An Ozer Babad Production

December 19, 2009 – 3 Teves 5770
Brooklyn Centre for the Performing Arts  (Brooklyn college)

Also Starring Yeedle, Aaron Razel, Avrumi Flam & Shua Kessin.

Doors open 8 pm | show will start 8:30 pm sharp
$36. $42, $54, $75 & VIP

Boro Park: Hi tech 2000 | Flatbush: Eichlers
Williamsburg: Midtown Camera | Crown Heights: Judaica World
JewishTickets.com

For more information please email info@ozerbabad.com Call 718-301-9036 or go to www.ozerbabad.com

Proceeds to benefit “HSH” Home Sweeeet Home

This podcast (an audio mp3 file which you download) can be heard a few different ways. You can right click here and save it to your computer.

http://jewishmusicreport.com/Podcasts/JMR-PodcastEp3.mp3

You can listen in the play button below, or you can subscribe via iTunes and iTunes will automatically download the new show and put it in your iTunes podcast list.

On this episode the guys bring you brand new music from MBD, Yaakov Shwekey, Shua Kessin, Hasc’s 22 A Time for Music and Yossi Goldstein’s Temimim Boys Choir. Also joining them in the studio is Benny Friedman who talks about his new CD and plays a couple tracks for the debut album, Tammu.

The JMR podcast is sponsored by MostlyMusic.com, where you can buy and download thousands of Jewish albums.

You can subscribe to our iTunes feed where you’ll automatically get any JMR audio and video, including out podcast delivered directly to your iTunes at home or work. Use this feed to download this video directly to your iPod, using iTunes.

Initial Thoughts:

JM Derech: I’m going to be brief, because no one wants to read a million words on one CD, which is what would happen if we all write everything we think about this album. If we did that, this web page might explode and then where would you go for the greatest reviews if we weren’t here? We wouldn’t want that now, would we? By the way, songs 6 through 11 are “Instant Hit’s.”

Kol Isha: There is so much to say about this album, I don’t know where to start. Should I start with Benny’s magical voice which shines no matter what genre he sings? The dazzling array of compositions and arrangements by some of the best in Jewish music today? The multi-faceted harmonies and choir work by Moshe Roth, Yitzy Spinner and 8th Day? The fabulous instrumentation by Avi Newmark’s Nagila Orchestra? The gorgeous booklet designed by the prolific Sruly Meyer who never fails to surprise us with his creativity? Master chef Avi Newmark intricately combines all the ingredients and presents us with a musical feast that leaves us all drooling.

A word of caution. When a CD is hyped as much as this one, you might expect to listen once and instantly fall in love. No matter how good an album is, that generally doesn’t happen. You need to take the time to get to know the songs, hear all the nuances and take it all in. Not everyone out there is going to become a Benny Friedman fan. But I suspect that most of us will and that Avi Newmark has given us another Jewish music superstar.

Hislahavus: Benny is an exciting new artist, as his voice, incredible range and raw ability project to some great stuff in the near future. I’m really impressed by his voice. He’s got some creativity, too, which is fun. At the same time, half the tunes on the album are fairly typical. They aren’t bad, by any means and in fact, they’re nice – but that’s due to Benny’s fine vocal skills. If virtually any other artist I can think of would try some of these things, I’d rip ‘em to shreds. But Benny’s voice is pleasant, and simply a joy to listen to. When he hits the outer reaches of his vocal limits, he doesn’t screech or scream, unlike so many other artists who want to show you how high they can go. The backup choir? Eh. In most songs, you have a choir of Israelis who can’t seem to get the accent right (e.g. “esreh” versus “esray”), which sounds cumbersome. They sound similar to the background vocals of Mendy Jerufi’s Veyadaata – flat. The best moments come when Benny is overdubbing himself, or when 8th Day kicks in. Would that I could get a copy of the master! But by the second half of the album, Benny really does a great job – some great word-spitting on Moshiach and Emes, some vocal surfing during Amar, and simply beautiful work during Batuach Ani. While I like the first half of the album, I love the second half.

Review Time!!

MISOD – Composed by Elimelech Blumstein. Arranged by Ian Freitor.

JMDerech: This song is without a doubt, a top notch intro for this highly anticipated debut album. All parts of this song flow in perfect unison.

Kol Isha: This catchy, upbeat song is the perfect opener to this album both from a lyrical and musical standpoint. On a different CD, this song could have been the hit of an album, but on an album like this it is just an appetizer. Something to get your appetite going and make you wonder what’s coming next. While this is a really good song, you know that it’s just going to get better and better from here. I promise you it does.

