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An ahead-of-its-time klezmer album will be performed live for the first time
(New York Jewish Week) — In 1955, a group of musicians gathered in a Manhattan recording studio and committed to tape 16 tunes. When the LP, “Tanz,” was released the following year, it barely made a splash.
Over the years, however, the recording would gain a reputation as a landmark klezmer album, years before the klezmer revival of the 1970s and ’80s. Recorded by the klezmer virtuoso Dave Tarras and a handful of respected New York jazz players, including brothers Sam and Ray Musiker, the record was a groundbreaking mix of the traditional Eastern European Jewish dance music and a jazz and big band sound.
And now, nearly seven decades later, the entire album will be performed before a live audience for the first time ever. On Thursday, Brooklyn-based clarinetist Michael Winograd will lead a band of klezmer all-stars as they play the music from “Tanz” (Yiddish for “dance”) at the Marlene Meyerson JCC on the Upper West Side.
“One of the things that I love about his compositions on ‘Tanz,’ is that they feel like they are both inside and outside the klezmer box,” Winograd told the New York Jewish Week. “They are so clearly klezmer, but they’re also pushing the boundaries so much and I think that came from his work as a jazz musician.”
Winograd completed the herculean task of transcribing all the instrumental parts of the album several years ago. He said that he originally transcribed “Tanz” as a technical exercise and initially had no plans to record or perform the material. But trumpeter Frank London of The Klezmatics convinced him to reconsider, Winograd said.
“Frank told me, ‘You have the music, you might as well perform it. It would be amazing,’” Winograd recalled.
In December 2018, he performed some of the tracks with two different klezmer bands in Berlin and New York. The upcoming JCC performance, however, is the debut performance of the album in full. Winograd is working with Aaron Bendich from the Borscht Beat record label and hopes to release a film of the JCC concert, which is co-presented by the Ashkenaz Festival, the Center for Cultural Vibrancy, the Center for Traditional Music and Dance and the Weitzman National Museum of American Jewish History.
The driving force behind “Tanz” was the late Sam Musiker, a fourth-generation klezmer musician born in New York. He and his younger brother, Ray, also a member of the “Tanz” ensemble, performed klezmer extensively starting as young musicians. On the album cover, the Musiker brothers got second billing to Sam Musiker’s father-in-law, the clarinetist Dave Tarras, a Jewish immigrant from Ukraine and the undisputed king of klezmer at the time.
Also playing on the album were drummer Irving Gratz, Tarras’s regular drummer; pianist Moe Wechsler, a Juilliard-trained musician who played in the big bands of Benny Goodman and Louis Prima; accordion player Seymour Megenheimer, a pianist who later became known as Sy Mann and is credited with recording “Switched-On Santa,” the first Christmas album to feature a Moog synthesizer; Mack Shopnick, a swing-era jazz bassist who was later active in the American Federation of Musicians union; and trumpeter Melvin Soloman, who played on a couple of Sarah Vaughan albums.
The musicians gathered at the former church that became Columbia Records’ 30th Street Studio to make the record. The studio opened after World War II and, until it closed in 1981, it was graced by some of the greatest musical talent of the 20th century, including Vladimir Horowitz, Dizzy Gillespie and Bob Dylan. Rehearsal and recording took place over two days, according to Ray Musiker, who had to take off a couple of days from his regular gig: teaching music at James Madison High School in Brooklyn.
Ray Musiker is the only surviving member of the original band, and earlier this month Winograd interviewed the 96-year-old at his home on Long Island, where they discussed how the record flopped when it was released by Epic Records in 1956. “It didn’t make an impact — there were too many things going on in the world of pop music,” Musiker told Winograd. “Judaism was Americanizing, the whole thrust was to assimilate. Klezmer music started to dwindle. They’re not living in the shtetl and they don’t want to hear shtetl music. It died out like [the Yiddish theater on] Second Avenue died out.”
And yet, in recent years, “Tanz” has been reexamined and reappraised. According to Uri Schreter, a PhD student at Harvard who studies Jewish music during the postwar period, “Tanz” is one of the most important klezmer recordings of the latter half of the 20th century. With its brass-heavy big band arrangements, “Tanz” was klezmer’s “very significant and very deep step into the world of American popular music, specifically jazz and swing,” he told the New York Jewish Week.
