Re: On and off topic: The next computer virus and Old/New Worldklezmer

[Jordan Hirsch <trombaedu...>]

There is a lot to be said on this topic.
As a trumpet player, I have my prejudices, of course, but before this discussion
can take up the question of returning to a sound, don't we have to draw a line
to determine what is the original sound? Why are brass instruments considered
part of the "Brassy, Jazzy" sound, as one person described them? Is there a
difference between the rotary valve cornet and flugelhorn players of the mid to
late 1850's, who becamne part of the klezmer sound and led to their descendants
in bands like Belf's Roumanian, and Ziggy Elman and his Americanized followers?
Was Ziggy himself infusing jazz style into his klezmer, or was he trying to
imitate the Klezmer clarinet souns he heard?
Those are just the trumpet questions.
Why did clarinet become pre-eminent? Someone posted about the fragile,
transarent, subtle sound as some kind of ideal. If the more advanced instruments
like clarinet, trumpet, xylophone, etc had been available, would not the earlier
klezmorim have used them? We have to make sure in this discussion not to turn
the economic and technological limitations of earlier musicians into ideals.
Having thrown out a few questions to consider, or not, I think that some of the
interest in older styles is a result of further immersion in the music. I know
that sounds simplistic, but what I mean is that the initial wave of New Klez
players had most immediate access to music and players that reflected the mid
century style. How far back did one have to go when studying? There was Dave
Tarras still available! For me the analogous people were Ray Musiker, Howie, and
Paul Pincus. I played with these guys during the eighties, mostly on non Klezmer
gigs, but with Ray I started doing klezmer more and more frequently. Why would I
need to look any further? But now that my access to these guys becomes more
limited, although I still see Paul occassionally, and of course Howie passed
away, and I am older, perhaps more mature, I am less influenced by iconic
figures to accept a definition of klezmer. I think that many of us, and I would
certainly not put myself forward as a student of ethnomusicology, have gone
through similar experiences. As students, we are more independent and willing to
look beyond the gurus of the first wave.
Additionally, I think many American musicians are looking back. Henry Sapoznick
wrote in his book about the people he played with in the early seventies who
were discovering Appalachian music. They were the exceptions. Who would have
thought that a few years ago, a CD featuring that very same music would sell 6
million copies? (  O Brother Where Art Thou) Perhaps people in general are
stepping back from the noise and clatter of contemporary music, made by machines
and sung by people they don't understand.
So perhaps klezmer audiences are ready to receive an older style.
But also, attention must be paid to the excellent researchers of the music. The
fact that they have been at it in some cases for over twenty years means that as
they find more cool stuff and look for the opportunity to share with the musical
community, many in that community are going to find something that speaks to
them, so just by virtue of more and better research reaching more and better
musicians, we are going to see more bands and musicians reflecting this
aesthetic.
To me, the beautiful thing is that  as the music continues to grow, the
different strains of Klezmer will find more opportunities to cross pollinate,
which can only be good for it's continual evolution.

Jordan Hirsch

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