 | Klezmer rapidshare |  |
| Posted: Sun Mar 23, 2008 12:19 am |
 |
|
|
Oytsres - Treasures. Klezmer Music 1908-1996
Wergo SM 1621 2, 1999
01. Orchestra of the Lemberg Yiddish Theater - Overture to Die Drei Matunes
02. H. Steiner - Potpourri of Jewish Melodies
03. Jewish Wedding Orchestra - Gereist und getroffen
04. Belf’s Romanian Orchestra - Na Rasv’et’e
05. Belf’s Romanian Orchestra - Cry Jews
06. Jacob Gegna - Taxim
07. Naftule Brandwein’s Orchestra - Doina and Nachspiel
08. Shloimke Beckerman - Hot Azoi
09. Cherniavsky’s Yiddishe Jazz Band - Der Dibuk
10. Naftule Brandwein’s Orchestra - Odessa Bulgar Dance
11. Naftule Brandwein’s Orchestra - Honga Ciganesta
12. Alex Olshanetsky’s Orchestra - Yiddishe Hora & Sarba Maracinei
13. Abe Schwartz Orchestra - Gelebt und Gelacht. Frehlichs
14. Dave Tarras - Duvid, Shpiel Dus Noch Amul
15. State Ensemble for Jewish Folk Music of the Ukrainian SSR - Bazetsn di Kale
16. State Ensemble for Jewish Folk Music of the Ukrainian SSR - Sher, Evreiskii Narodnii Tanets
17. Dave Tarras Jewish Instrumental Trio - Kiever Sher
18. Hymie Jacobson’s Orchestra - Yiddish Bulgar
19. Avrom Segal - T’khies Ha-Meysim
20. Joel Rubin Jewish Music Ensemble - Gershfeld’s Bulgarish
| Quote: | In this period of rediscovery, revitalization and reinterpretation of music of the Jewish people of pre-Holocaust Europe, occasional infusions from the source help keep the music centered. In this latest klezmer anthology, producers Joel Rubin and Rita Ottens have included six rare examples of pre-World War I recordings from Europe. These include a couple of pieces from the Euro-Yiddish theater that have some melodic relationship (but not in presentation) to klezmer. Additionally there are two fascinating pieces by the State Ensemble for Jewish Folk Music of the Ukraine recorded in 1937 and 1939, along with one example of an obscure offshoot of the klezmer tradition, that of the Chassidic community in Israel.
It will be very instructive to all fans of klezmer to compare the playing styles of these with that of musicians who recorded in America between the world wars. The greats of the first generation emigres to the United States are also here: Naftule Brandwine (fabulous, as usual), Dave Tarras (an example of his influential trio), Abe Schwartz, etc. This is another must-have for fans and students of old style klezmer music. - Stacy Phillips |
320kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/59299442/O-T-KM.part1.rar
http://rapidshare.com/files/59305271/O-T-KM.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Sun Mar 23, 2008 12:21 am |
|
|
|
Veretski Pass
Traditional East European Jewish Music
Golden Horn Records GHP 020-2, 2004
01. Tyachiver Sirba (Ukrainian-Jewish / arr. Segelstein) 2:11
02. Sólyom Pál (Romanian-Hungarian) 2:28
03. Araynfir Introduction (comp. Segelstein) 0:24
04. Kroilid Karaite Song 1:44
05. Fir Strunes Forshpil Four String Prelude (comp. Segelstein) 0:45
06. Fir Strunes Four Strings (arr. Segelstein) 1:48
07. Horowitz Geveyn Horowitz’s Lament (comp. Horowitz) 3:01
08. Hershfelds Bulgar (Jewish) 2:01
09. Segelsteins Geveyn Segelstein’s Lament (Tatar / arr.Segelstein ) 3:03
10. Lid fun dem Shvartsen Yam Black Sea Song 1:36
11. Tatarisher Longa Tatar Longa 2:00
12. Papir Is Dokh Vays Paper is White (Jewish) 2:05
13. Libus Nign Libu’s Melody (Jewish) 0:48
14. Berols Rikudl Berol’s Dance (Jewish) 0:44
15. Veretskier Raca (comp. Segelstein/Carpathian Ukraine) 1:10
16. Vinnitser Sher (Jewish-Ukrainian) 4:46
17. Ikh Lig Hinter Grates I Stand behind Bars (Jewish) 1:38
18. Horowitz Forshpil Horowitz’s Prelude (comp. Horowitz) 2:22
19. Yosls Terkisher (comp. Moskowitz/Jewish) 2:42
20. Makonovetskiis Skotshne (Jewish) 1:55
21. Hutzulska Pisnia Hutzul Song (comp. Segelstein) 0:16
22. Veretskier Kolomeyke (Ukrainian/arr. Segelstein) 2:43
23. Pizni Vesilni Zvuky Bullets at the Wedding (Ukrainian, arr. Segelstein) 2:43
24. Tyachiver 7:40 (Ukrainian-Jewish) 2:17
25. Dovha Doroha The Long Road (Ukrainian) 0:25
26. Zakarpatska Kozachok Transcarpathian Cossack Dance (Ukrainian/arr. Segelstein) 2:26
27. Hora Midor (Jewish) 2:32
28. Tiraspoler Bulgar (Jewish) 1:17
29. Fanfara Suceava (Romanian) 1:19
30. Stanislaver Bulgar (Jewish) 2:13
Cookie Segelstein - violin, viola
Joshua Horowitz - button accordion, tsimbl
Stuart Brotman - bass, basy, baraban
| Quote: | With Eastern European roots that go back centuries, when Jews and Gentiles made music together before anyone thought of calling it “world music”, Veretski Pass offers a unique and exciting combination of virtuosic musicianship and raw energy that has excited concertgoers across the world. Between the three members of this band, there are eight instruments on stage; violin, viola, two tsimbls (hammered dulcimer) , 19th century button accordion, bass, bassetl (three stringed bass), basy (three stringed Polish folk cello) and baraban (Jewish style drum).
