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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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‘Marty Supreme’ and everything else Jewish at this year’s Academy Awards
At last year’s Academy Awards, Anora — a frenetic, somewhat ambiguously Jewish look at a Jewish enclave of New York, took home best picture, original screenplay, director and actress for its Jewish lead Mikey Madison. This year, we have a film that feels, in some ways, quite parallel, while cranking the Yiddishkeit to 11: Josh Safdie’s breathless picaresque Marty Supreme, set on the Lower East Side, is up for best picture and its star, Timothée Chalamet is a favorite for best actor.
There’s also Blue Moon, Richard Linklater’s portrait of Jewish lyricist Lorenz Hart’s breakup with composer Richard Rodgers (Ethan Hawke is up for best actor). And One Battle After Another, a campy and absurdist satire about the infiltration of white supremacists in the U.S. government, is poised to have a massive night, with the blockbuster Sinners serving as its main competition.
That all goes to say that it’s another great year for Jewish stories at the Oscars, with some really compelling fodder for discussion about the place that Jews occupy today in arts and media. What stories are we telling and how are they received?
Here, as ever, the Forward culture team is here to break it all down for you, live as it unfolds. Of course, we cover Jewish movies all year. But at the Academy Awards, we get to see how the rest of the world feels about these movies. We will be updating this story with our thoughts throughout the ceremony.
Traditionally, as we begin these Oscars roundtables, we discuss what we’re all wearing and eating. What’ve we got?
Olivia: brown sweater and jeans; no food but aggressively chewing mint gum. I will later be drinking some of the seltzer I got from Brooklyn’s Seltzer Fest today.
Mira: I did a bunch of cooking for the week so I have vegetarian avgolemono soup and Alison Roman’s fennel salad. (I’m obsessed with this salad.) I am proudly wearing hard pants.
PJ: I am reheating some chicken from last night. Wearing a blue sweater with a little toggle and jeans. How many of Stellan Skarsgård’s large adult sons are here? In other l’dor v’dor news, Bill Pullman just mentioned how they filmed the Spaceballs sequel with his son Lewis.
Talya: I believe I’m wearing the exact same sweater I donned for this event last year — where’s my award for consistency? And, as always, sweatpants; I cannot comprehend suffering through this event in jeans.
Discussion of Israeli-Palestinian protests on the red carpet
Mira: Love a toggle. Speaking of outfits, anyone have thoughts on Odessa A’zion’s spangled red carpet set? She is one of the only people who styles herself on the red carpet, which I do respect.
Olivia: A’Zion’s outfit kind of looks like she forgot to tie whatever was supposed to be holding it up. I don’t think it looks bad, just like it’s falling down.
PJ: It wouldn’t look out of place hanging from the window of a VW van with shag carpet and some Tibetan prayer flags.
Mira: Of note, the past several years have seen protesters approaching people on their way into the ceremony, and a lot of pins on the red carpet taking a stance on the Israel-Hamas war, largely pro-Palestinian ones. We’re seeing less of that this year — though not none. Javier Bardem posted a photo of him wearing a pin reading “no to the war” in Spanish, along with another pin featuring Handala, a cartoon boy considered a symbol of Palestinians. The team of The Voice of Hind Rajab, nominated for best foreign film, are also wearing red pins with a white dove.
PJ: Those have replaced the red hand ArtistsforCeasefire pins, which some said recalled the bloody palms of Palestinians who killed IDF soldiers in 2000.
Olivia: A reporter for ABC in a pre-recorded segment asked executive producers and showrunners for the ceremony Raj Kapoor and Katy Mullan if anything would get bleeped, such as mentions of Trump, Israel and Palestine. Recently, the BBC removed director Akinola Davies Jr’s call for a “Free Palestine” from their BAFTA stream. Kapoor asserted that the night’s production team supports free speech, but we’ll see what transpires over the course of the night.
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US Sends Additional Arms to Israel to Sustain Iran Operations
The first of two Terminal High Altitude Area Defense (THAAD) interceptors is launched during a successful intercept test. Photo: US Army.
i24 News – The United States has recently increased shipments of munitions to Israel to support ongoing Israeli air operations against Iran.
According to reports broadcast by the public radio network Kan Reshet Bet, several weapons deliveries have arrived in Israel in recent days as part of what officials describe as an ongoing airlift aimed at sustaining the pace of military strikes.
Since the start of the campaign, Israeli forces are believed to have dropped more than 11,000 bombs on targets across Iran.
The shipments come as reports emerge about a potential shortage of ballistic missile interceptors in Israel. US officials told the news outlet Semafor that Israel’s interceptor stockpiles have been heavily used during the conflict.
According to those sources, Washington had already been aware for months that supplies could become strained, though it remains unclear whether the United States would be willing to share its own interceptor reserves. Israeli officials have since rejected claims that such a shortage exists.
Unlike the Iron Dome, which is designed to intercept short-range rockets and projectiles, ballistic missile interceptors serve as Israel’s primary defense against long-range missile threats. Fighter jets can also be used to attempt interceptions, though this method is considered a supplementary measure to missile defense systems.
Meanwhile, the Israeli government has taken additional budgetary steps to support the war effort. During an overnight vote between Saturday and Sunday, ministers approved a roughly 1 billion shekel reduction across various ministry budgets to help finance classified military purchases linked to Operation “Roar of the Lion.”
The government had already approved a 3 percent cut in ministry budgets, a move expected to increase the defense budget by approximately 30 billion shekels as the conflict continues.
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Pope Leo Decries ‘Atrocious Violence’ in Iran War, Urges Ceasefire
Pope Leo XIV leads the Angelus prayer from a window of the Apostolic Palace, at the Vatican, March 15, 2026. Photo: REUTERS/Matteo Minnella
Pope Leo made an impassioned plea on Sunday for an immediate ceasefire in the expanding Iran war, lamenting “atrocious violence” that he said had killed thousands of non-combatants and caused suffering across the region.
As the US-Israeli war on Iran enters its third week, the first US pope warned that violence would not bring the justice, stability and peace that the peoples of the region long for.
“For two weeks, the peoples of the Middle East have been suffering the atrocious violence of war,” the pope said at his weekly Angelus prayer in St. Peter’s Square.
“In the name of Christians in the Middle East and of all women and men of good will, I appeal to those responsible for this conflict: Cease fire!” Pope Leo said.
IDEA THAT WAR SOLVES PROBLEMS IS ‘ABSURD’
Leo added that the situation in Lebanon – ravaged by a war between Israel and the Iran-backed Lebanese group Hezbollah – was also a cause of “great concern.”
“I hope for paths of dialogue that can support the country’s authorities in implementing lasting solutions to the serious crisis currently underway, for the common good of all the Lebanese people,” the pope said.
During a visit to a Rome parish later, the pope said war could never resolve problems and hit out at people who invoke God to justify killings.
“Today many of our brothers and sisters in the world are suffering because of violent conflicts, caused by the absurd claim that problems and disagreements can be resolved through war, when instead we must engage in unceasing dialogue for peace,” he said during his homily.
“Some even go so far as to invoke the name of God to justify these choices of death, but God cannot be enlisted by darkness. Rather, He always comes to bring light, hope and peace to humanity.”