Sing Out Review of Old Roots, New World

[MaxwellSt <MaxwellSt...>]

I finally got hold of a copy of the review of our new album by Seth Rogovoy 
from Sing Out!, Vol. 46, No, 4.  Thanks from the bottom of our (17) hearts, 
Seth!  (Text below)

Maxwell Street Klezmer Band
Old Roots, New World
Shanachie 67008

Since 1983, the Chicago-based Maxwell Street Klezmer Band has been one of the 
premiere regional ensemble of the klezmer revival.  They play old Yiddish 
swing and theater tunes and instrumental classics from the early-20th Century 
repertoire with a big-band flair.  The group's current lineup, as reflected 
on its latest CD, Old Roots New World, numbers seventeen--including three 
vocalists--providing a rich palette from which bandleader Lori Lippitz and 
arranger Alex Koffman can draw.

The group's mainstream stock in trade is still widely in evidence--remakes of 
jazzy instrumentals from the 1920s ("Lebedike Honga" from Kandel's Orchestra, 
"Zol Zayn Gelebt" from Dave Tarras) and Mollie Picon vocal classics from 
Yiddish theater and film ("Yidl Mitn Fidl," "Abi Gezunt").  But the group's 
personality continues to evolve, most notably on several ambitious, 
newly-written classically-oriented compositions.

Koffman contributes "Leah's Saraband," a musical portrait of Lippitz that is 
sinuous and dignified.  The 18-minute "Klezmer Rhapsody," written by Ilya 
Levinson, will undoubtedly remind listeners of George Gershwin's "Rhapsody in 
Blue," not only because of its similar dramatic, concerto format, but because 
on its way toward putting the blues on the concert stage Gershwin's work 
already nodded to Yiddish modalities.  The raw material that makes up 
klezmer's three- and four-minute dance numbers is rich enough to be mined at 
greater length and depth, and Levinson's fine experiment, which brings to 
mind Duke Ellington as much as Gershwin in the manner in which it paints a 
particular landscape through shifting perspectives, will undoubtedly point 
the way to more efforts like it.

The group also stretches out on a haunting chamber version of "Friling 
(Springtime)," a "ghetto tango" number of anguished longing sung by Bibi 
Marcell, and on an arty, theatrical arrangement of the old Yiddish folk song, 
"Oy, Abram," sung with acrobatic finesse by Lippitz.  In sum, a diverse, 
well-programmed effort.

Seth Rogovoy