Playing in an unbound, energetic “village style”, this band of veterans plays klezmer music of historical Eastern Europe on original instruments; melodies from Ukraine, Carpathian-Ruthenia, Bessarabia and Rumania. Much of this rare music has been gleaned from field recordings gathered by the musicians themselves in numerous trips throughout Europe. With its colorful instrumentation and unique arrangements, this seminal ensemble carries on the ancient tradition of klezmer musicians, playing music of all kinds, but with a recognizable Jewish sound.
Carefully researched regional styles combined with unrestrainable energy gives this group it’s unique sound, which has been called “raw, naked and unashamed”. The music is always fresh, because nothing is fixed except the style. Veretski Pass is capturing audiences everywhere with it’s spontaneous and explosive renditions of the lost repertoire of Eastern European Jewry. |
| Quote: | In exotic Eastern Europe, the roots of World Music go back centuries. Jews, Christians, and Moslems, Rumanians, Ukrainians, and Roma played music together in an atmosphere of sharing, in a multicultural area where professional musicians had to know as many musical styles as the diverse languages of the people with whom they lived and worked.
Confidently crossing the border between mature mastery and village madness, Veretski Pass, an ensemble of veteran klezmer artists Cookie Segelstein, Stuart Brotman and Joshua Horowitz, plays Old Country Music; melodies from Medieval Poland, dances from Bessarabia, Ruthenia, and Bukovina, music with origins in the Ottoman Empire, lands once fabled as the borderlands of the East and the West.
This virtuosic group of musical eccentrics synthesizes raw energy and polished musicianship to produce music of unusual depth and power, with fire and finesse, warmth and wonder, in a variety of traditional sonorities. A full palette of complementary tone colours pours from expertly played violin, viola, bass viol, button accordion, bass drum, and tsimbl.
Whether teaching a workshop, or working their crowd into a frenzy in concert, this trio of vibrant musicians draws rave reviews wherever they appear. |
| Quote: | Cookie Segelstein, 19th Century violin and viola, received her Masters degree in Viola from The Yale School of Music in 1984. She is principal violist in Orchestra New England and assistant principal in The New Haven Symphony Orchestra. Cookie teaches klezmer fiddling at Living Traditions' KlezKamp and The Albuquerque Academy, has been on staff twice at Centrum's Festival of American Fiddle Tunes in Port Townsend, Wash., and teaches a klezmer class at Educational Center for the Arts in New Haven, Connecticut. She has performed with The Klezical Tradition, The Klezmatics, Klezmer Fats and Swing with Pete Sokolow and the late Howie Leess, Kapelye, Margot Leverett and the Klezmer Conservatory Band. She is a founding member of The Youngers of Zion with Henry Sapoznik, and has recently joined Budowitz. She has presented lecture demonstrations and workshops on klezmer fiddling all over the country, including at Yale University, University of Wisconsin in Madison, University of Oregon in Eugene, Pacific University and SUNY-Cortland. She was featured on the ABC documentary, “A Sacred Noise”, heard on HBO’s “Sex and the City”, and on several recordings including the Koch International label with Orchestra New England in “The Orchestral Music of Charles Ives”, The Klezical Tradition's “Family Portrait” and Adrianne Greenbaum’s “Fleytmuzik”. She is also active as a Holocaust educator and curriculum advisor and has been a frequent lecturer at the Women’s Correctional Facility in Niantic, CT. Cookie lives in Madison, Connecticut.
