hard enough that there easily could have been damage to my car, and in either case, I was obviously there and aware of the impact.

I found it extremely ironic that this would happen while I was listening to the new Lipa disc, as the seeming lack of concern for potential damage done to others is even more evident in the way the Novominsker and some of his peers have treated Lipa. Whether it's the Big Event ban, wedding takanos, or other situations, he's demonstrated a remarkable lack of concern for many. Fortunately, there was no damage to my car, thanks to the placement of the license plate holder, I assume.

Now on to the CD...

I've written about Lipa's music before. I believe he is a very refreshing talent with a lot of depth and very creative ideas. I do enjoy many aspects of his work , although I'm not fond of some of the pop stylings he's been trending towards.

This is a very subversive disc. The graphical elements in the packaging, marketing, and music all work together to set up the theme, Lipa the "Poshiter Yid", the simple Jew. The CD cover shows the simple Jew, Lipa, (who appears to have dropped his last name, although it is on the door of the hut pictured on the cover) learning Torah in front of his hovel.



In a very smart move, Lipa has included a bumper sticker and bookmark in the CD packaging. The bumper sticker reads “I’m A Poshiter Yid” in English and “’kh’ Bin A Poshuter Yid” in Yiddish, both in simple type. The bumper sticker is the perfect means to enable the "amkho" to show their displeasure to rabbinic leadership run amok in a non-confrontational way. It's hard to take issue with the sentiment expressed. Bet you'll see a lot of these around. (You can see one in use here.) They should sell these separately.

The same goes for the bookmark. Think about it. What Yeshiva is going to ban a bookmark with the tefilos said before and after learning Torah? If they try, they look like vindictive fools. And if they don't, all the bochurim will be running around with Lipa ads in their seforim. Beautiful.

Indeed, the marketing is the exact opposite of that for the banned "Big Event." Instead of presenting himself as "the" big star, Lipa is presenting himself as merely a simple Jew, a "Poshiter Yid". Hence the CD title. It's going to be difficult for the rabbonim to argue with that pseudo-modest self-assessment.

This low-key tone extends to the in-store posters too. I passed by Eichler's in Flatbush. They had simple green papers in the window that simply read "Lipa!" in a plain font. I passed another store on Ave. J that had a plain white poster with a small image of the album cover in middle and a lot of blank white space.

There is also some explicit anti-ban imagery in the CD package including a photo giving "A BIG thanks, to BIG people who do BIG things." The image shows Lipa asleep over his seforim and the text underneath reads March 9 '08, which was the date of the banned/cancelled "Big Event."Another panel in the booklet shows an old wooden wall with the remnants of a Kol Koreh and Poshiter Yid bumper sticker that have both been torn down, presumably by people opposed to their respective messages. You can see these images here.

(One gripe about the Digipack design. Whoever manufactured these didn't do a good job gluing them. Mine started coming apart when I opened the CD. Is the booklet is too thick for its pocket? Whatever the reason, it's disappointing that it's already coming apart.)

About the music...

Album opener "Yomam Valaila" is a funky ode to Torah learning, in which Lipa sings various common Gemara phrases, names of topics of Jewish study, and famous commentators like Rashi and Rambam over a slamming drum groove.

One of Lipa's trademarks is his use of original Yiddish lyrics to create "Pop Mussar", if you will, through songs like Gelt and Vos Is Neais, for example. You can call him "Der Alter of Yiddish Pop."

On this album, those songs include "Yener," "A Poshuter Yid," "Wake Up" (the rest of the lyrics are Yiddish), and "Hentelakh".

"Yener" is an ode to individuality. Sample lyric: "Yenem's deye loz geyn, fregt dir aleyn: 'Vu bin ikh? Ver Bin Ikh? Ver Bin Ikh?' Meanwhile, the music sounds like it could fit into a dance set between "Boogie Oogie Oogie" and "Lady Marmalade."

In "A Poshiter Yid," Lipa sings of the challenge of being a simple Jew nowadays to musical accompaniment that evolves from acoustic folk rock to Bossa with a detour or two along the way.

