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Wednesday, December 28, 2011

The Passing of Adrienne Cooper...long live badass Yiddish music

Adrienne Cooper, one of the great singers, teachers, and activists for Yiddish language and music passed this weekend. Obituaries are running in media outlets around the Jewish world including Haaretz, The Jewish Week, the JTA, and the Forward. There is little I can add to all of the great and deep thoughts about her that have been put forth, except this one thing. In a moment of apparent synchronicity, the following tweet circulated yesterday (from @neville_park in Toronto)
Hey, Hey, Down with the Police", "Working Women", "Ballad of the Triangle Fire"—Yiddish music is pretty badass: http://j.mp/rzPZLo

In Love And Struggle album coverThe badass recording @neville_park is referring to is "In Love And In Struggle: The Musical Legacy Of The Jewish Labor Bund" (YIVO) which includes performances by Zalmen Mlotek, Adrienne Cooper, Dan Rous with The New Yiddish Chorale & The Workmen's Circle Chorus. You see, Cooper's involvement in Yiddish music was not limited to the nice songs. The happy songs. The nostalgic songs. To singing yet another chorus of Oyfn Pripetchik or Rozhinkes mit Mandln. Cooper also sang Arbeter-froyen (Working Woman) and the musical Queer Wedding Sweet, and wrote articles for Lilth and The Forward titled "He Beat Me Black and Blue: Yiddish Songs of Family Violence" Cooper, more than any of her peers, helped transmit the wide spectrum of Yiddish song .... including the gritty, raw, anger, anguish, humor and joy that was Yiddish life and song. And in doing this, Cooper has helped inspire a new generation of musicians, including my fav Yiddish anarchist troubadour Daniel Kahn, cut through the schmaltz.

So, yeah. Yiddish music is pretty badass and Cooper will be very missed.

Here's Cooper (center), along with Sharon Bernstein & Jeanette Lewicki, singing a trio of Women's Working songs.

Yiddish Trio - Women's Worker Songs (Yiddish Song)


And, just because I love it and it's badass, here's Daniel Kahn, Psoy Korolenko, Oy Division performing "Rakhmones afn Tayvl / Sympathy for Whom?"

Thursday, December 15, 2011

At URJ Biennial, Or… Can anyone can save us from Jewish Boomer Folk Pop?

Hi folks. I'm at the Union for Reform Judaism Biennial. I'm serving on the board of trustees for my synagogue Temple Beth Emeth in Ann Arbor. It's been pretty interesting for a guy with a Conservative upbringing and Orthodox leanings to settle in a Reform temple, but it's been really great. TBE is just about the most wonderful congregation I can imagine. Any quibbles I have with theology or liturgy are very much secondary to that. The Biennial is the bi-annual conference for the the URJ, the Reform communities organizing body. This year over 6000 people have piled into Washington DC for the event. There will be lots of URJ committee meetings, lectures, hallway discussions, big speakers, and, of course music. I'm going to do my best to see as much music as possible and report in.


First a quick note....the URJ has put a lot of information about the musicians up on their Stage Page including schedules (for attendees), musician info and some videos. If you've ever wanted to get a real sense of what's going on in the Reform music community this is the page to visit.


Day 1


12:00 Noon The “URJ Books and Music” stage is kicking off with Beth Schafer, Julie Silver, Doug Cotler, and Rabbi Joe Black. They’re singing a funky, folky version of “Driedel, Dreidel.” Schafer, Silver, and Cotler are on guitar and Colter is playing keys. It's fun to see them live but I'm really hoping this isn't setting the tone for the week. They're playing into all my stereotypes of liberal Jewish pop-liturgical musicians (I have different stereotypes for Orthodox community musicians). One of the big challenges for me is that while I really appreciate what these folks are doing, I don’t love a lot of the music. I find a lot of it to be pretty shallow both lyrically and musically. I also find a lot of it very dated. I don’t know if this is me pointing out that the emperor’s got pretty shabby clothes or that I’m just a jerk. Probably both.

