Uncategorized
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.
—
The post An ahead-of-its-time klezmer album will be performed live for the first time appeared first on Jewish Telegraphic Agency.
Uncategorized
The Science Behind Streak-Free Windows: What Professionals Do Differently
When it comes to window cleaning, nothing beats the satisfaction of streak-free, crystal-clear glass. But achieving this pristine finish isn’t as simple as grabbing a cloth and some spray. Professional window cleaners have mastered the science behind streak-free windows, using specific techniques and tools to deliver flawless results. Here’s what they do differently and why their methods are so effective.
1. Using the Right Tools for the Job
Professionals don’t rely on standard cleaning products or paper towels to get the job done. Instead, they use high-quality tools specifically designed for window cleaning. Key items in their arsenal include:
- Squeegees: The cornerstone of any professional’s toolkit, squeegees ensure even water removal, leaving no streaks behind. The rubber blades are replaced regularly to maintain their effectiveness.
- Microfiber Cloths: Unlike traditional rags, microfiber cloths are lint-free and highly absorbent, making them perfect for detailing and edge cleaning.
- Specialized Cleaning Solutions: Professionals often use eco-friendly, ammonia-free solutions that dissolve dirt and grease without leaving residues.
- Water-Fed Poles: For high-rise or hard-to-reach windows, water-fed poles equipped with purified water systems are used to clean without streaking.
2. The Importance of Purified Water
One of the secrets to streak-free windows lies in the water itself. Tap water contains minerals, salts, and impurities that can leave behind spots and streaks when it dries. Professionals use purified water systems that remove these contaminants, ensuring a spotless finish.
Purified water also has a natural ability to dissolve dirt and grime more effectively than regular water. When combined with the right tools, it creates the perfect formula for crystal-clear windows.
3. Perfecting the Technique
The way professionals clean windows is just as important as the tools they use. Here are some techniques they employ to achieve streak-free results:
- Pre-Cleaning: Before tackling the glass, professionals remove loose dirt and debris from the surface to prevent scratches.
- Systematic Movements: Using a squeegee, they clean in overlapping strokes, starting at the top and working their way down. This ensures no spots are missed and prevents water from dripping onto already cleaned areas.
- Edge Detailing: Professionals pay special attention to the edges and corners of the glass, where streaks are most likely to form. Microfiber cloths are often used for this step.
- Drying Techniques: Any remaining water is carefully wiped away to prevent streaking. This step is crucial, especially in areas with high humidity.
4. Timing Matters
Professional window cleaners know that timing can make or break the outcome. Cleaning windows on a sunny day might seem like a good idea, but direct sunlight causes cleaning solutions to dry too quickly, leaving streaks behind. Professionals prefer overcast days or cooler parts of the day to ensure optimal results.
5. Safety First
For high-rise buildings or windows in hard-to-reach places, safety is a top priority. Professionals use specialized equipment like harnesses, ladders, and scaffolding to ensure they can clean effectively without compromising safety. This expertise allows them to tackle challenging jobs while maintaining streak-free quality.
6. Experience and Training
What truly sets professionals apart is their experience. Years of practice have honed their skills, allowing them to identify and address potential issues, like hard water stains or stubborn grime, before they become a problem. Their training ensures they can adapt to different types of glass and environments, delivering consistent results every time.
A Trusted Name in Toronto
When it comes to achieving streak-free windows, Toronto Window Cleaners has perfected the art. With over 20 years of experience, their team of fully trained and certified professionals uses advanced techniques and tools to deliver exceptional results. Whether it’s a residential property or a high-rise building, they’ve built a reputation for excellence across the Greater Toronto Area.
In conclusion, the science behind streak-free windows is a blend of using the right tools, employing expert techniques, and understanding the conditions that impact cleaning results. By trusting professionals, you’re not just ensuring sparkling windows—you’re investing in a methodical process that guarantees perfection every time.
Uncategorized
Memoir of child of Holocaust survivors takes riveting twists
Book Review by Julie Kirsh (former Sun Media News Research Director)
Exclusive to The Jewish Post
“We used to Dream of Freedom, A Memoir of Family, the Holocaust, and the Stories We Don’t Tell”
By Sam Chaiton (Dundurn Press) 2024
Sam Chaiton’s memoir of growing up with Holocaust survivor parents in downtown Toronto in the 1950s is a compelling read.
Jeanne Beker, a well known Toronto fashion writer, mentions in her praise for “We used to Dream of Freedom” that her survivor parents talked incessantly about their war experiences.
My own parents, both survivors, would drop tidbits of their stories now and again. I learned to be watchful and vigilant for these rare moments of revelation. However, questioning my parents about the Holocaust, would cause them pain. I knew when to stand down.
In his memoir, Sam Chaiton tells the reader that his parents chose to remain completely silent about their wartime experiences. Poignantly their son was left with a silence that he interpreted as huge empty sound. Although the son could understand some Yiddish, his parents turned to Polish in order to keep the “kinder safe”. Outright denial of illness and death was part of his parents’ way of coping.
Born in the 1950s on Palmerston Boulevard in downtown Toronto, Chaiton paints a vivid picture of his youth as the middle son of five boys. He describes the mayhem of a household of barked orders and punishment by his father’s belt. His mother, as with many other survivors, was obsessed with eating and food. Chaiton learned early that rejecting his controlling mother’s food was one of his few weapons. “It’s hard not to do what a Holocaust survivor wants you to”, he says. Chaiton had to stare down two parents both with tattoos.