Hislahavus: Nothing out of the ordinary here, besides for the fact that Benny makes no rookie mistakes. The one thing about this song is that it doesn’t deserve almost six minutes of play time especially as it doesn’t really develop into anything special. Decent song – fairly stereotypical of the Jewish music genre. But I love the choice of words for Benny’s first song.

NO LYRICS – Composed by Yitzy Waldner. Arranged by Ian Freitor.

JMDerech: Hip Hop meets Niggun. The vocals are excellent, but the arrangements are even better.

Kol Isha: If you thought Benny Friedman was going to sound like everyone else out there, you thought wrong. Fasten your seat belt. No Lyrics, despite its absolutely bizarre name, will grab you, take hold of you and never, ever let you go. You will find yourself singing this one over and over again. It is, hands down, my favorite song on the album, one of those rare songs that I fell in love with the minute I heard it. I am guessing that Ian Freitor gets a lot credit for taking this song and absolutely blowing it out of the stratosphere. Don’t miss the fun at 3:15 – 3:22.

Hislahavus: Reminds me of Yanni. I can see why people will like it – it’s cute, catchy, and fairly unique. But to me, and I’m pretty sure I’ll be in the minority, there’s simply no tochen – no spiritual guts to the tune. I wouldn’t call it a niggun, because it doesn’t have a spiritual feel to it at all. But it’s cute.

UKSHEIM- Composed by Yitzy Spinner. Arranged by Moshe Laufer.

JMDerech: Not the best slow song on the album, but every time I hear the beginning of the chorus with the words “Hashem Elokeinu” it sends happy tingles throughout! 6:18 is heaven in a song.

Kol Isha: I couldn’t imagine that any song would be able to follow the intensity of No Lyrics, but this touching tribute to Izzy Taubenfeld of Sameach Music is up to the task. Yitzy Spinner’s composition with perfectly chosen lyrics is beautiful, intricate and you need to listen more than a few times to appreciate just how gorgeous and sophisticated it is. Make sure you catch Benny at 6:18 to hear what an amazing range he has. The harmony at 6:48 is another can’t miss moment. While Moshe Roth’s choir does a nice job, I think if Yitzy Spinner had done the choir, he would have taken this song and really made it fly.

Hislahavus: A decent song. It’s only flaw is that like Misod, it’s stretched out too long – 7:17. Pull out your lighters for this one.

TAAMU – Composed by Shmuel and Bentzy Marcus. Arranged by Avremi G.

JMDerech: On any other album, this could have been the best song. On an album filled with juicy songs, like this one, it’s not quite at the top. Here’s the problem. Benny didn’t save any good songs for his next album! He used so many good compositions on this one, that those which could have been hits (like this one) on another album don’t shine as much, because they are surrounded by even better songs. For those who didn’t understand what I just said, note this: This is a really good song.

Kol Isha: While on an album of this caliber, this isn’t one of the best songs, it is a good one and I love the feel of it. And can anyone else remember anyone using Havaya instead of Hashem? Awesome! And the “Taamu” stickers that were plastered around varied Jewish neighborhood? Brilliant!

Hislahavus: I flipped when I saw the lyrics, and heard Benny’s gorgeous rendition of the bridge (taken from a story of the Baal HaTanya, retold by the Lubavitcher Rebbe. I actually thought they were going to use the recording of the Rebbe – as David Lazzar did on Johnny, Johnny, but they didn’t.) The message is phenomenal, but the tune doesn’t match up with the power of the message. So, another average song, but it’s got a great ending!

HAMERACHEIM – Composed by Rabbi Simche Friedman. Arranged by Leib Yaakov Rigler.

JMDerech: Chazzunos! Beautiful! “Lishmor Vilasos” is the part that really catches your attention. When he sings “OooLikayeim” it is really something. I don’t really care much for the beginning, but at the same time, it builds up to the climactic chorus.

Kol Isha: This hartzig song was the most difficult for me on this album. I fell in love with the breathtaking clip that was used in the video trailer. But this wasn’t the song I expected to go with it. Not that this isn’t beautiful, but this isn’t a song as much as a davening piece and it just isn’t what I was hoping for. Benny does a magnificent job harmonizing himself. Pay attention at 3:01 – 3:15. He is simply beyond words.

