Tuesday, July 31, 2012
Shlock Rock On Broadway
Lenny Solomon has launched a Kickstarter campaign for Daniel in Babylon - A New Musical!.
Monday, July 30, 2012
WWTCIS?
What would the Chazon Ish say? Incidentally, it is highly unlikely that the Chazon Ish composed the song.
More on that here.
More on that here.
WSJ Discovers The Wheel
The title says it all: At Some Happy Events, 'Hava Nagila' Isn't Invited
Sadly, they missed an opportunity to explain the "Freyg Nisht" scale.
Sadly, they missed an opportunity to explain the "Freyg Nisht" scale.
"Beat It"? That's The Best You Could Do, Adam?
The Jewish Week reports about Rabbi Greg Wall leaving Sixth Street Synagogue in "East Village’s Musician Rabbi To ‘Beat’ It."
Oy, Adam! He's a jazz/Jewish musician, not a pop star. Even "Hit The Road" would be more on target.
The loss of the space and community Greg built around Jewish arts is disappointing. Hopefully, he'll find a better-suited venue to continue inspiring both Jewish literacy and Jewish arts.
Oy, Adam! He's a jazz/Jewish musician, not a pop star. Even "Hit The Road" would be more on target.
The loss of the space and community Greg built around Jewish arts is disappointing. Hopefully, he'll find a better-suited venue to continue inspiring both Jewish literacy and Jewish arts.
Post-Haste Videos
New Zorn Book of Angels CD out.
This one features Shanir Ezra Blumenkranz on gimbri. Nice! Check it!
While we're videoing... Here's a music video, "Yonatan Hakatan" by "Cham Umechamem".
This one features Shanir Ezra Blumenkranz on gimbri. Nice! Check it!
While we're videoing... Here's a music video, "Yonatan Hakatan" by "Cham Umechamem".
Friday, July 27, 2012
Happy Holiday to my Yekke Friends!
I know you guys look forward to this all year...
Eli Tzion sung by Rona Keinon (w/ a melodica solo too.)
Eli Tzion sung by Rona Keinon (w/ a melodica solo too.)
Thursday, July 26, 2012
Anti-Semitic Hard Rocker Joins Greek Parliament
The Forward reports in "Neo-Nazi Sworn in as Greek Lawmaker."
Tuesday, July 24, 2012
We've Got Ruach, How About You?
From the mailbag...
Yehoshua writes:
Yehoshua writes:
I am looking to buy/download old Ruach albums (Ira Silver/Shmoo Klaver) and I ended up on your blog through google. Do you know of anywhere that they are available?Anyone know if these are available?
Thanks in advance.
Monday, July 23, 2012
Digression on the History of Jews and Black Music
Here's a track from "trombonik" Jacob Garchik's new project. Whole lotta multi-tracked horns. All played by Jacob. Sweet! Here it is. Digression on the History of Jews and Black Music
Sunday, July 22, 2012
Thursday, July 12, 2012
Gear Review: Boss FV-500L Volume/Expression Pedal
I've been using a Roland EV5 expression pedal for the past few years. It's worked fine with my Roland boards, and when I switched to Kurzweil, it worked ok with them too.
Recently, the wire on my pedal (which is hard-wired to the pedal) started to fray, and instead of rewiring the pedal, I decided to look at other options. After reading that one of the techs who sets up Kurzweil setups for Broadway specs the Boss FV-500L pedal for all his setups, and has never had one fail, I decided to check it out. I haven't spent too much time with it yet, but so far, I love it!
This pedal is a huge improvement over the Roland. Here's what I like about it.
1) The throw is great, with a wider sweep than the Roland.
2) The resistance is adjustable.
3) The feel is great.
4) Solid build. Its metal instead of plastic.
5) Can be used as an audio volume pedal as well as an expression pedal.
6) The larger size and rubber grip means my foot doesn't slip off.
7) It's heavier, so the pedal doesn't slide around. It stays in one place.
8) It uses a separate cable, instead of a built-in wire, so you can easily swap out cables if one starts to go. (The Roland cable is permanently wired to the pedal, so if there's an issue, you can't just swap it out.)
The feature set includes stereo in/outs, an expression pedal out, a tuner out (to send your guitar signal to an external tuner), and a min/max adjustable volume pot.
The only issue I notice with it, is that when the pedal reaches the end of the throw, the sound of the pedal hitting the rubber stop is louder than I wish it would be. This is not an issue for live playing at stage volumes, so much as for practicing at moderate volume, where it can be distracting. It seems like it should be possible to put a very thin pad in to solve this problem without impeding the full range of the pedal. (I tested this quickly with a folded paper towel, and the noise was almost entirely gone.) I'll see what kind of more permanent fix I can devise.
If you're looking for an expression pedal for your keyboard, (or a volume pedal for your guitar) you might want to give this one a look.
Amazon has it here:
Recently, the wire on my pedal (which is hard-wired to the pedal) started to fray, and instead of rewiring the pedal, I decided to look at other options. After reading that one of the techs who sets up Kurzweil setups for Broadway specs the Boss FV-500L pedal for all his setups, and has never had one fail, I decided to check it out. I haven't spent too much time with it yet, but so far, I love it!
This pedal is a huge improvement over the Roland. Here's what I like about it.
1) The throw is great, with a wider sweep than the Roland.
2) The resistance is adjustable.
3) The feel is great.
4) Solid build. Its metal instead of plastic.
5) Can be used as an audio volume pedal as well as an expression pedal.
6) The larger size and rubber grip means my foot doesn't slip off.
7) It's heavier, so the pedal doesn't slide around. It stays in one place.
8) It uses a separate cable, instead of a built-in wire, so you can easily swap out cables if one starts to go. (The Roland cable is permanently wired to the pedal, so if there's an issue, you can't just swap it out.)
The feature set includes stereo in/outs, an expression pedal out, a tuner out (to send your guitar signal to an external tuner), and a min/max adjustable volume pot.
