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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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This mixed Jewish-Arab school in Ramle seeks to model a blueprint for Israel’s future
RAMLE, Israel — In the heart of the central Israeli city of Ramle, where Jews and Arabs live side by side, the Yigal Alon Multidisciplinary High School is trying to spearhead a quiet revolution.
The student body reflects the full tapestry of Israeli society, with students who are Jewish, Muslim, and Christian, religious and secular, native-born and immigrant. The school has a particularly large Ethiopian-Israeli population, and students with special needs. In Israel, such diversity is often treated as a problem to be managed. At Yigal Alon, it is treated as an opportunity, one that was especially important during Israel’s two-year war.
When 32-year-old alumnus Moshael Shlomo, a commander in the IDF’s Yamam counterterrorism unit, was killed on October 7, 2023, his death reverberated through the school community. Shlomo, who grew up in a socioeconomically disadvantaged home in Ramle, attended Yigal Alon from 2006 to 2009, and was known for his charisma, athleticism and drive to help others. He served as a paratrooper, then rose to become an IDF team commander and demolitions expert in Yamam.
After Shlomo’s death in combat with Hamas attackers near Kibbutz Be’eri, Yigal Alon students worked with school staff and Shlomo’s family to begin transforming a neglected plot on the school campus into a lawn — the first stage of a memorial project that eventually will include a sports field, outdoor seating and garden of peace. The project seeks to honor Shlomo’s memory by creating a space that reflects his passion for athletics and community, and the area will serve as an after-school haven for teenagers who by and large can’t afford the kind of extra-curricular activities their peers do. Administrators hope teens using it will build stronger peer relationships and practice the values Shlomo embodied, including generosity and service to community and country.
“It isn’t just about Shlomo’s athleticism,” said sports teacher Dotan Rotshtein, who is spearheading the project. “It’s about his character of determination and kindness. This project will educate students in his spirit.”
The project at Yigal Alon is one example of the many ways Israelis are memorializing those killed during the war, trying to make something positive out of the pain, hardship and loss they endured during the longest conflict in Israel’s history. Rather than serving as a flashpoint, Shlomo’s death became a unifying experience for Yigal Alon, bringing Arab and Jewish students together in determination to build something positive.
The school, one of 50 in the Amal educational network, offers a rare and tangible model for how to bolster Arab-Jewish coexistence and build a society rooted in shared humanity, administrators said.
“This school is a home not just for students, but for families,” said principal Barak Friedman, himself a school alumnus and Ramle native. “Everyone belongs. Everyone matters.”
In Israel, only eight out of 250 municipalities are considered mixed Jewish-Arab. Almost all public schools are segregated along ethnic and religious lines. Yigal Alon is one of Israel’s very few mixed Arab-Jewish public schools.
“Once people saw this as a liability,” Friedman said. “I see it as a wonderful opportunity.”
“At a time of growing extremism in Israeli society, the connections between these youths is quite unique and inspiring,” said Barak Friedman, principal of the Yigal Alon school in Ramle, Israel. (Courtesy of Amal)
Staff at the school try to weave the values of shared humanity into academic life. During the war, students met weekly in conversation circles where Jewish and Arab classmates spoke openly about how the conflict was affecting their families. They worked together on projects like murals and performances to express their emotions.
Older students tutor younger ones, often across language and cultural lines, and 11th graders complete community service work in both Jewish and Arab institutions. The school also has a large group of Shinshinim — Israeli volunteers from pre-military academies who work alongside teachers to help give students one-on-one attention and assist those with learning disabilities.
Jewish and Arab students and teachers work side by side.
“Students aren’t interested in the ethnic background or origin stories of fellow students; what matters to them is their relationships with each other,” Friedman said. “At a time of growing extremism in Israeli society, the connections between these youths is quite unique and inspiring.”
These connections flourished even during the war.
Within the Amal network — whose diverse portfolio of schools ranges from vocational schools that serve traditionally marginalized Israeli populations including immigrants, Arabs, and haredim to science & technology schools in Israel’s biggest cities — 45 alumni were killed in the war, many of them siblings or cousins of current students. Schools were struck by missiles, relocated due to being in conflict zones or absorbed evacuees. Some students had relatives taken hostage to Gaza, and many had parents or siblings in combat. Everyone was affected.