Joshua Horowitz, tsimbl and 19th Century accordion, received his Masters degree in Composition and Music Theory from the Academy of Music in Graz, Austria, where he taught Music Theory and served as Research Fellow and Director of the Klezmer Music Research Project for eight years. He is the founder and director of the ensemble Budowitz and has performed with Rubin and Horowitz, Brave Old World, Adrienne Cooper and Ruth Yaakov. Joshua taught Advanced Jazz Theory at Stanford University with the late saxophonist Stan Getz and is a regular teacher at KlezKamp, The Albuquerque Academy and Klez Kanada. His musicological work is featured in four books, including The Sephardic Songbook with Aron Saltiel and The Ultimate Klezmer, and he has written numerous articles on the counterpoint of J.S. Bach. His recordings with Budowitz, the Vienna Chamber Orchestra. Rubin & Horowitz, Alicia Svigals, Adrianne Greenbaum and Fialke have achieved international recognition and he is the recipient of more than 40 awards, including the Prize of Honor for his orchestral composition, Tenebrae, presented by the Austrian government. Beside his work as a musician, he led the first post-WWII music therapy group at the pioneering Beratungszentrum in Graz, Austria. He is currently working on a book of his essays for Scarecrow Press. Joshua lives in Berkeley, California.
Stuart Brotman, bass, basy, and baraban, has been an accomplished performer, arranger and recording artist in the ethnic music field for over 35 years. He holds a B.A. in music from the University of California at Los Angeles, and has taught at KlezKamp, Buffalo on the Roof, the Balkan Music and Dance Workshops and KlezKanada and has been recording, touring, and teaching New Jewish Music with world class ensemble Brave Old World since 1989. Long admired as a versatile soloist and sensitive accompanist in traditional and pop music circles, he has toured and recorded with Canned Heat, Kaleidoscope, Geoff and Maria Muldaur and played cimbalom with Ry Cooder at Carnegie Hall. Stu appeared in the Los Angeles production of Ghetto, the San Francisco production of Shlemiel the First, and performs frequently in ethnic music specialty roles for TV and film. A founding member of Los Angeles' Ellis Island Band, he has been a moving force in the Klezmer revival since its beginning. He produced The Klezmorim's Grammy nominated album, Metropolis. He toured with the Yiddisher Caravan, a federally funded Yiddish folklife show, and has performed with The Klezmorim, Kapelye, Andy Statman, the Klezmer Conservatory Band, Davka, The San Francisco Klezmer Experience, Khevrisa and Itzhak Perlman. Stuart lives in Berkeley, California. |
| Quote: | The violin, played by Cookie Segelstein, a 19th C. Maggini copy, remained the representative instrument of klezmer music right up until the beginning of the 20th Century, when it was replaced by the clarinet as the “quintessentially Jewish” instrument. Early documents from the 16th Century even show the icon of a violin as the emblem for a klezmer guild. Older styles of bowing, fingering, phrasing and ornamenting, imititating various gestures of East Ashkenazic synagogue singing, were considered lost and forgotten until just recently. These techniques form an integral part of the unique sound of Veretski Pass.
The viola, also called Groyse Fidl [Yid. Big Fiddle], Sekund, Kontra or Zsidó Bratsch [Hun.], played by Cookie Segelstein, is typically used for the constant playing of chords in a rhythmic style. According to descriptions by Gypsies throughout Romania and Hungary, Jews typically used various types of this chord instrument, with either 3 or 4 strings. The function of string accompaniment fell out of use with the increased inclusion of wind instruments in the klezmer ensembles around the end of the 19th Century, and although still commonly used in the folk music of Hungarian minorities throughout Romania, Cookie Segelstein is the only one to have explored the viola as a solo instrument in klezmer music.
The tsimbl (hammered dulcimer, or cymbalom), played by Joshua Horowitz and Stuart Brotman formed the rhythmic and timbral backbone of klezmer music from the 16th to the late 19th Century. Its ability to play accompaniment as well as melody made it a versatile and necessary member of the klezmer ensemble. The construction and tuning of the tsimbls in Veretski Pass were only made possible after years of detailed research into the iconography, descriptions and early existing recordings of the instrument. The various types of strokes, ornaments and asymmetric phrasings and rhythms used, points to an older, more refined approach of playing, and lends a combination of percussive brittleness as well as a soft ethereal sound cloud to Veretski Pass.
The accordion used by Joshua Horowitz was built in 1889 By Karl Budowitz. It represents the earliest type of fully chromatic button accordion, and formed the basis of the Russian Bayan developed in the early 20th Century. The warm, reedy sound, which at times yields the uncanny illusion of a small wind orchestra, is made possible through the materials used for its construction - bone, wood, goat leather and brass. Its ability to ornament and phrase like the human voice is achieved largely through the smaller, more controllable bellows and the specific fingering techniques used. The earliest recordings of klezmer music on accordion (ca.1913) reveal an identical sound and style to that found in Veretski Pass.
