“It all sounds alike,” is the usual dismissal of a new listener to any unfamiliar genre, from hip hop to country to opera. And klezmer can be no different in that regard. But if one is willing to give it a chance and really listen, vast differences soon emerge. Here are six new klezmer CDs that come in all shades, from darkly sublime to brightly ridiculous.
Brian Bender and Little Shop of Horas: “Eyn Velt”
Little Shop is a “supergroup,” which is to say most members are famous on their own. The fiddler and trumpeter are from The Klezmatics, the bassist is from Brave Old World, the percussionist fronts her own band… you get the idea. The title is Yiddish for “One World,” and that’s the idea: The opening track alone sets a Jewish melody to a Turkish rhythm, and then adds Caribbean horns. These three elements intertwine on several tracks, but threads on other tracks also include reggae (“Avadim Hayinu”), African (“Bobover Binghi”) and big-band (“Di Grine Kuzine”). Little Shop produces a big, bold, tangerine-colored sound.
Klezmer Company Orchestra: “Beyond the Tribes”
These mash-ups mix klezmer melodies discovered in a Florida university’s archives with the tropical sounds of New Orleans, salsa, and mambo. The resulting sound is as fiery and bright-red as a chili pepper. There are a few quieter moments, including one klezmer/Mahler merger, and the tender “Child’s Prayer.” And some of it swings, while some tumbles like a circus act. But the overall mood is simply: “Hot! Hot! Hot!”
The Red Sea Pedestrians: “A Lesson in Cartography”
Their name comes from a line in Monty Python’s “Life of Brian.” But there is an old-timey, sepia-toned patina to the album, and the movie that comes to mind instead is “The Sting.” The Pedestrians could also be the Jewish answer to The Folksmen from “A Mighty Wind.” While there are some reeds, most of the instruments are stringed: guitar (acoustic and electric), bass, mandolin, even banjo. “Cartography” means “map-writing”—the theme is “Wanderin’,” a word that figures into three of the songs’ titles. If anything wanders, it’s the subject, from weddings and bad relationships to whiskey… and bad trips. Ironic nostalgia.
Beyond the Pale: “Postcards”
This Canadian sextet ensemble embodies its name by going “beyond” the expected. Their songs are generally more experimental, arch, and arty than most klezmer. Using only traditional instruments, they start with existing melodies or ethnic modes, but follow them into nonstandard deviations. Nothing here enters the cacophonous world of Naftule’s Dream or that of some of the more challenging Tzadik artists. So while it is different and unexpected, Beyond the Pale is entirely accessible; this is the musical equivalent of Chagall, not Picasso. And the colors are Chagall’s too: many, crayon-bright, and surprisingly juxtaposed.
The Cincinnati Klezmer Project: “A Bisl Freyd, a Bisl Lakhn”
…Which means, “A little joy, a little laughter.” As promised, the songs are almost entirely upbeat. Whoever did the mixing did an exemplary job—each instrument is as perfectly clear and identifiable as black ink on white paper. It helps that the arrangements are uncluttered, but without trying one can pick out the clarinet, mandolin or drums, making this an excellent work for those wanting to learn to play klezmer by example. For the casual listener, this is a great place to learn the standards. All present and accounted for are: “Abi Gezunt,” “Yiddishe Mama,” “Papirosn,” “Oyfn Prepotchik,” and “Firn Di Mekhutonin Aheym.” The lead vocalist, Steven Stuhlbarg, has great elocution and pronunciation, if his accent is a tad lacking. But his voice is warm and engaging. Overall, a fine introduction to the form.
Sy Kushner: Arise!
This disc embodies the idea that klezmer is a living and viable genre. These are all entirely new compositions that extend organically from the classic styles developed over millennia. Other recent klezmer albums stir that sound with reggae or Latin music and end up with the sonic equivalent of marble rye—a swirl, but with each element clearly identifiable. Kushner’s klezmer music integrates non-klezmer sounds, but so smoothly that the result is more like stirred paint, in which each new added element changes the color of the whole. But klezmer itself is, like the English language, an agglomeration of sources and thus has no “pure” form. The Old World composers borrowed from Balkan and Arabic music, the first-generation American klezmorim integrated swing and Latin styles, and Kushner follows their lead by incorporating Irish and African influences. And he does it so smoothly, you will swear it’s all “klezmer.” Which it is—true blue.
With open minds, willing listeners can find shades of klezmer that suit their tastes and preferences. Soon, it stops all “sounding alike” to them, and instead they say: “I may not know everything about klezmer, but I know what I like!”
Paul Wieder is public relations manager at the Jewish United Fund/Jewish Federation.