The only issue I notice with it, is that when the pedal reaches the end of the throw, the sound of the pedal hitting the rubber stop is louder than I wish it would be. This is not an issue for live playing at stage volumes, so much as for practicing at moderate volume, where it can be distracting. It seems like it should be possible to put a very thin pad in to solve this problem without impeding the full range of the pedal. (I tested this quickly with a folded paper towel, and the noise was almost entirely gone.) I'll see what kind of more permanent fix I can devise.
If you're looking for an expression pedal for your keyboard, (or a volume pedal for your guitar) you might want to give this one a look.
Amazon has it here:
Tuesday, July 10, 2012
What Is Freygish?
Musicologists, klezmer musicians, and J-music bloggers will try to fool you into thinking it's a unique scale and not just a mode of harmonic minor. That's just a story.
The real truth is that the term was popularized by a now-forgotton American clarinet player who once approached legendary klezmer clarinetist Naftule Brandwein to ask about the scale. "Freyg Nisht", the notoriously secretive Brandwein replied. Not understanding Yiddish, the hapless American took that as the name and shared his corrupted pronunciation of it, "Freygish" with all who asked. And that's why American club date musicians call it "Freygish. #DoIReallyHaveToLabelThisOne?
Update:
Apparently, I do have to label this one. It's fiction, folks. follow the link for more info about Freygish.
The real truth is that the term was popularized by a now-forgotton American clarinet player who once approached legendary klezmer clarinetist Naftule Brandwein to ask about the scale. "Freyg Nisht", the notoriously secretive Brandwein replied. Not understanding Yiddish, the hapless American took that as the name and shared his corrupted pronunciation of it, "Freygish" with all who asked. And that's why American club date musicians call it "Freygish. #DoIReallyHaveToLabelThisOne?
Update:
Apparently, I do have to label this one. It's fiction, folks. follow the link for more info about Freygish.
Monday, July 09, 2012
Music Video Monday
So the Grogger's lead singer is moving west...
And while we're sharing music videos... here's an oldie, but goodie... SoCalled and Theo Bikel rock Belz!
Sunday, July 08, 2012
From The Mailbag...
Gil writes:
Speaking of "Peeps"...How about the singer who checks his e-mail while performing? I recently saw it repeatedly at a wedding.
Joi writes:
I’m composing some Jewish ‘folk’ music with a Klezmer flavor. What’s a good piano rhythm pattern for the left hand to get a sense of the dance-like qualities of Klezmer? – My tendency is to fall into a latin rhythm, which I don’t want. Thanks for your ideas.I'd suggest listening to a lot of klezmer, and copping those rhythms. There are also some published piano arrangements like the Kammen folios and even the New York Times' "Great Songs of the Yiddish Theater" that would be good references to check out for sample piano accompaniments. However, there is no shortcut for listening to the music, and checking out how it was/is played by the pros.
Thursday, July 05, 2012
Wednesday, July 04, 2012
Not To "Veyn"
Poor-quality video of Guns N' Roses performing Hatikvah and "Don't Cry" in Tel Aviv.
Updated: Corrected G'N'R song title. Thanks, Leon!
Monday, July 02, 2012
Sunday, July 01, 2012
Still More Peeps...
"The Loser"
This peep is an interesting one. Someone will come over to the bandstand with a pair of car keys. A few minutes later, the "Loser" is there to claim them. A bit later, a cell phone is turned in to the bandstand. Guess who it beings to? That's right! The "Loser" is soon back to claim it too. A little later, he's back asking if anyone turned in a wallet...
"At Least He Goes To Minyan"
This peep breaks his teeth on the bracha he's honored with at Sheva Brachos. When he gets to the end, he confidently finishes it off "... Yotzer Hame'oros."
"The Repeater"
This scintillating character is invited to speak. Invariably he (for some reason, this offender is always male) will say something like "the next part of my speech was said twice already, but since no one listens to speeches, I can say it again." Then, he'll repeat a Torah thought that has already been shared by a previous speaker or two. For extra credit, he may point this out again after he speaks, as in "maybe you'll hear that thought another six times tonight, if you listen to the rest of the speeches."
This peep is an interesting one. Someone will come over to the bandstand with a pair of car keys. A few minutes later, the "Loser" is there to claim them. A bit later, a cell phone is turned in to the bandstand. Guess who it beings to? That's right! The "Loser" is soon back to claim it too. A little later, he's back asking if anyone turned in a wallet...
"At Least He Goes To Minyan"
This peep breaks his teeth on the bracha he's honored with at Sheva Brachos. When he gets to the end, he confidently finishes it off "... Yotzer Hame'oros."
"The Repeater"
This scintillating character is invited to speak. Invariably he (for some reason, this offender is always male) will say something like "the next part of my speech was said twice already, but since no one listens to speeches, I can say it again." Then, he'll repeat a Torah thought that has already been shared by a previous speaker or two. For extra credit, he may point this out again after he speaks, as in "maybe you'll hear that thought another six times tonight, if you listen to the rest of the speeches."
Friday, June 29, 2012
Review: Hercules KS400B Keyboard Stand
Following up on my review of the Quik-Lok Monolith keyboard stand....
The next keyboard stand on my "demo list", the Hercules KS400B, arrived today.
Amazon has it here:
What attracted me to this stand was the neatly compact way it folds, as well as the simple, easy to adjust features, enabling it to be raised/lowered and widened/narrowed quickly. This is probably the most compact keyboard stand I've seen, when folded. The adjustable latches, grips, etc. are super-easy to use. As with the Monolith, no one local seems to stock this one, so I had to order it on spec.
Despite it's specs on paper, this one is a disappointment, as when its raised to standing height, the keyboard rocks and sways while being played. This seems to be inherent in the design, and so I can't recommend this stand for musicians who play standing up. The "give" is simply unacceptable. Since I do often play standing, this one is being sent back ASAP. I had anticipated taking it on a few gigs this coming week, but it is simply unusable for playing while standing, so there's no point.
