|The Devil's Brides|
" The standout track (is) Getshinke, which describes the unhappy fate of a Jewish girl from Vilna during the First World War (sung here in customarily soulful style by Elizabeth Schwartz). ...The music is superb, in turns joyful and mournful, recorded in such an intimate acoustic that the listener is really caught up in the ebb and flow of the often brilliant improvisations on violin, cimbalom, accordeon and bass. In the macaronic Dire Gelt, for example, Yale Strom's violin leads a subtle exploration of themes and languages and stories and understanding and you can hear every delicate twist and variation and flit of breath and bow and plot.
"It’s not generally known that in late-18th-century Poland there were women klezmer musicians who travelled to perform at fairs all over Central Europe. Ethnographer-violinist Yale Strom has researched their repertoire exhaustively, and here – with his klezmer group Hot Pstromi – he presents a few of his trouvailles, some of which have a poignant history. One dance tune was collected from a Jewish barrel-maker by Menachem Kipnis, who died in the Warsaw ghetto in 1942; another was collected from a Jewish baker in Kiev in 1937. One poem was found by Strom in a folder in the archives of a library in Vilnius: it had been lodged there by the Yiddish folklorist Yehudah Leib Cahan before he emigrated to America, and tells of the plight of a young Jewish girl in Vilna, as the armies of Germany and the Soviet Union were advancing on the city. Another song Cahan collected reflects the klezmer musicians’ traditional money problems in the shtetls, where their status was – despite their music’s popularity – at the bottom of the social heap. The spoken commentary by Margolyes and Strom works well, with the music itself achingly genuine. And that is thanks to the musical integrity of the performers: the husky sound of Elizabeth Schwartz, a one-time collaborator with Muzsikas; the dexterity of Alexander Fedoriouk, whose playing of the cimbalom began with village weddings in the Carpathian Mountains; plus Sprocket on bass, and Peter Stan on accordion. "
"The album is thus more of a documentary perhaps, but the music itself is truly wonderful – klezmer and Yiddish folksongs played on violin, tsimbl (the dulcimer-like cimbalom), accordion, bass, and with many tracks benefitting from the vocals of Elizabeth Schwartz. Wild, uplifting or deeply melancholy, this music is of great interest to all klezmer enthusiasts…"
"In 18th-century Poland there were women klezmer musicians who travelled to perform at fairs all over Central Europe. Ethnographer-violinist Strom has researched their repertoire, and this CD contains some of his discoveries. With Miriam Margolyes' help he also introduces the music: supported by cimbalom, accordion and bass, the husky timbre of Elizabeth Schwartz brings an aching authenticity to these songs and dances from the shtetls of pre-1939 Europe. Four Stars."
"Not surprisingly, The Devil’s Brides is a serious work by an accomplished musicologist. Originally conceived as the musical score for the 2011 audio drama “The Witches of Lublin,” The Devil’s Brides is based on Strom’s discovery that, contrary to conventional belief, there were occasionally women klezmer musicians performing publicly at fairs throughout Central Europe in the 17th and early 18th centuries. The Devil’s Brides consists of 11 songs (some traditional arrangements and others composed by Strom) of the sort that might have been heard at the typical Jewish wedding in 18th century Poland, each one with an audio introduction by Strom and actress/voice artist Miriam Maygolyes (Harry Potter). The songs – some festive, others melancholy – are performed in the klezmer style featuring violin (Strom), cimbalom (a hammered dulcimer) (Alexander Federiouk), bass (Sprocket), and accordion (Peter Stan), with substantial spontaneous improvisation. Strom’s wife, Elizabeth Schwartz, contributes her trademark dusky vocals.
The Devil’s Brides, subtitled Klezmer & Yiddish Songs, is released by ARC Music (UK), a leading label for top quality world and folk music. The packaging is first rate, including extensive liner notes with photos (translated into English, German, French, and Spanish). One need not be a student of klezmer music to enjoy this exuberant compilation of expertly performed tunes. The “history lessons” between each song are short and interesting. Highlights (at least to this reviewer) are “Dire Gelt” (showcasing intricate violin work by Strom and instrumental improvisation among the Hot Pstromi ensemble), “Tumbalalayka” (featuring Schwartz’s robust vocals), and “Lustig Zayn” (featuring spirited accordion and cimbalom work).
