Arkady writes:

Hey guys,

This week I came across what turned out to be A HORRIBLE RUMOR about a
passing of our colleague, drummer, MATT MILLER...

•• MATT IS NOT DEAD, MATT IS ALIVE and KICKING HIS LYMPHOMA'S BUTT... ••

But, Matt definitely could use your help and prayers!

In support of the collective effort of Matt's friends, I've contributed this
webpage:

http://www.arkady.com/mattmiller.html

Please stay tuned, and do what you can to help Matt. And, if nothing else,

PLEASE HELP SPREAD THE WORD, AND PUT THE END TO THIS HORRIBLE RUMOR!

Be WELL....

 ARKADY
website: http://www.arkady.com

Psachya writes:

In response to Warren Cohen -
There are some '70's club-daters still in the game. Here's a by-no-means complete list of '70's guys I've gigged with (or seen at simchas) relatively recently. Some are semi-retired; some, like the first name on the list, are still full steam ahead:

Yisroel Lamm
Mordy Bass
Michael Septimus
Yehuda Spinner
Lenny Schwartz
Vladimir Grinberg
Avram Pengas
Jerry Markovitz
Lenny Friedman (after a long hiatus)
Yossi Rosenberg
Jerry King
Shelly Lang
Shmuel Klaver
Avner Levy
Shlomo Haviv
Ken Gross
Gadi Bodinger
Harold Fruchter
Aaron Goldring
Arie Pollak
Yitzy Braun
Rami Levit
Eli Zomick
Yossi Piamenta

I realize that some of the names are borderline late-'70's/early '80's, but you get the idea. And if this is the Warren Cohen I know, I would also add to the list his brother Michael, who still plays a fine trumpet.

PT writes about the "Iron Butterly" album:

What ever happened to those guys?

I did a show with Kabbalah at the Javits Center many years ago and they were one of the acts. I still have that cassette somewhere.

I believe they released a Hebrew album about a year or so back, but I haven't heard it. In between, they became the Torah Tots. Oh, and some chick singer stole their song

6/27/07 Link Dump

So Blogger's "BlogThis!" is acting up again. Here's a long delayed link dump.

PT's getting ready for a big show, and he's brought in a legendary producer to help. Sounds good, but ich meyn az s'darf mehr cowbell!

MoC is ranting about YaMaMai and royalties. One of the commentors there is misrepresenting the parody exception. Changing the key or some notes or syncopations does NOT qualify.

Is Chaim picking on MBD?

The RIAA is getting sued again.

PHP's Doni Joszef writes about Jewish Musicism.

Not by Aerosmith! Dude sings like a lady!

Oy!

Jack doesn't like Beth Shafer's latest. Her fans seem quite upset at this. (He doesn't like Rick Recht, either.)

Here's Avi Adrian's bluesy singing bird.

Here's Asian Fiddler.

Me wants one!

Here's the best graduation performance this season.

Sibelius 5 is out!

Check out these these Epstein Bros. clips.
( Via Teruah.)

Here's Mo C on Avi Singolda.

The Jewish Week reviews Mare Winningham's disc.

Na, Nach, Nacha, Nachas Fun Kinder!

Sameach has posted Aaron Razel's "Krembo Song" video.

From the mailbag...

Warren Cohen writes:

Are there any Jewish club daters from the 1970's still playing?

"Argood" writes:

Hello there, do you by any chance have any Freilech Hora Keyboard Styles you can email me?

PT writes:

Kabbalah was one of the best Jewish Rock Bands to come out of the ‘80s.

Let’s face it.

Kabbalah was one of the ONLY Jewish Rock Bands to come out of the ‘80s.

Kabbalah was one of the first bands to fuse Jewish Music and lyrics with real rock music, and released two albums, Kabbalah, and Kabbalah: Classic, in 1986 and 1987. The Moshe Skier Band plays many songs from these albums. They were originally released as cassettes, and have been out of print for 20 years.

BUT NOW

Thanks to the MAGIC of the INTERNETS, and MP3 download technology, the seminal Jewish Rock albums Kabbalah and Kabbalah: Classic can be yours for download!

Act now and the first 20 orders will get a free Ginsu Knife*

Visit here for more details:

http://www.myspace.com/kabbalahband

or

http://www.mosheskier.com/purchase.htm (scroll down for Kabbalah)

Moshe Skier (founding member of Kabbalah)

*subject to availability**



**we don’t have any Ginsu knives

Dovid Kerner writes:

Blog,

Wish I had a happier song for you - Sderot Town at www.kernersongs.com.

Moshe Axelrod writes:

Hey Eden Fans,
Just posted is a never before heard version of Min Hameztar! It is not the Album or the EP version it was completed sometime after the record was released and has its own flare and sound to it. For more info on the song and what it is read our Newest Blog Post http://www.myspace.com/officialedenmusic . The New version is the Fourth Song on our list and can be heard here http://www.myspace.com/officialedenmusic.

The Song Remains The Same?

Yesterday, Life-of Rubin linked to vocalist Benny Friedman's MySpace page. The page includes several audio clips of Friedman singing, including a song, "Special Child", that is credited to Chanale, a "for woman only" religious singer.

The lyrics seemed familiar though, so I've dug out an old album, "Iron Butterfly" by "The Next Generation, that was released in the late '80s. There's a beautiful song on that album called 'Shamayim's Special Child." Here are Chanale's lyrics for 'Special Child"

A meeting was held far from earth
With the angels and G-d above
They said it’s time again for another birth
This child will need much love

And though her progress may seem slow
And accomplishments she may not know
Let’s be careful where she’s sent
We want her life to be content

Please G-d find someone who
Will do this very special job for You
And let them realize right away
The leading role they’re asked to play

And have them show her till the end
They’ll always be there as her friend
And share a love so deep and strong
And that’s the place where she’ll belong

Make sure her parents hold her close
And never miss a smile
And when life gets hard they’ll always know
She’s a gift to them this child

Give her a friend to hold her hand
Listen close and understand
Take the time to make her grin
Bring out her beauty from within

Now, here are the lyrics to "Shamayim's Special Child":

A meeting was held far from earth,
It's time again for another birth,
But this child is special,
He'll need special care.

