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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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Benjamin Disraeli once saved Britain’s monarchy — the current one may be beyond repair
Not a bad send-off for a commoner whose family’s religion still prevented them from holding political office or attending Oxford or Cambridge up until the second half of the century.
This was the reason why the young Disraeli was baptized in the Church of England. His father, a prominent literary scribbler, thought this would ease his son’s way in society. Little did he know how far and fast this would happen.
Starting in his early twenties, Disraeli began to write wildly romantic (and self-promoting) novels, several of which star a brilliant and, predictably, mysterious hero named Sidonia, who prides himself, as did his (possibly mistakenly) creator, on his Sephardic ancestry. Disraeli uses Sidonia to turn the era’s racial prejudices inside out, having him wax on the brilliance of his race’s civilization while the ancestors of the British aristocracy were still mucking about as “Baltic pirates” and “tattooed savages.”
Similarly, when the Irish politician Daniel O’Connell made an antisemitic slur against the twenty-something Disraeli, the latter — in a fashion worthy of Sidonia — declared “Yes, I am a Jew. And when the ancestors of the right honorable gentlemen were brutal savages in an unknown island, mine were priests in the temple of Solomon.” He then challenged O’Connell to a duel, which was happily quashed by the police.
With the same alchemical genius that transmuted the alleged dross of Jewishness into the gold of racial superiority, Disraeli launched his political career, making his way to become leader, rather remarkably, of the Tory conservatives rather than the liberal Whigs. He persuaded his party’s mostly well-born and dull-witted members to embrace both political reform — the Torys pushed through the Second Reform Bill of 1867, which dramatically extended voting rights — and progressive social and economic reforms during his second term as prime minister.
But Disraeli’s most remarkable achievement was not a matter of political or social reform but of monarchical reinvention. It was, quite literally, spectacular and starred the woman now known as the “widow of Windsor.” Following the premature death of her beloved Prince Albert, the stricken Victoria withdrew from public life and turned inward. Grieving and always garbed in black, she ignored her ceremonial duties, often seeking refuge in distant Scotland at her Balmoral estate.
In an echo of the British Crown’s current crisis, republican voices in Parliament began to question the immense sums spent on the monarchy while those on the street began to ridicule the queen. On a sign pinned to the gate at Buckingham Palace, one wag had written: “These premises to be let or sold, the late occupant having retired from business.” For the British public, it felt increasingly as if they were paying a lifelong subscription to a show that had permanently closed.
As a result, when Disraeli reached “the top of the greasy pole” upon becoming prime minister in 1868, his overriding concern was to cultivate his ties with the sovereign. As he confided to the poet Mathew Arnold, “everyone likes flattery; and when you come to royalty you should lay it on with a trowel.”
The newly arrived prime minister was as good as his word. As he wrote in his first message to the queen, “Mr. Disraeli with his humble duty to Your Majesty. He ventures to express his sense of Your Majesty’s most gracious kindness to him and of the high honour which Your Majesty has been graciously pleased to confer on him. He can offer only devotion.”
Swept off her feet by such declarations of devotion, Victoria described her new prime minister as “her kind, good, considerate friend.” She allowed her friend unprecedented privileges, such as front row seats for him and his wife for the wedding of the Prince of Wales, and even more shockingly, the permission to sit during their frequent private audiences, though he insisted on standing.
Disraeli continued to lay it on thick over the course of their relationship. “If your Majesty is ill,” he wrote in the third person during a political crisis, “he is sure he will himself break down. All, really, depends upon your Majesty.”
“He lives for Her,” he continued, “works only for Her, and without Her all is lost.”
Okay, even “thick” fails to describe Disraeli’s flattery. But here is the vital point: his conversations and correspondence with Victoria, while over-the-top, were also sincere. He was impressed by her character and her capacity to represent the nation. The future of Great Britain, he believed, depended on a vibrant and visible monarchy, one in which Victoria would of course play the starring role.
Deeply moved by Disraeli’s attention, the queen was drawn out of her shell of mourning. “After the long gloom of her bereavement,” Lytton Strachey wrote in his biography of Victoria, “she expanded to the rays of Disraeli’s devotion like a flower in the sun.” Gradually, this expansion was not just private and emotional, but also political and ceremonial.