Hislahavus: Hameracheim is interesting – a cantoral tune, with no chazanus! Instead, Benny ably stretches his voice to the furthest extremes. To my ears, however, the beautiful arrangements seem to be quieter than they should be. The vocals sound “separate” from the music. That seems like it’s either an engineer’s mistake or attempt at artistic touch. Nevertheless, beautiful job.

MOSHIACH – Composed by Yitzy Waldner. Arranged by Ian Freitor.

JMDerech: This song should be called Boi Yavoi, considering the amount of times he sings those words compared to Moshiach. Okay… This song is SO GOOD! The refrain (low part) is so catchy, and chorus (high part) has a great ring to it. I love Yitzy Spinner’s choir vocals on this song. Talk about multiplying your voice! This is one of the songs that I keep playing over. This song starts the “Instant Hit” section of this album for me.

Kol Isha: Wow…what a song! This is fun, different, catchy and Yitzy Spinner’s choir work, which makes this song really stand out, has me wondering why we didn’t hear more of his innovative choir on other songs. Again, I think Ian Freitor’s excellent arrangements are a large part of what makes this song so fresh. On any other album, this would have been the breakout hit. Here, it is part of a veritable smorgasbord of delectable music.

Hislahavus: Moshiach is the first song that really knocked on my door. The arrangers resisted the urge to make this into another pop tune, and we’re all the better for it. It’s a good tune; great performance; great arrangement. The end of the song, however, sounds like a radio station jingle – “Boi Yavoi, FM!”

KAD YASVUN – Composed by Meshulem Greenberger. Arranged by Moshe Laufer.

JMDerech: I love this song. I play it over and over and over and over and over… then over some more. I always mimic the motions that Benny used on the preview video. You know? My arm moving back and forth in a swinging motion. I just wish I had a conductors stick thingy like he did. Don’t miss 4:48 when Benny goes up an octave. Last but not least, I beg you to listen to 6:21 when Benny reaches unknown heights with his voice.

Kol Isha: This beautiful ballad flows so smoothly and really gives Benny a chance to show just how talented he is. Benny really shines at 4:48 and at 6:21 where he effortlessly takes it an octave higher. Wow! Simply stunning.

Hislahavus: Kad Yasvun is sung Chasseedish – was this Benny’s nod to his Zaide? Whatever the case, it’s a beautiful tune, and again, when you have a talented voice such as this, it’s audible goodness. And sheesh, how does he hit those notes like that (6:21)?! And why does the piano have to continue going after his gorgeous ending at 8:00?

AMAR – Composed by Yitzy Waldner. Arranged by Mona Rosenblum.

JMDerech: I love the way Benny says the word “three”, so cute. Everything about this song makes me want to hop out of my chair and break into dance. I even tap on the keyboard and bop my head while typing this. SO catchy!

Kol Isha: The moment the introduction starts you know this is going to be another wild song that manages to walk the fine line between unconventional but not too out there. This song is seriously contagious and you can’t help but find yourself singing “Shalom, shalom!” along with Benny. Listen carefully at 4:05 for some really funky stuff. From there until the end things get to be really fun.

Hislahavus: A very tired, stereotypical song, BUT Benny lets his character take it over. I love the intro, but I wish the composition would have stepped it up a bit in the high part, because the “Sholom, Sholom” gets boring despite Benny’s best attempts at picking it up. Reminds me too much of “Salaam, Salaam”. The song sounds like it was composed as the closer for concerts, while songs should be composed because they’re emotional expression. That said, it’s still easy to listen to, and my two-year-old loves it.

YAAVDUCHA – Composed by Bentzy Marcus. Arranged by Avremi G.

JMDerech: Ooooo!!! This song is so perfect. It’s so relaxing and melodious. I feel like I should be sitting on a subway bench tapping my knee while singing, wait a second… :). 8th day behind Benny on this song is so befitting. Great composition! Listen for the ending, you think it’s over, but then it comes back and “electrifies” you.

Kol Isha: From the echoing a capella opening, it is clear this country song with a 60’s feel to it is unlike anything else in Jewish music. But wow, does it work. With harmonies by the very talented 8th Day, this feel good song is one of the best on an album jam-packed with hits. Love the piano interlude at 2:14. Make sure you don’t miss the final ending to the song, which seems to stop at 3:06 but continues on again at 3:11.

Hislahavus: Ahh! Good stuff! 8th Day joins Benny in this classy, jazzy piece. I expect this song to become a staple at Kumzitses and Jewish jam sessions. Making it particularly delectable are the alto sax and piano solos – sweet, smooth, and solid. Check out the background harmonies! 8th Day picks it up, singing along with the brass at 2:35, which sounds perfect. Awesome execution.