At times his progress may seem slow,
Accomplishments that may not show,
Who will guide him through his life,
Who will be there.

Will you be his feet if he is lame,
And hold him tight to ease the pain,
Fulfill his dreams and help him grow.

If you'll be the spark he'll be the flame,
And warm your soul in future days,
teach him all there is to know.

He may not run or laugh or play,
His thoughts may seem quite far away,
In many ways a stranger in his home.

So lets be careful where he's sent,
Who will make this child's life content,
Whi will show him he will never be alone.

Will yours be the eyes through which he sees,
And guide him through eternity,
Teach him mitzvos he can do.

And every prayer he says will shine,
Amongst the stars up in the sky,
Sparkling like a flaming jewel.

They will not realize right away,
the special role that they're asked to play,
Nor the strength that comes,
From the faith they'll feel inside.

But soon they'll realize the privelege given,
So meek yet precious,
A spark from heaven,
They'll thank Hashem for Shamayim's special child.

And when you're walking, walk with pride,
And hold him closely by your side,
Make him strong and help him grow,

For though his learning may be slow,
Each new thing he learns will show,
He is Shamayim's special child.

Baruch Atah Hashem,
We will thank you once again,
For Shamayim's special child.

Some unsolicited advice to Benny: Cover the original. (With attribution and royalties, of course.) It's a much prettier melody. The tweaked borrowed lyrics aren't an improvement either.

UPDATE: 9/5/07

An anonymous source close to Chanale emails that she never heard the original song, only knew the lyrics, and did not know where they came from. She saw the lyrics as a poem written somewhere. She has updated her website and has contacted the original composers in order to pay any royalties and offer credit in future printings of the booklet. The Stone brothers have given permission and say that the original original source of the lyrics are from a poem written by Mrs. Kahn of Camp Hasc.

Peeps Are Bustin' Out All Over

It's June, 'nuff said.

Here are some characters we've met this season.

"Chivas Guy"

We're playing a simcha in the Five Towns and are set up next to the bar. There's no bar service at this event, but the host has set up a nice selection of scotch and bourbon on the bar for people to enjoy. The selection consisted of Glenrothes Select Reserve and Glenrothes '91, Tomintoul 16 Year, Talisker, Basil Hayden's Kentucky Straight Bourbon, Blanton's Single Barrel Bourbon, Labrot & Graham Woodford Reserve Distillers Select and more. Not exactly a low-budget selection. We were quite surprised to notice one fellow sidle up to the bar, peruse the selection, and then surreptitiously slip a hip flask out of his pocket and pour himself one. We made eye contact when he looked up to see if anyone had noticed this. So, he came over and explained: "I'm from Brooklyn! We don't know from this single malt stuff. Chivas! That's the good stuff!" Then "Chivas Guy" walked off carrying his drink.

"Business Card Lady"
"Business Card lady is a piece of work. A shadchan, she's having a conversation with a potential client right in front of us. She soon realizes she'll need to take some information down. Her first question to us, "Do you have a card?", is immediately followed up with "Do you have a pen?" Classy. Get your scrap paper elsewhere, lady!

"Podium Cellphone Guy"
This is the guy who needs to be on his cell phone throughout the entire simcha he's attending. Naturally, the best place to do this is leaning on the podium in the front of the room so everyone can notice he's so busy.

"Hat Lady"
In the summertime, you'll run into the "Hat Lady" at various brunch events. A regular at all the proper ladies social events, she's a true woman of mystery. No one knows what she looks like, because you'll never see her face.

"The Poetess"
"The Poetess" is the event MC who must deliver all of her remarks in rhyme. Think BY yearbook or Dr. Suess on a really bad day. Did we mention that there were thirty speakers (1-2 minutes each) all of whom needed to be introduced?

"The Shul Choir"
"The Shul Choir" performs at the shul dinner. It's apparently the only time they get to perform outside of services. A reasonably talented bunch, they have no clue about programming. Guys, the third song was overkill. The fourth was beating a dead horse. We won't even talk about the "encore". Special programming tip: when choosing repertoire for your own shul dinner, you might try something other that the "Adon Olam" and "Etz Chayim" you regularly perform in shul.

"The Polka Dancer"
This guy polka dances to everything, even "Walk This Way". Note to his long-suffering spouse: Truly, we feel for you!

"Harmonica and Spoons Player"
"I brought my harmonica. I'm going to grab a quick bite and then I'll come sit in with you." Words that strike fear in a bandleader's heart. Unless spoken by Howard Levy or perhaps Jason Rosenblatt. Did we mention he plays spoons too? We found that out when we switched keys to a scale he couldn't reach on any of his three harmonicas.

The "Masticating Dance Leader"
This fine specimen spends her entire gig as dance leader chewing gum. She adds a very classy touch to your upscale affair.

"Ultimate JAP Party Coordinator"
The scene: a Bat Mitzvah in an undisclosed restaurant.
The parents of the Bat Mitzvah were hosting their first big event and they needed handholding throughout the event. They hired the "Ultimate JAP Party Coordinator" to run their event. They needed her to run everything. If the schedule said speeches were to be at 1:20, then they needed her to come over and tell them it was OK to start the speeches, even though everyone was seated and they could have just gotten up and started them. If a dance set had just ended and the next course was scheduled, they needed her to tell them it's time to move to the next course. The fact that the reastaurant manager or bandleader had said this wasn't good enough. They needed to hear it personally from the party coordinator.

In light of this, we were a bit surprised when the party coordinator stepped out in middle of the event, telling us that "if anyone is looking for me, I'll be next door." We assumed she was stopping in to chat with a friend for a few. Soon enough, the restaurant manager came over looking for her. There were speeches on the program and the clients needed her to tell them they could begin. They needed to speak to her personally and were getting progreesively more nervous as it was now ten minues after speeches should have begun. So, we went next door... to the nail salon, it turned out... where the "Ultimate JAP Party Coordinator" was sitting getting her nails done! Only on Long Island, folks!

Benefit Concert for Darfur in Israel -- Tomorrow

David Bogner emails:

Dear Friends, Bloggers and Blog-Friends;

I'm writing to tell you about an outdoor concert that is scheduled to take place tomorrow evening(Monday June 11th) in Jerusalem's German Colony. All proceeds from this concert will go towards relieving some of the suffering of Sudanese refugees.