In fact, Disraeli did not distinguish between the two. The imperial and spectacle were one and the same. In 1876, this conviction led him, with the Queen’s delighted complicity, to push a bill through Parliament that bestowed upon Victoria the title of Empress of India. Rather than pause her ceremonial ambitions in the years following Disraeli’s death, Victoria doubled down on her mentor’s playbook. She orchestrated her Golden Jubilee in 1887 and then years later, her Diamond Jubilee.
With these earlier spectacles in mind, Victoria’s great-great-granddaughter continued the tradition, with stunning success, not just with the first two jubilees, but adding, shortly before her death, the Platinum Jubilee in 2022. And yet, that triumph was soon followed by Elizabeth’s death and the diminishment if not death of the monarchy, in part thanks to Andrew’s abhorrent antics.
“A man’s fate,” Disraeli once remarked, “is his own temper.” But now, the fate of the very monarchy Disraeli helped build hangs in the balance — a turn of events that perhaps even he could not solve.
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Israeli bobsled squad is disqualified from Olympics after trying to swap in Druze teammate
(JTA) — The Israeli bobsled team’s historic journey to the 2026 Winter Olympics ended in anything but storybook fashion on Sunday, as Israel’s own Olympic committee withdrew it from competition after learning that the team had lied about a member’s health.
The withdrawal meant that Israel did not compete in the four-man race on Sunday, the final day of competition in Milan and Cortina.
After finishing the first two heats of the four-man bobsled race as the slowest team, Israel planned to swap out Uri Zisman for team alternate Ward Farwasy, who would have become Israel’s first-ever Druze Olympian had he taken the ice.
But bobsled substitutions are only permitted in the event of an athlete’s injury or illness, so Zisman had agreed to lie and tell officials he was sick. He had reportedly obtained a medical certification for the false story.
In a statement, Israel’s Olympic committee said it had learned of the team’s plan to substitute in Farwasy “in an improper manner that does not meet the standards expected of Olympic athletes and is not in line with Olympic values,” and chose to withdraw the team from the race.
“The Olympic Committee of Israel views any deviation from the Olympic values as unacceptable and cannot accept inappropriate behavior,” the statement said. “It should be emphasized that, up to this point, the participation of the bobsleigh delegation has taken place in the spirit of sport and without any violations by the athletes.”
David Greaves, the president of the Israeli Bobsleigh and Skeleton Federation, told the Times of Israel that he was “deeply disappointed in the actions of the team.”
AJ Edelman, the team’s captain and main driver of its existence, took responsibility for the scheme.
“I apologize profusely for the disappointment,” Edelman posted on X. “But I will always remain proud that the team looked at their Druze brother, who had earned his place on the team, and unanimously said ‘we want this for you.’ I signed off on it and I take responsibility.”
Later, fending off criticism that he had compromised the very Olympic program he had sought to build up, Edelman appeared to blame Zisman’s mother for calling foul on the switch and said he did not regret it.
“I make no apologies for the decision. At all. The switch is not only common in our sport, we did it believing it was good for the country and to honor our teammate. We thought we were putting country first,” he wrote. “The end effect was not intended but I am proud of the team’s consensus in that moment. It was only an issue because the mother of the athlete replaced was upset it was her child, not another athlete. The decision itself was not in question and I remain okay with it.”
The disqualification ignited criticism of the team from both pro-Israel sports fans and those who had protested Israel’s inclusion in the Olympics in the first place. Edelman and Menachem Chen’s last-place finish in the two-man bobsled event last week was overshadowed by a Swiss broadcaster’s criticism of Israel and Edelman during the race. The broadcaster later removed the clip from its website.
On Saturday, Italy’s public broadcaster apologized for a commentator’s off-camera remark calling to “avoid” the Israeli team. The network’s director issued an apology for what he said was an “unacceptable expression that in no way represents the values of public service broadcasting or of RAI Sport.”
The controversies came after the bobsled team’s apartment was broken into while it trained in the Czech Republic. Israel was competing in Olympic bobsled for the first time, in what Edelman and some fans dubbed “Shul Runnings,” a reference to the Jamaican bobsled team’s similarly improbable run in 1988.
