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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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Stabbing of Jewish man in Manhattan prompts calls for Mamdani to turn down temperature
The stabbing of two men on Manhattan’s Upper West Side on Thursday — one of whom was wearing a kippah on his way home from a Tisha B’Av service at a modern Orthodox shul — has intensified New Yorkers’ fears of being visibly Jewish in public, leaders and community members said.
“Fear has become a lived experience for far too many Jewish New Yorkers. That is not normal,” Mark Treyger, CEO of the Jewish Community Relations Council, said at a press conference Friday near the location of the stabbing. “Today, Jewish parents are asking whether it is safe for their children to wear a kippah or a Magen David in public. Synagogues preparing for Shabbat are wondering whether they can afford additional security.”
Police said on Thursday afternoon, the suspect — identified as 51-year-old Raul Morales — stabbed an Asian man in the back with a knife before approaching a Jewish man and stabbing him in the torso with a screwdriver. Authorities said he yelled “Allahu akbar” during the attack. Both victims are expected to recover.
Morales is expected to face charges on Friday. Police are investigating the attack as a hate crime, and New York City Police Commissioner Jessica Tisch said in a statement Thursday that while the attacker did not have a known history of mental health issues, “the initial investigation suggests that mental health may have been a factor.”
New York Mayor Zohran Mamdani condemned the attack as “horrifying” and wrote on X that “these hateful and despicable attacks have no place in our city.”
At Friday’s press conference, City Council Speaker Julie Menin said she was having conversations with her daughter about whether it was safe to wear a Jewish star and with her sons about whether they should wear yarmulkes.
“How can this be normal?” Menin said. “We have to change what is happening in our city.”
But even as New York Attorney General Letitia James urged people not to “assign any particular outcome to this investigation,” adding she did not want to “draw any conclusions,” some leaders were quick to link the attack to a rising political temperature.
Some directly expressed their anger with Mayor Zohran Mamdani, who on Wednesday issued a video address conceding he did not have the authority to arrest Israeli Prime Minister Benjamin Netanyahu, while also calling Netanyahu a war criminal and accusing him of orchestrating a genocide. Unable to arrest Netanyahu, Mamdani encouraged New Yorkers to protest instead.
The UJA-Federation of New York and Orthodox Union said at the time that the mayor’s words put Jews in greater danger.
Rabbi Angela Buchdahl, the spiritual leader of Manhattan’s Central Synagogue, wrote in an open letter addressed to Mamdani that “you promised during and after your campaign to lead this city with unity rather than fear. Instead, you continue to divide Jews into those whose politics you deem acceptable and Zionists whom you cast beyond the pale.”
Mamdani was not at the press conference, and organizers did not answer a question about whether he had been invited.
“His words have profound, real-world consequence on us,” Eric Goldstein, CEO of UJA-Federation of New York, told the crowd. “Shame on him for doing this for perceived political benefit when it has real-world consequence for the Jews of New York. He must stop. He must stop.”
Rabbi Yosie Levine of the Jewish Center — where the victim had attended a Tisha B’Av service before he was stabbed — also expressed disappointment at Mamdani’s remarks.
“When I was growing up, the only time we saw security outside of my synagogue or outside of my Jewish day school was when the mayor came to speak,” Levine said. “The police were there to protect him. Today, every time the mayor speaks, we need the police to protect us.”
“No elected official is responsible for every act of hate, but every leader is responsible for helping shape the climate in which we all live,” Treyger said.
New York City Comptroller Mark Levine at Friday’s press conference cast the attack as part of a broader trend of rising attacks on Jewish New Yorkers, citing 178 acts of antisemitic hate crimes in the first six months of this year.
Menin pointed to the dozens of swastikas painted on a playground at a Brooklyn playground earlier this year and swastikas spray painted on homes and a synagogue in Queens last month. On Wednesday, a Jewish man was shoved to the ground in Brooklyn, with the attacker making antisemitic remarks, leaving the victim with back and hip injuries.
Thursday’s attacks were just the latest in a series of crimes targeting the Jewish community, they said.
Rabbi Mark Wildes of the Manhattan Jewish Experience told the Forward he was teaching his weekly class when the attacks occurred nearby.
“It literally happened on my block,” he said. “Two of my kids were out and about, and this guy was still at large before they had caught him.” Wildes, whose children are visibly Jewish, said he and his wife immediately tried to get them home. “We were saying, ‘Where are they? Get them inside.’”
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Assailant stabs two men, one visibly Jewish, on Upper West Side
(JTA) — NEW YORK – An assailant stabbed two victims, at least one of whom was visibly Jewish, in an area of the Upper West Side known for its Jewish institutions.