“Tanz” was also unique in that it featured two lead clarinetists who were both virtuosos with distinctly different styles: Sam Musiker was the American-born klezmer jazzman who could swing — he played in the Gene Krupa Orchestra and served as a sideman to Roy Eldridge and Sarah Vaughan. Dave Tarras was the epitome of the Old World klezmer tradition, Schreter said. The two styles are in a kind of a competition, Schreter said, but are also in collaboration.
Winograd, 40, is capable of pulling off both styles, he added. “You can hear when he’s playing Sam Musiker and you can hear when he’s playing Dave Tarras,” Schreter said. “He’s always playing Michael Winograd, of course. And he doesn’t sound identical to them. He doesn’t want to.”
According to Hankus Netsky, founder of the Klezmer Conservatory Band of Boston and co-chair of the New England Conservatory of Music’s Contemporary Musical Arts program, Winograd is one of the most inspired klezmer musicians of his generation. “His current band is the best thing going at the moment,” said Netsky. “The level of Winograd’s cadre of musicians is kind of astronomical.”
The line-up for the JCC performance includes Marine Goldwasser on clarinet; Alec Spiegelman on saxophone and bass clarinet; Frank London on trumpet; Will Holshouser on accordion; Carmen Staaf on piano; Zoe Guigueno on bass; David Licht on drums, and Katie Scheele on English horn.
Virtuoso jazz and classical clarinetist Don Byron was in the Klezmer Conservatory Band from 1981 to 1987. He recalled when he first heard “Tanz”: in 1981, when his roommate, KCB bassist Jim Guttman, brought the LP from a used record store in Boston and asked him to have a listen.
“I listened to it once and I was, like, ‘We gotta play this,’” said Byron, who attended the Manhattan School of Music with Ray Musiker’s son, Lee. “Nobody [in the klezmer scene] knew anything about that record.”
The KCB played two selections from “Tanz” at every performance while Byron was in the band, though they removed the tunes from its repertoire when he left in 1987. Now, with Thursday’s performance, the full album will finally get its due. “Sam [Musiker] was one of my heroes,” Byron said. “To me, the tunes that he did [on ‘Tanz’] were some of the great achievements of modernism in the [klezmer] idiom.”
“Michael Winograd Plays ‘Tanz’: A Live Album Recreation” will take place at the Marlene Meyerson JCC Manhattan on Thursday, Feb. 16 at 7:00 p.m. Tickets, $10, and information here.
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Why is AIPAC targeting Trump’s ICE funding?
The American Israel Public Affairs Committee, often a reliable ally of pro-Israel Republicans, is now echoing Democratic outrage over one of President Donald Trump’s most polarizing policies: immigration enforcement. It comes amid backlash sparked by the fatal shooting this month of Renee Good by an ICE agent in Minneapolis.
AIPAC’s super PAC, United Democracy Project, began airing an attack ad over the weekend against former Democratic Rep. Tom Malinowski, who is running in a Feb. 5 primary for the House seat vacated by New Jersey Governor-elect Mikie Sherrill. The ad highlights his 2019 vote for a bipartisan border funding bill, which included an increase in funds for the Immigration and Customs Enforcement agency. “We can’t trust Tom Malinowski” to stand up to President Donald Trump, the voiceover says in the 30-second video.
AIPAC has become increasingly controversial among mainstream Democrats for backing pro-Israel Republicans who questioned the 2020 election results. That opposition deepened during the Gaza war as Democratic voters became more polarized over U.S. policy on Israel. Congressional candidates, including some Jewish Democrats, have promised not to take contributions from AIPAC. The group has also drawn attacks from white nationalists and some leaders of the MAGA movement for their lobbying on behalf of a foreign government.
The new ad is especially notable given that AIPAC has spent years cultivating ties to Trump-aligned Republicans, many of whom strongly support aggressive immigration enforcement. By attacking a Democrat over ICE funding while sidestepping Trump himself, the group is threading a narrow needle — aligning rhetorically with Democratic outrage while maintaining its broader bipartisan posture.
In the 2024 election cycle, the group spent $28 million in high-stakes Democratic primaries. That included more than $14 million, which contributed to the defeat of Rep. Jamaal Bowman, a strident critic of Israel. Malinowski, who served two terms in Congress from 2019 to 2023, holds a mainstream Democratic stance on Israel. During his first term, he traveled to Israel on a trip sponsored by the American Israel Education Foundation, AIPAC’s educational affiliate.