I've been roped into, er... I mean invited to play with one of the acts on the bill -a blues/ R&B/ Motown/rock band called 'Settle Down' - so I'd like to see a lot of friendly faces in the audience when we kick off the show. :-)

First and foremost, I'd like to see as many of you there as possible. But barring that (like if you live outside of Israel or have another pressing engagement), if you have a blog and would like to dedicated a couple of inches to trying to get any of your Israeli readers to show up at this important event, please feel free to use the attached poster.

More info can be found on my site today treppenwitz: Public Service Announcements and Self-Promotion .

Thanks... and sorry for the intrusion.

Rippin' Off Shlomo Katz

MOChassid posts about appropriation of Shlomo Katz's song "Niggun Nevo". Check out the comments. There's a clueless one from someone calling himself "Gigging musician"

I respectfully dissagree with you.
It wasnt a hit till, as you call it "shiny shoe" guys made a more yeshivishe feel to it. These producers made it a hit. Much more people know the tune now than before, so who are you kidding?

As far as the royalties, give these guys some time. As you very well know the amount of money that goes into an album can make anyone tight on money, i'm sure they will get around to it(though i cant speak on their behalf, as i dont know them)

Jordan Hirsch takes care of this one pretty well. (Ayin sham!)

It's pretty obvious that "Gigging Musician" doesn't play on the YU/NCSY circuit much. Shlomo's songs "Niggun Nevo" and "Shabbos Kodesh" were being requested before Shlomo's album was released and well before the Brooklyn JM guys recorded their "yeshivishe feel" arrangements.

In general, there's been a trend wherein the Brooklyn JM artists cop the material that's been picking up in YU/NCSY circles and bring it into their circuit. There's nothing wrong with choosing proven material that way (the cross-pollination works both ways) but pretending that they "made" the songs hits is delusional. And of course, they should pay royalties. In this case, it's especially ironic that one of these performers didn't pay royalties for "Niggun Nevo", given that it was a last minute add to his CD to replace a different track (Rabbi Menachem Goldberger's Lecha Dodi) he'd recorded, but ran into trouble over.

Other songs that went the YU-Brooklyn circuit route include several of the Carlebach revival hits like "Niggun Neshama", "Ki Va Moed" and "U'fduyei".

From the mailbag...

Robert Miller writes:

This is displayed at the Lazer Beams site (left hand column):
Or BaLev - Light in the Heart- Erez Levanon, hy"d
This is the CD that we've all been waiting for, the musical legacy of Rav Erez Levanon of blessed and saintly memory, who was murdered by terrorists in March, 2007.

Hillel Fendel writes:

Shalom. A Google search for "stanley miller band" sent me to your site, but I'm not sure how to get in to participate. Do you or some of your writers know how I can hear his records? I have one great song taped from 30 years ago - Ten Shabbat V'Ten Shalom - but I would love to hear the rest. Any info would be appreciated, including contact info for the guy who wrote that he once played for them.

Judging by emails received, it appears that there's some interest out there in a reissue of the Stanley Miller Band recordings on CD or mp3.

Yerchmiel Altizio of Merkavah writes:

BS"D
Thanks for the review. Very accurate and honest.
Thanks for the suggestions for improvement!

Heshy Rosenwasser writes:

I have to ask a pointed question of every current "JM" artist and producer:

WHAT IN THE WORLD IS UP WITH THIS EXCESSIVE USE OF "AUTO-TUNE"???

It seems like every artist in the Jewish Music genre has fallen prey to the use of this not-so-new technology! When used properly, it can correct notes that have gone sharp or flat, which can be a boon to singers with less than perfect pitch (and as such, I admit I've used it too). However, when you crank up the levels on this effect, it erases all the bent pitch that's supposed to be there between the notes and makes the vocals themselves sound thinner, with the result that the singer sounds like the "Borg" in the Star Trek films.

You've heard it before:
Do you believe in life after love
I can feel something inside me say
I--r-e-a-l-l-y--d-o-n-'t--t-h-i-n-k--y-o-u-'r-e--s-t-r-o-n-g--e-n-o-u-g-h, no

It's as if some JM producer had heard that Cher song about ten years ago and the light bulb went on over his head: Why don't we use that too? It would be so cool! (Besides, there isn't anything halachically wrong with it ... is there?)

And now, whenever I turn on the "JM in the AM" radio show, EVERYBODY AND THEIR BROTHER IS OVER-AUTO-TUNING THEIR VOICE! Everyone from the Yeshiva Boys Choir to this new Israeli guy Ohad, whose excessive use of it is particularly offensive.

I am not an artist in this genre, but I am a Jewish musician with an appreciation for Jewish music, and as such I'm calling on every single producer and artist in Jewish Music today:
S T O P USING AUTO-TUNE FOR DRAMATIC EFFECT! IT DOES ABSOLUTELY NOTHING TO CONVINCE US THAT YOUR SINGER HAS A GOOD VOICE! ON THE CONTRARY, IT MAKES YOUR VOCALIST SOUND LIKE A ROBOT, AND IT GIVES THE IMPRESSION THAT HE REALLY DOESN'T KNOW HOW TO SING!
Let your singers shine while using their REAL voices! Use the technology SPARINGLY and JUDICIOUSLY!

'Nuff said! Now back to our original programming.

Heshy Rosenwasser

a/k/a THE HESH INC. - Musician, Artist, Writer
www.myspace.com/hesh

Psachya forwards a JWR article: 'All about me' Weddings.

Alejandro Agdamus writes:

Hi, I'm Alejandro from Argentina. I was trying to download freely the sheet of Mahshav by John Zorn but I didn't find it at the web. Doesn't matter if it is for piano or other instrument. I just want the bass line and the melody. (I'm not good with english) ¿Do you know any site where I can download it from? Thank you very much.

I'm not aware of any commercially available Zorn transcriptions.

Mordechai Shinefield forwards a link to his music column for AJL.

A Simple Jew forwards a link to "Question & Answer With Yoni Lipshutz Of Simply Tsfat - Im Atah Ma'amin."