The basy played by Stu Brotman is a small bass played in the Tatra Mountains of Poland. It is now usually made out of a standard 'cello. It has three strings: a D string and two A strings an octave apart, played together as a pair.
The bass, played by Stuart Brotman, made in 1822, is frequently seen in early depictions of klezmer ensembles from the 16th Century, often strapped around the shoulder to enable processional playing. The instrument fell completely out of use by the beginning of the 20th Century - a fact that is difficult to understand, given its versatility. Rather than merely taking over a schematized bass, the bass in Veretski Pass weaves in and out of the bass and tenor role, even interacting abundantly with the melody in the lower octave. It provides the very distinct “moaning” sound typical in klezmer music, through frequent use of glissandi and speech-oriented articulation. The short bow also enables variegated articulation and the three gut strings lend Veretski Pass its unique driving sound.
The baraban, (Yid. drum) was reconstructed by the Remo company under the supervision of Stuart Brotman. It has two heads with a cymbal mounted on its top, which is commonly played by a fork or spoon. The Poik provides the backbeat for dancing tunes. In the hands of a skilled player, it can provide an endless array of sounds, at times mimicking the human voice.
The Carpathian flute played by Stu is known in Romania as the tilinca. It is an end-blown flute without finger holes, a simple wooden tube sharpened on one end to form the mouthpiece. It is blown in such a manner as to produce overtones; the end is opened or closed with one finger to select even or odd harmonics. |
| Quote: | | Veretski Pass, Traditional East European Jewish Music is a recording by the trio of the same name made up of klezmer veterans Cookie Segelstein, Joshua Horowitz and Stuart Brotman. Much of the music on this recording comes from and near the region of the Veretski Pass (after which the group is named) in the Transcarpathian region of what is now Ukraine, the main crossroads through which the Jews traversed the Carpathian Bow. Some melodies were passed on to Cookie by her father who was born in the town of Nizhni Veretski, at the base of this pass. Others were collected by the members themselves in their travels throughout Eastern Europe. Much of the music on this CD is recorded for the first time. The instruments used on this recording are largely 19th Century versions of the violin, viola, 3 stringed bass, basy (3 stringed polish folk cello), bayan (early chromatic button accordion), tsimbl (Jewish hammered dulcimer) and baraban (Jewish bass drum). |
| Quote: | Veretski Pass: Traditional East European Jewish Music by the trio of the same name made up of klezmer veterans Cookie Segelstein, Joshua Horowitz and Stuart Brotman. Much of the music on this recording comes from and near the region of the Veretski Pass (after which the group is named) in the Transcarpathian region of what is now Ukraine, the main crossroads through which the Jews traversed the Carpathian Bow. Some melodies were passed on to Cookie by her father who was born in the town of Nizhni Veretski, at the base of this pass. Others were collected by the members themselves in their travels throughout Eastern Europe. Much of the music on this CD is recorded for the first time. The instruments used on this recording are largely 19th Century versions of the violin, viola, 3 stringed bass, basy (3 stringed polish folk cello), bayan (early chromatic button accordion), tsimbl (Jewish hammered dulcimer) and baraban (Jewish bass drum).
There is a stunning suite of Crimean Tatar music which is both haunting and virtuosic. The Crimean Tatars are considered one of the three indigenous peoples of the Crimean Peninsula. Hoping to strip the Crimean Tatars of their ethnicity, Stalin eliminated close to half of their population and decimated their cultural institutions. The Tatars therefore viewed the German occupation of Crimea as their last hope of survival. The Nazis in turn saw this as a unique opportunity to turn other Russian minorities against Stalin, so they declared the Tatars a people and recorded their folk music on 78 r.p.m discs. These recordings were made available to Verestki Pass by Prof. Martin Schwartz (from the collection of Dr. Zev Feldman) and reappear here for the first time in a new interpretation.
There is a rare Karaite song, followed by improvisations and a pyrotechnic fiddle song performed on a scordatura violin. The Karaite Jews accept only the written word of the Old Testament and reject the rabbinical Oral Commentaries. As a people, they have also been brutally subjugated by their neighbors and spurned by the Jewish Community at large. Their music has been kept close to their culture.