“The loss is not only in the fallen,” said Asher Ben Shoshan, Amal’s head of human resources. “Many of our students and staff were living with traumas.”
Amal’s schools responded by expanding trauma-related programming, offering counseling, and creating spaces for students to process emotions through dialogue and creativity.
“We’re not just teaching algebra or English,” Ben Shoshan said. “We’re helping young people hold their lives together. That is the mission now.”
Traditionally a network of vocational schools, Amal has focused in recent years on turning its schools into centers of science and technology while also trying to heal Israel’s societal rifts and strengthen democratic values among its more than 3,000 teachers and 26,000 students.
“We believe that education is not just about knowledge but about citizenship,” said Tamar Peled Amir, Amal’s deputy director general for education, technology and R&D. “Our classrooms are where the future of Israel is being written — not just with math equations or essays, but with empathy, resilience and an unwavering commitment to building a shared society.”
The killing of Yigal Alon alumnus Moshael Shlomo on Oct. 7, 2023, galvanized the school community to come together and build something to honor the memory of the slain IDF commander. (Courtesy of Amal)
Karen Tal, Amal’s director general, said focusing on Israeli society is part of the schools’ educational responsibility.
“We don’t have the luxury of detachment,” Tal said. “Our responsibility is not only academic. It is human. Shared society is not a slogan. It is the essence of democracy. When students learn to listen to one another, to respect differences and to see the humanity in the other, they are learning what it means to live in a democratic society. That is the Israel we are working to build, one classroom at a time.”
Arab students in Rotshtein’s after-school fitness club now wear team shirts bearing Shlomo’s name. “They want to feel part of this country, part of his legacy,” Rotshtein said.
“The space we decided to build in Moshael’s honor reflects who he was: generous, kind, committed to others,” Rotshtein said. “It is also a project that brings people together, Jews and Arabs, in a spirit of unity.”
Friedman, the principal, said, “Whether you are Jewish or Arab, religious or secular, we teach our students to take responsibility for themselves, for each other and for society. Because only that kind of responsibility will allow Israel to heal.”
It’s an ethos Friedman himself embodies: As part of his military reserve duty, he’s a “notifier” —part of the three-person crew that visits parents’ homes when a soldier is killed to inform them of the terrible news. The experience has shaped his worldview, and the school’s focus on service to community.
Much of the implementation for school-specific initiatives like the Shlomo memorial project relies on community partnerships and philanthropy.
“We are reaching out to the global Jewish community and to friends of Israeli democracy everywhere,” said Yael Nathanel, Amal’s resource development director. “Projects like this do not just build walls and gardens. They build empathy, resilience and vision. But we need help to ensure that this becomes a reality.”
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Conversion isn’t a solo act. So why is the rabbi in ‘Nobody Wants This’ acting alone?
Season 2 of Netflix’s “Nobody Wants This” has sparked plenty of debate — much of it centering on how the show depicts Jewish women. Critics have rightly called out the stereotypes: the no-nonsense, overbearing mother, the controlling wife, the self-absorbed sister-in-law. These portrayals can feel dated and, at times, unfair. When Jewish characters appear so rarely in mainstream pop culture, every depiction carries extra weight — and we should demand better.
But I also think the pile-on has missed something important. The best comedy often plays on stereotypes; not to validate them, but to expose them and exaggerate them in a way that subverts them. Humor and cultural caricature have always been intertwined. And in this case, I believe the show’s existence — with Jewish characters at its center, created by a Jewish convert (Erin Foster), and crafted in consultation with a rabbi (Sharon Brous) — is something worth celebrating, not condemning.
Let’s also acknowledge that “Nobody Wants This” gets several things right.
It is absolutely realistic for a rabbi to be single and dating. It is equally realistic that such a rabbi might meet and fall in love with someone who isn’t Jewish.
The show’s “meddling family” scenes may feel exaggerated, but anyone who has worked with interfaith couples — as I do, exclusively — will recognize the truth behind them. There are always family expectations, anxieties and loyalties at play. Jewish parents and siblings often struggle to reconcile pride in their traditions with concern about their loved one’s choices. Those tensions are real, and the show portrays them with a measure of honesty beneath the humor. I have seen much worse in reality.
