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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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Federal Funding for Trump’s Ballroom in Jeopardy After Senate Ruling
Aerial view from the top of the Washington Monument shows construction crews as they continue site preparation for a planned White House ballroom in the area of the former East Wing in Washington, D.C., U.S., May 2, 2026. Photo: REUTERS/Ken Cedeno
A US Senate official on Saturday removed security funding that could be used for President Donald Trump’s planned White House ballroom from a massive spending package, Democratic lawmakers said, imperiling Republican efforts to devote taxpayer money to the contentious project.
The decision by the Senate’s parliamentarian, Elizabeth MacDonough, deals a blow to Trump and his administration, which has sought the money for security purposes related to the ballroom.
Trump has said the construction of the ballroom would be funded by $400 million in private donations. But Senate Republicans are seeking $1 billion in taxpayer funding to the Secret Service for security upgrades to the ballroom and other structures being built beneath it.
FRIVOLOUS DIVERSION OR NECESSARY MODERNIZATION?
Democrats have criticized the ballroom as an expensive and frivolous diversion by Trump at a time when Americans face rising costs such as higher fuel prices. Trump, a real estate developer-turned-politician, has written on social media that it will be “the finest Building of its kind anywhere in the World.”
MacDonough ruled that the security funding provision falls under chamber rules that require 60 votes to pass most legislation, according to the office of Senator Jeff Merkley, the top Democrat on the Senate Budget Committee.
Republicans hold a 53-47 majority in the Senate.
The parliamentarian interprets Senate rules, including whether legislative provisions are permitted. Republican senators still could revise the legislation to try to gain the parliamentarian’s approval.
Ryan Wrasse, spokesman for Senate Majority Leader John Thune, said in a social media post that Republicans would keep trying. “Redraft. Refine. Resubmit,” Wrasse wrote on X.
If Republicans do not succeed, they may be unable to include the ballroom-related funding in a $72 billion spending package they plan to bring to a vote on the Senate floor, with passage expected on a party-line vote with Democrats opposed. The bulk of the legislation is devoted to immigration enforcement.
Republicans have been invoking complex budget rules to try to secure passage without any Democratic support.
“While we expect Republicans to change this bill to appease Trump, Democrats are prepared to challenge any change to this bill,” Merkley said in a statement.
Democrats have opposed funding for Trump’s signature immigration crackdown absent reforms they have sought since federal immigration agents killed US citizens in separate incidents in Minnesota in January.
Republicans have said federal funding for ballroom security is needed to ensure presidential safety, citing an April incident in which an alleged gunman is accused of storming a black-tie media gala in Washington that Trump attended.
The administration has said the ballroom will modernize infrastructure, bolster security and ease strain on the White House, which often relies on temporary outdoor structures to host large events. Trump has said the ballroom will be completed around September 2028, near the end of his second term in office.
Democrats, hoping to win control of Congress in November’s midterm elections, are seizing on Republican support of the ballroom to portray Trump’s party as out of touch with the cost-of-living concerns of Americans at a time of rising energy costs driven by the Iran war he and Israel launched in February.
Trump last year ordered the demolition of the White House’s East Wing – constructed in 1902 during Theodore Roosevelt’s presidency and expanded four decades later during Franklin Roosevelt’s presidency – to make way for his ballroom.
The National Trust for Historic Preservation, a nonprofit organization, filed a lawsuit challenging the project, arguing that neither the president nor the National Park Service, which manages the White House grounds, possessed the authority to tear down the historic structure or erect a major new facility without explicit congressional approval.
A US appeals court in April allowed construction to continue after the judge handling the National Trust lawsuit issued an order halting the project.
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Bulgaria Wins Eurovision Song Contest, Israel Comes Second Again
Noam Bettan, representing Israel, performs “Michelle” during the Grand Final of the 2026 Eurovision Song Contest in Vienna, Austria, May 16, 2026. REUTERS/Lisa Leutner
Bulgaria won the Eurovision Song Contest for the first time on Saturday in a final overshadowed by five countries’ boycott over Gaza, claiming a dramatic victory despite another big public vote for Israel that again secured it second place.
The garish and usually good-natured competition involving pop acts from countries across Europe and beyond, now in its 70th year, was plunged into crisis by a dispute over Israel’s military offensive in Gaza, a response to the Hamas-led attack on October 7, 2023.
The public broadcasters of heavyweights Spain, the Netherlands and Ireland, as well as Iceland and Slovenia, chose not to take part in protest at Israel’s participation.
Israel has alleged a global smear campaign against it. Its performance at the final was not, however, marred by any obvious protests, unlike Tuesday’s semi-final.
