World

World Music

Quantity:

Your name:
Your email:
Friend's Name:
Friend's Email:
Write a personalized message:

Link to this CD

My desire to explore the evolution of different sounds of New Jewish Music (under the heading of klezmer) was the initial inspiration for this CD.  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.  That said, I also want to trace how Jewish music (both instrumental and vocal) has developed over the centuries.  Having firmly established the music's roots, I wanted to explore the limitless possibilities of the music's potential.  Of the vocal pieces, I wanted to challenge myself to write new Yiddish poetry set to music.  In the tradition of many Yiddish poets and writers, I wanted these lyrics to reflect my own sense of social, political, and spiritual values and concerns.  This tradition of framing art within a human and humanitarian context feels particularly Jewish to me.  The positive aspects of the proliferation of Jewish art are balanced by the fact that there is not an equal proliferation of Jews; this fact, coupled with the world's negative feelings about the state of Israel and the continuance of the same old tired anti-Semitic canards, leavens my joy at klezmer being performed all over the world.  The Jewish people have been marginalized throughout history, and despite the popularity of Jewish art forms (films, music, literature, etc.), this has not changed.  As the world's Jewish population fails to grow in proportion to other ethnic groups, the variety of Jews and Jewish cultures in the world is in danger of becoming increasingly rare.  Hence the CD's title - Cafe Jew Zoo - these tunes represent different "species," or aspects of the Jewish experience. - Yale Strom Mein bager oystsuforshen di antviklung fun farsheydene klangen fun Der Neier Yiddisher Musik (unter dem rubrik klezmer) iz geven di ershte inspiratsye far dem kompaktl.  Der greykh fun der musik fliest fun dem klezmer kval, dos zenen di reikhe tfiles un nigunim gezungen fun di amolike Ivriim.  Mir, heintike klezmorim, fargessen oft az Avrom iz gekumen fun Ur in Iraq un nit Uman in Ukrayne.  Heyst ess, az in melodyes vi "Bonesetter's Last Dance," "Dorohol Khusidl," "Hora Din Caval," un "Shakiris," ken men leikht hern di tener fun mitl mizrekh.  Ikh vil oykh ontseykhenen vi Yiddishe musik (instrumental un mit gezang) hot zikh antvikelt durkh di doyres.  Hobndik eingeshtelt di vortslen, hob ikh gevolt oysforshn di umbagrenetste potentsialen fun der musik.  Far di lieder mit gezang hob ikh gevolt fodern fun zikh, aleyn tsu shreiben neieh Yiddishe poezye tsu der musik.  In der traditsye fun a sakh Yiddixhe poetn un shreiber, hob ikh gevolt az di verter zoln ibbergebn mein eygenem gefiel vegn sotsiale, politishe, un geistike asokim.  Di traditsye fun einramen kunst in a menchlikhen un humanitarishen kontekst tapt on mein Yiddshkeit. Di positive protim fun der tseshpreytung fun Yiddisher kunst zenen balansirt mit dem vos ess iz nito di zelbe farshpreytung fun Yidn; der fakt, tsuzmen mit der velt's negative gefielen vegn Yisroel, un di keseyderdike alte antisemitishe guzmes, derminert mein simkhe vos klezmer musik vert hein geshpielt ibber der gantser velt.  Far dor-doyres hut men bagrenetst dos Yiddishe folk, un trots der populerkeit fun Yiddisher kunst (kino, musik, literatur), hut zikh dos nit geendert. In der tseit, ven di Yiddishe bafelkerung vakst nit proportsyonel tsu andere etnishe grupes, iz di farsheydnkeit fun Yiddisher kultur in gefar...Deribber - der nomen fun dem kompaktl - di lieder shteln for farsheydene protim fun Yiddishe lebns derfarungen. - Yale Strom Birobidzhan I discovered this melody in a Yiddish book given to me by Fira Kofman, who moved to Birobidzhan (The Jewish Autonomous Region) from Minsk in 1934.  Fira is a true idealist to this day, and was one of the major city planners and builders of Birobidzhan.  I had gone to Birobidzhan to make a documentary film about the history and present times of this fascinating chapter in Jewish - and Soviet - history.  That film, "L'Chayim, Comrade Stalin!" features two of my original compositions from this CD: "Waltz Amur" and "L'Chayim, Comrade Stalin!" as well as this song. The lyrics are typical of the propaganda fostered by the Soviet government to encourage settlement (and funds from individuals and organizations like IKOR) to the region.  