There are also original compositions, a suite with a bass and viola duet, traditional Jewish and Ukrainian dance tunes all accompanied by booklet with rich photographs and finely wrought essays by each of the members of the trio, making this album a treasure trove of sound and word. This is truly a creative and powerful use of a small group of players who make music reminiscent of raucous and confident village musicians, nothing short of a redefinition of the genre we now call klezmer. |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/60709199/VP-TEEJM.part1.rar
http://rapidshare.com/files/60717561/VP-TEEJM.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Sun Mar 23, 2008 12:22 am |
|
|
|
Helmut Eisel & JEM
Klezm'n Soul
Nebelhorn 022, 1993
01. Blindroter Chor und Wirtshaustöchter
02. Bulja, Bulja
03. Jonny And Chris Awake
04. Uv' yom Hashabbat
05. Cousins Jump Suite/Prelude/The Big And The Quick
06. Black Curly Kids
07. The Ballad Of A Lonesome Maestro
08. The King Of The Sitz
09. Moritz
10. Beyond The Blue
Helmut Eisel - clarinet, bass carinet, taragot
Herbert Jagst - double bass
Michael Marx - guitar
Roswitha Dasch - violin (2,5)
Martin Wagner - accordion (2,6,9)
Amby - percussion (3,6)
| Quote: | | This is certainly our most colourful CD so far. No wonder – we dedicated it predominantly to our children. Roswitha Dasch, violin, Martin Wagner, accordion and the percussionist Amby worked with us on some of the songs. |
320kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/60780228/HEJ-K_n_S.part1.rar
http://rapidshare.com/files/60783142/HEJ-K_n_S.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Sun Mar 23, 2008 4:39 am |
|
|
| mungan_679 |
| Newbie |
 |
 |
| Joined: Oct 25, 2007 |
| Posts: 6 |
|
|
|
|
|
 |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Sun Mar 23, 2008 4:50 am |
|
|
| mungan_679 |
| Newbie |
|
|
| Joined: Oct 25, 2007 |
| Posts: 6 |
|
|
|
|
|
|
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Sun Mar 23, 2008 6:26 pm |
|
|
| Scorpio |
| Advanced |
 |
|
| Joined: Dec 07, 2005 |
| Posts: 202 |
|
|
|
|
|
|
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Sun Mar 23, 2008 10:57 pm |
|
|
|
Klezmerband Mazzeltov & Rolinha Kross
Mishpoge
Music & Words mxcd 4048, 2004
01. Di mashke 4:27
02. Golem tants & chasidim tants 5:02
03. Amsterdam 4:30
04. In mayn shtetl 3:20
05. Dreylechs 2:56
06. Hazer 3:54
07. Nane tsoba 5:08
08. Freylechs & grichester tants 3:54
09. Yedi kule 3:58
10. Interlude 0:25
11. Dallel 4:22
12. Doina & hassoposerviko 5:24
13. Lume lume 3:34
14. Tsiganeasca 3:57
15. Tsiftetelivision 4:51
Rolinha Kross - vocals
Gottfrid van Eck - clarinet, bass clarinet
Edith Mathot - violin
Harm van den Berg - accordion
Harold Berghuis - guitar, tambura
Gregor Schaefer - double bass, ud
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/60791157/KM_RK-M.part1.rar
http://rapidshare.com/files/60795454/KM_RK-M.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Sun Mar 23, 2008 10:58 pm |
|
|
|
The Klezmatics
Shvaygn = Toyt
Piranha pir 20-2, 1988
01. Ershter vals
02. A glezele vayn
03. Tantst yidelekh
04. Russian shers
05. Bilvovi
06. Dzankoye
07. Ale brider
08. Czernowitzer bulgar
09. Mazl tov, zeydns tants
10. Schneider - Zwiefacher
11. Rebns khasene / Khasene tants
12. Di zin vet aruntergeyn
Frank London - trumpet
Lorin Sklamberg - vocals, accordion, piano
Alicia Svigals - violin
David Licht - drums
Paul Morrissett - bass
Kurt Bjorling - clarinet
| Quote: | | As close to traditional as the Klezmatics came. But the first or second recording of "Alle Brider/Alle Shvester" I ever heard, and some very fun licks with Les Miserables Brass Band, including a song called "Schneider-Zwiefacher" that I later heard in another version on a recording by a marching band from what was then Yugoslavia. Lovely. |
| Quote: | | The Klezmatics debut recording. With works which are by turns wild, spiritual, provocative, reflective and danceable, the Klezmatics celebrate the ecstatic nature of Yiddish music. On their 1988 debut album, Shvaygn = Toyt (Silence = Death), the band approaches its material with humor, passion and, on occasion, the anarchic energy of a free jazz ensemble. This is not your father's klezmer! |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/61899048/TK-S_T.part1.rar
http://rapidshare.com/files/61903247/TK-S_T.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Mon Mar 24, 2008 8:38 pm |
|
|
|
The Epstein Brothers Orchestra
Kings of Freylekh Land. A Century Of Yiddish-American Music
Wergo SM 1611-2, 1995
01. Beresh Katz' Bulgar
02. Mitzve Tants
03. Olshanetsky Medley
04. Hasidic Medley
05. Fotta-Poppa & Shetekelekh
06. Cabaret Songs & Gypsy Bulgar
07. Hora & Sirba
08. Epstein's Doina
09. Moskowitz' Sirba
10. Romanian Drinking Song & Kalarash
11. T'khies Ha-Meysim (Resurrection Of The Dead)
12. Kashenever Shtikele
13. Hungarian Melodies
14. Silkene Pajamas & Epstein Nign
Max Epstein - Bb clarinet
Julius Epstein - drums, percussion
William Epstein - trumpet, flügelhorn
Danny Rubinstein - alto & tenor saxophone, Bb clarinet
Peter Sokolow - piano
Pat Merola - string bass
| Quote: | To call the new Epstein Brothers album, "Kings of Freylekh Land," is merely to state the obvious. Although the gang moved to Florida years ago to stay with their audience, they certainly haven't lost their swing or their repertoire. There is a sense of rhythm and a way that every note fits together that is a pleasure to just sit and listen to, even as your feet tap and you realize that the beat is perfect for dancing a whole wedding long.