Israel has not been a key issue in the crowded special election in the northern New Jersey district, which includes a sizable Jewish electorate. The Jewish Democratic Council of America held a virtual candidate forum last week with eight candidates on issues important to Jewish voters.
A spokesperson for the United Democracy Project did not immediately respond to questions about why the group is targeting Malinowski, particularly on such a deeply contentious political issue. AIPAC spent at least $350,000 on the ad.
AIPAC ad is out https://t.co/f0cH6AIgja pic.twitter.com/udwL7nJgYf
— umichvoter (@umichvoter) January 17, 2026
Malinowski, 60, is a former assistant secretary of state for democracy, human rights and labor in President Barack Obama’s second term and previously served as a foreign policy speechwriter for President Bill Clinton. He first ran for Congress in 2018 in New Jersey’s 7th District, saying he was motivated by Trump’s election.
“I am myself an immigrant from Poland. My family was not Jewish, but experienced life under the Nazi occupation,” Malinowski said in an interview at the time. “That’s where my commitment to defending human rights comes from. That’s where my belief in the importance of protecting Israel comes from.” He is a close friend of former Secretary of State Antony Blinken. Malinowski was defeated in the 2022 election.
Malinowski is competing for the open seat against at least two leading contenders: Outgoing Lt. Gov. Tahesha Way and Essex County Commissioner Brendan Gill.
AIPAC typically focuses on U.S.-Israel relations and national security issues. However, its political arm has focused on domestic issues in close contests.
In 2024, they attacked Reps. Jammal Bowman of New York and Cori Bush of Missouri — two of the first House members to advocate for a ceasefire after the Hamas attack on Oct. 7, 2023 — over their votes against signature Biden-era bills, like infrastructure and healthcare.
In a statement to the New Jersey Globe, Malinowski called the attack “laughably preposterous” and suggested it would boomerang against AIPAC. “I have many pro-Israel supporters in the district, including AIPAC members, who believe you can be passionately pro-Israel while being critical of Netanyahu,” Malinowski said. “To say that they’re appalled by this ad would be an understatement. In fact, I’m reading a collective sense that AIPAC has lost its mind.”
The post Why is AIPAC targeting Trump’s ICE funding? appeared first on The Forward.
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The Jewish women who kept Confederate graves from disappearing
In June 1866, just over a year after the Civil War ended, young Jewish men in Richmond, Virginia, removed their coats and set to work among the graves of their fallen comrades. Some were “frail of limb,” a newspaper noted. They wheeled gravel and turf, filled the graves, and tamped the earth down “in a very substantial manner.” It was the last sad tribute they could offer.
The work that day was organized by Jewish women in the city. Their aim was permanence: to enclose the soldiers’ graves, to mark them, and to ensure they would not disappear “before the relentless finger of time.”
The Hebrew Cemetery in Richmond was established in 1816, decades before the Civil War reshaped the nation and long before the city became the capital of the Confederacy. It was the second burial ground for the Beth Shalome Congregation, Virginia’s first synagogue. Tucked within its grounds is the Soldiers’ Section, where 30 Jewish Confederate soldiers are buried, in what is believed to be one of only two Jewish military cemeteries in the world outside Israel.
They came from across the South, including Georgia, Mississippi, South Carolina, Virginia, and beyond. A bronze plaque at the entrance reads: “To the glory of God and in memory of the Hebrew Confederate soldiers resting in this hallowed spot.”
What matters here is not only who is buried — but who remembered them, and how.
The work the war left behind
In 1866, just a year after the war’s end, Jewish women in Richmond organized the Hebrew Ladies’ Memorial Association. That same year, the group issued an appeal “to the Israelites of the South” for aid to enable the society to care for the graves of Jewish Confederate soldiers from all over the South who lie buried in the cemeteries of Richmond.
It was a duty, an act of chesed shel emet, Hebrew for the truest form of kindness, performed for those who could not repay it.
Newspaper accounts from the period are striking for their clarity and urgency. These women understood that the work of memory is laborious — physical, ongoing, and vulnerable to neglect. Graves, they warned, could vanish unless someone acted.
So they took responsibility.
By the late 1860s and 1870s, the Association’s work had grown to include an annual memorial service. Reports describe flowers laid carefully on each grave, marble slabs placed at the head of each burial, names and regiments inscribed so those resting there would not slip into anonymity.
An 1868 account observed that “each grave has been marked in a manner that ensures that the names of the still tenants of this beautiful spot will be preserved from oblivion; and handed down to be further cherished by the generations yet to come.”