Serious listeners (or even beginning klezmer enthusiasts) will be riveted by Strom’s research, the diversity of the selections, the artist biographies, the original Yiddish lyrics, and the cultural/ historical significance of the songs. Even klezmer novices will enjoy this excellent survey of a rich (but once almost forgotten) musical tradition."
|The Absolutely Complete Introduction to Klezmer (Transcontinental Music)|
The Absolutely Complete Klezmer Songbook gives Strom a chance to show that he's not just a musician, but also a collector of songs and stories and information and music. Essentially an enhanced fake book, the volume includes a 20-odd page history of Jewish music from Biblical times to present day; 400 pages of sheet music (313 songs!) organized by song type and occasion; a glossary of (mostly Yiddish) terms; and a 36-track CD of klezmer tunes performed by Strom and Hot Pstromi.
Even non-musicians will find fascinating tidbits in the history section, from the role of Felix Mendelssohn's grandfather in suppressing Yiddish language and music to the role the khasidim played in reinvigorating Jewish music and dance, even the occasional tradition of hurling snowballs at Jewish newlyweds. If you're a musician devoted to or just curious about klezmer music, The Absolutely Complete Klezmer Songbook is a rich and unparalleled resource. "
-Scott Stevens of Spin the Globe in Olympia, WA
"Learning to play klezmer, for young and old alike, can be a challenge. The music isn't often played in major or minor scales. Instead its keys, or modes, are referred to as Freygish, Misheberech and Adonoy moloch to name just three. Its various rhythms Nigun, Freylekh, Bulgar, Chosidl, Hora, Terkisher, Sirba, Sher, Taksim, and Doina, must be mastered. Not so easy if raised on a diet of rock, country, hip-hop, or even classical.
In a bygone era, klezmorim learned the melodies from each other. They were passed from musician to musician in the oral tradition; music stores didn't exist. Imagine, no sheet music to be handed out, no recordings to buy, no iTunes to download.
With the rediscovery of klezmer starting in the late 1970s, a number of recordings, and some sheet music, from the first half of the 20th century were available to use for guidance. The number of recordings has grown but the availability of written music has not kept pace. A few have done an admirable job at publishing sheet music: The Kammen International Portfolio (published in 1924 and revised in 1951) and more recently, Sherry Mayrent's Klezmer for Everyone series instruments (published in 2001), to name just two. Nothing has been exhaustingly comprehensive. Until now.
With close to 300 klezmer tunes, old standards and many newly discovered, in-depth discussions of the music and its history, plus an accompanying CD, The Absolutely Complete Klezmer Songbook, edited by Yale Strom, is amazing.
Strom has traveled extensively throughout Eastern Europe and the former Eastern Bloc countries, meeting with klezmorim and learning traditional and new melodies. He has collected photographs, recordings, oral histories, and sheet music.
Strom's Songbook opens with a fascinating history of klezmer music, gathered from his research and travels; it is a must-read for all klezmer musicians. The sheet music is organized by category: wedding tunes, including dances for the in-laws; farewell dances; and the traditional bulgars, freylekhs, and other klezmer music forms. Many of the songs will be familiar to klezmer musicians, while others, especially those gathered from Eastern European and Eastern Bloc klezmorim, have not been heard by most Western musicians.
All music is written in concert key with chords; 36 of the songs have been transposed for Bb instruments and also are presented in the book's accompanying CD.
The Absolutely Complete Klezmer Songbook expands the growing library of world klezmer music and captures melodies that otherwise may have disappeared. It belongs in the library of every dedicated klezmer musician and aficionado."
