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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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On El-Sayed, Michigan’s Jewish Democrats aren’t all ready to unite behind nominee
Following Abdul El-Sayed’s narrow win of the Democratic nomination for Michigan’s open Senate seat, the state’s Jewish Democrats are reflecting on whether the divisions El-Sayed’s candidacy brought to the fore can be bridged before November.
Jewish voters make up just 1.4% of the electorate in Michigan. But the community had become deeply invested in the race, with Jews both in fierce opposition and fiery support of El-Sayed in an election that had become a proxy fight over the Gaza war and the U.S.-Israel relationship.
Jewish former Michigan congressman Andy Levin, who had endorsed El-Sayed, believes Democrats will get behind the nominee in the interest of defeating Republican Mike Rogers — a race that could determine which party controls the Senate. Pre-primary polls found Rogers leading El-Sayed by single digits.
“Shame on any Jewish Democrat if they’re going to go vote for Mike Rogers and put our democracy at risk because they can’t find their way to supporting Abdul El-Sayed, who is such a brilliant person, just because he doesn’t share their exact beliefs on Israel and Palestine,” Levin told the Forward. “That’s ridiculous.”
Levin lost his Senate seat to Rep. Haley Stevens after heavy spending against him by AIPAC, the campaign fundraising group advocating for unrestricted U.S. aid to Israel. An AIPAC-associated super PAC spent some $32 million in a failed attempt to get Stevens the Senate nomination.
Stevens endorsed El-Sayed for the general election Wednesday morning. But some Jews who voted for Stevens see no possibility for reconciliation. Rabbi Asher Lopatin of the modern Orthodox synagogue Kehillat Etz Chayim in suburban Detroit had endorsed Stevens in the primary, alarmed by El-Sayed’s association with the controversial Twitch streamer Hasan Piker and condemnation of Israel as a genocidal and apartheid state.
In a TV interview Wednesday, El-Sayed used the term “bloodthirsty” to describe Israel.
“To have so many people vote for someone who is so hurtful to the Jewish community, the things that the Jewish community values — I think it’s depressing,” Lopatin told the Forward.
Lopatin has made up his mind that he will not vote for El-Sayed in the general election, but he also isn’t yet sold on Rogers, the Republican nominee.
“I have to study him more,” Lopatin said. “But I will not vote for Abdul El-Sayed, definitely, and I would tell people they should not.”
Lopatin said he wishes Stevens would condemn El-Sayed rather than endorse him.
Still, others see El-Sayed as the best candidate to face Rogers in the general — and don’t want him to pull back on the issues that won him the nomination. Barbara Weinberg Barefield, a photographer outside Detroit who helped organize the group Jews for Abdul, said she has confidence El-Sayed will win the general — attributing the close primary race partly to the influence of outside money supporting Stevens.
“He was able to win this election in the face of close to $70 million of outside funding going to bolster his opponent,” Weinberg Barefield said. “This election is showing us, and elections around the country are showing us, that elections are not to be bought — they’re to be earned.”
Roslyn Schindler, a retired professor who taught Holocaust studies at Wayne State University, was also among El-Sayed’s Jewish supporters, even as she disagreed with him on his lack of support for a two-state solution. She stressed the importance of beating Rogers in November irrespective of disagreements on Israel.
“My motto is and will be: vote blue, no matter who,” Schindler told the Forward. “I am hoping that all Democrats realize that to do otherwise will be self-destructive and just plain wrong.”
Others are taking a wait-and-see approach. Decky Alexander, chair of the Michigan Democratic Jewish Caucus — which endorsed Stevens in the primary — isn’t issuing an endorsement in the general election yet.
She said the close margin El-Sayed won by, about 15,000 votes, gives her hope that El-Sayed will see the need to unify his party. A start, she said, would be focusing less on AIPAC during his general election campaign.