Where the series misses its deepest opportunity, however, is in its treatment of conversion. Nearly 70% of Jews outside the Orthodox community today marry non-Jews. That’s an extraordinary opportunity for growth. Interfaith relationships, approached thoughtfully, can be pathways into Judaism rather than exits from it.
And so I cannot understand, and found it hard to watch, how Noah, the rabbi, knows he wants to marry a Jew and wishes his girlfriend, Joanne, would convert. Yet, he doesn’t connect her to another rabbi or to a community that could guide her. Instead, he takes on the task of educating her himself — randomly and haphazardly (creating some seriously awkward scenes).
In real life, conversion is never a solo act. It unfolds within a community, guided by experienced mentors, study, and experiences. For Rabbi Noah, outsourcing that role to another colleague would not only have been more authentic — it would have modeled something beautiful: that Jewish learning and growth is relational, communal, and deeply supported.
Had they found our Center for Exploring Judaism, I would have taken Joanne under my wing. I would have invited her to community gatherings, and encouraged Noah and Joanne, as a couple, to join one of our classes — where she could see that she is not alone. I would cherish the chance to build a relationship with her grounded in honesty, warmth, and patience. I would remind her, as I do with all my students, that we have no agenda. We are here simply to walk this path of discovery alongside you. And we’re thrilled by your interest!
Conversion, I’d explain, is an organic process — of learning, practicing, and thoughtfully trying things on for size. Come in. Learn. Experience. See what feels right. There is no exam, no checklist, even for those who ultimately choose to convert to Judaism. The only true test is the one that unfolds throughout the rest of your life. Joanne, do you feel like an imposter? Or, well informed by what you’ve learned, are you living your truth?
All this said, I think the criticism that the show might be “bad for the Jews” is unwarranted. At a time when antisemitism is at a modern high, the very fact that Judaism, rabbis and Jewish families are the subjects of a major Netflix series is itself meaningful. “Nobody Wants This” is neither ignorant nor malicious; it’s messy, human, and, yes, a little cringey — much like Jewish life itself. And above all else, it’s a rom-com. Let’s all take a breath.
The irony of the title isn’t lost on me. Because in fact, Jews should want this. We should want Jewish stories on screen — even imperfect ones. We should want portrayals that spark discussion about how we love, live, and grow as Jews in the modern world. And we should want our communities to see interfaith love not as a threat, but as a chance to expand the circle.
The truth is, everybody should want this.
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They rallied rabbis against Mamdani’s anti-Zionism. What does The Jewish Majority do next?
Plenty of Jews were concerned about the specter of Zohran Mamdani becoming mayor of New York. But few did as much to mobilize other Jews around the issue as Jonathan Schulman.
Via his newly formed organization, The Jewish Majority, Schulman circulated a letter to rabbis and cantors around the country opposing “rising anti-Zionism and its political normalization throughout our nation.” The letter, which called out Mamdani by name, was signed by more than 1,100 Jewish congregational leaders — one of the most widely endorsed missives of its kind — and galvanized many clergy who had been reluctant to use their pulpits to wade into a political arena.
They didn’t get what they wanted. Yet the day after a decisive victory by Mamdani, Schulman wasn’t as despondent as one might imagine. Instead, he sees his group’s work as a success.
“This wasn’t about Mamdani,” he told the Jewish Telegraphic Agency on Wednesday, rejecting the suggestion that his campaign amounted to an effort to get Jews to vote against the mayor-elect.
Instead, Schulman said, The Jewish Majority proved that it could combat a “subversion of the accurate representation of the Jewish narrative.”
He sees his work as simple: providing an organized Jewish voice, on Israel and other issues, to counteract what he sees as the growing influence of left-wing Jewish groups like Jewish Voice for Peace and Jews for Racial and Economic Justice. As members of those groups have aligned closely with Mamdani and stand to grow their influence under his administration, the Jewish Majority aims to serve as a counter-narrative.