LETOVA – Composed by Oriel Avraham. Arranged by Ian Freitor and Leib Yaakov Rigler.

JMDerech: What an ominous intro. Scared me, sheesh. I love how Benny mumbles the refrain, making all those words sound as one. The chorus is easily the best sound on this album, giving this song my favorite pick!

Kol Isha: From the opening notes which sound straight out of a horror movie, this song just screams “fun!” and I fell in love with the minute I heard it. Given the funky nature of this song, I would have gone with Yitzy Spinner on the choirs to give the harmonies a little more edge. Love the bridge at 3:01 – soooooo well done. I just love this song! It is positively electric and how can you go wrong with those lyrics? We keep putting this one on repeat. It is just that good.

Hislahavus: Letova hits five stars again – this is probably going to be everyone’s favorite tune. A bit of jazz influence in the vocals, although the choir showcases its lack of vocals vis a vis Benny’s phenomenal vocals. The tune is so catchy, and so much fun!

BATUACH ANI – Composed by Yitzy Waldner.  Arrangements by Leib Yaakov Rigler.

JMDerech: There is so much falsetto in this song. I feel like I’m swimming in a sea of beautiful sound. There’s nothing crazy about this composition, but it all fits so perfectly. It reminds me a little of Re’faeinu from the Miami Boys Choir Shabbos Yerushayim album. Don’t ask how, it just does… This song concludes the “Instant Hits”.

Kol Isha: Benny matches his voice perfectly to the poignant and heartfelt words in this touching song. It gives him a chance to show just how much he is capable of and it’s hard not be moved by this song. Moishe Roth’s choir really shines in this one. Love the yud gimmel middos in the background starting at 5:16. A great touch: fresh, unconventional, yet doesn’t in any way take away from this soulful song. I would have ended this song at about the 6:00 mark, with Benny’s vocals fading out, but apparently the powers that be disagreed with me on that one.

Hislahavus: Batuach Ani uses the incredible lyrics from my favorite piyut in Ne’ilah. Listening to how effortlessly he swings up and down the octaves is just phenomenal. And compare what he does here to his first official release in Chasoif. He’s come so far in just one year, and that’s despite the fact that he did a good job in Chasoif!

EMES – Composed by Yitzy Waldner.  Arrangements by Ian Freitor.  Lyrics by Lipa Schmeltzer and R’ Manis Friedman.

JMDerech: The final song for a great album. Another great dance song. Also, another Yitzy Waldner composition. I want to point out that Waldner did most of the songs I like and did 5 of the 12 songs. Waldner for me, is a master composer. Every time I hear an album with his songs, they are always my favorite. Waldner is the composer that is transforming Jewish music into much more than it used to be. As for the song, it’s really catchy, I just wish I could remember and say all the words… :)

Kol Isha: It was hard for to connect with this song with lyrics by Lipa Schmeltzer and Benny’s father, the esteemed R’ Manis Friedman, not because I have any problem with it musically, but because I don’t speak Yiddish, a serious liability for a Jewish music writer in this day and age. Doesn’t matter. It is a great song and Benny seems to really be enjoying himself here. The perfect finish to an awesome album.

Hislahavus: LOVE the lyrics here – great rhymes, awesome message for the times. And another jazzy, fun flavored melody, with Benny putting on an awesome vocal show at the 3:00 point.

Final Thoughts:

Kol Isha: Benny is awesome. This is one CD you don’t want to miss.

Hislahavus: Tachlis, for me, as Benny matures in his personal taste and style, we’re going to see some really unique stuff. I never took the Facebook group before that states “Benny Friedman is the future of Jewish Music” very seriously, but now I’m believin’ it.

Coming Soon:

Mendel the Sheichet’s technical review of Taamu!

akov Chesed is back with their new album “The Passage”. Fans of the bands previsou album, “Rise Above”, will most certainly enjoy many of the tracks on the new CD, especially songs “All I Ask” and “Tzamah”, which display a similar rock spirituality to the bands huge hit, “Shema Yisroel”. Not wishing to diverge from their sound too much, the band certainly keeps to their musical style but also adds new depths on “The Passage”. All band members were involved with the vocals, and this album will feature some choir arrangements- a first from Yaakov Chesed. There are also more strings than on “Rise Above”, no horns, and some tracks were given more of a pop twist- the catchy track “Now I Know” sounds like something Avril Lavigne and Netasha Bedingfield might make if they were frum Jews. There are also some soft and soothing ballads such as “Mi Bon Siyach” and the sweeping “Eishes Chayil” which both the band and distributors Sameach believe will be a big hit for Yaakov Chesed.