“There’s a lot of opportunity on Abdul’s side to be a better bridge maker versus kind of a bridge burner,” Alexander told the Forward. “The cards are his. It’s his responsibility to initiate.”
In his election night speech, El-Sayed didn’t mention AIPAC by name, instead speaking more generally about getting money out of politics.
On Wednesday, he addressed Jewish Michiganders directly: “I want you to know that my commitment to your safety, my commitment to Jewish safety, is the same commitment that I have to the safety of my own daughters.”
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‘The Yiddish Teacher’ (Poem)
One thing about the late Forverts staff writer and critic Miriam Hoffman — she cooked a heavenly eggplant in tomato sauce.
And why do I know this about one of our writers? Hoffman, a veritable lexicon-caldron of Yiddish sayings and terms she’d archived from her own mother’s distinct poylish dialect, was many things: A distinguished long-term professor of Yiddish at Columbia University; a theater critic turned playwright who turned the New York Public Theatre’s founding director Joseph Papp into a serious supporter of Yiddish culture; a child survivor of Siberian exile, and so much more.
As she encountered immigrant American life in da Bronx, the tiny dynamo that was Hoffman delighted in becoming American, freely advising everyone on the best consumer goods this country had to offer. A country that was a home and refuge to her, her parents, her husband and so many in her vast circle of Yiddishist friends, students, fellow writers, educators and chosen family. And then, once upon a time, she welcomed me into her Florida home for an overnight stay, so that I could record her jaw-dropping tales of how she and her beloved mameloshn Yiddish both survived the khurbn, the Holocaust. And talk into the video camera she did.
But first, there was lunch.
Rest in all your ferocious deliciousness, Miriam Hoffman, and thank you. For the eggplant, the advice on the best toothpaste, the stories — and for doing everything, everything, everything possible, to transmit your Yiddish to another generation.
The Yiddish Teacher
The Yiddish teacher bending saying:
In my book you’ll learn
the alefbeys through pictograms like so:
The gimel is a camel
The beys a house
You see?
The Yiddish teacher has an archive
in her bedroom closet
The folding doors open revealing:
shoeboxes filled with
stories and
poems and
songs she
wrote as a child
in the displaced persons camp
on paper donated to Jewish refugees
The Yiddish teacher was once
seated in back
of a transport truck
with all the other refugees
Trying to go over the Swiss Alps
to Mandate Palestine
The Yiddish teacher was born
in a Siberian prison camp
“people were starving, sure,
but there was sex”
The Yiddish teacher was the only
woman writer on staff
at the Forverts Yiddish newspaper
The Yiddish teacher remembers
the first time her family ate
Chef-Boy-Ar-Dee spaghetti and
meatballs
from a can
in the Bronx
We go shopping together
The Yiddish teacher loves Rao’s tomato sauce
“it’s the best”
The Yiddish teacher recommends
“Mavis Toothpaste”
It’s the best
The Yiddish teacher loves to
go fly fishing
The Yiddish teacher is short and slim
and round
I think
if I cup my hands together
I can
carry her around always
— Chana Pollack
The post ‘The Yiddish Teacher’ (Poem) appeared first on The Forward.
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Christopher Nolan’s ‘Odyssey’ is a Talmud-quoting, Tisha B’Av epic
“Before there were Jews… there was ‘The Odyssey,’” a theater manager infamously posted on a marquee in Portland, Oregon.
While the mythic, Bronze Age events recounted in the blockbuster film likely never transpired, Homer’s epic poem is by any measure younger than the Jewish people. And Christopher Nolan’s Odyssey, now a proxy for a pitched battle over the essence of Western civilization, could not exist as it is without the Jews. Indeed, whether it knows it or not, it is telling a foundational story of our history.
Much of the criticism surrounding the film, which managed to agitate classicists from its first set photos of Matt Damon in a crested Grecian helmet (not a period-accurate Mycenaean boar-tusk ensemble) and bigots of all stripes with its casting of a trans man and people of color, has shifted since its release just before Tisha B’Av, taking aim at the film’s ideas and how they may clash with those of antiquity’s.