|Absolutely Klezmer, Volume 2 (Transcontinental)|
' I'm tempted to say "Never mind the quality, feel the width" - but this marathon CD is not just about quantity. Of the seventeen tracks here, most are great pieces of Jewish music: the poignancy of The Bride's Lament or Vizhnitser Nign, the exotic exuberance of Freylachs and Horas, and the earthy emotions and laconic wit of songs such as Lekhayim or The Mother-in Law. Yale Strom has assembled all the key ingredients of great klezmer on this recording. There's his own weeping fiddle, the powerful expressive voice of Elizabeth Schwartz, the deep throbbing accordion of Peter Stan, and the woodwind virtuosity of Norbert Stachel on clarinet, sax and flute. Jim Whitney's double bass is solid throughout too, bowed or plucked. One or two of the arrangements didn't work for me, and there's an odd tendency for the woodwind to lag behind the beat on some tracks, but most of the time this quintet is tight and thrilling. From understated beauty on Dobranotsh to full-throated abandon for Knayfl's Freylekhs, there's plenty to enjoy here. Mitsve Tants, Londre, The Youngest Daughter's Wedding and other highlights exemplify the zest for life and the extremes of emotion expressed in European Jewish music from Brooklyn to the Balkans. "
|Borsht with Bread, Brothers (ARC UK)|
This great gift of music is tied to Jewish folk songs and melded with the rhythms of all the places Jews have lived around the world where they have been touched by the local culture and music. The tunes are infused with a sound that I can only describe as Jewish blues/jazz, Roma (Gypsy) music, and all things Middle Eastern and pentatonic. It takes you on the road of the Jewish Diaspora with music local to each country along the route but unique in its heartfelt similarities and sounds. This is an exciting CD as well as an historic one. It introduces and extends the Klezmer themes and music into a European borsht-like mixture of many musical colors and sounds.
The CD iincludes a mélange of different musicians, starting with Yale Strom on violin and Hot Pstromi members Fred Benedetti on guitar, David Licht on percussion, Jeff Pekarek on bass, Sprocket Royer on bass, Elizabeth Schwartz providing soulful vocals, Tripp Sprague on saxophone, Norbert Stachel on saxophone/multi woodwinds, and Peter Stan on accordion.
The CD roams through 12 songs, each unique and each a musical piece of a musical puzzle that takes you through an exciting journey of Eastern European Jewish dance and folk music. Listening to this music filled me with many emotions, both joyous and sorrowful. This type of emotional reaction is something that seems to have disappeared recently as we listen to the music we are force fed by robotic radio and the odes played on American Idol. This CD touches your soul and your heart and never lets up. Yale Strom has created a CD that makes you want more, so you play it again, over and over, always finding new themes, new rhythms, and emotionally laden vocals with notes that shake your soul.
The CD sings to the six million lost, bringing them back to the rest of us still here who are alive and dancing to Bread with Borsht, Brothers. Indeed, Yale Strom has created a CD for everyone. Its melodies will make you move your feet, shed a tear, laugh out loud, and forever remember the songs of a people who wandered through many lands and mixed in the cultures they absorbed along the way. This is truly world music, culturally created in Eastern Europe, but cross-fertilized with sounds from as far away as Turkey, the Middle East, and North Africa, brought to life again in those long gone, ghost-inhabited Jewish communities that still exist in our DNA.
L'Chaim ("to Life!") to a treasury of culture and music that plays out on this wonderful, intelligent CD."
The CD Borsht with Bread, Brothers includes songs from Ukraine, Hungary, Slovakia, Romania, Poland, Germany, Russia, Belarus, and Moldava. Picture yourself in a tavern full of sweaty men dancing to the vigorous "Svalava Kozatshok." Or get rebellious in an old-school sort or way to the anti-Czarist "Vemen Veln Mir Dinen, Brider (Whom Shall We Serve, Brothers)," with its brooding mood and seriously soulful vocals by Elizabeth Schwartz: "Whom shall we serve, brothers? / It's not good to serve the Russian Czar / Because he bathes in our blood." Well, no...that's not good. While the music stands on its own, the rich song notes (and lyrics and translations for those songs with words) give historic and cultural context -- in four languages!"
Picking favourite tracks from the dozen here is almost impossible, but I’ll call special attention to “Stole A Kakos Mar,” a Hasidic song from Hungary sung in Hungarian and Hebrew, with a vocal performance from Schwartz and perfect accompaniment from the band, that almost reminds me of Edith Piaf at her best. Another that must be singled out is “Vemen Veln Mir Dinen, Brider,” a Yiddish protest song that laments being forced to serve in the czar’s army.