Before anyone takes me task, let me say..... I know. Lots of it is “family music” aka kids music. And I know… lots of it is intended for easy camp and congressional sing-alongs. And, I know… these folks are talented musicians. But most of what I hear is mediocre and forgettable, a baby-boomer pastiche of 1970’s folk pop with a few Hebrew (sometimes Torah) phrases wrapped in fuzzy good feelings. Like an oldie’s radio station in a Jewish twilight zone. Yawn.

I’m hoping to find a few gems, though. I want to hear some new voices and sounds. I want my world rocked like it when I first heard Girls In Trouble sing feminist midrash over an indie-pop electric guitar and looped violin. I want to hear songs with depth and substance that really speak deeply to Jewish beliefs and dreams.


Is Colter really asking us to sing “take a potato pat pat pat.” Sigh. At 41 I'm the youngest guy in the room at the moment. Why is he singing this?


Ok, now we’re into Rock of Ages. Classic, and a nice arrangement. I think this is Silver’s arrangement. I love her soft descant. Nice. (I really appreciate Silver's work, much more than Shafer’s which for me is vapid fuzzy good feelings and fairly uninteresting song structures). Joe Black is now singing his ‘hit’ “Judah Macabee.” He's got a wonderful voice and this is a well-written song, though I wish it didn’t sound like it was written 30 years ago.


12:30, Jay Rappaport.


I don’t know Rappaport. Let’s see what he’s got. The announcer is crediting him for being a Berklee College of Music grad and a Billie Joel sound-alike. Ok. A little light R&B piano action. He sings well, plays well, works the audience well and sounds like 1970’s R&B oldie radio station instead of a 70’s folk-pop station. Lyrics…. Hebrew chorus? Check. Explanatory English lyrics? Check. Yep. He sounds like a elementary Hebrew school class. So, would my kids dig it? My 9 year-old who’s crank’s Matisyahu on her nano probably would find it really boring. My 7 year old? Maybe, if it was presented in a class situation but not on her own. (She digs Lady Gaga. Let me tell you…she was “born this way” all right). We are Jews. Why? Our people are connected around the world? That’s it? We should do push-ups with Judaism on our back? Sigh. We’re definitely aiming for the 7 year old in all of us. So Rappaport’s a lot of fun. I could see a gang of really young kids really having fun with him, but his songs don’t measure up for me.


Opps. I just got scolded for poaching a power outlet in a dangerous spot. My bad. But they offered me a spot at a table that will later be home to Jewish Rock Radio. Thanks folks! I’ve promised to put in a plug for the convention’s Stage Page (www.urjbam.com/stagepage). I’m not on wireless yet but will check it out as soon as I am. Maybe I can get press credentials and access to the press wireless connection tomorrow?


12: 55 Lisa Levine. (Cantor from Chevy Chase, MD)

Levine is a cantor from here in Maryland and is touted as having a lot of albums and her own song-book and visiting and performing for Jews in Cuba. She’s performing with members of her “inter-generational choir and band.” Yep. More 1970’s folk rock, complete with flute and cello this time. She’s got a good voice, though, and her music, while playing to all the songleader cliché’s, is more varied and better written than much of what I’ve heard from the community. I really dig her V’shamru. It’s up-tempo, but has a dark glimmer that gives it depth. I could easily see the kids’ choir at my synagogue nailing this one. Her “We will sing” is a powerhouse anthem. Listening to it reminds of a Gordon Lightfoot anthem (which is a pretty dated but still high praise, for those of you who don’t the guy.) All in all, Cantor Levine fits into all my preconceptions about songleader music, but there’s some real music here. I hope the folks listening are paying attention and take her songs back to their communities.


It’s frustrating that they’ve programmed music through the main conference lecture/panel sessions. The audience completely clears out. Only a few of us die-hards left. Lots of musicians I recognize wandering around. I see Todd Herzog, Jeff Klepper and Saul Kaye. I’ve got lots of folks to say howdy to.


1: 20 Sababa is next up. This show is getting better and better. In case you’re wondering…yes. more 1970’s liturgical folk-pop, this time with two guitars and a mandolin. Their sound is simple but tight, bright and glittery songleader rock with a bit of a country twang. Sababa’s lovely harmonizing and great control of their dynamics results in a very strong and engaging sound I could easily see on a main stage somewhere (hint hint Detroit JCC Stephen Gottlieb Music Festival). I really want to hear them with a drummer and maybe a horn section. I might just have to get their album. Yep that’s me clapping along. Funny, they’re closing with a anthem with the chorus “God made it and it’s all good.” Very apropos of my Lady Gaga reference earlier. (She’s Jewish, after all).