“Did you Christianize The Odyssey?” podcaster Zhong Shu asked Nolan in a now-viral interview.
Nolan explained that he was drawn to the ancient ethic of “xenia,” called “Zeus’ Law” in the film. In the Greek conception, this means welcoming guests because you never know if they may be a God. In Nolan’s blockbuster it’s described as treating others how you would be treated. When the law is breached, society as we know it comes undone, leading to our hero’s atonement and qualms that seem at odds with his traditional characterization.
While Nolan’s understanding mirrors the Christian Golden Rule, which itself is antedated by statements in the Torah and by Hillel, his vision of civilizational ruin when it is trespassed is more central to Judaism. Odysseus laments that, by creating the Trojan horse, and exploiting the code of hospitality to launch a massacre, he has broken something.
“To burn the walls of Troy is to burn the world entire,” Damon’s Odysseus tells Anne Hathaway’s Penelope. This is more or less a paraphrase from Talmudic wisdom: “To destroy one life is to destroy the world entire,” and its more recognizable corollary, “to save one life is to save the world entire.”
The Hebrew Bible is rife with examples of hospitality in extremis. In Sodom, Lot offers his daughters to a mob of rapists rather than have them violate his heavenly guests. The result: a destroyed city and a wife reduced to a table condiment. (Just before, Abraham fed these visitors, plus another angel of God.)
But watching the film Tuesday, I was reminded of another story. Remember when I mentioned Tisha B’Av, the holiday marking the destruction of Judaism’s ancient capital?
Our tradition teaches that the second temple fell because a man holding a banquet in Jerusalem kicked out his enemy, a fellow by the name of Bar Kamtza. Humiliated by his host, Bar Kamtza plots his revenge. He goes to Caesar and tells him the Jews are conspiring against his rule. To prove it, Bar Kamtza, like the wily Odysseus, concocts a ruse, suggesting the Romans send a sacrifice to the rabbis and see if they offer it.
They don’t, as Bar Kamtza blemishes the animal, making it unfit for offering.
In The Odyssey, the famous gift horse is presented as a tribute to Athena. Its blemish is the fighting force it hides inside, ready to sack the city.
The upshot of the rejected temple sacrifice was the razing of Jerusalem at the hands of the Romans. The temple is desecrated, in much the way the temple of Athena is in the film.
Christian theology doesn’t argue quite so forcefully that the violation of the Golden Rule augurs a civilizational collapse. Quite the contrary today, where xenophobia and whispers of Great Replacement — akin to the trade-wind rumors of sea peoples in Nolan’s film — have taken root in the Evangelical right. (Ezra Klein, and really anyone attuned to commentary as subtle as IMAX subwoofers, picked up on this tension.)
Jewish history tells us we fare poorly in places where the stranger isn’t welcome.
In a departure from the text, Nolan ends Odysseus’ wandering with his voluntary exile. He sails west, predicting a benighted age to come, where his exploits will be sung as men lose the ability to write.
Our story ends on a similarly bleak, yet hopeful note.
When Jerusalem fell, Rabban Yohanan ben Zakkai devised his own deception, sneaking past the city walls in a casket (before he was let out, zealots wanted to stab the bier, recalling the Trojans’ stabbing of the horse).
But before Yohanan can make his escape he’s intercepted by the general Vespasian, who he mistakenly refers to as the emperor. Vespasian offers a correction, but almost instantly a messenger confirms this designation, telling him Caesar died and named him his successor. Regarding Yohanan’s mistake as prophecy, he offers him a request.
Jerusalem had fallen, self-determination was unrealistic, and so Yohannan asks for the city of Yavneh and its sages. From there our modern history began, literacy thrived and a dark age was subdued.
The Temple and Troy have yet to be rebuilt, but their legends live on.
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