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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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US Officials Tell i24NEWS Israeli Concerns About Gaza Board of Peace Are ‘Unfounded’
FILE PHOTO: U.S. President Donald Trump is interviewed by Reuters White House correspondent Steve Holland (not pictured) during an exclusive interview in the Oval Office in the White House in Washington, D.C., U.S., January 14, 2026. REUTERS/Evelyn Hockstein/File Photo
i24 News – Amid the criticism in Israel over the composition of the “Board of Peace” and the bodies set to govern the Gaza Strip, as well as concerns that Hamas could continue to threaten Israel under the new plan, officials in Washington suggest these concerns are unfounded, i24NEWS understands.
A Senior US official tells i24NEWS: “Turkey, Qatar, and Egypt were instrumental in achieving the ceasefire, securing the return of the living hostages, and bringing back the deceased. They have co-signed commitments that Hamas will follow through on its part of the plan, and the Board of Peace will work with them to ensure compliance.”
The underlying message is clear: President Trump will make the calls, and the US will ensure full implementation of all objectives of the plan, first and foremost the demilitarization of Gaza, regardless of the positions or hostile statements towards Israel coming from Turkey and Qatar.
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One Person Killed, 14 Hurt in Blast in Iranian Port of Bandar Abbas, Iranian Media Reports
FILE PHOTO: An aerial view of the Iranian shores and Port of Bandar Abbas in the strait of Hormuz, December 10, 2023. REUTERS/Stringer/File Photo
At least one person was killed and 14 injured in an explosion in the southern Iranian port of Bandar Abbas on Saturday, a local official told Iranian news agencies, but the cause of the blast was not known.
The semi-official Tasnim news agency said that social media reports alleging that a Revolutionary Guard navy commander had been targeted in the explosion were “completely false.”
Iranian media said the blast was under investigation but provided no further information. Iranian authorities could not immediately be contacted for comment.
Separately, four people were killed after a gas explosion in the city of Ahvaz near the Iraqi border, according to state-run Tehran Times. No further information was immediately available.
Two Israeli officials told Reuters that Israel was not involved in Saturday’s blasts, which come amid heightened tensions between Tehran and Washington over Iran’s crackdown on nationwide protests and over the country’s nuclear program.
The Pentagon did not immediately respond to a request for comment.
US President Donald Trump said on January 22 an “armada” was heading toward Iran. Multiple sources said on Friday that Trump was weighing options against Iran that include targeted strikes on security forces.
Earlier on Saturday, Iranian President Masoud Pezeshkian accused US, Israeli and European leaders of exploiting Iran’s economic problems, inciting unrest and providing people with the means to “tear the nation apart.”
Bandar Abbas, home to Iran’s most important container port, lies on the Strait of Hormuz, a vital waterway between Iran and Oman which handles about a fifth of the world’s seaborne oil.
The port suffered a major explosion last April that killed dozens and injured over 1,000 people. An investigative committee at the time blamed the blast on shortcomings in adherence to principles of civil defense and security.
Iran has been rocked by nationwide protests that erupted in December over economic hardship and have posed one of the toughest challenges to the country’s clerical rulers.
At least 5,000 people were killed in the protests, including 500 members of the security forces, an Iranian official told Reuters.
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How a law used to protect synagogues is now being deployed against ICE protesters and journalists
After a pro-Palestinian protest at a New Jersey synagogue turned violent in October, the Trump administration took an unusual step — using a federal law typically aimed at protecting abortion clinics to sue the demonstrators.
Now, federal authorities are attempting to deploy the same law against journalists as well as protesters against Immigration and Customs Enforcement amid the agency’s at times violent crackdown in Minneapolis.
Former CNN anchor Don Lemon, a local journalist, and two protesters were arrested after attending a Jan. 18 anti-ICE protest at a church in St. Paul, Minnesota, Justice Department officials said Friday. Protesters alleged the pastor at Cities Church worked for ICE.