This isn't to say that Max doesn't bust his chops a bit on the obligatory "Doina," or that there aren't a comfortable number of show tunes mixed in--I especially like the way the Olshanetsky Medley starts off with "I love you too much," a true Yiddish theatre tear jerker (and a favorite by the Jewish singalong group I attend after Havdalah every so often). But, mostly, this is an album featuring the best of a rich repertoire of American Klezmer music--show music, Gypsy bulgars, and all--played by musicians who have lived it for more decades than I've been alive. A real pleasure! - Ari Davidow |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/62155463/TEBO-KoFL.part1.rar
http://rapidshare.com/files/62162134/TEBO-KoFL.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Mon Mar 24, 2008 8:40 pm |
|
|
|
Joel Rubin with the Epstein Brothers Orchestra
Zeydes un Eyniklekh
Wergo SM 1610-2, 1995
01. No Name Sirba
02. Mayn Eynikl (My Grandson)
03. Baym Zeydns Tish (At Grandfather's Table)
04. South Fallsburg
05. Kale Bazetsn ("Seating" The Bride)
06. Bukoviner Freylekhs
07. Freylekher Sher
08. Doina
09. Baym Shotser Rebn (At The Rebbe's From Suceava)
10. Freylekher Nushiele
11. Hora And Sirba
12. Seymour's Bar Mitzvah
13. A Khasene In Shtetl
14. Lebedik Un Freylekh (Lively And Merry)
15. Brownie's Wedding
16. Rumenisher Freylekhs
Joel Rubin - C clarinet
Max Epstein - B-flat clarinet
Julius Epstein - drums and percussion
William Epstein - trumpet
Danny Rubinstein - tenor and alto sax, B-flat clarinet
Peter Sokolow - piano (16)
Pat Merola - string bass (16)
| Quote: | Damn this stuff is good. It isn't just Joel Rubin, it's the whole damn, smooth, silky, perfection of American Klezmer music. I say "American," of course, because of the oh so very American drum beat, but also because Dave Tarras created a genre of traditional Jewish music that was entirely, ultimately American.
As much as I love "today's" klez music, every so often you need to listen to the real thing. And these guys have that down beautifully. I don't mean that they have it down as though it is something stale that they've been playing for years, but rather, that this is "traditional" klezmer music played by people who live it. This is the Jewish equivalent of BB King and Buddy Guy and Junior Wells holding a summit. You'll be blown away by the "Hora and Doina," and in awe at the interplay instruments in the "Rumenisher Freylekhs." This is real klez played as though the old stuff matters today. And whenever music is played this well, it does matter. Enjoy!
There is now a movie about the Epstein Brothers. And about time! It's called A Tickle in the Heart and was produced by Stefan Schwietert. The United States premiere will be at the San Francisco Jewish Film Festival, July 21, 1996. - Ari Davidow |
| Quote: | | Zeydes un Eyniklekh brings together several generations of American klezmer musicians in a musical tribute to the "King of Klezmer", clarinetist Dave Tarras (1897-1989). A consummate master of the art of klezmer ornamentation, Joel Rubin is accompanied by the Epstein Brothers Orchestra. Together they perform the wedding and celebratory music of the Eastern European immigrants in America. After the recording sessions were over, the legendary Max Epstein said of Rubin's playing: "He has surpassed my idol, Dave Tarras". The Epstein Brothers, who are recipients of the prestigious 1998 National Heritage Award from the US National Endowment for the Arts, Sokolow and Rubinstein all played at various times with Dave Tarras, the clarinetist from the Ukraine who is the embodiment of "klezmer" for several generations of American Jews. |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/62368708/JRwtEBO-ZuE.part1.rar
http://rapidshare.com/files/62376132/JRwtEBO-ZuE.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Tue Mar 25, 2008 9:07 am |
|
|
|
Mariejan van Oort & Jacques Verheijen
mayn fayfele. lider fun Gebirtig
I-C-U B4-T CUP 8027, 2003
01. Shlof shoyn mayn kind 3:18
02. Reyzele 3:53
03. Mayn tate a kohen 1:41
04. Dray tekhterlekh 3:43
05. Fartogs in feld 3:33
06. Der general-shtreyk 5:22
07. Nokh a hoyz un nokh a hoyz 3:54
08. A royter tseykhn 2:41
09. Avreml der marvikher 5:09
10. Mayn fayfele 4:05
11. Kinder-yorn 3:51
12. Kum leybke tantsn 4:01
13. Blumke, mayn zhiduvke 3:17
14. Mayn harts iz a novi 2:49
15. s'Brent! 2:43
16. Shifreles portret 1:47
17. In geto 3:52
18. A zuniker shtral 2:37
Mariejan van Oort - voice
Jacques Verheijen - piano, accordion, guitar
| Quote: | If there is anyone out there who loves Yiddish art song and has yet to listen to the wonderful voice of Mariejan van Oort or the sophisticated accompaniments of Jacques Verheijen, this is a perfect introduction. It is also a celebration of the music of Mordechai Gebirtig, containing not only well-known songs such as the opening "Shlof shoyn mayn kind", or "Kinder-yorn", but also new songs from a collection of recent finds, "Mayn Fayfele", released in 1997. The title of this "final, so far" collection of Gebirtig's poems also serves as the title of the album, the first the duo has devoted exclusively to Gebirtig.