In an effort to get people buying CD’s again Yaakov Chesed worked out a deal with Sameach that will ensure that stores only charge $10 for the album upon its release. “The Passage” also has artwork by the award winning European artist Thomas Zaczuniak. “Honestly, the art wok alone is worth the cost of the album,” said the bands drummer Michael Moskowitz. “The Passage” will be a huge leap forward for Yaakov Chesed and the band believes that the CD will become a must-have for anyone who enjoys Jewish rock.

This Motzoei Shabbos, Matzav.com will be presenting its Second Annual Live Music Webcast Featuring Shua Kessin in honor of the yahrtzeit of R’ Shlomo Carlebach z”l, whose music has touched the souls of countless people. This event follows the first-ever live Jewish music webcast last year, produced by Matzav.com, which drew tens of thousands of viewers.

This year’s webcast, which is being produced by Ozer Babad and hosted and powered by Matzav.com, is expected to again be watched by tens of thousands of people across the globe and will also be heard live on Radio Kol Berama, 107.9 FM in Lakewood, NJ.

Shua Kessin, who recently released his debut album, Lo Lehitya’eish, is a renowned singer who has performed at events across the globe and is a rising star in Jewish music. His immense range, ability to sing diverse styles, and extensive knowledge of Carlebach music have made him a sought-after performer. Shua has a number of high-profile musical events on his agenda over the next half-year and will bring his trademark hartz and creative talent to this weekend’s musical event as well.

Shua will be accompanied this Motzoei Shabbos by an orchestra featuring Yanky Katina, Yaakov Zeines and Jo Blumenthal.

The webcast will be broadcast live from Gal Paz on 13th Avenue in Boro Park, and all are invited to join in person or watch the event live, right here on the #1 Torah newscenter on the Web, Matzav.com. The webcast is scheduled to begin at 9 p.m.

A special guest at the Motzoei Shabbos event will be the Pester Rebbe, R’ Yoel Leibovits, who is known for his musical talent, comedic prowess and badchanus. R’ Yoel, who is a son of the Nikolsburger Rebbe, will join in song and add his special flavor to the event.

The event is being sponsored by Eli Greenfeld of Greenfield Custom Builders (718.809.9422) and Contact Electric Corp. (718.438.4225).

Additional info will be forthcoming as the week progresses. Stay tuned!

Go to HascConcert.com for more!

This is a first for us here at Jewish Music Report and probably for Jewish music reviews as well.  So many of our writers wanted to review Benny Friedman that we just decided to let everyone have a go at it.  While our full review will appear in a few days, we wanted to give you our initial thoughts, just a few hours after the CD was released.

Hislahavus: Heeeeeeeeeeeeere’s Benny! I’ll keep my initial reactions short. Firstly, old news, but it bears repeating – the guy’s got a voice. Sweet and smooth, great control, no shrieking whatsoever. So he gains a lot of points there. As for the song selection, arrangement, and all that – the good thing is, the deeper into the CD, the better it gets. Which is nice, because he saves some surprises for later, rather than showing you everything he has on the first song. However, I do feel like some of the songs are … meh … but the main thing is his voice is just so sweet you don’t mind listening to them. Let’s see if they get better with a few more listens. After my first listen-through, I’d peg Yaavducha, Letova and Emes with the best songs on the album. This album makes me look forward to more Benny in the future – can’t wait!

JM  Derech:  Benny Friedman is not what I expected. He is in the beginning stages of what will be a Jewish music superstar. For a debut album, this album is beyond my expectations. Sure, I figured he would be good, maybe better than good, but not great! I can only imagine what he will sound like down the line when he reaches the same point his uncle, Avraham Fried, is at in his career. My favorite song is Letova. But it’s my favorite by a fraction, because there are so many great songs that deserve to be a favorite choice. I hope you all buy this album and add it to your collection, because this album is going gold! FINALLY! An album with not just great arrangements, but a great voice as well!

Kol Isha: Believe it or not, I hate listening to new CDs.  It takes time to really get to know a CD and know how you feel about it.   And I hate listening to a CD when everyone keeps saying how unbelievably amazing it is going to be.  Most of them don’t live up to the hype.  Does this one?  Stay tuned for my thoughts in our full review later in the week.  Let me just say this for now.  There are a few songs on this CD that were so right, so good, that it feels like I have known them all my life and I’ve just been waiting for someone to sing them, the kind of songs you hear once and you can’t stop singing them.  Which ones?  Letova, No Lyrics (yes, you read that right) and Yaavducha.  Amar, Moshiach and Kad Yasvun aren’t far behind.  I am slowly but surely falling in love with more and more of them.  As for  Benny, does his voice live up to the hype?  You better believe it.  He is THAT good.