" Vocalist Elizabeth Schwartz displays a wonderful appreciation for the nuances inherent in the interpretations of this music. Her mastery of the ornamentations is superb on selections like the movingly ethereal Hungarian Jewish folk song “Szol a Kakas Mar (The Rooster Crows Already)” and an extended version of the Czarist protest song “Vemen Veln Mir Dinen, Brider (Whom Shall We Serve Brothers?). She also gives an inspired performance of “Ver es Keseyder Tseyln (Who Can Count in Order?) that wonderfully portrays both the cantorial and badkhen (wedding jester rhymer) underpinnings to this music".
|Cafe Jew Zoo (Naxos)|
|" Explaining the Mid-eastern tonalities and Eastern European chutzpah that percolate through this recording, leader, violinist, composer-arranger, scholar and documentary filmmaker Yale Strom comments, “We klezmorim today often overlook that Abraham came from Ur in Iraq, and not Uman in Ukraine.” Hence their renditions of “The Bonesetter’s Last Dance” (whose Ottoman timbres and percussive insistence fold into a characteristic Romanian melancholy), “Dorohoi Khusidl,” “Shakiris” and “Hora Din Caval” (the latter’s liberal Gypsy flamenco guitar borrowings underscore an even broader musical disposition). It doesn’t hurt that Strom can tap the soulful vocals of Elizabeth Schwartz (the title track, “Imenu Malkatseynu,” “Yekele The Bonesetter,” “L’Chayim, Comrade Stalin!” and “Ten Plagues”—enumerated as “Corporate Thievery, Poverty, Sickness, Homelessness, Government Spying, False Arrest, Pollution, Walt Disney Culture, Fanaticism and John Ashcroftism”), the clarinet and mandolin wizardry of Andy Statman (“Stoliner Skotshne,” “Birobidzhan,” “Waltz Amur”), the lyricism of Peter Stan (accordion) and Fred Benedetti (guitars), and the musical erudition of a host of other klezmorim equally at home in the idioms of jazz, classical and sundry world traditions. A brilliant addition to contemporary klezmer. "
- Global Rhythm > Read More
" Yale Strom kicks off the Café Jew Zoo festivities with an explanation about the roots of klezmer, as it relates to his vision of New Jewish Music.
The range of music emanates from the DNA of klezmer, which is the melismatic prayer modalities chanted by the ancient Hebrews of the Middle East. We klezmorim today often overlook that Abraham came from Ur in Iraq, and not Uman in Ukraine. Thus, in tunes like "Bonesetter’s Last Dance," "Dorohoi Khusidl," "Hora Din Caval," and "Shakiris," the Middle Eastern tonalities can be easily heard...
I suspect that it does not get any more basic than that. What rolls out on the aural waves of Café Jew Zoo is one of the most intelligent, integrated, and delightful surveys of klezmer that one is likely to encounter. The disc ranges from the traditional vocals of "Birobidzhan" and solo guitar performance of "Hora Din Caval" (beautiful) to the wild and wooly ("The Bonesetter’s Dance" and "Café Jew Zoo"). "The Bonesetters Dance" is klezmer strained through the terministic screen of the 21st century. Strom composed the piece with the appropriate amount of humor and reverence to make it an effective modern klezmer piece. Think of a Jewish Sun Ra.
Yale Strom accomplishes his wish to explore the evolution of klezmer. This Eastern European music is as immediately identifiable as is Piazzola’s tangos. The music is readily danceable and sunny with a tinge of melancholy. Café Jew Zoo makes a splendid introduction to the uninitiated in this Jewish spirit of music making. "
|Dveykes (Global Village)|
" Strom with newly composed music in hand meets bassist Mark Dresser, clarinetist/saxophonist Marty Ehrlich, pianist Diane Moser and drummer Benny Koonyevsky for Dveykes. Ensemble presentations evince a communal character that fuses freedom with spirit and klezmer with jazz. Schwartz' earthy alto voice sonically blends with tenor and bass for the sultry "Stained Red" and rises in sarcastic political protest on "If God Moved to the Neighborhood". Dveykes is a synergistically soulful cutting edge meeting. ."
|Garden of Yidn (Naxos)|
" The revelation of the album is vocalist Elizabeth Schwartz. Heard here on recording for the first time, Schwartz boasts a deep, dark, rich vocal instrument, with enough versatility to pull off an Arabic taksim, a cantorial wedding blessing, and a jazz waltz version of “Moscow Nights.” For the final number, a Gypsy-influenced doina, Schwartz reclaims the free-metered, improvisational lament for the singer, in whom its origin lies. Schwartz channels her wide-ranging background in musical theater, blues, rock and jazz into a vivid, contemporary Yiddish idiom that needs no translation. "
- Folk Roots Magazine