Birobidhzan was the world's first secular, Yiddish, communist homeland for the Jews, and predated the establishment of Israel by 20 years. Hora din Caval I was inspired to write this melody during my travels through Northern Romania.  I heard a shepherd playing the caval (a Romanian wooden flute), and the title of this piece translates to English as "Hora (Romanian dance) for the caval."  The piece combines Romanian folk with klezmer styles.  I wrote this for Fred Benedetti, with whom I've been playing for almost 30 years.  He arranged this for classical guitar. The Bonesetter's Last Dance This melody is based on the melody that I wrote for "Yekele the Bonesetter."  I was interested in exploring the Ottoman influence on Romanian klezmer music, and this piece is in a less typical 9/8 (2-3-2-2) than one more often hears in Balkan music (2-2-2-3).  This 9/8 rhythm is known as karshlama in Turkish, which means "Face to Face."  The rhythm heard here is common to the folk music of Albania, Macedonia and Northern Greece.  The piece opens with a taksim. Stoliner Skotshne #1 Stolin, a Khasidic stronghold, is a small town just outside of Pinsk, Belarus.  This traditional Khasidic melody comes from the repertoire of the Stoliner Khasidim.  I met Asher Wainshteyn in Boro Park, Brooklyn in 1982.  He was a violinist in a klezmer band that also included a bassist, a tsimbalist, a trumpeter and a Belarussian drummer (the band's only non-Jew).  They performed throughout the Pinsk region from 1906 to 1919 for Jews and non-Jews alike.  Wainshteyn immigrated to New York after World War II.  This melody is one of 94 tunes that comprise Wainshteyn's manuscript, which was, in essence, their "gig book."  Because of my Stoliner roots and my keen interest in klezmer, he gave me the only copy outside the one in the Stoliner archives. Imenu Malkatseynu I had been thinking of writing an original prayer melody for the High Holidays.  When I told Elizabeth Schwartz of my intentions, and that I was contemplating writing a prayer that incorporated the words from the well-known Avinu Malkeynu (Our Father, Our King), she replied, "If you want me to sing it, make it Imenu Malkatseynu (Our Mother, Our Queen)."  The time from Rosh Hashanah to the end of Yom Kippur is one of reflection, and I wanted to write something that conveyed my feelings of atonement for how we have completely disrespected and disregarded Mother Nature.  The repetition of Imenu Malkatseynu is a mantra to reach a kind of dveykes, which is a concept among Jews that, through repetition, one's prayers become a vehicle to religious ecstasy and adhesion to Heaven.  The harmonies for the vocals are inspired by Gregorian chants. The obvious Brazilian feel of the piece refers to the destruction of the Amazon Rainforest...not coincidentally, the Amazons were female warriors in Greek mythology and the arrangement is for a chorus of female voices. Dorohoi Khusidl This piece was inspired by Berko Gott, a klezmer born in Dorohoi, Romania.  I got to know him during my various travels to Dorohoi throughout the 1980s.  He was the leader of a kapelye (klezmer band) that traveled throughout the province of Moldavia, and played accordion and violin.  He once serenaded me with 8 bars of a traditional khusidl (a lively dance often danced by the khasidim) that he remembered playing; he'd forgotten the rest of the tune.  I expanded those 8 bars into a melody. Cafe Jew Zoo Since 1989 and the fall of the Berlin Wall, there has been a remarkable resurgence in Jewish culture, particularly Yiddish culture, in Central and Eastern Europe (the very places where Jewish life had been virtually eradicated).  While it is wonderful to see Jewish culture being embraced, even revived, by so many different people, there can be an underlying discomfort in seeing European gentiles adopting the surface trappings of Judaism.  There have been times when I've played klezmer music in places like Berlin, Krakow, Prague, and smaller towns, where I would find myself the only Jew onstage and sometimes, the only Jew in the building.  The appreciation for the music is genuine, as is the appreciation for the authenticity of my performing Jewish music as a practicing Jew.  Despite this sympathetic response, there have been times when I've felt a bit on display as much for my Jewishness as for my performance.  