Dance proved to be a saving grace for Chaiton. On the dance floor, with a partner, the gates of happiness and permission to be oneself, opened. The Toronto Dance Theatre in Yorkville was a salvation and home for Chaiton. Also important to Chaiton was a family – not his troubled blood family but a chosen one – a commune.
In 1973, after a sojourn in New York, Chaiton decided that he was not a performance dancer. Back in Toronto as he pointedly danced with his mother at his brother’s wedding, she told him that he was her favourite child, imposing “the psychological damage that parental favouritism caused”.
Living in a commune with a chosen family afforded Chaiton the freedom to dig deep into his psyche, face his traumatic upbringing and tear down the rigid rules of society and the biological family. At a certain point, for reasons he explains in the book, Chaiton made the decision to vanish from the lives of his parents and brothers.
In 1980 the commune took up the cause of the injustice and illegal jailing of Rubin “Hurricane” Carter. Carter had been exonerated, released from prison and then reconvicted and sent back to prison.
In hindsight Chaiton wonders if his disengagement from his family caused them the same wounds and feelings of emptiness that Carter had to face when he was reincarcerated.
In 1985 while sitting in a New Jersey prison yard with friends and Carter, Chaiton had the riveting vision that he was in a concentration camp, “on a mission to liberate (his) parents – the dream of every Holocaust survivor’s child.”
In the summer of 1985, Chaiton received the news from Toronto that his parents were involved in a fatal car accident. Only after his mother’s death, was Chaiton able to acknowledge that in spite of her smothering, she gave him a sense of self worth and strength.
In 1988 Chaiton co-wrote the story of freeing Carter. One of his brothers saw him on a news broadcast, contacted him and the 20-year silence between Chaiton and his blood family was over.
Riding on the coattails of the successful release of Carter, Chaiton and some friends established an organization that continues to exist today. Innocence Canada has helped wrongfully convicted people like Guy Paul Morin, David Milgaard and Steven Truscott.
In chapter 16, entitled Wierzbnik, Chaiton finally learns about his father’s testimony published in a book, “Remembering Survival”, by a university professor. Reading about his father’s history helped Chaiton to understand the damage done to survivors, his parents’ trauma and why the home that they created for their sons after the war was so fraught.
Chaiton remarks on the interconnectedness of learning about the sufferings of his parents, his own personal struggles and the gift his father left him of being able to tell his own story.
Sam Chaiton’s profound memoir took courage and brutal honesty to write.
His book teaches that the legacy left by Holocaust survivors, along with a deep sadness, is the innate need of the children to persevere and find their own path of survival and growth.
Obituaries
CAROL SLATER (née GENSER)
With great courage on Wednesday, November 6, 2024, surrounded by her family.
Treasured daughter of the late Esther and the late Percy. Beloved wife of Ron for 69 years. Loving mother and mother-in-law of Charles and Dina Slater, Erin and Joe Battat, Adam and Kit, Claudia and the late David. Cherished grandmother of Zach, Robert and Hydi, Ben and Martha, Liam and Addison, Thom and Emeline, Max, Ilai, Emanuelle and Eli. Proud great-grandmother of Rafael, Lily, Maya, and Jojo. Special sister and sister-in-law of David and Joan Genser, Roberta and Mayer Lawee; and sister-in-law of Joel and Sheila Slater. Greatly missed by her nieces, nephews, family, friends and by all who knew her.
The family would like to thank Drs. Shamy, Lipes, Chang, the doctors, nurses and staff at the Jewish General Hospital Palliative Care Unit as well as DeyDey, Linette and everyone who took such wonderful care of our Mom.
Funeral service from Paperman & Sons, 3888 Jean Talon St. W., on Sunday, November 10 at 9:30 a.m. Livestream available. Burial in Israel.
Donations in her memory may be made to the “Carol and Ron Scholarship” c/o Mothers Matter Canada 1-604-676-8250
Publish Date: Nov 9, 2024
CAROL SLATER
(née GENSER)
With great courage on Wednesday, November 6, 2024, surrounded by her family.
Treasured daughter of the late Esther and the late Percy. Beloved wife of Ron for 69 years. Loving mother and mother-in-law of Charles and Dina Slater, Erin and Joe Battat, Adam and Kitt, Claudia and the late David. Cherished grandmother of Zach, Robert and Hydi, Ben and Martha, Liam and Addison. Proud great-grandmother of Rafael, Lily, Maya, and Jojo. Special sister and sister-in-law of David and Joan Genser, Roberta and Mayer Lawee; and sister-in-law of Joel and Sheila Slater. Greatly missed by her nieces, nephews, family, friends and by all who knew her.
The family would like to thank Drs. Shamy, Lipes, Chang, the doctors, nurses and staff at the Jewish General Hospital Palliative Care Unit as well as DeyDey, Linette and everyone who took such wonderful care of our Mom.
Funeral service from Paperman & Sons, 3888 Jean Talon St. W., on Sunday, November 10 at 9:30 a.m. Live stream available. Burial in Israel.
Donations in her memory may be made to the “Carol and Ron Scholarship” c/o Mothers Matter Canada 1-604-676-8250
You must be logged in to post a comment Login