"Wake Up" is a funky song about the importance of getting up in the morning. The tune opens with a recording of Lipa's father leaving a message on his machine urging him to get up because there are just a few minutes left to say Shema before the Zman.

Album closer, "Hentelakh" urges the listener to "heyb oyf dayne hentelakh tzum Tatte in himmel!" It sounds like something C & C Music Factory might have produced if they had been Chassidic. Ale mentshen tants yets!

On Halelu, Lipa trades vocals with composer Yitzchak Fuchs, who sounds here like a cross between Adi Ran and Yosef Karduner. It's nice to see some of the Israeli alternative chassidic musicians getting some exposure here. The recent trend towards including them on US JM releases has positive potential. (It also has the potential to be exploitative, but this collaboration does not feel that way to me.) I reviewed Fuch's Disc "Melech" in 2004 here.

The wayward son sings of faith in "Carry On", the album's English language song. Why do JM singers feel compelled to sing bad Beis Yaakov poetry? IMO, Lipa really doesn't need to do the whole English thing, especially since he didn't even write the lyrics.

"Asher Yotzar" is a catchy number, and the "shtik" in middle of the song is cute. Sounds just like a heymishe wedding. Except, shouldn't it be a one-man-band, instead of trumpet? Come to think of it, it'd been funny if he'd broken the tune down with a "one-man band" breakdown, and then came back in with the whole band!

A number of these songs are going to be in the simcha rotation this season in Brooklyn, I'd guess. My prediction: "Yomam Volayla", "Asher Yotzar", and "Hentelech" will make the second dance set at Brooklyn weddings this season.

About the only thing I can think of that Lipa can do to increase the presence of this music in the community is to post the sheet music on his new website. Yes, he now has one. (Unlike the previous aborted attempt, this one has actual content.) There are also shout-outs to a number of J-blogs in the "My Supporters" section of the CD acknowledgments.

One of the interesting things about the politics of fear in the chareidi community -- the idea of keeping people in line through the threat of shaming-- is that once the shaming is done, the threat is gone, and there's less of an incentive to conform. In other words the threat may work keep people in line, but once someone has been "shamed", there's no longer any incentive for them to hold back.

For example, recently Pravda Ne'eman revived itself. The blogger(s) behind it was/were threatened with outing if they didn't shut down. So, they did. But, they were outed anyway. Guess what happened to that blog! That's right. It's back. Same with the UOJ blog. And now, Lipa. I suppose they can still throw his kids out of school, but it'd be a lot harder to do, given the subversive nature of his marketing campaign, as well as community sentiment.

Incidentally, for another perspective on this CD, here's a new Blog in Dm feature we're going to call "Back Seat Review". Think Pitchfork for toddlers.

At any rate, here's the review:

"I don't like these words. I like the words on Uncle Moishy's songs better!"

As for me, I'm looking forward to seeing ads for the A Poshiter Yid "Not A Concert" summer tour!

In Review: An Eclectic Mix

Gershon Veroba – Reach Out

Ever since I first discovered him, when I purchased ‘Sasson Vesimcha" in high school, Gershon Veroba has been a musical influence. A wonderful singer, with strong roots in Chassidic and Israeli music, as well as American pop music, Gershon has always evidenced a refreshing musical sophistication in his approach to Jewish music.

On “Reach Out”, Gershon returns to his true love, composing original Jewish American music, after a few years moonlighting as a parodist singing Jewish versions of popular secular songs for the “Variations” series and his own “Impressions” series.

Most of the songs on this album are original, although it does include a song composed by Yaakov Gifter, one by Elimelech Blumstein, and a cover of Sam Glaser’s “Across The River.” For most of the album, Veroba is backed by his band, Takana. Formed a few years ago to back Gershon in concert, Takana ably fills their position, providing tight rocking accompaniment on tunes like “Bamarom”, “Mi She’oso”, and “Ana Avda”, and sensitive backing on the slower songs.

Israeli rockers Reva Lesheva make a guest appearance providing the music to “Harimi”, a pretty song written for Yeshivat Shaarei Mevaseret Yerusholayim.