The stand does work for playing while seated, but all things considered, I'd say the the Monolith is a better choice for my purposes.
Amazon has the Monolith here.
The next keyboard stand on my "demo list", the Hercules KS400B, arrived today.
Amazon has it here:
What attracted me to this stand was the neatly compact way it folds, as well as the simple, easy to adjust features, enabling it to be raised/lowered and widened/narrowed quickly. This is probably the most compact keyboard stand I've seen, when folded. The adjustable latches, grips, etc. are super-easy to use. As with the Monolith, no one local seems to stock this one, so I had to order it on spec.
Despite it's specs on paper, this one is a disappointment, as when its raised to standing height, the keyboard rocks and sways while being played. This seems to be inherent in the design, and so I can't recommend this stand for musicians who play standing up. The "give" is simply unacceptable. Since I do often play standing, this one is being sent back ASAP. I had anticipated taking it on a few gigs this coming week, but it is simply unusable for playing while standing, so there's no point.
The stand does work for playing while seated, but all things considered, I'd say the the Monolith is a better choice for my purposes.
Amazon has the Monolith here.
Thursday, June 28, 2012
Wednesday, June 27, 2012
Monday, June 25, 2012
Review: Quik-Lok Monolith Keyboard Stand
This season, I've been exploring keyboard stand options. For many years, I used an Ultimate Support Apex stand. Ultimate Support used to have great customer service, but in recent years, my experience has been less positive.
One of the support arms on my Apex broke at a gig a while back, and when Ultimate quoted me $60 to replace it, I decided to try some other stands, to see if they might better serve then the Apex, which I had some other issues with (see below).
My most recent experiment has been with the Quik-lok Monolith single-tier stand, which I've used for most of my gigs this season. Amazon has the stand here.
Before I share my thoughts on this stand, here, in no particular order, are the features I'd like to see in a keyboard stand.
1) Reliability
2) Portability - needs to fold into an easily transportable shape.
3) Design - looks good/presents well on stage.
4) Able to easily adjust height for playing while sitting or standing. (up to 36" high)
5) Does not obstruct my view of the audience
6) Cable management - allows for cables to be made unobtrusive to the audience
7) Wide enough to support 76 and 88 key keyboards.
8) Stable - no rocking, swaying, or bouncing.
9) Accessories (if any are available) that make sense/work as advertised.
10) Small footprint
11) Room for proper positioning of foot pedals
12) Not too heavy
13) Leave room for the player's legs while seated, so they won't be pressed up against a crossbar.
14) A carrying case.
It is surprising to me that no one seems to make a stand that fits all of these criteria. (It's also surprising that most local stores do not carry any of the more interesting stand options, like the Monolith, necessitating ordering on spec. Since these stands are heavy, it's not generally worth returning them, as it can cost $40 or so in shipping.) Most stores carry the Apex, and some variations of X-stands, all of which are less then ideal, due to all of the weight being focused onto the retaining pin, which can easily collapse.
To illustrate, my old Apex stand failed in the following ways.
1) It was less stable than I would have liked. Especially when playing outdoors on grass etc.
2)The mic boom attachment picked up keyboard noise and amplified it.
3) The keyboard would bounce/shake when played hard, or when an 88 key board was used.
4) The feet made it impossible to place pedals in ideal position.
5) With time, I started to feel like it was a barrier between me and the audience. My current preference is for a more "open" feeling setup.
After using the Quik-lok Monolith on quite a few gigs (it's been a busy season), here are my thoughts.
1) This stand is simply the most stable keyboard stand I've played, and I've tried quite a few. Unless I actively try to get some swaying going while playing, the keyboard stays solidly in place on the stand. And even if I try to make it sway, the give is minimal and totally playable.
2) It is relatively easy to adjust the height, making it possible to say, play a cocktail hour and wedding ceremony while seated and then raise the stand to play for dancing.
3) It looks good visually. However, to me it looks better (more visually balanced design-wise) in seated position that when raised for standing. In either position, it feels open.
4) It folds easily/simply for moving on offstage, but does not fold into a convenient form for carting around. If I needed a house stand at a venue, and be able to store it nearby and move it on and offstage as needed, I'd highly recommend the Monolith. However, for moving in/out of cars, loading on carts, etc. the Monolith is less than ideal. It folds into an awkward shape that does not balance well on a cart, it is wider than most doors, and the legs don't lock closed, so they tend to swing open while you are lift in/carrying the stand.
5) There is no cable management system with the stand, and its open design means that all of the cables coming out of the back of your board are visible and disorganized. It's possible to snake them along your keyboard and the legs, but that takes some doing and a lot of jury-rigging. On the Apex, this was a non-issue, because the column hid cables easily.
6) There is plenty of leg room, for playing while seated and for positioning pedals properly. No worries about banging your knee or shin here.
7) There are no accessories available, apart from an optional second tier for another keyboard.
8) The stand is solid, and heavy, but not too heavy to lift/carry.
Boottom line, I wouldn't recommend the Monolith for a gigging musician who needs to move the stand between venues, frequently in/out of cars, etc. as I did this season. It makes for occasionally awkward load-ins. However, if you're looking for a solid keyboard stand that is very stable and looks good for home or studio use, or for a permanent installation, the Quik-lok Monolith is well worth a look.
I kind of wish they'd shaped it a bit differently, so that it'd sit on a cart for easy transport and fit through doorways. (And so that it could be put in a case.) Also, that they'd put a lock on the legs so that they could be locked closed for travel. Perhaps Quik-lok will make an updated tweaked version. If so, I'd likely give it another shot. For now, my Monolith will be used for the nome studio and the very occasional gig, where the load-in and visual needs of the gig make it sensible to use.
In the meantime, I'm going to order another stand none of the local dealers carry.... probably the Hercules KS400B which I have no experience with and which I haven't been able to find locally.