Police said two male victims, aged 57 and 50, were in stable condition and being treated for stab wounds to the torso.
Rabbi Allen Schwartz of the neighborhood’s Congregation Ohab Tzedek told the Jewish Telegraphic Agency that one of the victims was a congregant who is visibly Jewish and wears a kippah.
Schwartz, who is in Israel, said he spoke to the congregant on the phone and that he is “alert.” “He may go home before Shabbos,” Schwartz said.
One person of interest has been taken into custody, according to the New York Police Department, who announced no immediate motive for the attack.
This article originally appeared on JTA.org.
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What sort of Yiddish do Yiddishists speak today?
Ask the question: “What sort of Yiddish do Yiddishists speak?” and a jokester might respond: “Well, these days they speak English.”
But let’s consider the Yiddishists who really do speak it in order to preserve it as a living language, because they see it as a treasured part of the Ashkenazi cultural heritage.
Their purpose is different than the Hasidim who speak the language as a way of preserving their religious lifestyle and traditional Jewish values.
Linguist Emma Breslow recently defended her dissertation about the way that Yiddishists speak the language. She interviewed 30 Yiddish speakers at the annual week-long Yiddish immersion retreat Yiddish Vokh and also met with Yiddish speakers from New York, Boston and Montreal.
When she asked people whether they considered themselves Yiddishists, most said no. Perhaps the words Yiddishism and Yiddishist sound rather old-fashioned today. Since Breslow couldn’t find a label that speakers could agree on, she uses the phrase “minority-context Yiddish community” in her study. This category, she writes, also includes former Hasidim who occasionally participate in Yiddishist gatherings.
One surprise in her dissertation is the diversity in this community’s Yiddish. An outsider might assume that all Yiddishists speak the same but that isn’t so: some adhere to Standard Yiddish — the literary standard established by the YIVO Institute for Jewish Research and used in most Yiddish language courses today. Others use the Polish or Ukrainian Yiddish dialect or switch dialects. Sometimes they would say gut (good) and other times — git; sometimes zogn (to say) and other times — zugn.
When Breslow asked people their opinion of Standard Yiddish she mainly received negative answers, although some acknowledged that Standard Yiddish could be useful for learning the language, since the spelling closely matches the pronunciation.
Some interviewees made unexpected comments about Standard Yiddish, as in “Nobody speaks that,” even if, being at the Yiddish Vokh, they might have earlier chatted with Standard Yiddish speakers, and even heard children speak it as a native language. Her dissertation discusses this feeling they have that Standard Yiddish lacks authenticity — maybe precisely because so few people speak it from birth.
The minority-context Yiddish community consists of several groups: a) native speakers — those who speak Yiddish well from home; b) heritage speakers — those who heard it as children, but don’t speak it well; c) students and others who studied the language as adults, and d) former Hasidim, who now live in the larger secular world. Each group speaks differently, but there are interesting points of comparison.
Among her subjects, the former Hasidim speak so-called Hasidic Yiddish — a dialect that linguists have been researching intensely in recent years. Students mostly speak a sort of Standard Yiddish, which they learned from their teachers. All of the Yiddish speakers often exhibited a certain influence or interference from English; no surprise, considering that Hasidim — the largest group of Yiddish speakers today by far — mix English words into their Yiddish too.
Breslow’s quotations include interesting examples of code-switching — when speakers go back and forth between languages. Some of the younger speakers use the word like as a discourse marker in their Yiddish just as in their English.
A second topic of Breslow’s investigation is the articulation of the Yiddish letter reysh, which is similar to the R sound. In the older dialects there were two sorts of reysh: the throat (uvular) reysh, like in French or Modern Hebrew, and the tongue-tip (apical) reysh, as in Russian or Spanish. In addition to those two pronunciations, today’s Yiddishists also use the English-style (retroflex) reysh. Interestingly, linguist Uriel Weinreich, who authored the textbook, cautioned in the preface that students should not use the American reysh.
The grammar of the Yiddishists is also worth examining. Although many have taken courses teaching the grammar of Standard Yiddish, they don’t necessarily follow the rules. That shouldn’t come as a surprise, since even authentic Yiddish speakers of previous generations spoke in dialects that differed considerably from the way Yiddish was written in books and in the press. That’s why there’s no reason to criticize Hasidim for “ruining the grammar,” as many non-Hasidic Yiddish speakers do, since Yiddish speakers have been “ruining” the proper grammar for centuries.
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