Review: Mosaic Persuasion/Metropolitan Klezmer Feat. The Isle of Klezbos

[R.A.S. <richards...>]

"Mosaic Persuasion" by Metropolitan Klezmer featuring The Isle Of Klezbos
was released in 2000 on the Rhythm Media label. Availability is fairly
widespread - check out http://www.metropolitanklezmer.com/order.html , or
Rainlore's World of Music in about 24 hrs time when the review should be up
( http://www.rainlore.demon.co.uk/WorldOfMusic.html ).

This is Metropolitan Klezmer's second album, this time also featuring
members of another Eve Sicular led band, the all female Isle of Klezbos.
Again, there is that wonderful cosmopolitan blend of traditional klezmer
tunes, Chassidic nigunim and khosidls, Yiddish song, Balkan and Greek and
Sephardic elements, as well as jazz that so distinguished Metropolitan
Klezmer's debut album, "Yiddish For Travelers".

The title "Mosaic Persuasion" is a very apt "double entendre", "mosaic"
here being intended both in the meaning of referring to the laws of Moses
(in other words, 'Mosaic means never having to say you're Jewish') and in
that of a multi-faceted image, where a large number of individual elements
combine to form a larger image. This metaphor could hardly be more
appropriate to describe the eclectic music of Metropolitan Klezmer.

With "Mosaic Persuasion", Metropolitan Klezmer again present a strong,
thoroughly consistent album. The arrangements are flawless and even
elegant, the musicianship and virtuosity impeccable. Throw in superb
ensemble playing and a great deal of exuberance and flair, as well as a
truly cosmopolitan instrumental palette with excellent "doubling" by all
members, and you've got an outstandingly versatile band. The presence of
members of The Isle of Klezbos complements Metropolitan Klezmer seamlessly,
and their contributions certainly make one wish to hear more of this all
female band. Since their debut album, Metroplitan Klezmer's
founder/leader/drummer Eve Sicular has fine-tuned the delicate balance
between her masterful and inventive, stylish drumming and the need to hold
back so as not to dominate the music, even further, to the point of
perfection. An incredible feat, for which Ms. Sicular can't be given
sufficient credit and kudos. Much kudos is also due for the fairly
extensive and even prominent use of the bass clarinet on "Mosaic
Persuasion" - and so wonderfully effective it is, too.

Some of the highlights of "Mosaic Persuasion" include "Brandwein in the
Lotus Groove", based on a classic recording by the legendary Naftule
Brandwein and given a different and original, imaginative rhythmic
treatment by Eve Sicular, here playing the dumbeq, set off by a jazzy bass
line by Dave Hofstra. The swing treatment given Yiddish theatre star Molly
Picon's on-air signature tune, "Abi Gezunt", as part of "Northern Doyna/An
Alter Nigun/Abi Gezunt" is simply outstanding. Deborah Karpel amply
demonstrates that she has overcome the shackles of her classical operatic
training and grown tremendously as a singer of Yiddish song on "Mayn
Rueplatz", "Muzikalisher Tango", and "Lomir Zikh Iberbetn" especially. "In
Laws' Taxim/Mekhutonim Tants" has Michael Hess shining on a kanun taksim (a
traditional form of improvisation common to all classical traditions of the
Middle East that was equally common to the Ashkenazic tradition until the
late 19th century when it started being supplanted by the 'doina'), which
leads seamlessly into the Mekhutonim Tantz. This features Steve Elson's
superb bass clarinet, contrasting beautifully with Debra Kreisberg's
excellent alto, all melded together with fine ensemble playing including
Michael Hess now on a very effective ney. "Humphrey Bulgar" is a
wonderfully manic piece of Mickey Katz-esque slapstick also featuring a
brief vaudeville excursion to Grieg's "In the Hall of the Mountain King"
from Peer Gynt. Michael Hess's ney can again be heard to beautiful effect
on "East(ern) Village Hanuka", a lively, almost manic, Turkish-flavoured
rendition in 7/8 meter of the holiday classic "Oy Hanukah!". "Uskudar
Taxim/Terk in Amerike" starts with Ismael Butera playing an accordion
taksim that's as Ottomanesque-sounding as you could possibly get with
accordion - marvellous. This leads into the main piece, another 1920s
Brandwein standard based on a popular Turkish song named for the town of
Uskudar. On "Szol a Kakas Mar", one of the oldest and most enduring
Hungarian Jewish folk tunes, the listener is treated to some wonderful
pizzicato viola by Michael Hess. "Mosaic Persuasion" closes with another
classic popularised by Brandwein, "Araber Tants". Here, it has been given a
thoroughly Middle Eastern treatment, with a subtle, sensitive arrangement
availing itself of Hess's gorgeous ney, Steve Elson's superlative chalumeau
(mostly) of the bass clarinet played without even a hint of excessive
vibrato, Pam Fleming's subtle Harmon-muted trumpet and a suitably
restrained rhythm section made up of Ismael Butera on bendir, Dave Hofstra
on bass and Eve Sicular on daire (large frame drum). The effect is
extremely seductive, even hypnotic. Even on an album with consistently
strong tracks such as "Mosaic Persuasion", "Araber Tants" cannot fail to
stand out with its sheer haunting beauty.

The informative liner notes by Eve Sicular again include the lyrics for
songs in Yiddish, romanised Yiddish, as well as English translation, also
by Eve Sicular. Full listing of personnel as well as instrumentation is
also provided.

"Mosaic Persuasion" is an outstanding, varied album that Metropolitan
Klezmer and members of The Isle of Klezbos can justly be proud of. The good
news is that both bands have new albums on the way, and I for one can
hardly wait! But don't wait that long, even if the new albums come out
tomorrow, grab "Mosaic Persuasion" and make the acquaintance of these
superb bands today!



Richard
(Renaissance Man)


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