Amazon has that one here:
To sum up:
The Monolith is a great looking choice for either a home studio setup, or a stage setting where the stand needs to be moved on/off stage often. It's easy to adjust and VERY stable, with plenty of room for proper placement of pedals. I would highly recommend it for those uses.
However, it is not portable for constant gigging because it folds to an odd shape that does not easily stack on my Rack N Roller cart in a way that will fit through that average doorway. Also, it doesn't lock closed when folded, which is not a big issue when moving it a short distance, but is again a pain when loading in/out of the typical club-date venues.
My most recent experiment has been with the Quik-lok Monolith single-tier stand, which I've used for most of my gigs this season. Amazon has the stand here.
Before I share my thoughts on this stand, here, in no particular order, are the features I'd like to see in a keyboard stand.
1) Reliability
2) Portability - needs to fold into an easily transportable shape.
3) Design - looks good/presents well on stage.
4) Able to easily adjust height for playing while sitting or standing. (up to 36" high)
5) Does not obstruct my view of the audience
6) Cable management - allows for cables to be made unobtrusive to the audience
7) Wide enough to support 76 and 88 key keyboards.
8) Stable - no rocking, swaying, or bouncing.
9) Accessories (if any are available) that make sense/work as advertised.
10) Small footprint
11) Room for proper positioning of foot pedals
12) Not too heavy
13) Leave room for the player's legs while seated, so they won't be pressed up against a crossbar.
14) A carrying case.
It is surprising to me that no one seems to make a stand that fits all of these criteria. (It's also surprising that most local stores do not carry any of the more interesting stand options, like the Monolith, necessitating ordering on spec. Since these stands are heavy, it's not generally worth returning them, as it can cost $40 or so in shipping.) Most stores carry the Apex, and some variations of X-stands, all of which are less then ideal, due to all of the weight being focused onto the retaining pin, which can easily collapse.
To illustrate, my old Apex stand failed in the following ways.
1) It was less stable than I would have liked. Especially when playing outdoors on grass etc.
2)The mic boom attachment picked up keyboard noise and amplified it.
3) The keyboard would bounce/shake when played hard, or when an 88 key board was used.
4) The feet made it impossible to place pedals in ideal position.
5) With time, I started to feel like it was a barrier between me and the audience. My current preference is for a more "open" feeling setup.
After using the Quik-lok Monolith on quite a few gigs (it's been a busy season), here are my thoughts.
1) This stand is simply the most stable keyboard stand I've played, and I've tried quite a few. Unless I actively try to get some swaying going while playing, the keyboard stays solidly in place on the stand. And even if I try to make it sway, the give is minimal and totally playable.
2) It is relatively easy to adjust the height, making it possible to say, play a cocktail hour and wedding ceremony while seated and then raise the stand to play for dancing.
3) It looks good visually. However, to me it looks better (more visually balanced design-wise) in seated position that when raised for standing. In either position, it feels open.
4) It folds easily/simply for moving on offstage, but does not fold into a convenient form for carting around. If I needed a house stand at a venue, and be able to store it nearby and move it on and offstage as needed, I'd highly recommend the Monolith. However, for moving in/out of cars, loading on carts, etc. the Monolith is less than ideal. It folds into an awkward shape that does not balance well on a cart, it is wider than most doors, and the legs don't lock closed, so they tend to swing open while you are lift in/carrying the stand.
5) There is no cable management system with the stand, and its open design means that all of the cables coming out of the back of your board are visible and disorganized. It's possible to snake them along your keyboard and the legs, but that takes some doing and a lot of jury-rigging. On the Apex, this was a non-issue, because the column hid cables easily.
6) There is plenty of leg room, for playing while seated and for positioning pedals properly. No worries about banging your knee or shin here.
7) There are no accessories available, apart from an optional second tier for another keyboard.
8) The stand is solid, and heavy, but not too heavy to lift/carry.
Boottom line, I wouldn't recommend the Monolith for a gigging musician who needs to move the stand between venues, frequently in/out of cars, etc. as I did this season. It makes for occasionally awkward load-ins. However, if you're looking for a solid keyboard stand that is very stable and looks good for home or studio use, or for a permanent installation, the Quik-lok Monolith is well worth a look.
I kind of wish they'd shaped it a bit differently, so that it'd sit on a cart for easy transport and fit through doorways. (And so that it could be put in a case.) Also, that they'd put a lock on the legs so that they could be locked closed for travel. Perhaps Quik-lok will make an updated tweaked version. If so, I'd likely give it another shot. For now, my Monolith will be used for the nome studio and the very occasional gig, where the load-in and visual needs of the gig make it sensible to use.
In the meantime, I'm going to order another stand none of the local dealers carry.... probably the Hercules KS400B which I have no experience with and which I haven't been able to find locally.
Amazon has that one here:
To sum up:
The Monolith is a great looking choice for either a home studio setup, or a stage setting where the stand needs to be moved on/off stage often. It's easy to adjust and VERY stable, with plenty of room for proper placement of pedals. I would highly recommend it for those uses.
However, it is not portable for constant gigging because it folds to an odd shape that does not easily stack on my Rack N Roller cart in a way that will fit through that average doorway. Also, it doesn't lock closed when folded, which is not a big issue when moving it a short distance, but is again a pain when loading in/out of the typical club-date venues.
Sunday, June 24, 2012
2012 Peeps
It's been a very busy season.. Here are some peeps for y'all!
"The Queer Mashgiach"
We've met this guy a bunch at gigs and mentioned him before.
This convo was too good to pass up...
QM: "I see you know all the pretty Jewish songs. Do you know standards too? Starts singing "Summertime".
DM: [starts comping]
QM: "Hi! That's a lovely color on you. That dress is fabulous! Is it cranberry? It looks cranberry to me."
QM: "Summertime, and the living is easy..."
We can't make this stuff up!