“This is unbelievable. I don’t even know what’s going on right now,” Bulgaria’s entrant Dara told a press conference after winning with her thumping, crowd-pleasing dance track “Bangaranga” that avoided politics altogether.
The song touches on themes of empowerment and surrendering to the night. It also left many puzzled as to its meaning.
“Bangaranga is a feeling that everybody gets in themselves. It’s the moment that you choose to be in love and not fear,” Dara said when asked to explain the song in the “green room” where artists await the results.
“This is a special energy… Once you feel (at) one with nature and your universe, you feel the harmony that you can be whatever you want to be and that everything is possible,” she said.
BOOS WERE HEARD AT ISRAEL’S RESULT
Israel’s effort, trilingual love song “Michelle,” stirred less controversy than its entry last year, which was sung by a survivor of the October 7 attack.
Some booing from the audience was audible when Israel’s massive points haul from the public vote sent it surging up the table from eighth place, similarly to 2025, when it also finished second but much closer to the winner than this year.
Israeli public broadcaster KAN received a formal warning from organizers a week ago over videos posted online in which Bettan courted votes too aggressively, after a similar controversy involving Israel last year.
KAN said it plays by the rules and the videos were immediately taken down.
Finland’s entry, “Liekinheitin,” or Flamethrower, a love song in Finnish featuring violinist Linda Lampenius and pop singer Pete Parkkonen on a burning set, was the favorite this year, followed by Australia’s “Eclipse,” a celestially themed love ballad sung by national pop star Delta Goodrem.
In the end, Australia came fourth and Finland sixth.
ONLY MINOR PROTESTS IN VIENNA
The boycotts cut the number of contest entries to 35, the fewest since 2003, which will almost certainly have reduced the global television viewership of an event that last year was estimated at 166 million people, more than the Super Bowl’s 128 million.
The mood in the Austrian capital has been subdued, with protests over Israel’s participation drawing only small crowds. Police anticipated “blockades and disruption attempts” on Saturday that did not materialize.
There was a brief disruption during Tuesday’s semi-final, when one protester chanted “Stop, stop the genocide” and “Free, free Palestine” within range of a television microphone and was ejected along with three others for disrupting the show.
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Israel’s Economy Shrinks in First Quarter but Seen Rebounding After Iran War
People sit at an outdoor restaurant where Israeli flags are displayed, amid the ongoing conflict between Hamas and Israel, in Tel Aviv, Israel, July 12, 2024. REUTERS/Eloisa Lopez
Israel’s economy began 2026 with a slowdown, hit by war with Iran, but growth is expected to recover as long as the conflict does not reignite.
Gross domestic product contracted at an annualized rate of 3.3 percent in the first three months of 2026, the Central Bureau of Statistics said on Sunday, less severe than a 4 percent drop forecast in a Reuters poll of economists.
Israel’s economy grew 2.9 percent in 2025 and was expected to bounce back in 2026 to more than 5 percent growth after a ceasefire in October ended major fighting in the two-year Gaza war.
But growth took a hit after the US and Israel launched strikes against Iran on February 28, resulting in weeks of ballistic missile fire from Iran that closed schools and dampened business activity along with consumer spending.
“The Israeli economy began the year with strong momentum, with rapid growth in the first two months,” said Ofer Klein, head of economics and research at Harel Insurance and Finance.
“The lifting of most restrictions in April and the improvement in economic activity since then… indicate a relatively quick return to positive growth in the current quarter,” said Klein, who raised his growth estimate for this year to 3.5 percent from 3.2 percent.
The Bank of Israel sees 3.8 percent growth this year, down from a 5.2 percent estimate before the Iran war, depending on whether a ceasefire with Iran holds.
Jonathan Katz, chief economist at Leader Capital Markets, said he expected 4 percent growth.
“This is a modest GDP contraction compared to the second quarter of 2025 – the last Iran confrontation in June of 2025 – when GDP contracted by over 10 percent,” he said, adding that industrial exports bounced back in April.
The statistics bureau reported on Friday that the annual inflation rate held steady at 1.9 percent in April. Some economists believe interest rate reductions could resume as early as May 25, the Bank of Israel’s next rate decision meeting.
Israeli financial markets do not trade on Sunday. The shekel has appreciated 20 percent in the past year to 2.91 per dollar, a 33-year high. Tel Aviv share indices are close to all-time highs reached earlier in May.
In the first quarter, consumer spending fell 4.7 percent, exports declined 3.7 percent and government spending shed 4.8 percent. Investment in fixed assets rose 12.6 percent.
On a per capita basis, the economy shrank 4.5 percent in the quarter.