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Leaked DNC autopsy found Biden’s Israel backing cost Harris votes for president
Senior Democrats who reviewed the party’s 2024 presidential election autopsy concluded that the Biden administration’s handling of the Israel-Hamas war was a “net negative” for Democrats and cost Vice President Kamala Harris critical support among younger and progressive voters, according to a new report published Sunday. The Democratic National Committee has so far withheld the findings from public release.
Activists affiliated with the Institute for Middle East Understanding Policy Project, a progressive research group, told Axios that in post-election discussions with DNC representatives, party officials acknowledged that the Biden administration’s support for Israel during the war in Gaza was a factor in former Vice President Kamala Harris’ loss to Donald Trump.
The war loomed large in the campaign before Biden withdrew from the race. Anxious Democrats reportedly pressured former President Biden to “take a tougher stance on Israel” as one way to recover from his catastrophic debate performance in June 2024. Some advisers floated the idea of conditioning or halting certain arms transfers to shift the campaign’s direction and appeal to disaffected progressives and voters in Michigan — a swing state with a substantial Arab American community — who had cast “uncommitted” protest ballots in the primary.
Harris, who was more forceful in her call for an immediate ceasefire to address the dire humanitarian situation in Gaza, lost Michigan and Pennsylvania by almost 2 points.
“We should have done more as an administration,” Harris said in November. “We should have spoken publicly about our criticism” of how Israeli Prime Minister Benjamin Netanyahu and his government “were executing this war.”
The DNC claimed it has shared the internal findings with party leaders and candidates. Progressive activists are pushing for them to be made public ahead of the midterm elections.
Kamala Harris’ conclusions
In her book about the election, titled 107 Days, Harris addressed what she described as the political fallout from Biden’s statements and her own stance on the war, writing that it hurt Democrats with key constituencies.
“The issue was not binary, but the outcome of this election certainly was,” Harris wrote, adding that she wished that those who protested her understood that “sitting out the election or voting for a third candidate would elect Trump and kill any effort for a just peace, any hope for a two-state solution.”
In her own defense, Harris wrote that she “wanted to acknowledge the complexity, nuance and history of the region, but it seemed very few people had the appetite for that or the willingness to hold two tragic narratives in their mind at the same time, to grieve for human suffering both Israeli and Palestinian.”
In her rushed vetting of running mates, Harris pushed Pennsylvania Gov. Josh Shapiro to apologize for criticizing pro-Palestinian campus protests, which he refused to do, according to his recent memoir.
Harris wrote that she discussed with Shapiro how his selection might affect the campaign, including the risk of protests tied to Gaza at the Democratic National Convention and “what effect it might have on the enthusiasm we were trying to build.” She wrote that Shapiro responded by saying he had clarified that earlier views he held were misguided and that he was firmly committed to a two-state solution. Harris ultimately selected Minnesota Gov. Tim Walz as her running mate, but protests over Gaza still roiled the Democratic convention. Uncommitted delegates staged a sit-in outside the venue after the DNC declined to allow a Palestinian American to address the main stage.
The path forward
Palestinian rights have increasingly become a litmus test for Democrats.
Recent national polls show Democratic voters have as a group become more sympathetic to Palestinians. The IMEU Policy Project conducted a poll after the Democratic primary for New York City Mayor last year, which showed that Zohran Mamdani’s sharp criticism of Israel attracted new voters and energized parts of the Democratic electorate that contributed to his victory. The post-primary survey showed that 78% agreed with his belief that Israel was committing genocide in Gaza, and 79% support restricting weapons to Israel.
Last August, the Democratic National Committee withdrew a resolution reaffirming the party’s support for Israel and a two-state solution to avoid a clash with younger and progressive activists who were pressing sharper opposition to Israel.
In July, a record 27 Senate Democrats, a majority of the caucus, supported a pair of resolutions calling for the blocking of weapons transfers to Israel.
Even national Jewish Democrats, like Illinois Gov. JB Pritzker and former Chicago mayor Rahm Emanuel — both considered possible presidential candidates in 2028 — have publicly challenged Israeli policy. Shapiro has repeatedly been critical of Netanyahu and, last year, criticized the Israeli government’s rejection of international reports on hunger in Gaza, calling it “abhorrent” and “wrong.”
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