Yikes. The audience is getting really thin. This is almost as bad as when I gave a Jewish music talk to 4 people at the Detroit JCC recently. Being in the wrong time slot is a real drag.


1:45 Larry Midler. Oops. I missed Rabbi Midler’s intro and will have to look him up later. He’s playing some goofy, happy-clappy, tune and not impressing me yet. Hang on. He’s busting out some serious country flat-picking guitar lines. That’s better. He’s got some action after all. I’m digging this tune about Noah. I wonder if he’s got a video of it I can post? Oy. He’s singing his “hit” “Where I go there’s someone Jewish” which rhymes Jewish and Newish. Cute but oy. At least the remaining audience members are singing along. I guess this is a hit after all. I’d rather hear the flat-picking. Now he’s singing about bar mitzvah’s. I really don’t love songs about Jewish set pieces (bar mitzvah's, dreidles, candles, Torah scrolls, matzoh....). Not that they’re not important, they’re just easy to write and easy to forget. It’s really hard to make them wonderful. Ok, he’s doing more flat-picking, this time a song about Sampson…I love this just like I loved his Noah song. Do more of this and skip the goofy stuff.


One thing that’s clear to me is that I really don’t know this community very well. I’ll need to check in with my friend David, who’s been a part of this community for years. He’ll know Midler’s story.

In case your curious.... Here’s the Teruah guide to music for URJ musicians. (this is tongue in cheek folks.)

1. Play 1970’s folk pop (or R&B) because the history of music ended then.

2. Make sure you have one, and only one, Hebrew phrase in your chorus. Reform Jews like to spice things up. But only so much.

a. If you’re a performer, not a song-leader feel free to replace the one line of Hebrew with Yiddish, Ladino, Russian or whatever comes to mind.

3. Draw your lyrics inspiration from a Shabbat prayer with additional English lyrics that may or may not relate to the prayer. Non-Shabbat prayers are discouraged because no one remembers them and Lenoard Cohen’s already done the Unetanneh Tokef.

4. Skip the English lyrics and just sing the prayer lyrics in a new, uptempo, folk-pop arrangement because no one has done that yet.

5. Write something silly about one of the great Jewish set pieces (e.g. driedles, bar-mitzvah’s)

6. Make sure you write kids songs and then sing them to adults. Because they're cute. And maybe we won't notice there are no kids in the room.


Will I come up with new rules as the Biennial progresses? Inquiring minds want to know.


2:15 Todd Herzog. I’ve blogged about Herzog before. He’s a really strong singer/songwriter with a lot implicit and explicit Jewish themes in his lyrics. (and yes, he sometimes does the one line of Hebrew thing). Definitely a performer and not a songleader, though he got some nice call and response from the audience at times. And not stuck in a formulaic 1970’s folk pop vibe, though his warm voice and guitar playing is very accessible to the Biennial audience. The great thing about Herzog is that doesn’t fall into a lot of the cliché’s of Jewish pop music (see Teruah’s Rules above). He’s a storyteller with a lot of spiritual depth. His song Tree of Live, which he’s playing right now, is wonderful and deserves a lot more attention than it’s gotten. (Ok. It does have the ‘one Hebrew phrase” cliché). I had Herzog’s previous album in heavy rotation when it came out and seeing him play live reminds me why. (Hmm. Bring Herzog to Detroit? What a good idea)


Great. I just ran into Miriam from the Biblepop band Stereo Sinai. They rocked the house last year at the Detroit JCC Stephen Gottlieb Music Festival. They’re huge crowd pleasers. Miriam is here representing the non-profit DarimOnline and the URJ funded social media bootcamp for URJ synagogues. (http://on.fb.me/urjbootcamp)


2:30 The Levins. I’m not familiar with The Levins. They’re a duo (keys and guitar, both on vocals), with some lovely warm harmonies. And yes, they’re following Teruah’s Rules. But like Herzog, they’re performers not songleaders, and play with a lot of style and much more interesting songs. (Bring The Levin’s to Detroit? They played the SF Jewish Festival Family Stage). Wow I’m digging these folks. Their song “Let me see you as myself” is pretty awesome. Ok. Now not digging them so much. Now they're getting goofy. Are they seriously singing The Who in Yiddish. Yes. Yes they are. They don’t have Herzog’s deep spirituality and probably won’t end in heavy rotation but are a lot of fun. I’d go see them live again.