The songs are a blend of original songs in English and settings of liturgy. My personal preference is for the Hebrew originals, but the English lyrics are a cut above the typical cheesy JM strive/alive learn/yearn rhyme scheme popular in so much Orthodox JM. “Reach Out” blends American pop influences ranging from Tom Petty-esqe guitars to Neal Diamond in a mature blend of harmonic sophistication and taste.

Gershon's website is here.

(You can hear audio clips in the widget below.)

Temple – Coming Home

Temple is a duo featuring singer Danya Uriel and guitarist Eyal Rivlin. “Coming Home” is an album of original Hebrew chants that “honor the sacred and foster inner healing and inspiration.”

The album features seven chants in Hebrew and includes some original texts as well as settings of Lecha Dodi, Ana El Na, and Vetaher Libenu. Many guest artists, including some on exotic instruments, like tabla, Bansuri flute, esraj, nyckleharpa, and harmonium, join Uriel and Rivlin here to create these pretty soundscapes

The music is very relaxing in an Enya-esque manner. Not specifically aimed at the Jewish market, this disc would be a nice for anyone looking for some peaceful music to set a contemplative or calming mood.

The distributor shipped this disc together with several catalogs selling tools, teachings, and audio learning courses for personal and spiritual transformation. They also included DharmaCrafts – The Catalog of Meditation Supplies and a trial offer free issues of Biddahdharma – The Practitioner’s Quarterly and Shambhala Sun.

Temple's website is HebrewChanting.com. Here's their MySpace page.

(You can also hear audio clips in the widget below.)

Daniel Gil – Soul Calling

A while back, the Stropkover Rebbe gave me an awesome recording of Sanz & Stropkover nigunim that he’d given out as a gift to guests at his daughter’s wedding. I’d expected it to be the usual; either a Chassidic one-man-band extravaganza, or else, a contempo Chassidic pop album ala the current Belzer releases. I was pleasantly surprised when the disc turned out to be essentially Chassidic prog rock, blending classical and rock, influences in interesting ways.

The artist behind that recording turns out to be Daniel Gil, a fact I discovered when he contacted me to send a review copy of Soul Calling, and mentioned that he also had recorded an album of Sanz & Stropkover melodies that had not been commercially released. He offered to include that disc as well, an offer I accepted. It’s a neat disc, and I’d encourage Daniel to find a way to make it available for download online, perhaps via iTunes or Amazon.

“Soul Calling” is an album of Daniel’s original nigunim. Daniel blends his classical training as composer and violinist with world music flavors and the influence of his Rebbi, the late Rabbi Shlomo Carlebach. This album has a softer flavor that the nigunim disc, with softer instrumentation. Norbert Statchel’s woodwinds and Marquinho Brasil’s world percussion add tasteful flavor to Daniel’s pretty melodies. The vocals remind of tasteful Chassidic neginah with a worldly awareness. Nice stuff.

I’ll point out that on this disc, released in ’99, Daniel was experimenting with some Reggae influences on Ani Ma’amin, well before Matisyahu allegedly pioneered said approach.

You can hear audio samples at Daniel’s MySpace page.

Kabbalah - Kabbalah Kollection

When I was in high school, the mashgiach banned a Jewish rock album called Kabbalah. Had he not done so, I likely would not have heard it. Since he chose to make the school aware of the album, someone obtained a copy and it was surreptitiously passed around the dorm.

The album featured original rock settings of tefilah. Times have changed, and what was under-appreciated then just might get some more attention now, especially given the success of so many other Jewish rock bands.

Now available in a CD re-release featuring songs from 1986’s Kabbalah and 1987’s Kabbalah: Classic, the disc can be purchased at CD Baby.

Consisting of bassist/vocalist Mark Skier (now known as Psycho Toddler), guitarist Izzy Botnick, drummer Simcha Kagan, Moish Taubenblat (volume 1) and Brian Gelfand (volume 2) on keys and vocals, with saxophonist Adam Greebler (volume 1) and Jacob Rosenthal on guitar, Kabbalah was unashamedly a Jewish rock band playing Jewish rock music. And, they did it well.

