Tonight, renowned Yiddish music anthologist Chana Gordon Mlotek will be honored at The National Yiddish Theatre-Folksbiene’s annual gala for her life’s work preserving Yiddish folklore. Mlotek, the author of nine books on Yiddish music, has an encyclopedic knowledge of her subject. Now 90, she grew up in the Bronx immersed in Yiddish culture. In 1944,…
When you Google Elmore James the first hits that pop up refer to a blues singer from the 1940s. That is not the same Elmore James who stars in the National Yiddish Theatre — Folksbiene production of “Soul to Soul.” But Yiddish-singing James, 57, thinks the Southern bluesman would see similarities between what the two…
Photo by Pawel Mazur The Other Europeans’ impressive new live album, “Splendor,” should carry the subtitle “Everything You Wanted To Know About Klezmer and Lautar Music But Were Afraid To Ask.” Would you bet on your ability to differentiate klezmer from so-called “Gypsy” music in a simple drop-the-needle listening test? Before this recording, even those…
Crossposted from Midnight East. Photos by Gangi. Thirty seconds into the music bodies are moving on the dance floor, my pulse is synched to the beat, and electric guitar and drums are crashing through my bloodstream. Then the wail of the clarinet takes over my brain and I’m singing along with the band — in…
Itzhak spoke to Yitzchok in Hebrew. Hankus spoke to Yitzchok in Yiddish. The conductor made puns in English with a heavy accent that is Australian and South African. And this all happened in the studio where Bruce Springsteen recorded “Born To Run” and Madonna laid down her vocal tracks for “Like a Virgin.” We’re talking,…
Photo by Mark Berney Itzhak spoke to Yitzchok in Hebrew. Hankus spoke to Yitzchok in Yiddish. The conductor made puns in English with a heavy Australian-South African accent. And this all happened in the recording studio where Bruce Springsteen recorded “Born to Run” and Madonna laid down her vocal tracks for “Like A Virgin.” We’re…
A non-for-profit organization comprised of music-loving Jews, The Idelsohn Society for Musical Preservation illuminates the forgotten corners of Jewish music in America. The Society is perhaps best known for “Jewface,” a collection of vaudeville-era minstrelrsy like “Cohen Owes Me 97 Dollars” — songs that strike present-day listeners as the Jewish version of Uncle Tomming. Other…
Photo courtesy of Andy Statman The version of “The Lord Will Provide” on “Old Brooklyn,” Andy Statman’s virtuosic two-CD excursion through all manners of American and Jewish music, struck me as unusual, and not just because the voice and clarinet duet is spine-tinglingly powerful. It’s more because the 18th-century hymn, written by James Newton —…
100% of profits support our journalism