Want me to sum up this CD in just five words?  Avi Newmark does it again.

Shmuli: I feel like I have heard these songs before.  They feel so at home and comfortable, yet with a great modern and renewed touch.  This is where The Fried(man) comes together with the 8th day (Marcus) in one great combination.

The Sheichet’s Cut: heard and written between 6:05am and 7:30am.  Yes, this is the short version!!

1 – Misod – while the intro is a touch old-school for my taste, the song quickly turns more contemporary when it enters into the first verse. Melodic twists keep the song interesting throughout. While I would have liked a touch more resonance from the drums, I am very pleased with the clarity of both the bass and the guitars, which are essentially the driving forces behind the rhythm here. Plenty of trumpet and sax for the Jewish music purist, but besides for in the intro, I didn’t find that it was overbearing. Great song, which I think will still be a classic years from now.

2 – No Lyrics – or what most of us might call a “niggun”. Here’s where the real freshness begins. Great steel string intro. The mostly sparse arrangement – piano, bass, acoustic guitar and light synths really help allow this beautiful melody to shine out. Nice New-Age type of feel. A string section with electronica overlay instrumental bridge helps tie together our first taste of the freshness this production team is bringing to the table. When you have an artist with serious personality, you want to display that and that’s what they’re doing with this song. This song is basically Benny saying “You wanna be happy? Here, let me show you how”.

3 – Ukesheim – I thought they should have jumped straight into the piano part of the intro and skipped the trumpets. They didn’t detract terribly but I didn’t find it necessary either. Really absolutely beautiful melody. Arrangements kept basic again, really highlighting the song and Benny’s angelic voice. I’m particularly admiring the mix in this song. Every note comes through clearly and the instruments all have just the right amount of reverb and warmth.

4 – Taamu – While I really like the arrangements here, as well as the mix – note how every beat of the drums resonates clearly -  I’m not sure I love the song itself, despite the great concept. I find it a touch repetitive and the melody a little 90s.

5 – Hameracheim – Great job on the part of the recording engineers in capturing the subtle nuances of the organic instruments. This is very important in a song that they chose to arrange with a classical music arrangement. I am very happy to hear this as I’ve always been a big believer that if you go with a style, you need to really embrace it. They’ve done that here and it’s certainly successful.

6 – Moshiach – Back into the new and fresh, this acoustic dance track is done absolutely perfectly. Everything from the choirs to the mix is right on target. Notice how the backup vocs are not shadowing the lead on much of the song, which really helps bump up the freshness levels. Amazing melody, this will be a fav for years to come. Benny, how did you get so happy?

7 – Kad Yasvun – I didn’t get the heimishe accent – used to be people thought every album had to have an English song, no they seem to think you have to have an altered-accent one? Regardless, great song – almost more of a Tefilla than a song. Benny really feels the lyrics here and does an excellent job of expressing them. We really see a good deal of Benny’s range here and amazingly his voice retains the same strength in most any register, which is something rare and beautiful indeed. Good arrangement while not necessarily anything groundbreaking – but who says everything has to be?

8 – Amar – Nice laid back disco sort of feel here. I don’t feel they got the most out of Benny’s voice here in post production. I’m not sure if the vocal track got too little reverb or needed a touch more echo or possibly a touch less compression on the overall master track. Nonetheless this song just has that something that makes it super danceable and super memorable. They definitely did get the most out of Benny’s personality. Benny, one listen into this CD and we love you already.

9 – Yaavdecha -  Another great fun filled piece. This team really did a superb job of picking the right songs and sounds to match Benny’s personality. 9 songs in, while some I like more and others more than that, I haven’t found a dud yet. Very playful arrangement in this song – again a good example of really embracing the sort of feel you’re after without losing any of the Jewish feel. Clearly Avi is the master.

10 – Letovah – this is just completely risky and I love it. This song could have so easily flopped with any one aspect not coming together. Luckily, it all comes together quite excellently. Furthermore because it could have gone wrong at any moment, for me it kind of had that tightrope excitement that comes of dangerous musical feats. This song is a musical bungee jump and I am thoroughly thrilled by it.