That language echoes a Jewish concept. Zachor. Remember.
Memory, they understood, does not preserve itself.
Importantly, these memorial services were not closed affairs. One report from 1868 noted that the crowd gathered in the cemetery “was not confined to any one denomination.” Jewish lives were honored in the public view, but still held apart from Richmond’s larger Confederate cemeteries, Hollywood and Oakwood, which were not consecrated for Jewish burial and could not accommodate Jewish ritual requirements, including separate sacred ground.
Tending the dead
The care itself remained constant, but the language surrounding it did not.
What is striking in early accounts of the Soldiers’ Section of the Hebrew Cemetery is not the absence of politics, but how its weight changes over time.
In the earliest years, memory and the war were still closely bound. The 1866 appeal issued by the Hebrew Ladies’ Memorial Association spoke openly of a “glorious cause” and framed the soldiers’ deaths within the language of Confederate sacrifice. Like other women’s memorial groups in the postwar South, these Jewish women used care for the dead to assert dignity and a claim to sacrifice in a defeated society.
Yet even then, the work itself was grounded in restraint. The focus was on names, tending, and preservation — on preventing the graves from vanishing. The labor was physical, repetitive, and unglamorous. Whatever meanings surrounded it, the work remained the same.
As decades passed, the emphasis shifted. By the 1930s, memorial services featured a cadet, Walter McDonald of the Catholic Benedictine College, sounding taps and the ceremonial laying of wreaths. Confederate organizations were invited to attend. In 1940 and 1941, the public was welcomed to observe the 74th and 75th annual memorials. After 1941, the Hebrew Ladies’ Memorial Association continued to participate alongside other organizations in Memorial Day observances, but it appears that by 1947 the local observance of “Hebrew Memorial Day” or “Jewish Confederate Memorial Day” faded as a distinct commemoration.
Across generations, the observance persisted, a refusal to abandon the dead to neglect. Memory grew larger than any one explanation. The women’s work became less about what the war had meant, and more about what the living still owed to their dead.
A refusal to forget
This is a complex story that shows how history so often complicates memory. It sits at the intersection of some of America’s most divisive episodes and a small minority faith community declaring its presence and its sacrifices over decades.
When the Civil War ended, Jews needed to be buried. What followed was a choice.
The Hebrew Ladies’ Memorial Association chose to take responsibility. To remember “many a loved brother, son, and husband.” To insist that whatever judgment history would render, oblivion was not acceptable for “Israelitish soldiers of the Confederate army.”
Today, the Soldiers’ Section in Richmond’s Hebrew Cemetery remains. Names are still remembered. The work begun in 1866 was not temporary.
The post The Jewish women who kept Confederate graves from disappearing appeared first on The Forward.
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Spanish PM Sanchez Says US Invasion of Greenland ‘Would Make Putin Happiest Man on Earth’
Russian President Vladimir Putin welcomes US President Donald Trump’s envoy Steve Witkoff during a meeting in Moscow, Russia, Aug. 6, 2025. Photo: Sputnik/Gavriil Grigorov/Pool via REUTERS
Spanish Prime Minister Pedro Sanchez said a US invasion of Greenland “would make Putin the happiest man on earth” in a newspaper interview published on Sunday.
Sanchez said any military action by the US against Denmark’s vast Arctic island would damage NATO and legitimize the invasion of Ukraine by Russia.
“If we focus on Greenland, I have to say that a US invasion of that territory would make Vladimir Putin the happiest man in the world. Why? Because it would legitimize his attempted invasion of Ukraine,” he said in an interview in La Vanguardia newspaper.
“If the United States were to use force, it would be the death knell for NATO. Putin would be doubly happy.”
President Donald Trump on Saturday appeared to change tack over Greenland by vowing to implement a wave of increasing tariffs on European allies until the United States is allowed to buy Greenland.
In a post on Truth Social, Trump said additional 10 percent import tariffs would take effect on February 1 on goods from Denmark, Norway, Sweden, France, Germany, the Netherlands, Finland and Great Britain — all already subject to tariffs imposed by Trump.
Those tariffs would increase to 25 percent on June 1 and would continue until a deal was reached for the US to purchase Greenland, Trump wrote.
Trump has repeatedly insisted he will settle for nothing less than ownership of Greenland, an autonomous territory of Denmark. Leaders of both Denmark and Greenland have insisted the island is not for sale and does not want to be part of the United States.