This disc rocks. If you like classic rock, you should definitely check this out. Jewish music as influenced by the Ramones, The Kinks, Squeeze, and so many more.

This collection includes classic tracks like Shru Lo and Yismechu as well as covers of Eurovision hit ‘Abanibi” and Diaspora Yeshiva Band’s “Hakol Yoducha.” There are also two previously unreleased tracks: “Ohr Chadash” and “Shivti”. Recorded in the '80's, this album holds up very well today.

Moshe Skier - Rock of Sages

Also included in the review package with the Kabbalah Kollection, this album is what would have been Kabbalah 3, had funding come through. It features Mark Moshe Skier originals as well as one song by Izzy Botnick and one co-written with Lenny Solomon. You can check out audio samples of this in the widget below too.

Here's a widget with samples of those albums reviewed above that are available for download through Amazon.com.

In Review: "Be A Ba'al Tefillah"

In the mail… “Be A Ba’al Tefillah: The Shabbat Davening in MP3 Audio” featuring Cantor Sherwood Goffin.

I recently wrote about the Cantorial Council of America’s event I’d attended. Due to a gig and a family commitment, I was only able to attend Cantor Motzen’s session. I would have liked to hear Cantor Goffin’s presentation “Highlights of the Shabbat Shacharit Prayer” as well.

Thanks to the folks at Davka for sending this program, which includes the material he presented that morning.

This CD-ROM features well-known Lincoln Square Synagogue Chazzan Sherwood Goffin singing the complete Shabbos Tefillah including Kabbolas Shabbos, Ma’ariv, Shacharis, Musaf, as well as Birkas Hachodesh and Musaf for Shabbos Rosh Chodesh.

The program is based on the curriculum of the Belz School of Jewish Music at Yeshiva University, where Cantor Goffin is a Faculty member. It includes audio mp3’s in both Sephardic and Ashkenazic pronunciation as well as PDF’s of the text of the tefilos and explanatory notes that include information about the sources of the melodies used. It also includes some helpful tips for learning the material.

In addition to ‘nusach’, the program offers several melodic options for those parts of the liturgy that are commonly sung communally like Lecha Dodi, Keil Adon, and Kedusha. Cantor Goffin is known as a “nusach purist”, so even when setting these tefilos to “more recent” melodies, the tunes chosen typically reflect a sense of tradition whether that tradition is Chazzanus or Chassidic. Where appropriate, Goffin also selects melodies that use the traditional Chazzanus modes associated with a given tefillah.

To illustrate the types of melodies chosen, here are those used for Lecha Dodi:

• Settings for the first part of Lecha Dodi include the Bobover Wedding March, Yedid Nefesh, and the Breslover Lecha Dodi.

• Melodies offered for Lo Sevoshi include the famous Gerrer Chassidic version as well as Moshe Laufer’s Keitzad Merakdin and R’ Shlomo Carlebach’s Veyitnu Lecha.

Using this program...

The file installation went smoothly. For some strange reason, the 1st track of each tefillah showed up in iTunes, the program I used to listen to the mp3’s, as the last, but this is easily rectifiable by dragging the file to the appropriate place.

Obviously, the first choice would be to study one on one with a teacher. However, if that isn't possible, this is a very useful tool for those interested in learning to lead davening. The focus here is very much on education, so the backing music, which consists of keyboard accompaniment by Cantor Eric Freeman, is there in a very supportive role only to aid in “hearing” the melodies. (The piano endings on some of these like Keitzad Merakdin and Veyitnu Lecha are rough.) The vocals are mixed very up front so that the listener can hear Cantor Goffin clearly and are clearly enunciated, pleasant, and easy to learn from.

If you or someone you know is interested in learning how to daven for the amud on Shabbos, it’s worth checking out “Be A Ba’al Tefillah.” This might also be of interest to ethnomusicologists looking for a Nusach-based presentation of the traditional American Shabbos service.

The J-Post reviewed this project here.

The program is available from Davka here.