11 -  Batuach Ani – At this 11th song, where most albums are staring to tire and wind down, Taamu is still kicking it up. Great contemporary arrangement – I’m almost at the end of the album and contrary to what the intro of song 1 suggested, I haven’t been crowded out by trumpet and sax parts. Avi and company are dragging us into the future of Jewish music and we’ll all be the better for it.

12 – Emes – kind of moves back into a classic Jewish music feel, but a great song. Almost like a tribute to his uncle, Avraham Fried. Really has that sort of movement and feel of a playful Fried song.

Anyway, it’s been a great ride and I’ve only listened once, plus I’ve been writing this through that listen. This is gonna get better and better. If you don’t get out and buy this album it’s really your own loss.

Remember, these are just our initial thoughts from our first few times through this highly anticipated album.  Be sure to check back in a few days for our comprehensive, mega-review!!

I recently received a letter from my dear friend, the very talented new artist Moshe Hecht and I wanted to share this with all of you. He has taken time out of his own career to help a really amazing Organization and I ask that you please take out just a moment of your day to help support and spread awareness as well.

Mendel “the Sheichet”

Moshe’s letter:

Friends,

Recently I’ve taken some time off from working on the album to write a song for the Friendship Circle. They are an international organization with over 70 centers worldwide! Their mission is to help build a better world for children with special needs by bringing together teenage volunteers and children with special needs for hours of fun and friendship.

This Organization is very close to my heart for 2 reasons: For one I have a nephew who has down syndrome, and secondly, I was once a volunteer for the FC, so I have seen first hand what a simple visit from a friend can do for a child with special needs.

Check out www.friendshipcircle.com/song where you can hear a clip of the song, donate 99 cents and get a download of the song! All Proceeds of your donation will got to the FC’s Hard work!

Please share with all your friends and family via the email,facebook,and twitter link on the page.

Dear friends, please help me raise awareness and a few bucks, for this incredibly kind Organization :)

Enjoy the song!

Moshe

Up-and-coming Chassidic singer Benny Friedman celebrated the release of his debut album at a Melave Malka in Crown Heights, hosted by COLlive.com.

Friedman and COLlive staff greeted the dozens of members of the Jewish music industry at the Lubavitch Yeshiva simcha hall on Motzei Shabbos.

Yossi  Piamenta, Yisroel Werdyger, Shloime Taussig, Yossi Goldstein, Dovid Stein, Yoni Zeigelbaum and other singers were on hand to congratulate him.

Accompanied by Fitche Benshimon, Benny sang some of the CD’s new tracks, which led to a kumsitz-style gathering and dancing.

Child soloist Ami Eller sang a beautiful duet with Benny.

Also present were Benny’s marketing manager Sruly Meyer, Benny’s producer and manager Avi Newmark, and the CD’s composers Elimelech Blumstein, Yitzy Spinner and Bentzy Marcus.

Also seen were Avremi G – arranger, Ian Freiter - engineer, Benny Taubenfeld and Hillel Hirsch from Sameach Music.

The CD entitled ‘Taamu’ is due in stores this week.

see many more at COLLIVE.COM

I was attending the chassuna of my wife’s friend Sunday night in Brooklyn. As any good music reporter would do, I brought my mini camcorder in hand. Also, I had asked Shloime if he would mind a duet, the two of us, singing my favorite song “Yigdal” from his debut album, Avodas Tzedaka. Shloime, being the nice guy he is, agreed without even hearing if I could sing.

When I entered the halls of Kings Terrace, little did I know of the “magic” that would take place that night. Sure, people were dressed all fancy, and a chassuna is a perfect setting for a good taste, not of food (although it was good!), but rather music! The music was so good it exceeded my expectations. Ya, so I haven’t been to a ton of a chassuna’s, but I’ve been to a good share of them and none of them had this quality of music. Neshoma Orchestra was fantastic. From the chuppah to the dance floor, they were flawless. My favorite player was the violinist Asher Laub. Don’t get me wrong, every one of the musicians played their instrument to its peak, but there’s something about the way Laub delicately wove his bow back and forth across the violin making that perfect pitch! Kaufman was something else all together! He was so into the chassuna and you could tell it was genuine. He was dancing with the olam (crowd), smiling, and all over ecstatic, pumping up the chassuna to what it was, a beautifully orchestrated simcha between two children of B’nai Yisrael. G-d willing, Moshiach will come soon and bring the geula and I hope to see Shloime and the rest of the guys that played that night as part of the musicians who welcome him. There was nothing greater than seeing the joy that the music brought to chassan and kallah (no I was not on the women’s side :P) on their wedding night.