"Balbelili Guy"
This peep won't just do the slow song he's been asked to sing, because "I'm not just the slow song guy". So, after plowing through a slow song, he sings a medley of the choruses of Balbeli Oto and Yalili, switching back and forth between the two as though they were the A and B of one song.
"The Sheet Music Helper"
This peep comes over during the dance set, and decides to helpfully pick up the discarded piece of sheet music on the bandstand floor and hand it to us. (It was the fanfare, which we've already played.) Never mind the fact that we're reading another chart, and have not indicated in any way that we want to be handed this music. When we say that we do not need it and that it's ok for him to just leave it on the floor, he simply can't accept this, continuing to attempt to get our attention, and show us where he's putting it down on a chair near the bandstand.
"The Attendance Monitor"
This peep monitors the bandstand, noting and commenting if any musician is not on the bandstand while the band is playing. This self-appointed peep wants to know "where the 2nd guitar player went", for instance. (Actual question). We're tempted to tell him exactly which stall in the bathroom he's in.
"The Mind-Changer"
This peep is special. They meet with you before the event, discuss repertoire, requests, etc. and all is cool. Then, at the event, they change everything on you. When the "mind-changer" is the mother (in-law) and these last minute changes conflict with the bride's plans, look for some sparks to fly.
"The Queer Mashgiach"
We've met this guy a bunch at gigs and mentioned him before.
This convo was too good to pass up...
QM: "I see you know all the pretty Jewish songs. Do you know standards too? Starts singing "Summertime".
DM: [starts comping]
QM:
QM:
We can't make this stuff up!
"Balbelili Guy"
This peep won't just do the slow song he's been asked to sing, because "I'm not just the slow song guy". So, after plowing through a slow song, he sings a medley of the choruses of Balbeli Oto and Yalili, switching back and forth between the two as though they were the A and B of one song.
"The Sheet Music Helper"
This peep comes over during the dance set, and decides to helpfully pick up the discarded piece of sheet music on the bandstand floor and hand it to us. (It was the fanfare, which we've already played.) Never mind the fact that we're reading another chart, and have not indicated in any way that we want to be handed this music. When we say that we do not need it and that it's ok for him to just leave it on the floor, he simply can't accept this, continuing to attempt to get our attention, and show us where he's putting it down on a chair near the bandstand.
"The Attendance Monitor"
This peep monitors the bandstand, noting and commenting if any musician is not on the bandstand while the band is playing. This self-appointed peep wants to know "where the 2nd guitar player went", for instance. (Actual question). We're tempted to tell him exactly which stall in the bathroom he's in.
"The Mind-Changer"
This peep is special. They meet with you before the event, discuss repertoire, requests, etc. and all is cool. Then, at the event, they change everything on you. When the "mind-changer" is the mother (in-law) and these last minute changes conflict with the bride's plans, look for some sparks to fly.
Friday, June 22, 2012
Niggun Hashkata of the Aish Kodesh zt"l
Modern Uberdox posts "Niggun Hashkata of the Aish Kodesh zt"l."
Thursday, June 21, 2012
More Lipa @ The Forward
Ezra Glinter writes "My Lipa Schmeltzer Problem, and Ours". That's more like it.
Analyzing Lipa's Video
Over at the Forward, Josh Nathan-Kazis posts "Lipa Schmeltzer's Uncanny Valley." I don't agree with much of what he writes, but any article that includes the following sentence deserves a mention here. "If Avraham Fried is Elmer Fudd, vaguely nodding towards mainstream pop, Schmeltzer’s “Hang Up The Phone” is the Japanese robot, down at the valley’s spookiest depths."
From the mailbag...
R' David ben Yosef Goldin writes about Marc Shapiro on Kol Isha:
Mr. Shapiro: "So now I ask my fair-minded readers: Is Artscroll’s statement that Metzudat Tziyon translates שרים ושרות as “singers” accurate? I think the answer is clearly “no”. Metzudat Tziyon translates the words in question as “male singers and female singers,” and yet—don’t tell me you are surprised—in Artscroll this morphs into “singers”. Why would Artscroll fudge the translation? The answer is obvious. They don’t want people to think that Solomon would have listened to women singing."Methinks the rabbi needs to work on his reading comprehension. He simply has no point.Your lack of erudition and bias is outstanding. The English word "singers" certainly implies "male and female singers". It is not exclusively male. It is however plural, which is significant to refute your groundless conclusion. There is no objection in halacha to listening to a group of women singing, especially if their voices are combined with those of men singing. This is based on the Talmudic principle of tre kali mi mishtame'ah. Thus, there is absolutely no reason for Artscroll (or anyone else) to not want "people to think that Solomon would have listened to women singing". Perhaps Artscroll's citation of the M"T is incomplete, but it is not inaccurate or misleading --- except perhaps to he/she who wishes to be mislead.
As well, his misrepresentation of the acceptance of the principal of "trei kali" (which he misquotes; that third word should be "lo") is pure apologetics and not reflective of actual practice in "Chareidi Artscroll-ville", where women are not heard singing in mixed company, with the possible exception of Shabbos zemiros among some (perceived) lenient families.
Wednesday, June 20, 2012
Mazal Tov, Andy!
Love this! NEA National Heritage Fellowships: Andy Statman, Klezmer Clarinetist, Mandolinist, Composer A well-deserved honor.
Wednesday, June 13, 2012
New Miami Boys Choir Siyum Hashas Video
This is just painful. It starts with a poor translation of the Gemara and goes downhill from there.
Monday, June 11, 2012
Friday, June 08, 2012
Visualize Whirled Peas
Thrown Peas posts "Good News from the Yiddish World", a nice roundup of Yiddish happenings, including music, with video examples.