Van Oort's voice is exquisite. On this collection, she moves from Gebirtig's portraits of childhood to the travails and joys of life, to his more political songs, "s'Brent" (fire!) or "der general-shtreyk" (the general strike). I have recently heard "Blumke" performed, but this duet with Verheijen on guitar (and voice) has driven the other out of mind. Following such a delightful "Come on Leo, Dance with me" in which a shy lad is encouraged to learn to dance the Charleston and other modern dances, one gets a picture of life in the first part of the last century that is indelible and precious. At the same time, "Mayn harts iz a novi" (My heart is a prophet) could be of any time that two people have been in love, and in the use of the familiar "du", could apply to any combination of genders. In that sense, perhaps, Gebirtig was even ahead of his time.
The 60-page booklet accompanying the CD is a treasure, as well, containing transliterations and english translations of each of the songs, as well as short introductions establishing context. There is also a short biography of Gebirtig, and a list of sources. Best, there is information on purchasing Verheijen's piano arrangements. Showed to their best advantage here with his accompaniment to van Oort's singing, they are likely to become the standard arrangements for this material.
What makes this all worthwhile, of course, is Mordechai Gebirtig's poetry. Better, perhaps, than any other writer, he captured Jewish life in Kazmierz and its surroundings, giving us a portrait deeper and more detailed than any history. His last songs, written from 1939 until his death in June 1942, capture the ending of that community. But, for every "in geto" about trying to sleep, filled with fear, "Thus you lie and the fear is tremendous / you hear a door creak / your heart shudders, when a hungry mouse / knaws at a piece of paper" there is also "A ziniker shtral" (a ray of sunshine):
'Get up, man, day is breaking!',
the ray tells me,
and warmly, with love, it hugs
and strokes me
'The springtime, the herald of peace,
soon under its glance fields will blossom
and the world will become light and free
for all, and also for you, Jews.'
Mariejan van Oort and Jacques Verheijen have fused Yiddish art song with Jewish life, itself. In choosing to do a program entirely comprised of Mordechai Gebirtig's folk songs they have found the perfect vessel with which to make that bridge. In listening, we are not only entertained by the music, but moved, and made aware of the life that is gone, the life that we, ourselves live, and of the amazing grace with which Gebirtig captured it all. - Ari Davidow |
320 kbps mp3, including cover art - no booklet, unfortunately.
| Code: | http://rapidshare.com/files/62386362/MvO_JV-mf.part1.rar
http://rapidshare.com/files/62391955/MvO_JV-mf.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Wed Mar 26, 2008 6:53 am |
|
|
|
Aufwind
inejnem. Jiddische Lieder & Klesmermusik
Aufwind MSR 02282, 2002
01. Lomir ale (3:38)
02. A majssele (3:23)
03. Hora / Tanz Istanbul (4:36)
04. Jingele nit wejn (3:42)
05. Kezl (3:00)
06. Schpil gitar (4:13)
07. Der winter (4:18)
08. Ess singt sich nit (4:41)
09. Aj lajk schi (2:29)
10. Kaschtnbojm (3:47)
11. Dobranoc / Frejlechss (4:30)
12. Er hot nischt (3:02)
13. Lejg dajn kop (1:45)
Claudia Koch - vocals, violin, viola
Hardy Reich - vocals, guitar, mandolin
Andreas Rhode - vocals, bandoneon, percussion
Jan Hermerschmidt - clarinets, recorder, vocals
Thomas Pfaffrath - double bass
Guest:
Steffen Wendlik - trombone
| Quote: | Once primarily focused on vocal arrangements, the new Aufwind album indicates a band that has become much more of a mainstream German folk band playing Jewish music. This is not a bad thing, and this is quite a good album, but I am not moved the way I was, say, on "Awek di unge yorn." Then, the band seemed to have reached for Yiddish folk songs and combined them with all sorts of other influences, ranging from American gospel onwards. Here, the band showcases its instrumental chops a bit more, the harmonies a bit less.