3:00 Noah Aronson. Aronson hit the stage with four guys… two acoustic guitars, a six-string bass, a keyboard and a percussionist. Clearly a performer not a songleader, though it appears Teruah’s Rules are being followed to the letter. The songs happily alternate between English and liturgical Hebrew in a uptempo strummy arrangements. Credit should be given…Aronson’s music draws as much on mid 90’s alterna-pop guitar as from 1970’s folk-pop. Whew. Aronson’s a young guy with a solid, driving voice. This song rocks and I could see high-school NIFTY kids who normally groove on Rick Recht and Dan Nichols loving him. (Another possible for Detroit… perfect for the Progressive Jewish Music Showcase?). Yum. Love the Spanish rhythms and the spacey keys under the second song. The percussionist needs a full kit but is doing his best with the drum box he’s got. Ha! He just pulled a bunch of NFTY Leadership Program kids up on stage with him to sing harmonies and just said “I’m going to break it down Dan Nichols style.” And then did. And here comes a closing pop version of the Shehikanu. grin. nice work. Jewish rawk.


Speaking of which, the Jewish Rock Radio gang including Rick Recht is setting up shop behind me. And the conference session must be over because the audience is filling up again.


3:25 Max Jared Einsohn. Whew. Quick stage swap. Max was playing rhythm guitar for Noah and now Noah is playing keys for Max. (And Noah is killing the keys). Max is also a Jewish rawk performer but with a softer and funkier sound. Finally, someone’s ignoring Teruah’s Rules entirely. About time. And of course, since he’s not taking the easy road the Jewish content of the music becomes harder to hear. With songs with titles like “We’re all connected” I get the positive messages that he’s interested in, but are these Jewish positive messages or American progressive pluralistic positive messages? (There is a difference, people.) That aside, this is a fun set. I’m going to need to talk to Einsohn and get more of his story.


3:45 Mikey Pauker. Ok, so clearly there’s Jewish Rock cabal here. Pauker’s got Aronson on piano and Einsohn on guitar. But Teruah’s Rules are back in play, at least to a degree. He’s leading off with arrangements of Sim Shalom and Hinea Matov, but there’s no 70’s folk-pop in sight. Strummy, but with more of a 90’s acoustic rock bite and a languid jam-band presentation. Hinei Matov? How great it is for brothers and sister to hang out on this day? Pretty great. Thanks for asking. Pauker’s is playing a song he wrote at Hava Nashira that’s been picked up for a reality TV show on OWN. It’s a great tune, I see why they picked it up. Let it rain! Strong, dreamy, impressionist lyrics but with a surprising Jewish liturgical hook in the middle. Avhat v’simcha v’shalom! At the end of his set, he talked about how he’s influenced by going to Hava Nashira and playing at camps. Clearly Pauker, Aronson, and Einsohn are the story of the day. It’s great to see that a younger generation is defying Teruah’s Rules. Note. I talked with Pauker after the set and he plays gigs at camps, Jewish festivals, and rock clubs and is building a career in all these places. He's opened for Matisyahu and the Moshav band, but also for a lot of prominent LA area bands.


4:15 Mark Bloom. This is my second time seeing Bloom. He played last year at the Detroit JCC Stephen Gottlieb Music Festival. He’s a jazzy piano player guy who plays some originals and lots of Jewish standards. He’s a fine musician but I find his set tedious…. a Jewish lounge nostalgia fest. Very much not my thing. Not much to say here.


Ok…the URJ saved the best for last.