Long Time Passing
A seventeen year-old composer shares his thoughts on the state of Jewish music. Cute 'graf:
At this point, it is almost over. The greats are nearing their ends, new artists with mediocre voices and a lot of money come and go every other week, the actual talent can’t afford to produce because no one buys albums anymore: people just rip, burn, download and steal; the artists lose piles of money. Wedding introductions and interludes are all non-Jewish anyway, and not to clean songs. What will be with wedding music, you ask? We have enough songs with Freilach and Hora beats to last us for a week-long wedding. Anyway, with what weddings have become, (concerts with food), no one dances anyway! Everyone just stands around the bandstand watching and videoing, until the kalla’s father realizes that his hiring that famous singer for the extra couple of thousand didn’t enhance his simcha, it ruined it!...
Thursday, June 07, 2012
From the mailbag...
Joshua writes:
Love your blog. Since you sometimes discuss non-Jewish origins of Jewish songs, could I ask you a question? I recall that one of Avraham Fried's ballads from a semi-recent album was a direct copy of a contemporary (French?) pop song. Do you know what I'm referring to?I'm not aware of Avraham Fried lifting a French song. Perhaps you're thinking of MBD. He rewrote the English version of "Daddy Dear", which was originally a French song called L'Homme Et L'Enfant
L'Homme Et L'Enfant
Little Child (Daddy Dear)
MBD version
Falling Off The (Band)Wagon
Over at the 5 Towns Jewish Times, Rabbi Yair Hoffman writes An Open Letter to Matisyahu. Meh.
Playing Gay Weddings
Over at Fink or Swim... A Suggestion for Orthodox Jewish Political Activists Regarding Same Sex Marriage.
Check this:
Check this:
But in the end, wouldn’t it be better if religious vendors were able to set aside their personal beliefs for the sake of civility and friendship? I mean, there is no prohibition that I am aware of in orthodox Judaism that would prevent a photographer from working a gay wedding. There is no problem for a tailor to hem a gown or cuff some pants for a gay wedding either. So I guess what I am saying is that while I respect religious beliefs very much, I don’t believe that one’s religious beliefs are sufficient cause to discriminate. To be clear, I am not talking about a member of the clergy performing a ceremony that does not even exist in his or her religion. I am referring to vendors who are uncomfortable working a gay ceremony. There is a difference. I don’t think anyone would expect a member of the clergy be required to perform a nonexistent ceremony. But there is no direct parallel to religious vendors.
Wednesday, June 06, 2012
Tuesday, June 05, 2012
Pop Chassid is Heart-Broken
Pop Chassid posts "Matisyahu's Public Transformation: What The World Doesn't Understand About Religious Jews' Reaction."
He don't speak for me.
He don't speak for me.
Monday, June 04, 2012
Tuesday, May 29, 2012
Thursday, May 24, 2012
Wednesday, May 23, 2012
Tuesday, May 22, 2012
In Review – Milken Archive of American Jewish Music – Great Songs of the Yiddish Stage
Founded by Lowell Milken, the Milken Archive's goal is:
...to record, preserve and disseminate the music that has and will continue to emerge from the unique confluence of Jews reconnecting from across the Diaspora to the freedom of America. Over the three-and-a-half centuries since Jews first arrived on these shores, the sacred and secular body of work that has developed provides a powerful means of expressing the multilayered saga of American Jewry. At the same time, this music reflects a remarkable universality of the immigrant and broader human experience.This three CD set is a compilation of songs from the legendary American Yiddish theater. The first disc focuses on Abraham Ellstein, the second on Sholom Secunda and Alexander Olshanetsky, and the third on Joseph Rumshinsky. Each disc also includes select songs from other songwriters of their circle,.
The music on all three albums is performed by the Vienna Chamber Orchestra, conducted by Elli Jaffe, with a handful of tracks played by the Barcelona Symphony. The singers on this collection are Robert Abelson, Bruce Adler, Robert Bloch, Joanne Borts, Amy Goldstein, Benzion Miller, Elizabeth Shammash, Nell Snaidas, and Simon Spiro, all of who are excellent here. In the main, these are solo features, but there is the occasional duet as well.
In many cases, there are no extant scores (and perhaps never were) full orchestrations of these tunes. For this project, the Milken Archive hired reconstruction orchestrators to create historically considered orchestrations. The results are quite good. The primary focus here, as with most songs from musicals, is the lyrics, and so the arrangements stay in the background, for the most part, tastefully accompanying the well-chosen vocalists.
The material presented includes a nice cross-section of songs, and a listen to this series gives an excellent overview of Yiddish Theater music.
The songs presented touch on subjects like Jewish guilt in “A Brivele Der Mamen”, and pro-worker/anti-capitalism sentiment in“Fifty-Fifty” and “Dir A Nikl, Mir A Nikl”. There’s love in “Oygn” and “Oy, Mame, Bin Ikh Farlibt”, pathos in “Der Dishvasher”, longing for the shtetl in “Slutsk”, and optimism for life in America in “Lebn Zol Kolumbus”. Naturally, there’s humor in songs like “A Malke Af Peysekh” and “Ikh Bin A “Boarder” Bay Mayn Vayb”. There are even mussar-laden songs like “Watch Your Step” and “Oyb S’iz Geven Gut Far Mayn Mamen”, as well as a liturgical setting of “Hamavdil”
My grandmother’s husband, a longtime Yiddish editor and writer, is fond of reminiscing about the music of the Yiddish theater, which in his day was considered heresy for a young Chasid to listen to. “A mohlige apikorsim” he muses, pointing out how even the largely secular Yiddish theater was able to produce passionate music rich with pride and faith in the Jewish people. He is wont to cite lyrics from “Dos Pintele Yid” which is not included in this collection, but the same holds true for songs like Meyerowitz's "Got Un Zayn Mishpet Iz Gerekht", performed here by Robert Abelson, Rumshinsky’s “Shma Yisro'el” and Secunda's "Dos Yidishe Lid", both performed here by Benzion Miller.
These albums come with incredibly detailed liner notes, which include background information about the songs and the shows the songs came from. Translations of the lyrics are provided as well. The jackets do not provide the original Yiddish lyrics, but those are available for download from The Milken Archive website. It takes a bit of looking around, as each song has its own page, but you can find them on the website. I’d have liked to see one page with all of the Yiddish lyrics, including the text typeset in Yiddish as well as transliteration.
It’s hard to narrow it down, but fave tracks include Bruce Adler’s turn on “Hudl Mitn Strudel” (which features David Krakauer on clarinet), his exuberant rendition of Kanapoff’s “Hu-Tsa-Tsa” with terrific comedic timing, Joanne Borts’s peppy “Watch Your Step”, Simon Spiro’s take on “Vos Iz Geven Iz Geven Un Nito” and Robert Abelson’s somber singing on “Got Un Zayn Mishpot Iz Gerekht” and Benzion Miller’s presentation of “Dos Yidishe Lid”.
Amazon has the discs here:
Volume one:
Volume two:
Volume three:
Up next, a review of clarinetist Aaron Novik's "Secrets of Secrets" release on Tzadik.
Monday, May 21, 2012
Post Asifa Suggestion
I haven't written about the anti-internet asifa held this past Sunday at Citifield. There has been lots of talk about it online. One thing that is clear from both the "pro" and "anti" sides is that one event "raising awareness" about the internet is not enough. More practical steps need to be taken.
In the absence of realistic proposals from the leadership at the asifa, I humbly propose that Jewish musicians step into the breach and help increase awareness by playing the following song at every wedding they play this season. It's the perfect ballroom opener, it works as a chupa song for the little kids to walk down to, and it can fit in a dance set too...
Oh, one thing. Since it is on the internet, it goes without saying that this link is inappropriate. You've been warned!
Sunday, May 20, 2012
From the mailbag...
Dovid Kerner writes:
Sometime between Naphtali Imber and Neshama, I too lifted the melody of La Mantovana and set it to some words I put together. Here's "Hills of Yerushalayim". Yom Yerushalayim Sameach!
Thursday, May 17, 2012
Want 100,00 Hits On YouTube in One Day?
Easy. You just need to be a black (ex)chassidic rapper and come "out of the closet, looking for love."
Wednesday, May 16, 2012
As Expected
Avraham Fried shares his inspiration (and the source) for the lyrics to the song R’ Kaneivsky was asked about.
So, what did the people who shlepped Rav Kanievsky into this achieve?
So, what did the people who shlepped Rav Kanievsky into this achieve?
Tuesday, May 15, 2012
More On Frum Songs....
E. comments on More Music Questions for Rav Kanievsky...
I don't know about Rav Kanievsky, but we did have a few rabbeim in high school who got very angry and agitated when they heard a few boys singing "Avrohom and Yitzchak will be there to greet us, Yaakov and his sons will stand by and smile...." "REALLY? WHO SAID??!?! WHO SAID?! Some singer? Some entertainer? Some fat oizvarf with a microphone?"I can safely say that there is no 'frum' pop lyric that has bothered me for decades.
But what I really wanna know is, how can Mama Rochel cry for us again when the day will come that she raises her sweet voice, if she was truly laid to rest on the roadside forever?
Oh and on that note, something which has bothered be for decades: "Never will i be alone, with his help i can stand on my own." Make up your friggin' mind, buddy.
I'm glad Rav Kanievksy clarified that tears thing. I always wondered how the bricks would function descending in fire if they were wet.
More On Frum Songs....
E. comments on More Music Questions for Rav Kanievsky...
I don't know about Rav Kanievsky, but we did have a few rabbeim in high school who got very angry and agitated when they heard a few boys singing "Avrohom and Yitzchak will be there to greet us, Yaakov and his sons will stand by and smile...." "REALLY? WHO SAID??!?! WHO SAID?! Some singer? Some entertainer? Some fat oizvarf with a microphone?"I can safely say that there is no 'frum' pop lyric that has bothered me for decades.
But what I really wanna know is, how can Mama Rochel cry for us again when the day will come that she raises her sweet voice, if she was truly laid to rest on the roadside forever?
Oh and on that note, something which has bothered be for decades: "Never will i be alone, with his help i can stand on my own." Make up your friggin' mind, buddy.
I'm glad Rav Kanievksy clarified that tears thing. I always wondered how the bricks would function descending in fire if they were wet.
Y-Love Comes Out
Out magazine reports that "Y-Love is Ready for Love." Guest starring Yoeli Weishauss. I hope he got paid enough to go visit his grandmother a few times.
More Music Questions for Rav Kanievsky
Psachya writes:
Now that we have received an unambiguous psak from R' Chaim Kanievsky shlita that the third Beis Hamikdash will not be built with tears - Avrohom Fried's lyrics to the contrary - I have a few more pressing shailos that I hope R' Kanievsky will address. Perhaps some of his askanim, who are so careful not to waste a gadol's precious time, would be kind enough to run them by him:- Will we really be free if we have just one Shabbos?
- Are we only supposed to not talk and just daven for our tefilos to reach Hashem, or are we also supposed to go "sh, sh"? In rhythm?
- Do we really have to throw away our hammer every erev Shabbos? Particularly in this economy? (Maybe we should make a takana about that...)
- Are you even allowed to have a minyan in the back of a hardware store?
- Should we really teach our children to treat their fellow friends like they were you? What if you're not a very nice person?
- Why would an eagle want to get into a fight with a bunch of vultures anyway?
- What is the punishment for saying "She-T'hei La-Mazal" to an Ashkenazi?
- Can we finally start selling Jerusalem once the Mormons all go back to Utah? And finally, the most important question of all -
- Did the flame of Torah really flicker on the day that the soldiers rushed in to the dark frigid cellar and led away the small group of men? And why are we required to sing the chorus of that song at every single Jewish wedding?
I await R' Kanievsky's psak regarding these pressing issues. The fate of Klal Yisroel hangs in the balance.
Monday, May 14, 2012
BRING BACK LIPA!