The opening "Lomir ale," let us all sing together, is a rousing number in the style I expected, as is "Schpil gitar." "Aj lajk schi" is a great adaptation of a Second Avenue comedy number. The instrumentals, as on "Kezl," can be quite good. The range of sources is quite inspirational, ranging from Argentina to sources in East Germany and the former Soviet Union. Many of these songs will be new to listeners of the CD. Even those that are more familiar, such as the Warshavsky tunes, are done with expert attention to detail. "Es zingt zikh nit" (There's nothing left to sing) is particularly heart-rending. - Ari Davidow |
320kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/62461213/A-i.part1.rar
http://rapidshare.com/files/62470501/A-i.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Wed Mar 26, 2008 6:53 am |
|
|
|
Karsten Troyke
Grüne Blätter
Raumer Records RR 10196, 1997
01. Furn Furt Men
02. Dus Kelbl
03. Unter Grattes
04. Grine Bleter
05. Shir Hanoded
06. Yiddisher Tango
07. Di Kurtn=Legern
08. Hora für Franka
09. La Casuta Dintre Gârle
10. Di Mesinke Oysgegebn
11. Gehat Hob Ich A Heym
12. Separacion
13. I'm Crazy Far She
14. Abi Gezint
15. Di Necht Fin Amul
16. A Retenish
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/62486706/KT-GB.part1.rar
http://rapidshare.com/files/62508255/KT-GB.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Thu Mar 27, 2008 8:11 am |
|
|
|
Zol Zayn Freylekh. frejlechs. Jiddische Klezmer-Musik
ARC EUCD 1185, 1991
Café Klez
1. Moldever Hore - 3:01
2. Sherele - 2:41
Zol Zayn Freylekh
3. Doyne / Kiever Freylekhs - 3:14
4. Odeser Bulgar - 2:38
A Kholem Fun Libe
5. Di Sapozhkelakh - 3:38
6. Di Zilberne Khasene - 2:21
7. Di Goldene Khasene - 3:14
8. Medyatsiner Valts - 2:28
Ale Lakhn, Makhn Fun Mir Shpas
9. Papirosn - 5:54
In Der Heym In Shtetele Amol
10. Sirbe - 3:01
11. Terkishe Melodye - 3:13
12. Bukevine - 2:13
Veln Zayn Gute Tsaytn
13. Shnirele, Perele - 5:25
14. Shlof, Mayn Kind - 2:32
320 kbps mp3; no booklet, unfortunately
| Code: | http://rapidshare.com/files/62527778/ZZF-f-JKM.part1.rar
http://rapidshare.com/files/62529091/ZZF-f-JKM.part2.rar |
|
|
|
|
|
| Klezmer rapidshare | |
| Posted: Thu Mar 27, 2008 8:12 am |
|
|
|
Giora Feidman Trio & Friends
KlezMundo
pläne 88937, 2006
01. Shiri Freilach [3:23]
02. Der Lindenbaum [2:48]
03. Der Muckl [2:01]
04. König Waldemar's Nigun [3:42]
05. Ladino Phantasy [3:35]
06. Luy Yhi [2:26]
07. My bird, this is your song [2:27]
08. Rikud [2:51]
09. Choro da Saudade [4:44]
10. Stormy Feather [2:33]
11. Nokh a por Teg [3:01]
12. Burgtanz [1:58]
13. Nihavent Longa [6:09]
14. Thanks to the Lord of the Lords [3:01]
15. Bis Hundertzwanzig [2:41]
16. Naphtaly's Freilach [3:10]
17. Song derived from Three National Anthems [2:17]
Giora Feidman - clarinets
Guido Jäger - double bass
Jes Uwe Popp - guitar
Guests:
Enrique Ugarte - accordion
Avi Avital - mandolin
Raúl Alvarellos - bass clarinet, clarinet, piccolo flute
Murat Coskun - darbuka, riqq, cajon, frame drums
Gürkan Balkan - oud
Alexandra Verbitskaya - harp
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/62572519/GF_F-KM.part1.rar
http://rapidshare.com/files/62577263/GF_F-KM.part2.rar |
|
|
|
|
|
| | |
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
All times are GMT + 10 Hours
Page 1 of 5
Goto page 1, 2, 3, 4, 5 Next
|
|
|
|
|
|