And what is the nature of a zoo, but to exhibit nearly-extinct species?  The lyrics are open to the listener's interpretation. Shakaris Shakaris are the daily morning prayers (Jews are required to pray three times a day).  I was inspired to write a beautiful contemplation filled with the memory of yesterday and anticipation of the day ahead. Yekele the Bonesetter I found this poem in the Memorial Book for the town of Tomaszow-Lubelski, while doing research for The Book of Klezmer: The History, The Music, The Folklore.  I was struck by the humor, particularly in light of the fact that many traditional klezmorim had day jobs as barbers, tailors, and indeed, bonesetters (doctors with no formal training).  The composition and the arrangement reflect the foolishness of this character, whom we nevertheless regard with affection. Stoliner Skotshne #2 This is another piece given to me by Asher Wainshteyn from his gig book.  Both "Stoliner Skotshnes" 1 and 2 are arranged simply with clarinet and violin, because I wanted to suggest two people in a synagogue praying separately but together, at their individual paces and with their own spiritual interpretations; but always, they begin and end together.  Thus, the clarinet and violin are at times in unison and at other times, not.  The beauty in these skotshnes lies in their deceptive simplicity.  In fact, the melodies contain great depth. L'Chayim, Comrade Stalin While I have been composing new Jewish music for over 20 years, this piece is my first foray into writing original Yiddish lyrics.  There is an obvious sardonic quality underlying the enthusiasm and optimism of the lyrics.  Stalin's "gift" of this region to the Jews - a region that could not have been further away from Moscow without being in China or Korea - was his answer to the Jewish Question.  This is the recording's alternative vocal piece to the opener, "Birobidzhan;" in fairness, that piece's lyrics were untainted by the knowledge of what was to become of Soviet Jewry during the Stalinist purges, and reflects the true optimism and enduring idealism of the original pioneers to the Jewish Autonomous Region.  The arrangement in this piece suggests a Soviet chorale with all the pomp and military bombast. Waltz Amur I was inspired to write this piece on the Trans-Siberian Railroad, as we traversed the length of Russia from Moscow to Birobidzhan.  The Amur river is the southern border between the Jewish Autonomous Region and China. There were two routes to get to Birobidzhan for the original settlers: take the Trans-Siberian Railroad from Moscow (a 10-day trip) or take a boat to Vladivlostok from Japan.  From Vladivlostok, take a train to Khabarovsk, where one would then raft up the Amur River to a new homeland.  The mandolin was a beloved instrument and was often used to play Russian folk music. Ten Plagues Elizabeth Schwartz challenged me to write a contemporary, American Pop song.  Still, I had to write lyrics that had meaning for me. I decided to reinterpret the traditional Passover Ten Plagues to reflect what I see as the contemporary threats to American society.  Musically, I drew on my Detroit roots and my early love of soul and R&B.  Norbert Stachel had played with Tower of Power for over 4 years as their lead tenor sax player and horn arranger, and he provided the groove and funk chords.  I threw the challenge back to Elizabeth to sing it!  According to tradition, the shofar is the closest thing to the voice of G-d.  Almost every time the Jewish bible mentions a trumpet or horn, it means the shofar.  The shofar is a clarion call, a summons, a herald that something is about to happen.  When the piece opens, the shofar is relatively lyrical; by the end of the piece, it is an urgent alarm. Birobidjhan Ikh hob dem nigun gefunen ina Yiddishen bukh vos ikh hob bakumen fun Fira Kofman.  Fira hot zikh ibbergetsoygen kein Birobidjhan (Der Yiddisher Oytonomisher Rayon) fun Minsk in 1934.  Fira iz an emesser idealist biz heintikn tog, un iz geven eyner fun di vikhtikste shtot planirers un boyers fun Birobidjhan.  Ikh bin geven in Birobidjhan tsu makhn a dokumentarishe kino vegn der geshikhte un heintike tseitn fun dem farkhapndikn kapitl in Yiddishen un Sovietishn tsuzamenlebn. Di kino "L'Chayim Comrade Stalin" nemt arein tsvey fun meine origenele kompozitsyes fun dem kompaktl: "Waltz Amur" un "L'Chayim Comrade Stalin," vi oykh lied.  Di verter zenen a moshl fun der propoganda fun der Sovietisher regierung tsutsutsien bazetser (un gelt fun yekhidim un organizatsies vi Ikor) far dem rayon.  Birobidjhan iz geven di ershte veltlekhe, Yiddishe, kommunistishe heym, un iz gegrindet gevorn tsvantsik yor far Yisroel! Hora din Caval Ikh bin inspirirt gevorn ontsushreiben dos lied in mein reize durkh tsofn Rumania.  Ikh hob gehert vi a pastekh shpielt oyf a caval (a Rumenishe hiltserne fleyt).  In English hest dos "Hora for the Caval."  Dos lied brengt tsuzamen dem Rumenishn folk un klezmer stiel.  Ikh hob dos ongeshriben far Fred Benedetti mit vemen ikh hob shoyn geshpielt arum 30 yor.  Er hot dos aranzhirt far klassishn gitar. The Bonesetter's Last Dance Der nigun is bazirt oyf der melodye vos ikh hob geshriben far "Yekele the Bonesetter."  Ikh bin geven farinteresirt in oysforshn dem Ottoman einflus oyf Rumenisher klezmer musik un dos lied iz in nit aza tipishn 9/8 (2-3-2-2) vi eyner vos men hert mer in Balkanisher musik (2-2-2-3).  Der 9/8 ritm iz bakant vi karshlama in Terkish, vos meynt "ponim-el-ponim."  Der ritm iz enlekh tsu der folk musik fun Albania, Macedonia, un tsofn Grikhnland. Stoliner Skotshne #1 Stolin, a shtot fun a sakh Khasidim, iz a kleyn shtetl lebn Pinsk, Belarus.  Di traditsyonele khasidishe melodye kumt fun di Stoliner Khasidim.  Ikh hob bagegnt Asher Veinshteyn in Boro Park, Brooklyn in 1982.  Er iz geven a fiedler in a klezmer kapelye vos hot oykh gehat a bass, a tsimbalist, a trumeyt, un a Belarusishn peikler (der eyntsiker Goy).  Zey hobn geshpielt ibber dem gantsn Pinsker rayon fun l906-l919 far Yidn un Goyim gleikh.  Veinshteyn iz gekumen kein New York nokh der tsveyter velt milkhome.  Der nigun iz eyner fun 94 nigunim in a bukh vos Veinshteyn hot genutst oyf zeine musikalishe shteles.  Derfar vos ikh hob Stoliner vortslen, un derfar vos ikh hob aza interess in klezmer, hot er mir gegebn di eyntsike kopye fun dem bukh, oyser dem vos iz in dem Stoliner arkhiv. Imenu Malkatseynu Ikh hob gevolt onshreiben a nigun fun gebet likoved di yomim-neroim.  Ven ikh hob dos dertseylt Elizabeth Schwartz, az dos volt areingenumen di verter fun dem gut bakantn Avinu Malkeynu (unzer foter, unzer kenig) hot zi geentfert, "oyb du vilst az ikh zol dos zingen, zol ess heysn "Imenu Malkatseynu." Di tseit tsvishn Rosh Hashanah bizn sof fun Yom Kippur iz eyne fun ibbertrakhtung, un ikh hob gevolt epes shreiben vos vet opshpigln meine Tshuve gefielen un vos hot a sheikhus tsu unzer ignorirn di natur.  Dos ibberkhazeren Imenu Malkatseynu ken dergreykhn a mien dveykes,a gedank tsvishn Yidn az durkh ibberkhazeren ke men vern zeyer hislayvesdik un noent tsum Gan-Eyden.  Di harmonye far dem gezang iz inspiratsye fun Gregorian gezang.  Der klorer Brazilyaner ton fun dem nigun hot tsu ton mit dem khurbn in di Amazon velder.  Di Amazoner froyen (nit kein kleyner tsufal) zenen geven kriger in Grikhisher mitologye. Dorohol Khusidl Dos lied hot inspirirt Berko Gott, a klezmer geboyren in Dorohol, Romania.  Ikh hob zikh bakant mit im in meine reizes durkh Dorohol in di akhtsiker yorn.  Er iz geven der onfirer fun a kapelye (klezmer band) vos iz geforn ibber gants Moldavia, geshpielt harmonye (accordion) un fiedl.  Er hot eynmol geshpielt a bisl fun a khusidl (a lebediker tants, oftmol getantst mit a grupe khasidim) vos er hot zikh dermont fun amol.  Er hot shoyn fargessen dos ibberike.  Ikh hob fun dem bissele gemakht a gantsn nigun. Cafe Jew Zoo Zint 1989 un dos fallen fun der "Berliner Vant," iz forgekumen a merkverdiker geveks in Yiddisher kultur in mitl un mizrekh Eyrope (take der gegnt vu men hot kimat ingantsn oysgevisht dos Yiddishe ebn).  Yo, ess iz gut tsu zen di oyflebung fun Yiddisher kultur, un dos onnemen fun azoy fiel menchen, ober m'ken leikht hobn a modnem gefiel ven men zet Eyropeyishe Goyim nemen zikh tsu eyberflekhlikhkeitn fun Yiddishkeit.  Ess zenen geven fallen ven ikh hob geshpielt klezmer musik in erter vi Berlin, Krakow, Prague, un klenere shtetlekh, vu ikh bin geven der eyntsiker Yid oyf der bine - un oftmol der eyntsiker Yid in binyen.  Yo, zey hobn b'emes lieb gehat di musik, vi oykh di anerkenung az ikh, a Yid, shpiel mein Yiddishe musik.  Ober nit kukndik oyf dem simpatishn opruf, zenen geven fallen ven ikh zikh gefielt oyf oysshtel, azoy fiel far mein Yiddishkeit vi mein kunst.  Un vos iz a zoologisher gorten, oyb nit oystsushteln kimat vi oysgeshtorbene zgalen (species)?  Di verter zenen far ayer eygener oysteitchung. Shakaris (Shakhres) Shakhres zenen di frimorgndike tfiles (Yidn muzn davenen drei mol a tog).  Ikh bin inspirirt gevorn ontsuschreibn a sheyne opshpiglung ongefilt mit zikhroynes fun dem nekhtn - un hofnungen far dem morgn. Yekele the Bonesetter Ikh hob di poeme gefunen in a Yizkor Bukh fun dem shtetl Tomaszow-Lubelski;  Dos iz geven in der zelber tseit vos ikh hob geforsht far: "Der Klezmer Bukh: Di Geshikhte, Di Musik, Dos Folklor."  Ikh bin geven shtark ibberasht fun dem humor, bifrat dem vos azoy fiel traditsonele klezmer hobn gearbet durkhn tog vi sherer, shneiders, on yo, doktoyrim vos hobn nit formal shtudirt (bonesetters).  Di kompozitsye un di aranzhirung shpiglen op aza lets vi Yekele - fundestvegn hobn mir im lieb. Stoliner Skotshne #2 Dos iz nokh a melodye vos Asher Veinshteyn hot mir gegebn fun zein musikalishn arbets bukh.  Beyde Stoliner Skotshnes, eyns un tsvey, zenen poshet aranzhirt far klarnet un fiedl, veil ikh hob gevolt forshteln tsvey menchen in shul vos davenen bazunder, ober fort tsuzamen, loyt zeyer eygenem nusekh, mit zeyere eygene geistike oysteitchungen - ober alle mol fangen zey on un endikn tsuzamen.  Derfar, shpielen amol klarnet un fiedl tsuzamen - un amol nit.  Di sheynkeit fun di skotshnes iz in zeyer farfiererisher poshetkeit.  Faktish zenen di melodyes gants tief. L'Chayim Comrade Stalin Ikh bin shoyn 20 yor a kompositor fun Yiddisher musik ober dos iz mein ershter pruv mit Yiddishe verter - poezye.  S'iz faran a klore tsinishe eygnkeit tsvishn der bageisterung un hofnung fun di verter.  Stalin's "matone," - der rayon far di Yidn - a rayon vos hot nit gekent zein veiter fun Moskve, vi zein in Khine oder Korea gufe - dos iz geven zein entfer tsu der "Yiddisher frage."  Dos lied iz dem kompaktl's alternativ gezang tsu dem ershten lied - "Birobidjhan;" emes gezogt, Birobidjhan's verter zenen nokh nit baflekt mit der kentenish fun vos vet pasirn tsu di Sovietishe Yidn in der tseit fun der reynikung (purges).  Ess shpiglt op dem emessen optimism un lang-yorikn idealism fun di ershte pioneren tsu dem Yiddishen Oytonomishn Rayon.  Di aranzhirung fun der melodye shtelt for a Sovietishn khor mit a parad un militerishe koyles. Waltz Amur Ikh bin inspirirt gevorn ontsushreibn dos lied oyf der ban vos iz geforen ibber der gantser breyt fun Russland, fun Moskve biz Birobidjhan.  Der teikh Amur iz di doremdike grenets tsvishn der Y.O.R. un Khine.  Di ershte kolonistn hobn gehat tsvey vegn ontsukumen kein Birobidjhan: nemn di ban fun Moskve (a tsen-tegike reize), oder nemn a shif fun Yapan kein Vladivastok, nemn a ban ken Khabarovsk, vu m'ken nemn a tratve (raft) oyfn teikh Amur tsu dem neiem heymland.  Der mandolin iz geven a zeyer baliebter instrument un men hot dos oft genutst tsu shpielen Russishe folk musik. Ten Plagues (tsen makes) Elizabeth Schwartz hot mir aroysgerufn (challenged) ontsushreibn a heinttseitk Amerkanish populer lied - ober ikh gemuzt shreibn verter vos hobn epes a bateit far mir.  Ikh hob bashlossen vider amol oystsutsitchen di traditsyonele Tsen Makes fun Pesakh, kedey optsushpiglen vos ikh fiel zenen di heintike sakones far der Amerikaner gezelshaft.  Musikalish, hob ikh geshept fun meine Detroiter vortslen un mein yugntlikher liebe far "ritm & blues." Norbert Stachel hot geshpielt mit "Tower of Power" mer vi fier yor vi der tenor saxofon un horn aranzhirer un er hot tsugegebn di akordn un spetsiele gemitn.  Un ikh, derveil, hob tsurikgevorfn dem aroysruf tsu Elizabeth az zi zol ess zingen!  Loyt der traditsye, iz der shoyfer dos noentste tsu der shtime fun Got.  Kimat yedes mol vos der Tanakh dermont a trumeyt, meynt ess shoyfer.  Der shoyfer iz a ruf, a foderung, a onzog, az epes halt beim pasirn.  Beim onheyb, iz der shoyfer afile a bisl lirish, ober beim sof iz shoyn a dringnder alarem. Birobidzhan Music & Lyrics by Z. Kompanayetz & X. Baydera; Arranged by Yale Strom; Bass: Marty Confurius; Vocals, background vocals: Elizabeth Schwartz; Accordion: Peter Stan; Mandolin: Andy Statman; Violin, background vocals: Yale Strom Di gantse kraft vos ken dem mentsh deyr hoybn Tsum troym nokh velkhn s'hat zayn harts gebenkt Mir hobn dir mit hofenung un gegloybn fun fooler hant mit freyd un glik geshenkt Birobidzhan, Birobidzhan Mayn heym du bist mayn lebn un mayn vor Birobdizhan, Birobidzhan Alts liber vers du undz, fun yor tsu yor Du host op ale lenger ale breytn Ge'efnt dayne oytsers on a shir Nor nisht op kest un nisht op ale greytn Gekumn tsu dayn romans zayne mir Bloyz du dem darst tsu mir gekenst host shtiln Az brengen zol zi heldnmoot un frukht Gefunen nor bay dir hot undzer viln Dos vos mayn shtam hat dor is langn gezukht All the strength that can exalt and lift a man To the dream which comes from his heart's longing, With hope and belief in you, we gave from a full hand, With joy and happiness Birobidzhan, Birobidzhan, you are my home, my life and my reality. Birobidzhan, Birobidzhan, we love you all the more from year to year. You have opened wide your treasures, without end Across your length and breadth. But expecting neither upkeep or support from us, You brought us to your romantic tale. Birobidzhan, Birobidzhan, you are my home, my life and my reality. Birobidzhan, Birobidzhan, we love you all the more from year to year. Only you could slake my thirst. And bring forth our valor and share the bounty. Only with you did we exert the will That eluded my roots for generations. Birobidzhan, Birobidzhan, you are my home, my life and my reality. Birobidzhan, Birobidzhan, we love you all the more from year to year. Hora Din Caval Composer: Yale Strom; Arranged by Fred Benedetti; Guitars: Fred Benedetti The Bonesetter's Last Dance Composer: Yale Strom; Arranged by Yale Strom & Jeff Pekarek; Accordion & Tambourine: Ismail Butera; Bass: Marty Confurius; Soprano & Tenor Saxes; Bass Clarinet: Norbert Stachel; Violin: Yale Strom Stoliner Skotshne #1 Traditional; Arranged by Yale Strom; Clarinet: Andy Statman; Violin: Yale Strom Imenu Malkatseynu Composer/Lyrics: Yale Strom; Arranged by Yale Strom & Jeff Pekarek; Guitar & Bass: Jeff Pekarek; Congas & Shaker: Gene Perry; Vocals: Elizabeth Schwartz; Tenor Saxophone: Tripp Sprague; Violin: Yale Strom Imenu, Malketseynu, Imenu Dayn onsofik gedoold Fardinen mir nisht.  In dayn nomn: Imenu, Malketseynu, Imenu Hobn mir gegozelt, geshvindlt, Bashmootst un gemordet Dayn teatr, dayn bine Borgn mir fun dir, tog teglekh Ven veln mir zikh oyslernen? Mir zaynen bloyz di aktiorn In dayn drama fun eyn akt. Veln mir aynzen far dem letstn firhang? Imenu, Malkatseynu Our Mother, Our Queen: We do not deserve your infinite patience. In your name: Our Mother, Our Queen, We have plundered, cheated, polluted and murdered your theatre, your stage, which you loaned to us, day by day. When will we ever learn? We are only the actors in your one-act play. Will we realize before the final curtain? Our Mother, Our Queen Dorohoi Khusidl Composer Yale Strom; Arranged by Yale Strom; Bass: Marty Confurius; Bass Clarinet; Clarinet & Flute: Norbert Stachel; Accordion: Peter Stan; Violin: Yale Strom Cafe Jew Zoo Composer/Lyrics Yale Strom; Arranged by Yale Strom & Jeff Pekarek & Norbert Stachel; Bass: Marty Confurius; Drums: Benny Koonyevsky; Vocals: Elizabeth Schwartz; Accordion: Peter Stan; Clarinet: Norbert Stachel Ikh hob shpatsirt oyf di shtile gasn Der vind hat geblozt der regn gegosn In mayn alte zikhroynes shmek ikh nokh di haleptses Dem tam fun di shvemlekh mit kasha un trunk zikh di biter mashke Plutsem, demalt farshtupt in a vinkl Shteyt a meydl in a rekl Zi bet mir kum zhe arayn In dem Cafe Jew Zoo far a gleyzele vayn Kum fri, un blayb biz shpeyt! Tants zikh der Yidish tret! Mir hudu, un vudu, Bay der Cafe Jew Zoo! Der klezmer shpilt a shtark, gutn fidl Un di sarvers zingen a Yidish lidl Mentshn zingen, tantsn, raykhern un shvitsn Zer tsitsis, kapotes, shaytln flatern Di luft shmekt fun leydik zikhroynes Zeyr shmeykhlen zenen vi eybik shmantses Dos meydl in der sheyne rekl Kumt tsu mir mit a kleyn pekl Kum fri, un blayb biz shpeyt! Tants zikh der Yidish tret! Mir hudu, un vudu, Bay der Cafe Jew Zoo! Zi nemt mayn hent mir tantsn, mir kushn zikh Di muzik, ir reyekh, alts iz farvisht Ikh gedenk nokh di melodie fun mayne kinder yorn Bobe hat gezingn un der zeyde hat geblozt In dem pekl, farpakt mit papirn, Leygt zikh a tales baflekt mit trern Ver zaynen di mentshn, mit zeyr modne p'nimer Zey tshepn zikh, kvetshn mikh, zey zogn ikh tehilim Kum fri, un blayb biz shpeyt! Tants zikh der Yidish tret! Mir hudu, un vudu, Bay der Cafe Jew Zoo!            Iz dos benkenshaft, oder iz dos shuld? Iz dos Samoel farshtlt vi Shmuel? Kum fri, un blayb biz shpeyt! Tants zikh der Yidish tret! Mir hudu, un vudu, Bay der Cafe Jew Zoo! I walked down the quiet streets as the wind blows and the rain pours. In my own memories, I taste the hot stuffed cabbage, taste the mushrooms with kasha and drink the bitter whiskey. Suddenly, around the corner, is a woman in a coat. She asks me to come inside Cafe Jew Zoo for a glass of wine. Come early and stay late! Dance the Jewish step! We hoodoo and voodoo at the Cafe Jew Zoo! The klezmer plays a strong, good fiddle. And the waiters sing a Yiddish song. People sing, dance, smoke and sweat, their tsitsis, kapotes and wigs flapping. The air smells from empty memories. Their smiles feel like timeless nonsense. The woman in the beautiful coat comes to me with a small package. Come early and stay late! Dance the Jewish step! We hoodoo and voodoo At the Cafe Jew Zoo! She takes my hands, we dance, we kiss. The music, her scent, everything is a blur. I remember the melodies from my childhood; Grandma sang and Grandpa blew. In this package, wrapped with paper, Is a tallis stained with tears. Who are these people, with their curious faces? They bother me, they pinch me, they say psalms. Come early and stay late! Dance the Jewish step! We hoodoo and voodoo At the Cafe Jew Zoo! Is this nostalgia, or is this guilt? Is this the devil disguised as Samuel? Come early and stay late! Dance the Jewish step! We hoodoo and voodoo At the Cafe Jew Zoo! Shakaris Composer Yale Strom; Arranged by Fred Benedetti; Guitars: Fred Benedetti; Cello: Jeff Pekarek Yekele The Bonesetter Composer: Yale Strom; Lyrics by E.H. Varslav; Arranged by Yale Strom & Jeff Pekarek; Bass: Jeff Pekarek; Bongos: Gene Perry; Vocals: Elizabeth Schwartz; Tenor Saxophone: Tripp Sprague; Violin: Yale Strom Mit a noz vi a shoyfr Un mit tales un tefiln Geyt Yekele der royfe In shul zogn tehilim. Zayn tehilim zogt ir Farfelt nisht keyn hor Oyf zayn pleytses trogt ir shoyn acht-un-achtsik yor. Yedn tog iz ir oyle Davnt mit a heyse shtim. Az iz makht zikh nor a khoyle Ruft men take im. Yekele Royfe, kumt aroyf Un nemt zikh fregn balt: "Zog, az ven du dekst zikh oyf, Iz dir take kalt?" "Un az du dekst zikh ayn Iz dir zikher heys. Dos iz es take, Ikh veyn, di krenk ot zest ikh veys." Oyf parad in dritn May (es makht nisht, s'iz keyn shonde) Ir marshirt in ershte ray In pozharne-comande Mit a helm vos glantst fun vayt Un blishet vi a kroyn Ir marshirt fest un breyt. A giber!  A parshoyn! Un vi hoykh ir hoybt di fis      A yungerman un gor Gey der kenen az im iz Shoyn acht-un-akhtsik yor. Nokh zayn toyt es shpast der shpaser: Az es blitst un dunert shtark Yekele royfe, fort nokh vaser Leshn sreyfes oyfn mark. With a nose like a shofar And with tallis and tefillen Goes Yekele the Bonesetter To say psalms in shul. His psalms he says. Missing hair on his shoulders, He's carrying his 88 years. Every day he goes up and prays With a loud voice. He prays for the sick person. Yekele the Bonesetter, he's coming out And immediately takes questions: "Say, when do you cover someone, when they're very cold?" "And as you cover yourself, you will surely be hot. I mean, I know this for certain. You see, I know the sick." In a parade on the 3rd of May (it doesn't matter, it's no shame) He marches in the first row of the Fireman's Brigade. With a helmet that sparkles from afar And shines like a crown, He marches with great determination A hero!  A person! And how high his feet step Just like a younger man would go. Everyone recognizes him as he goes, Already 88 years! After his death, the joker pokes fun: As the thunder and lightning rage Yekele the Bonesetter runs for water To put out the fire in the square. Stoliner Skotshne #2 Traditional; Arranged by Yale Strom; Clarinet: Andy Statman; Violin: Yale Strom L'Chayim, Comrade Stalin! Composer/Lyrics Yale Strom; Arranged by Yale Strom & Jeff Pekarek; Trumpet: Bud Burridge; Bass: Mark Dresser, Vocals: Elizabeth Schwartz; Accordion: Peter Stan; Violin: Yale Strom Mir forn tsu dem vayten landt Undzer tate hat dem bestn plan Tsu enfern di farsaytig shayle: Vu kenen yidn voynen on tsuris? Nokh Sibir, lebn Khine: Birobidzhan Tsu deyr Taiga mit velder un blotehs A rykh landt - kommaren un hayehs Mir veln oyceboyen mit gloybn Undzer teatr, musik, un loshn Nokh Sibir, lebn Khine: Birobidzhan Undzer IKOR khaverim fun oyce landt Arghentina, Amerikeh un Poylen Zaynen gekumn mit oyfene hent Tsu a kommunistisch heymland Nokh Sibir, leben Khine: Birobidzhan Tzen teg by tsoog, iber grenetz land Dorten oyce pogromn un hungeyr Undzer tateh hat a kooved, a libe Far deyr melookhe un relighieh Nokh Sibir, leben Khine: Birobidzhan L'chayim Comrade Stalin! Mir zaynen shtark! L'chayim Comrade Stalin! We are traveling to a distant land Our father has the best plan To answer the age-old question: Where can Jews live without trouble? Past Siberia, next to China: Birobidzhan To the Taiga, with forests and swamps A rich land, mosquitoes and animals We are building with faith Our theatre, music and language Past Siberia, next to China: Birobidzhan Our IKOR friends from other lands Argentina, America, Poland Are coming with open hands To a Communist homeland Past Siberia, next to China: Birobidzhan Ten days by train over foreign land Where there are no pogroms and hunger We honor and love our father For this state without religion Past Siberia, next to China: Birobidzhan L'Chayim, Comrade Stalin! We are strong! L'Chayim, Comrade Stalin! Waltz Amur Composer Yale Strom; Arranged by Yale Strom & Jeff Pekarek; Bass: Marty Confurius; Accordion: Peter Stan; Mandolin: Andy Statman Ten Plagues Composer Yale Strom; Arranged by Yale Strom & Norbert Stachel; Bass: Mary Confurius; Organ: Diane Moser; Drums: Jim Mussen; Vocals & Shofar: Elizabeth Schwartz; Organ: Tripp Sprague; Tenor Saxophone & Shofar: Norbert Stachel T'kiyah!  Sh'varim!  Teruah! Mir zingn veygn deyr nayes Mir zynen naye menschen Kegn di alte elite-n Mir kemfn in di velder Mir shloggn in di felder Mir loyfn in di gasn Mir shrayn oyf di dekher Eyn, zvey, drei, fir Dos vet meyr, nisht zayn nisht meyr Finf, zeks, zibn, akht, Lomir tsurik nemn di makht Eyn, zvey, drei, fir Dos vet meyr, nisht zayn nisht meyr: Karporativa genoveshkayt Oremkayt Krahnkayt Haymloz zikayt Regehrunghz shpianirin Politzei bibulim Bahshmootzteh natur Valt Disney Kultur Fahnatism Zhan Ashcroftism We're singing about the news We are new people Against the old elite We struggle in the forest We fight in the fields We run in the streets We cry out on the roofs One, Two, Three, Four This will be no more, this will be no more Five, Six, Seven, Eight Let us take back the power One, Two, Three, Four This will be no more, this will be no more: Corporate Thievery Poverty Sickness Homelessness Government spying False arrest Pollution Walt Disney Culture Fanaticism John Ashcroftism All original compositions and original arrangements of traditional works published by HNH International Ltd.  (GEMA) and Leaping Waters Music (ASCAP); Sub-published in the U.S.A. by Naxos of America - Heymann Publishing (ASCAP) and Leaping Waters Music (ASCAP). Recorded by Fred Benedetti, San Diego, California: 2, 8 Recorded by Michael Brorby, Brooklyn, New York: 4, 6, 7, 10, 11, 12, 13 Recorded by Dave Roberts, I Like That Studio, Tenafly, New Jersey: 3, 11 Recorded by Tripp Sprague, San Diego, California: 5, 9 All music mixed by Tripp Sprague, San Diego, California Produced by Yale Strom Mastered by Ronnie Thomas at Mastermix. For further information visit www.naxosworld.com or www.hometown.aol.com/yitztyco The film L'Chayim, Comrade Stalin! is available through The Cinema Guild, (212) 685-6242, www.cinemaguild.com The Book of Klezmer: The History, The Music, The Folklore from the 14th Century to the 21st, available through A Cappella Books, 800-888-4741 Photography by Barbara Barefield Design and cover illustration by Courtney Kalbfeld Yiddish translations by Archie Barkan Special thanks to: Archie Barkan, for his generosity and breadth of knowledge of the Yiddish language Brad & Mary Cox Jeff Pekarek, for his unwavering support and friendship, both musically and personally John & Ruth Rauch, The Center for Jewish Culture & Creativity, Los Angeles Jeff & Vivian Ressler Andrew Sun Dedication: I dedicate this recording to Jews around the world, both past, present and future for giving me a reason to create and be proud of my heritage.  And to my wife and daughter, who are my muses and my best friends.

Your name:
Rating:	5 4 3 2 1
Title:
Review: