This is very good news:
A mix of traditional, dance, electro, hip hop, and folk songs from around the Sephardic world makes up the Sephardic Music Festival’s first compilation album, set for world-wide release on November 30th…Like the Sephardic Music Festival itself, this compilation offers a taste of the amazing depth and breadth of Mizrahi and Sephardi inspiration, culture, and creativity. Album tracks incorporate Jewish liturgical and ceremonial texts, Shabbat songs, and classic love poems, as well as original compositions inspired by traditional themes. The album presents a tapestry of harmonies, rhythms, and motifs as rich, vibrant, and diverse as the Jewish world itself.
I’ve never been, but I’ve been told that the SMF is one of the most amazingly eclectic Jewish music festivals around. For a taste of just how eclectic, click above for a more traditional Sephardic experience (“Yah Ribon” with Yair Dalal on the oud) and below for something completely different: DeLeon performing “La Vida Do Por El Raki” complete with lead banjo. (You’ll have to purchase the CD for the Sephardic electro and hip-hop…)
If you’re in NYC from December 1-8, you should probably attend this year’s festival. Click here for the schedule.
You need to play this at your seder.
The Idelsohn Society has released a breathtaking mix tape for Pesach, weaving together such musical liberation classics as The Kiddush (Richard Tucker), The Four Questions (Socalled), Passover Time on the Range (Moe Jaffe & Henry Tobias), Passover (Joy Division), On My Way To Canaan’s Land (The Carter Family), Freedom (Charles Mingus), I Wish I Knew How It Would Feel To Be Free, (Nina Simone), Where Can I Go? (Ray Charles), I’m Set Free (The Velvet Underground). Defintely something for everyone.
All who are hungry, give a listen!
(H/T to Josh Karsh for discovering this gem).
Just learned that the great alt-Jewish band The Sway Machinery, recently played at “Le Festival au Désert” – an amazing international music festival held annually in the Sahara desert near Timbuktu, Mali. Apparently, SM played before a largely Muslim audience and performed with several local African musicians as well. Click above for a taste.
Koudede was followed by Sway Machinery’s own set. They were strong and energetic. They brought the audience into their groove within seconds. While (band leader Jeremiah) Lockwood sang singing in Hebrew, the Muslim crowd respected the music and showed its appreciation by dancing along. Haira Arby joined the group for their final song and showed once again her mastery of music. She was immediately in the groove and brought her own authenticity to the number.
The Sway Machinery website reports:
In an unprecedented act of intercultural exchange, underground rock cult favorites and iconoclastic champions of historic Jewish music traditions, The Sway Machinery, have been invited to perform at The Festival of the Desert in Esekane, Mali, in the depths of the Sahara Desert this January. The Sway Machinery will bring its unique vision of Jewish Spiritual Music traditions to the heart of Islamic Africa, performing for an audience of thousands!
While in Mali, The Sway Machinery will record a new album, featuring collaborations with stars of the Malian music world. A documentary film about this journey is also in the making!
“The Sway Machinery Pilgrimage, as they have entitled their Africa project, is a beautiful example for the world of the great role artists can play in building bridges of love and understanding between cultures. This project is of clear importance in establishing new and positive images of Jews and Muslims engaging with each other” (Imam Feisal Abdul Rauf, Chairman, Cordoba Initiative).
You haven’t discovered Charming Hostess yet? Well, if you’re interested in the latest in the radical Jewish creative spirit unleashed, then you’ve been sleeping on the job.
There’s no way I could do them justice, so I’ll let them describe themselves:
Charming Hostess is a whirl of eerie harmony, hot rhythm and radical braininess. Our music explores the intersection of text and the sounding body – complex ideas expressed physically, based on voice and vocal percussion, handclaps and heartbeats, sex-breath and silence. We live where diasporas collide, incorporating piyyutim and Pygmy counterpoint, doo-wop and niggunim, work songs and Torah chanting.
ChoHo’s leader is Jewlia Eisenberg, a San Francisco-based “composer, extended-technique vocalist, lay cantor” who has been exploring exciting musical terrain with a variety of collaborators. Their last CD, “Sarajevo Blues,” juxtaposed music and text from the Jewish, African, and Bosnian Diasporas to explore
(Genocide) and nationalism, freedom under siege, the nature of evil, and resisting war by any means necessary – themes that Jews think about, maybe even obsess over.
And if that’s not enough for you, just check out ChoHo’s current work-in-progress, “The Bowls Project:”
The Bowls Project is an immersive music performance that takes place in a dome. (It) is based on texts from incantation bowls, common amulets 1500 years ago in Babylon. Simple clay bowls were inscribed with a householder`s secrets and desires, then buried under the house. Incantation bowls speak of mysticism and sex; angels and demons;and the trials and joys of daily life. Especially (and unusually) audible are the voices of the era`s women–their work, hopes, and dreams.
These spiraled Aramaic inscriptions from the same time and place as the Talmud open up a larger discussion: of the connections between material and literary culture, between canonized and marginalized voices, between ritual power and popular practice, and of how music mediates these relationships.
Click the link below to “Yedidi,” my personal favorite from “The Bowls Project.” On the YouTube clip above Jewlia Eisenberg performs the classic Ladino lullaby “Durme, Durme” at the 2008 Krakow Jewish Culture Festival.
I recently discovered that a blog called “Jewdas” was linking to Shalom Rav so I checked it out. Hoo boy! It turned out to be this amazing Jewish radical/Yiddishist/anarchist/post-modernist blog originating from the UK. I must say that perusing it was a sinus-clearing experience. There’s too much to surf through at the moment, but I do commend to you this powerful eulogy-tribute to Marek Edelman, the last of the Warsaw Ghetto commanders, a remarkable man who continued to make his home in Poland, spoke out for Palestinian rights, and remained true to his socialist/Bundist ideals until the very end of his life.
On another radical Jewish note, I’ve just learned that Daniel Kahn and the Painted Bird (above) will be playing in Chicago this Saturday night. Have you discovered Kahn yet? Got in himmel! – this is definitely one band worth checking out. They are practitioners of a genre they describe as verfremdungsklezmer (which means, roughly, “Punk Cabaret + Radical Yiddish Song + Gothic + American Folk + Klezmer Danse Macabre.” )
Their leader, Daniel Kahn, is a 30-year-old Detroit native wunderkind who is one of the leaders of the current wave of American Jewish musical ex-pats in Berlin. His music is everything you would imagine and more. On DK and the PB’s new album, “Partisans and Parastites,” Kahn holds forth on a dizzying array of topics, from poverty to Hurricane Katrina to worker justice to contemporary fascism. The most attention-grabbing song, “Six Million Germans/Nakam,” is a jaw-dropping meditation on Jews and revenge.
Dunno if I can make it Saturday night, but you should go. Safe to say it will be memorable.
Just felt like sharing some of the music that’s been blaring out of my iPod of late: click above for Deleon, whose style is self-described as “Sephardic Sound De-Time Capsuled and Reinvigorated.” Below you’ll find Dengue Fever – a band started by two nice Jewish brothers that specializes in Cambodian Pop Rock Psychedelic dance music.
This year’s big Hanukkah release: “Songs in the Key of Hanukkah” – an eclectic anthology compiled by Erran Baron Cohen and featuring songs performed by Cohen, Idan Raichel, Jules Brookes, Yasmin Levy and Orthodox African-American rapper, Y-Love.
Cohen has been fairly visible promoting his disc. He was recently interviewed by Scott Simon on NPR’s Weekend Edition, where he had this to say:
I remember from my childhood, listening to Hanukkah songs at home and listening to these children singing slightly out of key and some wonky old piano player to make a terrible record. The idea was to create a new concept in Jewish holiday music, something that everybody would enjoy listening to.
Click above for a taste: Cohen and Y-Love (along with some other unidentified hasidic-looking folk) performing “Dreidel” on Conan O’Brien.