The federal law they are accused of violating, the Freedom of Access to Clinic Entrances Act, or FACE, prohibits the use of force or intimidation to interfere with reproductive health care clinics and houses of worship.
But in the three decades since its passage in 1994, the law had almost entirely been deployed against anti-abortion protesters causing disruptions at clinics.
That changed in September of last year, when the Trump administration cited the FACE Act to sue pro-Palestinian demonstrators at Congregation Ohr Torah in West Orange, New Jersey.
It was the first time the Department of Justice had used the law against demonstrators outside a house of worship, Harmeet Dhillon, an assistant attorney general for the department’s civil rights division, said at the time.
The novel legal strategy — initially advanced by Jewish advocacy groups to fight antisemitism — is now front and center in what First Amendment advocates are describing as an attack on freedom of the press.
“I intend to identify and find every single person in that mob that interrupted that church service in that house of God and bring them to justice,” Dhillon told Newsmax last week. “And that includes so-called ‘journalists.’”
How the law has been used
The FACE Act has traditionally been used to prosecute protesters who interfere with patients entering abortion clinics. Conservative activists have long criticized the law as violating demonstrators’ First Amendment rights, and the Trump administration even issued a memo earlier this month saying the Justice Department should limit enforcement of the law.
But in September, the Trump administration applied the FACE Act in a new way: suing the New Jersey protesters at Congregation Ohr Torah.
They had disrupted an event at the Orthodox shul that promoted real estate sales in Israel and the West Bank, blowing plastic horns in people’s ears and chanting “globalize the intifada,” a complaint alleges.
Two pro-Israel demonstrators were charged by local law enforcement with aggravated assault, including a local dentist, Moshe Glick, who police said bashed a protester in the head with a metal flashlight, sending him to the hospital. Glick said he had acted in self defense, protecting a fellow congregant who had been tackled by a protester.
The event soon became a national flashpoint, with Glick’s lawyer alleging the prosecution had been “an attempt to criminalize Jewish self-defense.” Former New Jersey Gov. Phil Murphy pardoned Glick earlier this month.
The Trump administration sued the pro-Palestinian protesters under the FACE Act, seeking to ban them from protesting outside houses of worship and asking that they each pay thousands of dollars in fines.
At the time, Nathan Diament, executive director of the Orthodox Union Advocacy Center, told JNS he applauded the Trump administration “for bringing this suit to protect the Jewish community and all people of faith, who have the constitutional right to worship without fear of harassment.”
Diament did not respond to the Forward’s email asking whether he supported the use of the FACE Act against the Minneapolis journalists and protesters.
Mark Goldfeder, CEO of the National Jewish Advocacy Center, a pro-Israel group that says it uses legal tools to counter antisemitism, did not express concern over the use of the FACE Act in the Minnesota arrests — and emphasized the necessity of protecting religious spaces from interference.
“The idea that ‘you can worship’ means nothing if a mob can make it unsafe or impossible,” Goldfeder wrote in a statement to the Forward. “So if you apply it consistently: to protect a church in Minnesota, a synagogue in New Jersey, a mosque in Detroit, what you are actually protecting is pluralism itself.”
Goldfeder has also attempted to use the FACE Act against protesters at a synagogue, citing the law in a July 2024 complaint against demonstrators who had converged on an event promoting Israel real estate at Adas Torah synagogue in Los Angeles. That clash descended into violence.
The Trump administration Justice Department subsequently filed a statement of interest supporting that case, arguing that what constituted “physical obstruction” at a house of worship under the FACE Act could be interpreted broadly.
Now, similar legal reasoning may apply to journalists covering the Sunday church protest in Minneapolis. Press freedom groups have expressed deep alarm over the arrests, arguing that the journalists were there to document, not disrupt.
The arrests are “the latest example of the administration coming up with far-fetched ‘gotcha’ legal theories to send a message to journalists to tread cautiously,” said Seth Stern, chief of advocacy for Freedom of the Press Foundation. “Because the government is looking for any way to target them.”
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