Finally, someone [names omitted to protect the guilty] wrote:

I cam across your blog and thought you might like to hear [redacted]. You can see some video and hear mp3s at [redacted] Also more videos at[Redacted]. I hope you enjoy

I'm always happy to link to JM artists. But, if you've sent in a link and we've posted it, sending a virtually identical email a few months later is pushing things. Especially if you haven'tbothered to acknowledge the earlier link.

6/7/07 Link Dump

AP reports that 1,683 guitarists got together to play "Smoke On The Water." Afterwards, they played the "B" section of Keitzad Merakdin.

Jewish Rock sampler with clips from Eitan Katz, Aaron Razel, Elyon, Yehuda Green, and HaMakor.

Get your SoCalled mp3's over at Jewschool.

The Police 'suck!'

Bob From Brockley posts some World Music/Jewish Music clips. Neat stuff! The Maurice El Medioni disc sounds good.

Amazon has it here:



I have Maurice El Medioni's "Cafe Oran" disc. It's great. Frank London and Dave Krakauer guest on it.

Amazon has that disc here:



Apple is hiding user ID info in their non-DRM tracks also.

Chaptzem Blog! reports that the Vishnitzer wedding hall in Boro Park has been sued and will cease operations after fulfilling its current obligations. The opening of wedding halls on residential blocks is a huge problem.

The Jewish Week reports on a Bat Mitzvah girl who donated $20,000 of her Bat Mitzvah gift's to Zichron Menachem's music therapy program for young cancer patients. Just beautiful!

Tzadik has left the building eMusic.

Heichal HaNegina posts about R' David Zeller's passing and about some new Carlebach-esque musicians.

The J-Post profiles the Cohen family in "It's A Family Thing."

Steve Vai: Bulgarian Wedding Guitarist?

Finally, J-RockerRabbi Seth Nadel has started a Torah blog.

From the mailbag... - Updated

Jordan writes:

I agree with you regarding the quantification of a halachik process on these issues. As you quoted, my agreement with R' Belsky is on a Hashkafic level. It seems to me that one of the biggest challenges in discussing the issur of music during sefira is that the halachic information on it pre acharonim times is mushy at best, and rather limited. Most of what we regard as halacha during aveilus, sefira, or maybe even the three weeks is minhag, albeit strongly held minhag.

Personally, I think any article addressing these issues, especially one purporting to represent "the halacha" needs to express precisely this point.

Sara Elan writes:

At the shul dinner for Cong. Tiferes Yisroel (R' Menachem Goldberger's shul) on Baltimore, Rabbi Goldberger performed with Pey Dalid. The shul website has a short video clip. I think you will like Rabbi Goldberger's comment!

Hey, another rabbinic endorsement!

Psachya writes:

Your "eye-contact guy" reminded me of something that happened to me on a recent gig. I was hired by one of my regular bandleaders to be a one-piece band at the bar-mitzvah of a mutual friend's son. I had just started playing when a fellow walked right up to the bandstand, stared at me, then waved his hand dismissively and walked away. "Nice," I thought. A couple of minutes later, the guy walked back up and stared for another few seconds. Finally, he spoke.

"Y'got a name?" he asked.
"Yeah," I said, not wanting to give way.
"So, nu?" he said. Now I was a bit ruffled.
"Psachya," I said. "It's Psachya."
"Okay....Psachya," said my tormentor. "If you won't give out your own business cards, maybe you'll give out these!" He then slammed a pile of business cards on top of my keyboard.

I did a double-take. I finally realized that "Mr. Eye-Contact-Guy" was my boss for the evening, who had shaved off the beard he'd had for as long as I'd known him! He noticed that I didn't recognize him, so he decided to mess with my head. I totally lost it. For the rest of the gig, every time I saw him I got an uncontrollable case of the giggles.

J. writes:

I think some type of classified is a great idea!

There's been some interst in this concept. I still don't want to manage these, though. As a trial, I'd consider linking to individual for sale posts on craigslist or elsewhere. Send me an email with your name and the ad link and I'll post it. Let's see how it works.

E. comments on a new Sameach DVD release:

for only 20 bux plus tax you can own your very own copy of someone elses choppy home movies set to to Miami Boy music! Here's the link.

I don't get it either. I also don't get why they're releasing the Chazak video either. Gruntig comments on the video here.

Update: Sruly writes:

In regards to the Meet the Family DVD:

"There are only a couple musical segments on the DVD. The rest is actual stories based on books published by Feldheim Publisher by a popular Jewish children's author, Libby Lazwenik. The DVD is 45 minutes long, I think if you want to pose such questions its best to actually have bought and watched the DVD in full."

In regards to the Chazak Concert DVD:

The Chazak concert was already released many years ago on video and CD. This is the first time it has been released on DVD. It's no longer available on video or cassette, it's a popular item and stores were asking for it to be transferred to DVD"

He also emails the full description of the "Meet the Perlowitz's video.

Based on best-selling author Libby Lazewnik's popular tales, each of these stories will delight and captivate every young heart - and the young at heart, too! Introducing, for the first time ever on video, stories plucked from the life of the family you love to read about -- the Perlowitzes! Join Sruly Perlowitz as he learns a painful but ultimately heartwarming lesson about friends and family. Cheer for Mutty as he finally learns to stand up for himself in Mutty Takes a Stand, And, in the perennial favorite, Out in the Cold, discover how an unexpected encounter on a dark, chilly night can change one lonely boy's life forever. Special bonus features included: Music video, bloopers, behind the scenes and a preview of Volume 2. (Running time: 45 minutes)

"Lucky Wolf" writes:

you're on the money, except that it's not the Miami boys choir, it's the Yeshiva boys choir.

Avi Septimus writes:

For all the lovers of Modzitzer niggunim and Torah, there is a Yahoo group with news, pictures, and best of all, niggunim. Link here.

I spent Hoshana Rabba, Simchat Torah, and a few Shabbatot by Modzitz in Bnei Brak. Quite an experience!

Amos Shacham, internet director for the Israelli Consulate writes:

I just wanted to bring to your attention to our new all political Blog. This is the official political Blog of the state of Israel. It's edited by our team of young professionals here at the Israeli Consulate in NY. Let us know what you think?

Here's the link to IsraelPolitik

In Review:" Merkavah", "Refuge Rock Sublime", and "A Night In The Old Marketplace"

Off the review stack...

Merkavah - When Will The Master Come?

Merkavah's debut disc on JMG, "When Will the Master Come?", is essentially a one-man-show featuring guitarist Yerachmiel Altizio who plays virtually all of the instruments excepting drums, played by Rich Bloom, and woodwinds, played by Mike Fuerstein. He also sings on some of the tracks. Despite all of the multi-tracking, Altizio successfully captures the sound of a live jam band. In addition to singing, Altizio does some Matisyahu-esque toasting on some of the tracks. He does this at least as well as Matis, if not better.

The tunes are mainly well-known Chabad nigunim, although there is a cover of Dov Frimer's Al Hanisim and a well-known melody for Ashreinu associated with the anti-Chabad movement in the '90's. The music is high-energy. The disc also has a few short tracks with Torah thoughts from Rabbi Goldberg, Rosh Yeshiva at Yeshivah Hadar Torah, where Altizio is currently studying.

One thing I noticed listening to this project is that the songs all sound much the same. They typically start out with a groove, followed by the head --typically a Chabad melody either sung or played on guitar -- followed by an extended jam section, and then the head again to end. Some more variation in arrangement, groove, tempo, and style would go a long way towards making the project as a whole more interesting. The guitar tone uses a very distinctive sounding effect (sounds like an envelope filter/wah) too much. More variety in the guitar tone would have added a lot too. The keyboard parts and the sounds used to play them, especially the organ, don't grab me either.

I'd consider this a good demo CD of Altizio's concept. There are some interesting ideas, but they really need a band to flesh them out. Adding a good keyboardist and/or some other soloists would kick the musical energy up a lot.

Merkavah's MySpace page is here.

Amazon has the album here:




Mare Winningham - Refuge Rock Sublime

Mare Winningham is an Emmy-award winner, and Academy Award nominee, and has been making guest appearences on Grey's Anatomy and Law & Order. She's also released "Refuge Rock Sublime", an album of Jewish country-bluegrass music. This is a very acoustic sounding record with lots of fiddle, guitars, mandolin, and banjo.

Most of Winningham's lyrics don't grab me, but the production and feel is very pleasant. Interesting tunes include album opener "Valley of the Dry Bones" and her covers of "Karev Yom" and Tanchum Portnoy's setting of "Etz Chayim".

Her website is here. There isn't much there, but there is a music video for 'Valley of The Dry Bones."

Amazon has the album here:



Frank London's "A Night in the Old Marketplace"

This is a deep album. I've been a fan of Frank London's work for years. "A Night in the Old Marketplace" is his score for a musical based on I.L. Peretz's Yiddish ghost story "Bay Nakht Ayfn Altn Mark." Lyrics are by Glen Berger.

"Night" features compositions and arrangements performed by a four-piece band and numerous guest vocalists. The musicians are Ron Caswell on tuba and bass, Brandon Seabrook on guitar, banjo, and mandolin, Art Bailey on keyboards and accordion, and Aaron Alexander on drums. Interestingly, London doesn't play on this project.

The music is deeply Jewish. A contemporary cabaret in the shtetl, if you will, blending myriad influences, Jewish and other, into a compelling brew of Yiddish Theatre for the 21st century. This is a dark story though, so don't play this one for the little ones unless you want to answer lots of questions.

The story in short: Sheyndele commits suicide by jumping into the well after being married. Her husband becomes a recluse.

Nosn, her true love, has visions of Sheyndele and remains in love with her.

The Recluse debates with the Badkhn and urges him to repent. Instead, the badkhn attempts to raise the dead and reunite the lovers with the help of the Gargoyle guarding the well.

According to legend, the Gargoyle once lured a band of klezmorim returning from playing a Shabbes gig to their deaths in the well. Divine punishment, perhaps?

The Badkhn waits until midnight and attempts to awaken the Gargoyle and summon the spirits from hell so the lovers can be reunited.

After an argument between the Badhkn and Gargoyle, the dead klezmorim are raised and play as the dead are raised.

The lovers reunite in a black wedding at which the badkhn whips the assembled into a frenzy urging them to live again.

After being rebuked by the recluse, Nosn dies, the dead return to their graves, and the Badkhn regretfully awaits the sunrise.

According to London, "A Night in the Old Marketplace" will be staged in Philadelphia soon.

Standout tracks include "The Bottom of the Well", "The Tale of the Drowned Klezmorim", "A Word", "Meet Me in the Old Marketplace", and "The Ten Faces of G-d", but the whole project is great.

About some of the songs...

The album opens with "The Bottom of the Well", a zhok performed by vocalist Susan McKeown, who also participated on the Klezmatic's Grammy-winning album, "Wonder Wheel." The song tells of the aftermath of Sheyndele's suicide. She now rests at the bottom of the well.

"The Tale of the Drowned Klezmorim", performed by Joanne Borts, tells of a band of musicians punished for performing on Shabbes:

For their punishment was swift
And how very like the nature of their sinning
Though they strayed off of their path
At the end of the night
They had already strayed
At Night's Beginning...

In "A Word" the Badhkn, sung by Manu Narayan, tries to remember "a word for changing everything."

The Gargoyle invites the dead to return in the waltz, "Meet Me in the Old Marketplace" performed by LaTanya Hall.

"Make your way, Purgatory is open today.

"The Ten faces of G-d" explains the Kabbalistic concept of the ten faces of G-d and asks "when can a broken glass mend?" The vocalists are Martha Cluver, Karen Goldfeder, Silvie Jensen, Matt Hensrud, and Steve Hryclak.

In the closing number, "A Tavern in Pinsk", "They Might be Giants" sing of the dead who are waiting in a bar for Moshiach's arrival.

In addition to the vocalists mentioned above, the Klezmatics' Lorin Sklamberg and Shudder to Think's Craig Wedren also appear on the album. Sklamberg sings on "One Prayer, One Lullaby" and "It Doesn't Matter" while Wedring appears on "Nosn's Vision."

Rokhl Kafrissen wrote about the project here.

The CD is out on Soundbrush. Their website is here.

Amazon has the album here:

From the Mailbag II (Acapella edition)

Jordan comments on "Back This Up? R' Belsky on Sefirah Music":

I happen to agree with his view on a hashkafic level. If you believe listening to recorded music during sefirah is assur at all, what difference does it make which instrument, the human voice or trumpet, is making the music. Also, he mistranslated a capella.

The problem I have in understanding this logic is based on the distinctions Rav Belsky makes between different kinds of acapella music. If he'd assert that all acapella music recordings are forbidden, it'd be consistent, it seems to me. (It'd still be a hashkafic as opposed to halachik argument.) As it is, although I kind of have a sense of what he's opposed to (I think), his distinctions seem arbitrary.

For instance, with regard to EQ (since he specifically mentions it being a problem). What about proximity effect on microphones? By getting closer to most mics during recording, the vocalist increases the bass frequencies beyond what the ear would typically perceive the voice's frequency range to be. How far from the mic does a vocalist have to stand for the resultant recording to be permissible? Presumably there would be a different distance for each mic depending on its frequency response, the recording space, etc. How would Rabbi Belsky address this issue? Do we need a rav hamachshir on mics issuing the "Complete Guide to Sefirah Mic techniques" specifying acceptable distances for each of the commonly used vocal recording mics?

In short, without a clear understanding of the recording process (something it is evident Rav Belsky does not have based on the descriptions in this article), and without sources, it seems like Rav Belsky is trying to quantify a highly subjective feeling without accurate information. I suppose that's an approach for deciding one's personal beliefs, and for those who look to Rav Belsky for hashkafic advice, kol hakavod for following your rav's guidance. However, publishing this without sources as a normative halachik ruling in a newspaper seems anti-intellectual to me.

In the old days, the halachik process used to work by Rabbonim writing sourced teshuvos explaining their opinions. Over time, through point and counterpoint in writing (and/or in publivc presentations), with sources and logic that could be studied and reviewed, a halachik consensus often emerged (e.g. using electricity on Shabbos). Even in situations where no halachik consensus was reached, the sources and rationale for the varius positions are available to be studied and analyzed (e.g. brain death and organ donation). There are some notable exceptions (i.e. Divrei Chaim on machine matzos), but for the most part the system worked as I've described.

Nowadays, though, we seem to have evolved into a system where pronouncements are made without the need for this "pilpul chaverim" to take place. Sources are not required and general assertions that "the gedolim feel", "all leading poskim hold", and the like are made instead. One example would be the acceptance of Rav Falk's tznius book "Oz V'ahadar Levusha" as a standard text by many in the black-hat community. This despite the fact that many of Rav Falk's opinions are not sourced (or are not supported by his sources) and are hashkafically-based rather than halachikly-based.

Note, my intent is not to attack either Rav Belsky or Rav Falk, who are both tremendous talmidei chachamim; just to note that in the cases I've mentioned, they seem to be ruling without explicating their sources (if they exist). This effectively prevents a "pilpul chaverim", an intellectual approach to discussing these matters and understanding the issues involved.

I would love to see a teshuva that addressed the issue of listening to acapella music during Sefirah and the Three Weeks. I think it'd be a fascinating read. I believe that little work has been done in the area of applying halachik precedents to issues involving music technology. And, I think that interesting arguments can be made on both sides of the issue. Unfortunately, the teshuva I linked in my earlier post missed this opportunity.

From the mailbag...

Aaron writes:

I would like suggest something..is it possible top have an area on your blog where we can post Gig equipment for sale..like a classified type thing. Heck I got two Duovox amps I'd love to sell but who is buying that aside from us guys!

I'm not interested in maintaining classified listings, but if people are interested, perhaps we could figure out a way to have a post with comments wherein people can post gear for sale. Let me know if you're interested and if enough people are, I'll see if I can set something up.

A. comments on "So, You Wanna Be A One Man Band?":

Bad taste shouldn't be an issue, the man obviously cannot count to two!

It's the new math! Basically, so long as there's no drummer, it's a one-man-band. Note: trap set drummers only, percussionists do not count as a drummer for these purposes.

Psycho Toddler forwards a link to "iPod, Therefore I Am."

E. forwards a link to an article about Blue Fringe and Rashanim.

Amazon has albums by those bands here:

So, You Wanna Be A One Man Band?

Here's what you'll need:

1) An auto-arranger keyboard.

2) A PA with sub-woofer.

3) A "Zinger." "Srully Reverb" or other.

Finally, to ensure that the wedding guests can find out who is playing w/o having to come over to the band, you'll need a small, subtle, and tasteful sign with your band name and contact info.

Back This Up? R' Belsky on Sefirah Music

Had a convo about so-called "Sefirah music" recordings with a rav. When I told him that I'm interested in seeing some actual responsa addressing the subject, he told me Rabbi Belsky wrote a teshuva about it and gave me the following column.



Only problem is, this contains many assertions (halachically and musically) without sources. There is clearly some misinformation in what he's been told about the recording process, about human beat-boxing, and vocal bass singing. (See Bobby McFerrin and Rockapella for just two counter-examples.)

Does anyone have any sources for Rav Belsky's implication in his opening paragraph; that Pesach cake, for example, ought not be permitted?

Who are the "gedolei rabbonim" who have ruled that these recordings should not be listened to during sefirah and the Three Weeks? Have any of them written teshuvos about this topic? Do any of them distinguish between sefirah (a relatively recent minhag, not sourced in primary texts, as acknowledged later in the piece) and the Three Weeks?

What is R' Belsky's source for asserting that the first of his three categories of acapella has the halachik status of instrumental music? The second? Alternatively,if those are prohibbited why is the third category permitted? Would it make a difference if recordings in the third category are made by trained singers vs. untrained amateurs?

What are the parameters be to determine what is/isn't acceptable? In other words, what's the dividing line between types two and three?

I've been looking for sources to back up these commonly made assertions, but have yet to find any. Without sources, Rav Belsky's teshuva reflects a hashkafic approach, but is not compelling on a halachik level. I've asked this in the past. Is anyone aware of a halachik argument opposing "sefirah recordings"? Perhaps even Rabbi Belsky's for this column?

More Peeps...

Here are some more characters we met recently...

"Eye Contact Guy"
"Eye Contact Guy" is the person who leans over the piano to make expressionless eye contact with the pianist. When the pianist smiles, nods, or otherwise acknowledges his presence, he turns away without responding. Nice.

"Yiddish Song Lady"
Similar to the woman requesting "Fiddler' at an Uncle Moishy show, the "Yiddish Song Lady" believes that all any party needs is for the band to play a rousing chorus of "By Mir Bist Du Shein." in her opinion, this is what makes for a rocking party. That the average age in the room is 18-21 and the crowd has been singing along to Blue Fringe tunes, goes unnoticed by this remarkably clueless woman. (Yes, it's always a woman!)

"Mr. Bluetooth"
"Mr. Bluetooth" defines his self importance by the fact that he has... you'll never believe this... a wireless earpiece for his cell phone. He carries himself proudly, making sure all can notice his awesome accessory. Um, hello! It's like, a wedding. Of someone you presumably care about. You can take your Bluetooth earpiece out, you know. It won't hurt, promise. No guarantees about not suffering withdrawal though.

"The Friend of the 98 Year Old Man."
This peep shleps the 98 year old man around and intruduces him to everyone at the party. The patter is the same. 'You know how old my friend here is?" You'll never guess. He's 98 years old!" Can you believe it?" Rinse and repeat. I suppose a 98 year old friend in good health is a hipper accessory than a Bluetooth earpiece, but really, have a little rachmones on the old man and let him sit down for a few.

5/15/07 Link Dump

There will be a memorial event/concert for klezmer clarinetist Sid Beckerman, son of legendary klezmer musician Shloimke Beckerman, on Monday, May 21 at 8pm at the Congress for Jewish Culture, 25 E. 21st St. in NYC. Margot Leverett and Pete Sokolow will be performing. Sid passed away on April 4th.

Margot, whose wonderful CD, "The Art of the Klezmer Clarinet", was dedicated to Sid has posted some thoughts here.

The Klezmer Shack posts Henry Sapoznik's obituary for Sid.

Yitz went to hear a famous chazzan last Shabbos and asks "Was it Davening?"

Unsurprisingly, Teapacks is out of the Eurovision competition.
Kesher Talk posts some video clips of interviews with Teapacks.

The Jerusalem Post reviews Bahatzi Halaila 4.

Ultimately, the experience of listening to Bahatzi Halaila must be a lot like the feeling of zooming down the highway inside a big, sticker-covered van filled with reveling, newly religious Breslov hassidim.

Seraphic Secret reviews the Yeshiva of Flatbush High School choir release, "Y'hey Shalom".

Finally, LIFE-OF-RUBIN posts a JM roundup including a video clip of the original version of "Daddy Dear".

From the mailbag...

Psycho Toddler writes:

Speaking of myspace…

I am experimenting with music download marketing since CD production doesn’t really pay for me.

Kabbalah and Kabbalah Classic are available for download with secure payment through Snocap at www.myspace.com/kabbalahband

This is the only way to get these albums. Songs can also be purchased individually, and there is a “bonus” track called “Shivti” written by Izzy Botnick on the Kabbalah Classic album. It also features a redo of “Or Chadash” with Lenny Solomon on organ.

I wasn’t sure how/when to market it, but it seems JM marketing is back in swing after Lag Baomer.

Here’s a graphic if you want to use it.

Kabbalah was banned at the high school I attended. If not for that, I'd likely not have heard of them.

Mrs. C writes about the Mheira karaoke request:

If you find out where or how, could you please post it to the website.

Meanwhile "MusicMaaaker" writes:

You can let him know that for some gelt I will gladly make him one. Tell him to email me if interested.

Delia Spiers forwards a link to her MySpace page, www.myspace.com/kolishadelia.

"You Owe Me A Job!" Valid or Not? Part X

A while back, I ran a series of posts titled "You Owe Me A Job!" Valid or Not? In those posts, I presented a number of scenarios and questions and pledged to offer my perspective at the end of the series.

Due to issues with the switch to new Blogger at the time, writing posts with links became difficult and the subject slid of the front burner. Recently, there's been some interest in those posts again. At any rate, after a long hiatus, here's my take on the issues raised.

First, with regard to when private individuals hire musicians/bands, I believe that nobody is owed a job. Sure it'd be a nice gesture of hakaras hatov if the people who used a musician or band for their last event would consider using doing so again, but there is no obligation to even consider doing so. I believe the individual has the right to spend their money as they wish, and no musician has the right to expect or demand that they be hired. (I mention "demand" because I'm aware of situations where such has happened. In one case, a former roomate of mine backed out of a commitment to use my band after his shadchan called him up and said "after all I've done for you, you owe it to me to use my cousin "X", who was a Neginah bandleader".)

That being said, it would be nice if individuals would take certain factors into account when deciding which bands/musicians to use for their simcha. Obviously, one factor is past service. Additionally, most of us run into situations where a musician has done a chesed for our family member/friend/neighbor etc. They may have played in the hospital for a sick nephew, played a wedding for free to help out an impoverished neighbor, or played shul events at a very reduced rate. It'd be nice if people took this into account, but I don't have a sense that this occurs often. It's interesting. Big corporations will give tons of money to various charities and to support the arts, and justify doing so to their shareholders, on the grounds that it is good for business, because the goodwill engendered will attract customers. Shouldn't the frum community respond that way as well, on the individual level? I'm not suggesting that there's an obligation to hire these musicians, but I do think it'd be appropriate to add them to the list of musical options under consideration.

I have a different opinion with regard to Jewish institutions and organizations who ask for discounts/freebies. If an organization hires a musician/band at retail, than the same applies as above. If not, though, then I think that organizations which ask for our support ought to reciprocate. If you can ask me for money or to donate my services, than you ought to consider hiring me when music services are needed.

I think that Jewish organizations ought to keep a number of factors in mind when hiring music for an event.

The questions they should ask themselves are:

1) Who played this event last time?
2) Which musicians have donated time/money/performances in the past?
3) Who is offering the best value?

I don't think the answers to these questions are necessarily dispositive, but they all are owed strong consideration. In my experience, this often doesn't happen. In my own career, I have seen many times how organizations skip over their volunteers when it comes time to hire someone. I've also seen how new people in a position will not remain loyal to musicians who may have been playing a given event for years at a discount, for example.

Here's one example to illustrate. I have a fifteen year plus history with one organization. I've been playing free events for them for years. A few years ago, I started charging them a small fee for one event for which my commitment had cost me paying gigs a few years running. I made less from them for putting a small band together,driving to a hotel upstate, and playing the gig, than I'd make booking a single locally. Yet, as soon as my contact switched jobs within the organization, I lost the gig. From a financial standpoint, I'm not sorry to have lost the gig (indeed, I'm already ahead of the game financially, even if I don't get the gig for another few years) but on a personal level, it felt like the organization had no hakoras hatov for all the years I did that event for them. There were times when I played that gig despite having either personal commitments or a full day of gigging that began early the next morning.

I should note that much of this neglect occurs through a lack of "simas lev" on the part of the organizational/institutional leaders. They just don't think about these issues.

Jordan mentioned a shul showing courtesy to a member. As a concept, I think that's exactly right. I believe that shuls should consider hiring their members first for any service they might need.

"Sonoomee" commented:

The thing that DOES stick in my craw, is when an organization will call you to play every Tzedaka job they have, and never hesitate to ask you to play for free (we are a Charity organization and have no budget), which you graciously do...but when they finally have an event where there IS a budget (IE Dinner, concert fundraiser etc.) They hire someone else!?

Especially when the person they hire has not volunteered for the organization and many other musicians have! This has happened to me as well.

To address this scenario:

A scenario: If a DJ or band approaches an organization and offers to play an annual event for free, is it fair for the organization to drop the band/musician they've been using consistently for years, even though the free offer is predicated on the fact that should they be satisfied, they will they will be charged going forward? In other words, do they owe any loyalty to the band whose been doing the job for years, to not try out their competition, since no one can fairly compete at that price point ($0). If you think yes, would your answer change if the original bandleader also does pro-bono work for the organization throughout the year?

Personally, I think that it is definitely assur to poach clients in this way. It's wrong whether its a Neginah rep trying to get YU gigs away from Neshoma (as has happened) or a DJ trying to get school gigs away from "Yankel One Man Band" (as has also happened). I can see why such an offer would be appealing from the institution's perspective, but I think the right thing to do would be to pass. At the very least, they should talk to the regular musician/band before accepting such an offer.

With regard to the UJA scenario, I think the building manager is 1000% right. An organization that won't consider suppliers from within it's own constituents has no right to ask -- and certainly not to expect -- any favors from said constituents.

On "To Catch A Thief!"...

In this case, I think the school owed me something. I put a lot on the line for them, and the seeming lack of acknowledgement of that has been disappointing, especially since they need musicians regularly and they needed to put a new person in charge of hiring them. If nothing else, they knew that I'd burned a bridge by turning in an acquaintance, and they ought to have followed up on that level just to let me know what had happened. I eventually wound up calling them to find out what the consequences had been because it was inevitable that I'd run into him again (I already have) and I needed to be prepared to address the situation.

That said, if the same situation came about again, and I knew the school wasn't going to ever hire me again, I'd still handle things the same way. However, the fact that they have never called me feels like a lack of hakaras hatov.

In this situation, my opinion is that the bandleader ought to have waited a day for me to get back to him. In general, when I call musicians for gigs, I wait for them to get back to me before calling another musician for the slot. If it's for a last minute gig, than I say so explicitly in the message that I'll be calling other musicians as well.

As far as loyalty goes, I led a darn good job for him, and it'd been nice to get the call again. Had he chosen not to call me though, that would have been his perogative. Calling me and then not waiting to hear back is insulting, IMO.

On this story, much the same applies. I think it's only right for organizations to show hakaras hatov as I noted above. In this particular case, I have discovered over the past few years that this individual is manipulative and dishonest. So, I'm not really interested in doing any work for him. I've noticed that very often, in organizational life, there are no checks on people in certain positions, and these kinds of people tend to fill those slots. Usually, it takes a scandal to dislodge them.

Finally, with regard to my last post in the series...

As far as the Shul goes, I think they owed me consideration for the job, as Jordan noted in his comment. I don't think they owed me the gig because of my volunteer work there; I think I was owed consideration as a member.

As far as the national organizations go, my position is as above.

Finally, with regard to the school, I think at this point (10 + years), it'd be nice if I didn't lose the gig every time a new DSA takes over.

On a related note, a school I'd played at for 13 years stopped calling this year. This past week, I found out that they'd hired a new Rebbe who is also a musician. I used to play five to ten gigs annually for them on Rosh Chodesh and the like. Of course, they're entitled to hire whoever they want, and it makes sense to have a rebbe provide the music. However, it'd have been nice if they'd called to let me know that my servcices wouldn't be needed before the school year, so that I could line up another school, instead of leaving it to me to figure out.

The common thread connecting these issues is a lack of hakaras hatov which is mainly due, IMO, to a lack of simas lev. Our institutions don't express it properly. Sure, they give the big donors honors and awards. However, the people who help out in other ways often go unacknowleged.

Bottom line, I'm not upset or angry about most of the above cases, but I am disappointed. It isn't about the money; it's human to want to be appreciated. I don't think the status quo relects well on our community. If this series helps to raise awareness at all, it'll have been worth it.

In closing, Jordan's comment on the first post in the series makes an important point.

...But if we place an overabundance of attention on our rights, whether real or imagined, we miss the big picture. We will not book any more jobs, really. We will turn off clients. And we will just give ourselves heartache, in a business that's supposed to be fun.

Previous posts in this series can be found here:

Blog in Dm: "You Owe Me A Job!" Valid or Not? Part I
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part II
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part III
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part IIII
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part V
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part VI (To Catch A Thief!)
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part VII
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part VIII
Blog in Dm: "You Owe Me A Job!" Valid or Not? Part IX

Today's Moment of JM History

Just read Velvel Pasternak's "Beyond Hava Nagila". He's got an interesting history about the song "Tsiyon". (It's in the Gourarie book in the smorg section.) According to Pasternak, the original lyrics were "Chasdei Hashem". When some yeshivah bochurim were jailed for firebombing a pornography shop in Jerusalem, protesters sang te song with the lyrics "Tziyon halo sishali lishlom asirayich?" and that version caught on. The rest, as they say, is history..

Amazon has the book here: