(adv.) featured items with an Hasidic flavor

[a bisl yidishkayt <klezmer...>]

Until the end of June, a bisl yidishkayt is featuring three items of
Hasidic origin or influence.


For a short introduction and a review of each, please see the attached
(text) file.
----------

Songs of the Breslever Chassidim Today from singer Yaakov Klein and
clarinetist/madolinist Andy Statman

Cassette only, $10 + $1.75 shipping


Nigunim from two members of the Klezmatics - Frank London and Lorin Sklamberg - and the jazz pianist Uri Cane.

$14 (until 6/30/99 only) + $2 shipping


Learn to Play Klezmer Music: Improvising in the Tradition from
Andy Statman.

video: $27 (until 6/30/99 only) + $4.50 shipping (contact us if you want the
cheaper but slower book rate)
The importance of nigunim - melodies with and without words - is utmost in the 
Khasidic tradition. Used during and after davenen (praying), sung atshabes 
(Sabbath) and other yontoyvim (holidays), they serve to uplift and
unite. The sources of the melodies are varied both in origin and geography. 
Some were/are composed by Khasidic rebes (spiritual leaders of the various 
Khasidic communities) and their followers. Some are secular tunes from
non-Jewish sources - Napoleonic marches, drinking songs, etc. In 18th and 19th 
century Europe, followers of particular rebes, who often lived far from them, 
brought melodies from home when they journeyed to visit their rebe on special 
occasions. Like other Jewish music, regardless of the origin of the tune, as a 
nign the melody becomes Jewish - by using various stylistic characteristics; 
and formally, by being sanctified, the melody is no longer considered a secular 
one even if it was lifted from a secular source!

Nigunim are also a vital part of the klezmer style. Andy Statman posits that to 
play klezmer in the traditional [at least what we know of it from recordings] 
European style, one must understand the Khasidic style of
singing. He points out that two of the most influential klezmorim (klezmer 
musicians) of the 20th century, the Ukrainian-born Dave Tarras, and Galicianer 
Naftule Brandwein were both members of distinguished Khasidic
klezmer dynasties and that this is reflected in their playing styles. For this 
reason we have included his instructional video under our Khasidic feature this 
month.



Yaakov Klein and Andy Statman...Niguni Breslov: Songs of the Breslever
Chassidim Today

Cs. only, $10 + $1.75 shipping.

To this listener, every nign on this tape is quite beautiful - and Statman's
playing is himildik (heavenly) - two good reasons to add this tape to your
collection. It is a good representation of non-operatic-style Hasidic
singing. Rabbi Yaacov Klein, now a member of the Breslever Hasidic community
in Tzefat, Israel has a voice that is fine but not showy.

All but two of the selections (the opener, an instrumental, and the
wordless, very old hischazkus nigguna ) are sung in Hebrew or Yiddish, some
as duets. Featuring Klein, Statman is also a strong presence on every song,
mostly accompanying on mandolin. His clarinet makes welcome entrances on
three cuts. On one of these, rikkud, arranged as a dance tune, it sounds
unlike anything this reviewer has heard him play. It is very nasal -
reflecting Epirus, on the Albanian-Greek border, according to the notes. And
as a treat, and a change of pace for the album the last nign, Shoshan
Yaackov, pulls out all the stops and features Statman on saxophone. It, the
piano, with lots of 7th chords, and the drums, would not be out of place on
any respectable blues album.

Most of the nigunim on this tape are of unclear origin, according to Dovid
Sears' notes (Sears produced this album and Statman's "Between Heaven and
Earth"). The melodies were brought together by European Khasidim to the city
of Uman by the followers of Rabbi Nachman (1772-1810). One, the stately
atah nigeisa was learned by Nachman from his uncle and is sung on Shavuos
(when the Ten Commandments were given). Regardless of their origin, each
nigun is incredibly moving and beautiful. It will be hard, even on the first
listening, to merely be part of the "audience". You will probably find
yourself singing along and harmonizing.

As much of Khasidic music produced recently, the tape is, to this reviewer's
taste, overproduced. Although Statman and Klein predominate, the vocals
could be more crisply recorded, and the keyboards, drums, electric bass and
French horns, though not present on all tunes or at all moments, are at
times extraneous. In general, however, it is a fine tape, one worth adding
to a collection.

The selections are:

mitzvah gedolah (wordless), a guteh voch (sung by many Hasidic groups right
after shabes, accompanied by circle dancing), v'harikosi lachem bracha (which
is usually sung after a guteh voch), hischazkus niggun (sung by generations
of Breslevers), atah nigleisa, tireh brieder (sung at the rosh hashone
pilgrimage to Nachman's tomb - no, not the same tune as in London/Sklamberg's
ablum, below), y'chadsheihu, sung before the new moon at shabes, rikkud, and
shoshanas yaacov.

-- review (c) Dena Ressler



Lorin Sklamberg, Frank London, Uri Caine.....Nigunim

1998. CD. On special until June 30, 1999 C.E. - $14, + $2 shipping

We consider this album a sleeper deserving recognition.

The melodies are from several European traditions - Gerer, Belzer,
Lubavitcher. Like London's treatments of klezmer via the Klezmatics, there
are new-world elements here, but he is faithful to the tradition, even more
so on this album. For example, on Tsoma there is jazz trumpet and moments of
Rod Serling-esque sinisterness and in nign l'shabos, abstract/post-modern
passages. Zkhor Davor reminds us of the Khasidic singer Dovid Werdeger. In
general, though, it is a fairly straightforward presentation - many
contemporary Khasidic albums are very heavily produced (lots of reverb,
synthesized instrumentation); this one isn't.

The album consists of Sklamberg's accompanied, beautiful, expressive
traditional-style voice with a healthy serving of instrumental complements.
The instruments are sometimes used in interesting ways - London's frilly
counterpoint runs and simple harmonies on trumpet work very well. While to
this reviewer, piano is an over-used instrument in klezmer and other Yiddish
music, it doesn't dominate here; its role, though central, is to fill in and
accompany without drawing attention away from the melody.

The album will want to make you sing along, stomp your feet, harmonize -
that's what nigunim are supposed to do!

Highlights are:

- the Lubavitch esn est zikh (loosely: we eat, drink, sleep, but why not
pray?). Sklamberg's plaintive delivery really brings out the song's longing.
Even on subsequent listenings, it had us in tears.

- the Belzer, a complex, suite-like medley with changing tempi and textures,
with everybody playing and singing - ending up in a traditional a capella
choir of voices and stomping feet.

- the most blatantly American-influenced tune: tayere brider, hartzike
shvester has a rock and gospel feel complete with a Hammond organ and
handclapping. It makes an interesting, unspoken statement about the
relationship between African-Americans and Jews.

-- review (c) Dena Ressler



Andy Statman.....Learn to Play Klezmer Music: Improvising in the Tradition

video, 80 minutes. On special through June 30, 1999 C.E. $27 + $4.50
shipping.

For less than the price of a music lesson, learn with a master and replay it
as many times as you like!

Nigunim are a vital part of klezmer. Andy Statman posits that to play
klezmer in the traditional European style, one must understand the Khasidic
style of singing. He points out that two of the most influential klezmorim
(klezmer musicians) of the 20th century, the Ukrainian-born Dave Tarras, and
Galicianer Naftule Brandwein were both members of Khasidic families and that
this is reflected in their playing styles. For this reason we have included
his instructional video under our Khasidic feature this month.

Statman takes four familiar tunes (the charts of which are contained in a
small booklet) and teaches them in sections, suggesting the placement of
various ornaments (krekhts, trills, bends). Along the way he entrances one
with musical advice and stories of European klezmorim told to him by his
teacher, Dave Tarras and the role of music and nigunim in Jewish history and
tradition.

Although he states that the lesson is meant for beginners, (although he
hopes others will get something from the tape) he doesn't explain how to
make a krekht - perhaps because the video is meant for all instruments. He
does, however, make suggestions for accordionists and guitarists. In our
opinion, the video is appropriate for students with at least an intermediate
grasp of their instruments, perhaps in conjunction with a live teacher. As a
document of Statman's playing and philosophy, it is invaluable.

Statman's accompanist, Zev Zions, is a wonderful accordionist and he offers
several impromptu and insightful thoughts.

The tunes are the Satmar Purim Niggn (more commonly known as Naftule's
Bulgar [see the Brandwein album, "King of the Klezmer Clarinet"]), Moses
Emes (see Statman's "Songs of Our Fathers"), Meron Niggun (a.k.a. Araber
Tantz) and the Old Sher.

-- review (c) Dena Ressler
a bisl yidishkayt
Klezmer and related Yiddish CDs, tapes, videos, books
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