Dovid Teitlebaum has a message for the anti-internet asifa organizers -- "My final plea to the organizers of the Asifa at Citi Field: BRING BACK LIPA!"
Sunday, May 13, 2012
Chinuch Roundtable: Sefirah Edition
Oh dear! Frum Satire spoofs the Chinuch Roundtable in "I can’t live through sefira without music."
Friday, May 11, 2012
Thursday, May 10, 2012
Wednesday, May 09, 2012
Kars for What?
Over at Hamavdil, Chaim Bray takes on Oorah in עורה-עורה שפלותי and "Stuff One No-Account Blogger Says About Oorah." Indeed.
Y-Studa Acapella
Received a couple of emails from various Y-studs asking me to post their video...
Here it is...
I don't get it. I mean I do... but I don't... know what I mean?
Neshoma Courts Controversy
Neshama Carlebach releases a new version of Hatikva to be more inclusive to Israeli Arabs. She also posted a non-statement to her Facebook page:
Friends, I know many of you have been waiting for me to make a personal statement about situation around this version of Hatikva. I haven't yet responded deeply and publicly about my own pro-Israel beliefs and have so wanted to. The wait has only been due to my large (and incredible) Team (everyone is involved and helping to create it) and my new Publicity Team needing to approve all that is released. Thank you for your patience, I hope to post my video statement over the next day. I love you all, thank you for being there and for believing in me and in my quest for goodness.
Friday, May 04, 2012
Thursday, May 03, 2012
Tuesday, May 01, 2012
I Wanna Be A Polar Bear (With A Bomb)
This just might be the weirdest version of Abanibi I've ever seen.
Monday, April 30, 2012
From the mailbag....
Psachya writes:
I enjoyed the video you posted on Joey Weisenberg's "table-top rhythms" for Shabbos singing. The guy is obviously a wonderful musician. At the same time, the video got me thinking: When does a tabletop cease being a tabletop and become a musical instrument - halachically speaking? And what's the difference between playing intricate rhythms on a shtender or on, say, a djembe?Now I know the answer people will give me for my second question - because a djembe is specifically made as a musical instrument, whereas a table-top is more of a "found object". (I believe Mr. Weisenberg even used that term in the video.) However, I think the idea of something being a "found object" does not necessarily preclude it from being a musical instrument. Lots of fine music has been performed on, and composed for, found objects. Just ask Harry Partch. Or the cast of "Stomp".
Some might say that, to be a musical instrument, it needs to have the ability to be tuned. Two problems. One - there are plenty of indisputably musical instruments - a tamborine, say, or cymbals - that are not particularly tunable. On the other hand, as we saw in the video, it's possible to alter the sound of a shtender by putting pieces of paper on it, or putting things inside. How is that not tuning?
Another possible answer is that it has to be specifically set aside (muktzah) for the purpose of making music. Again, it seems to me that by sound-testing the "found objects" in advance (as he did in the video), perhaps Mr. Weisenberg is, essentially, "preparing" his found objects, thus making them "mezuman" to be musical instruments on Shabbos.
Again, I enjoyed the video - it was quite entertaining, and I hope I'm wrong in my speculations. But we're talking potential chilul Shabbos here, and we have to be careful. And as a habitual zemiros table-tapper myself, I may find myself sitting on my hands this Friday night.
Just some food for thought.
Sunday, April 29, 2012
Saturday, April 28, 2012
Tuesday, April 24, 2012
Monday, April 23, 2012
Funny, That's Not How Chassidim Do It!
Over at On the Main Line: A description of the 'Mitzvah Tanz' circa 1600.
Credit Where Credit's Due
It's neat how Cole Porter deftly quotes Miami Boys Choir's "To Live A Life of Torah" in "My Heart Belongs to Daddy"from "Leave It To Me." [/sarcasm]
No, I don't think Begun ripped it. It's just one of those coincidences like "Blue Bossa" and the A section of Avraham Fried's "Livinyomin Omar."
Saturday, April 21, 2012
Melave Malka Links
Mickey Katz and Pete Sokolow! The Mickey Katz Project: A few minutes with Peter Sokolow
Leonard Cohen in court... "Ardour in the court: Screw with Leonard Cohen and he’ll smother you in prose."
Tuesday, April 17, 2012
Oh, Lipa!
So the first song preview of Lipa's forthcoming album is out...
I imagine this tune will be popular on the Brooklyn simcha circuit, and so I'll wind up having to learn it and play it.
Lipa is so frustrating... so much talent... and then he produces this drek... but it'll sell...
I love his approach, his creativity, his energy, the depth of some of his Yiddish lyrics... but this stuff... it just leaves me cold.
Monday, April 16, 2012
Kiss My Klezmer!
Here's a Klezmer suite in tribute to Chaim Witz... Chaim: The Music-Maker - The Rise of Gene Simmons The clarinet soloist is David Krakauer.
Drake: Good for the Jews?
Ronn Torossian says yes. Check out the comment by A. E. Anderson for an opposing take.
Sunday, April 15, 2012
Wednesday, April 04, 2012
Friday, March 30, 2012
Bruce Springstein: Greatest Bar Mitzvah Bandleader of All Time
According to Max Weinberg... the whole interview is at The Arty Semite.
And yes, I know how he spells his name.
And yes, I know how he spells his name.
Thursday, March 29, 2012
Rewriting 'Hatikvah'
Over at the Forward, Philologos wants to rewrite 'Hatikvah'. The commentors don't agree.
Wednesday, March 28, 2012
Pesach is coming!
Over at On the Main Line: "What Passover sounded like 370 years ago - sung today."
Friday, March 23, 2012
Tuesday, March 20, 2012
Downloading Accurate Sheet Music
I was asked to sing a wedding song by a fairly well-known chassidic singer at an upcoming wedding. The tune is not one that is typically played at weddings. I downloaded the chart from the artist's website and, surprise (not really) the chart is wrong. Is it unreasonable to expect that an artist make sure the sheet music on his site is accurate?
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