4:40 Saul Kaye. Ok, I’ve been waiting for this show all day. I’ve seen Kaye on YouTube but not live and his music has been in heavy rotation lately. He plays a mean blues guitar and has a strong bluesy voice. “Let my people go!” “Some one please call my brother!” Metal slide grinding …. giving me chills. His song “Two Wolves,” which was based a concept from the Tanya regarding on the ideas of Yetzer Tov and Yetzer Hara, was Dan Akroyd’s “Blues Breaker of the Work” on the House of Blues radio show last October. It’s a fantastic song. And yes…it has the terms Yetzer Tov and Hara in it. This is, in my opinion, what we need. Musicians who deeply understand the Jewish tradition making new music that picks up those ideas and makes seriously good new music out of them.


Saul Kaye is married to Elana Jagoda? Jagoda is a fine family music performer (and up next.) How cool.

Yikes. I may not get talk to Saul and Elana…I have to get to evening T’filah (in the Cherry Blossom Ballroom. Just in case you were wondering.)


5:15 Elana Jagoda. Ok. Teruah's Rules are reinstated, Jagoda is leading off with her own Sim Shalom. And that’s followed by a classic Jewish music set piece… the Hanukkah candles. But I dig her contemporary folk sound and where she goes with her lyrics. Go check out her Hanukkah track on the Craig and Co Hanukkah sampler on Amazon. Double yikes. Jagoda just explained that the version on the sampler was uploaded at the wrong speed and she sounds like a man. Ouch. It’s being fixed today. Ok. I've got to run and didn't get to hear all of Jagoda's set. Bummer.


10:30 Colter, Black, Silver, and Schafer. It's late and the late show is starting. The openers Julie Silver, Rabbi Joe Black, Doug Colter, and Beth Schafer are back on for a full set. I'm watching the show with Saul Kaye and comparing notes. Once again I'm struck with how this music seems dislocated in time...it all sounds like a baby boomer nostalgia fest. Which, considering the audience, it pretty much is. And don't get me wrong... they're all fine musicians. I particularly love Julie Silver. I'm just bored. I think what bugs me isn't that the music style is dated. I love 1800's klezmer music right? It's that there's no acknowledgement that the music is a period piece. It's being presented throughout the community as if this was the best of current music. Which it's not. My other bug became clear to me when we were celebrating Debbie Freedman earlier in the evening. Freedman deeply knew her Judaism, the texts, the ideas, the liturgy and her music and lyrics resonated with it. The musicians that follow after her? Not so much. Too much of it is empty of any real Jewish depth. So I'm at a late night, very average, folk-pop concert.


By the way..I'm well aware that these folks are mainstays of the community, have been loved for years and that this show is as much about the community enjoy itself as it is about anything else. And I haven't been part of the community so I just don't get it. Yep. Pretty much.



Tuesday, December 6, 2011

Hanukkah Sampler from Craig Taubman

Craig Taubman, of Craig & Co, has a great Hanukkah offer. A nice mix of Hanukkah tunes, mostly from his label's stable of Jewish liturgical-pop musicians, offered up free on Amazon. Check it out.

Here's one of my favorite tracks from the disc. It's the Klezmatics performing Woody Guthrie's "Hanukkah Gelt" from their recording "Woody Guthrie's Happy Joyous Hanukkah."




Update: I just not this note in the comments, presumably from Craig Taubman.

"One minor clarification. Of the the 18 tracks on the cd none of the artists are currently signed to our label. Furthermore, outsde of my “liturgical pop music” the balance of tunes comes from a very eclecltic selection of artists including folk (Mare Winningham,Yael Meyer and Ilana) , classical (Milken) Cantorial (alberto), rock (Naomi and Rebbe Soul) Gospel (Joshua Nelson and hip hop (Smoothe e ) genres. Keep spreading the news!"

Thursday, November 17, 2011

Eden and Prodezra Beats rock Chanukah

Last Friday, the Shades of Grey blog put up a nice post about the Brookly based Jewish rock trio Eden. I was going to post the Eden track "Yigdal" that SoG put up, but you can check it out here.

Instead I'm going put up my first Chanukah video of the season. It's only a few weeks away now. The video's got Eden backing the Savannah Georgia rapper Prodezra Beats at the Square 2010 festival in Charleston, SC last year. I dig Prodezra and it's great to see him backed by a live band. I love the classic heavy heavy bass guitar and the stratospheric guitar behind the rap. Would love to see them live.

Hinei Ma Tov/Come Clean with Prodezra



Proderzra Beats and Eden both have new tracks out. (well, new for me) I love Prodezra's production skills more than his rhymes but Connection Revealed is solid and worth checking out. I particularly dig "Wake Up, Rise."

Eden 's "Knock at the Door" came out last year, though it's not clear how to buy it. You can check out the tracks on myspace.

Monday, November 7, 2011

Tikkun Olam in Brazil, Talat's Jewish jazz

TalatI got an email recently from a Jewish jazz group that I hadn't heard about before. The band is called Talat and is led by composer and piano player Alon Nechushtan. Talat's debut album, Growl, on Tzadik Radical Jewish Culture has garnered praise from both the jazz and Jewish communities. I haven't heard the album yet, but I dig the Vimeo videos I've heard. To my ears, their sound, particularly the video below, is very much in keeping with other Tzadik acts, which is a fine thing. I'm a big fan of that sound. (Though I'm also a fan of non-Tzadik Jewish jazz groups including the Afro-Semitic Experience and Enrico Fink). That sound is typically based around jazz improvisation using klezmer modes. Talat's press material talk about also mixing in middle-eastern sounds, though I haven't heard that in any of the videos I've seen. What I have seen though is a nice blending in of Israeli pop music sounds, which is lovely.

For more info, check out their website.

Alon Nechushtan and TALAT perform 'tikkun Olam'

Friday, October 21, 2011

Grateful Dead percussionist Mickey Hart on recording a klezmer in a gym

Ok, it's way too short but this video of Mickey Hart describing recording a klezmer band is a hoot. Mickey Hart is a world-class percussionist, both as a member of the Grateful Dead and through a variety of performance and recording projects.

The album, The Golden Gate Gypsy Orchestra's "The Traveling Jewish Wedding," was released back in 1980 and was just re-released on Smithsonian Folkways as part of the Mickey Hart collection. It's a fine early klezmer revival recording and is actually one of the one of the first klezmer album's I owned. It's loaded with fine, though not outstanding, cimbalom, violin, and folkie vocals and in true klezmer revival form it's regionally omnivorous and indiscriminate. It including traditional Yiddisn and klezmer tunes, Sephardic tunes, and one or two that sound very influenced by Israeli folk music. Great stuff.

I had no idea, though, that Mickey Hart recorded it. Guess I didn't read the liner notes on that one.

Mickey and Fred on Recording Golden Gate Gypsy Orchestra


While the Golden Gate Gypsy Orchestra is no more, if you happen to be in Hawaii GGSO's Barry and Gloria Blum would be happy to perform at your wedding, bar mitzvah or bris.

Monday, October 3, 2011

Yehuda Katz going solo

It's funny. Historically, I've never been a big jam-band, Grateful Dead kind of guy. I'm not sure why I so love Shlomo Carlebach and his psuedo-hippy Chassid protégés so much. But I do. Which is why I was thrilled when I got an email Aryeh Kunstler pointing me to Yehuda Katz new videos and album. Katz was one of the founders of popular Israeli Hassidic music group Reva L’Sheva and in the new album expands on his joyful Shlomo Carlebach / Grateful Dead sound. Love it. Check it out.

Yehudah Katz - Biladecha/Not Without You



For more info on Katz, check out this recent Jerusalem Post article. His other new video, Hudo, is also excellent. You can grab the new album through iTunes and follow Katz on Facebook.

Thursday, September 8, 2011

The Groggers. Holding a fun-house mirror to Orthodox Jewish life.

To paraphrase one of my favorite rock critics, (Paul Williams "Rock and Roll The 100 Best Singles"), there are two primal rock and roll traditions.... angry stupidity and cheerful stupidity. But there's a counter tradition too, smart stupidity. The court jester. The smart guy (or gal) playing dumb. Sometimes with snarky bite, like Jello Biafra and the Dead Kennedys. Sometimes with nerdy-bafflement, like They Might be Giants. But always that sense that you'd better press rewind and listen to that one again. They just said something that needs to be heard.

The first time I heard The Groggers, I didn't press rewind. The song was Get, and the band bumbled along with a power-pop finger shake at a guy who didn't deserve his girl. A well-played Orthodox novelty song, but (to my ears at the time) nothing more. I wasn't hooked yet. But tonight they sent me their new video "Upper West Side" and they got me. Court Jester. Smart Stupidity. Press Rewind.

Check it out

"Upper West Side Story" - The Groggers



Under the wide eyed naivete of singer/songwriter L.E. Staiman's vocals, is some sharp satirical bite. The phrase "I want to live on the Upper West Side where the girls always stay 29, accountants by day, speed daters by night" was delivered deadpan, but dead on the mark. (As are the hysterical West Side Story "be cool" finger snaps in the video.)

Ok, now go listen to the even better Groggers ballad "Eishes Chayil." I winced when I saw the title. Eishes Chayil, the Woman of Valor, is a regular motif in Orthodox pop music. Derived from a (sometimes touching, often awkward) Shabbat ritual, the Eishes Chayil pop song is usually over-earnest and condescending in it's celebration of the vague awesomeness of the Jewish woman. (Here's Orthodox crooner Yaakov Shwerky singing a representative example.) The Groggers skewer it beautifully. Staiman's version pushes the vague detachment of the Eishes Chayil concept as far as it will go... straight into a Weird Al Yankovic-style voyeuristic creep-fest. "If you ever need me... I'll be right out your window."

In a post on Frum Satire that went up this morning, Heshy Fried lauded them for being a Jewish band that didn't spend their time singing about religious topics, but instead sang about (Orthodox) Jewish life. That's true, and Fried's right that the Orthodox community needs more bands like that. But I think that misses the point a bit. The Groggers aren't singing about frum life, they're holding up a fun-house mirror to it.

Under their dumb lyrics are a smart insiders critique of Orthodox life. And that's brave thing to do. Smart stupidity. Court Jester. Rock and roll.

Update: I forgot to mention that The Groggers debut album "There is no I in Cherem" dropped in August. Go get it.

Thursday, September 1, 2011

Coda....A Short Film

Coda is a short film in the making about music and identity. The storyline (see below) points to the main character being a violinist who loves klezmer though the bit of music she plays in the film clip below doesn't sound particularly klezmer inspired to me. But it's a neat piece and I'm looking forward to seeing the final version. The film-maker is running a Kickstarter fundraiser right now, so if you like what you see consider helping out.



Coda Test Shoot





"CODA is the Graduation Film of Writer/Director Jonathan Tomlin from the MA Filmmaking Course of the London Film School. In particular, this film is concerned with the relationship between self-expression and self-preservation. The struggle to survive is as important to an artist as her instrument or her talent. An extraordinary artist is someone who can transform suffering into inspiration and vice versa.



This film strives to travel the world through music and reach audiences with a story that can be felt across any border and in any language. Music is a universal language with as many styles as there are cultures in the world. Music is at the core of CODA’s narrative. There is no dialogue and no subtitles. The film will run approximately 10-12 minutes.





THE STORY



The story of a classically trained Violinist travelling through Eastern Europe in search of a deeper connection to music and to her own life. She has chosen to live as a full-time Traveller and Street Performer (Busker) leaving behind the rigid confinement of her Classical formation in order to push the boundaries of her life and her music. She plays with exquisite technique, but her style is as varied as the stamps on her passport. She is particularly inspired by Jewish Folk music, known as ‘Klezmer’. Whether it’s expressing joy, sadness or anger Klezmer is as intricate as it is emotional.



One morning, while playing in a busy train station in Budapest the Violinist encounters two characters: A Young Girl and an older woman. The Girl is enamored by the Violinist’s performance and by her proud and strong presence. The Older Woman watches the performance too, but she appears resentful of the Violinist who has decided to play on the exact spot where the Woman comes to beg for money. Passing men and women drop coins into the violin case, but take no notice of the Beggar. After the concert the Violin is stolen and the Violinist’s self-sufficient, carefree life quickly spirals out of control as she desperately tries to reclaim the instrument of her inspiration."