New York City mayoral candidate Zohran K. Mamdani and NYC comptroller Brad Lander speak during the Jews For Racial And Economic Justice’s Mazals Gala on Sept. 10, 2025 in New York City. (John Lamparski/Getty Images)
“They exist to present fringe views to the public as normative,” he said. “If we decide to let them be the only ones to hold the microphone, that would be a mistake we can’t afford to make.” That includes on the issue of “political anti-Zionism,” which Schulman insists was the goal of the rabbinic letter — rather than an explicit anti-endorsement of Mamdani as a candidate.
There are an estimated 3,000 to 4,000 rabbis in the United States, meaning that potentially a third of them signed on to a single statement. Others indicated that they agreed with the sentiments but chose not to sign for other reasons.
“We’ve seen countless examples over the past couple of years of Jews coming out in support of anti-Zionist candidates,” Schulman said. “And now that narrative has shifted. Now you look at that narrative and it’s hard to say, ‘Well, look, these rabbis are supporting this candidate.’ Well, in fact, what you’re seeing is overwhelmingly one of the largest displays of rabbinic unity that we’ve seen in our country, saying we don’t accept the normalization of political anti-Zionism.”
He is skeptical of early exit polling purporting to show as many as one-third of Jewish voters in New York breaking for Mamdani, and suspects the actual number is closer to the “80-20” split that research suggests also reflects the Jewish consensus around Zionism.
Promoting an institutional Jewish consensus will continue post-Mamdani. Schulman insisted The Jewish Majority would not be making policy, only amplifying the views of major Jewish groups such as the Anti-Defamation League, the American Jewish Congress, Jewish federations and the New York Board of Rabbis. He also said he would not seek to join the Conference of Presidents of Major Jewish Groups or other coalitions.
“We’re here to reflect,” he said. “It’s not my job to weigh in.” One item on his agenda, he said, is instituting “training programs” to teach Jewish leaders how to “present normative communal perspectives.”
Schulman has felt his own priorities within the Jewish community shift. Before striking off on his own, he spent 18 years at the pro-Israel lobbying giant AIPAC. One of his duties was to “work with congregations throughout the United States to increase the level of pro-Israel political activism in American synagogues.”
He left AIPAC in August 2024, as the group’s brand was becoming increasingly toxic amid the war in Gaza. Today even some moderate Democrats, like Massachusetts Senate candidate Seth Moulton, have sworn off accepting AIPAC donations. When radio host Charlamagne tha God wanted to insult Democratic Minority Leader Hakeem Jeffries as someone with no real principles, he called the Brooklyn congressman “AIPAC Shakur.”
Schulman declined to comment on whether he had split from AIPAC ideologically. “I have a lot of respect for my former colleagues, and it’s a great organization,” he said. Nor does he see his work with The Jewish Majority as a throughline from his work there. Despite the overlapping focus on Jewish clergy, he insisted, this is “not ‘AIPAC by a different name.’”
Instead, he said, he left AIPAC because he had identified this new problem — the growing influence of left-wing Jewish groups after Oct. 7 — and wanted to counteract it, in a way he deemed non-political in nature. Even with all the Jewish organizations that were opposing anti-Zionism on the national stage, he said, “there is nobody whose job is to make sure that the Jewish community is accurately represented, that Jewish communal values are accurately represented.”
Those same Jewish groups, whose priorities he hopes to give a megaphone to, are scrambling in the wake of Mamdani’s big win. The ADL has launched a “Mamdani monitor” to keep tabs on the new mayor’s administration. JFREJ, meanwhile, sees no reason to come to the Jewish center: A victory Zoom call scheduled for Thursday to “celebrate our massive win” is set to feature pro-Palestinian activist Linda Sarsour and Jamaal Bowman, the former “Squad” congressman who is rumored to be on Mamdani’s schools chancellor shortlist.
Schulman is optimistic about building an organized Jewish counter-narrative to that perspective — so long as the ceasefire in Gaza holds.
“The American Jewish community has been undergoing a profound change, and because we’ve been in the middle of this war, which has been a propaganda war here in America that we’ve seen proliferating, we haven’t had the capacity to really think about, ‘What is the future going to look like?’” he said.
“People are starting to finally say, OK, the fighting has stopped, and we need to think about how the Jewish community is going to be able to represent itself for the long haul.”
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