In the late 1960s the term jazz fusion became a popular way of referencing music that borrowed heavily from both jazz and funk, or jazz and rock, or really any two genres that musicians troubled to smash together. If you hadn’t already noticed, fusion has been a dominant mode of expression in Jewish music over the last few decades. Reviews of new albums can tend to sound like exercises in proper noun naming; sometimes it’s easier just to list the influences on an album than it is to explain what they’re all doing together. Klezmer and rock. Klezmer and metal. Ladino and jazz.
JDub Records and John Zorn’s Tzadik label have split the difference on these fusion experiments. Tzadik headed in a more avant-garde direction, where jazz is piled on experimental guitar pieces or post-apocalyptic klezmer piano riffs, and JDub participated more in globe-trotting world music excavations or pseudo-jam acts. On Shotnez’s self-titled debut album on JDub, the band bridges the distance between world music and the avant-garde. Unlike comparable acts, however, Shotnez puts that genre mix-and-matching in the limelight. The band’s name refers to the halachic prohibition of mixing wool with linen, and with tracks like “Stolen Goods” or “Chaos” it suggests that there’s a dark blasphemous heart beating in Jewish fusion music.