I know what your thinking, I must know Laub or Kaufman or any of the guys with Neshoma, but no, that assumption is incorrect. I’m not doing this for the sake of publicity, I’m definitely not getting paid (checks wallet), yup definitely not getting paid. :) I just feel that many people have questions about what orchestra to choose and I hope that this small write up can help them choose.

Let me tell you something, Shloime Kaufman and the Neshoma Orchestra are a class act. They are super professional and all around fun to watch! I filmed a number of songs, but I decided to post the songs that Kaufman is known for. Kol Yisroel, Avodas Tzedaka & Yigdal. If you think he sounds good live, hear him on his debut album, Avodas Tzedaka. You won’t regret buying it. See a review of the album I wrote here.

Shimie Braun on Keys

Ari Boiangiu on Guitars

Moe Rosenblum on Drums

Asher Laub on Violin

Mr.Laskin on Sax

Any singers or orchestras who are interested in being a part of the ongoing “JMDerech Experience” series, all I request is a chance at the mic and and email to be sent to me at jmderech@gmail.com. See you soon! :)

I didn’t really pay too much attention the all the promos for Kumzing before it came out. Honestly, it didn’t really appeal to me. Kumzitz for Yeshiva Bochurim, in Eretz Yisroel, Half the names they were promoting, I never even heard of: Ori Avraham? Uri Davidi? Chaim Kirschenbaum? Who are these people? I had no intention whatsoever of listening to this album.

But then I was asked to review it. I figured I could try to be open minded about the album even if my expectations weren’t all that high.

Which is why I was completely blown away by it.

From the opening notes of the first song, Moishy Roth and his choir were just amazing. I’m imagining this must be what the Leviyim in the Beis Hamikdash sounded like. Exquisite, hartzig. Simple, uncluttered harmonies enhancing great songs. I loved the first song “Umachlif Es Hazmanim” and was genuinely disappointed when it ended. Was a little surprised though to hear not singing “Kel chai v’kayam”, but using shem Hashem. What’s the deal with that? And as much as I thought I wouldn’t love the little spoken parts “shiru iti”, “noch a mul”, “ayze yofi”, etc. I did. Every one of the four songs that they sing was done to perfection. Not a bad opener for a CD I wasn’t even going to listen to, huh?

A minute to tell you what this CD is. A collection of thirty seven songs sung at a Kumzitz in Yerushalayim by: Moishy Roth, Yosef Chaim, Dovid Gabay, Berri Weber, Chaim Kirschenbaum, Lipa Schmeltzer, Ori Avraham, Udi Davidi. Over two hours worth of music, with sets of different music being introduced by an emcee. Lots of singing and clapping from the audience with the performers constantly encouraging the audience to join them. Produced by Shalom Wagschal and Moishy Roth with all arrangements by Moishy Roth.

Ok, back to the music. Next up: Yosef Chaim Shwekey. (Am I allowed to acknowledge the fact that he has a last name? Did anyone else notice that in the CD booklet, his brother, Moshe Dovid, who composed some of his songs was referred to as just Moshe Dovid, with no last name?) At any rate, Yosef Chaim was great, singing his Hashleich (with help from the audience), Miami’s P’sach Libi. His next song was something called Ken Yevorech which I never heard before, but I’m guessing the audience did from the way they were all clapping and singing along. His last song in this set was Biglol Avos from his CD, with the audience joining in enthusiastically, finally ending with the high part from Hashleich.

The great music just kept on going, with Dovid Gabay taking the mike next, singing Yaakov Shwekey’s V’hi Sheamda. All I can say is wow. A gorgeous song, done beautifully. Gabay followed up with one of my favorite underrated songs – Havi from LeGabay. I would have loved to hear the full nine minute version from that he did on his debut album, but I guess that wasn’t meant to be. Gabay was joined by violinist Shimi Weitzhandler for the last song in this set, the moving Bein Haulam, a new song, composed by R’ Noach Paley with words from the Avoda in Mussaf of Yom Kippur.

While I wouldn’t want to have to follow Dovid Gabay onstage, Berri Weber didn’t seem to have any such compunctions. This was pretty much the first time I’ve ever heard Weber sing and I was surprised how much I enjoyed him. All of Weber’s songs were composed and conducted by R’ Chaim Banet. I only recognized two of the songs he sang: Hiney Anochi and Machinisei Rachamim, yet another of my favorites which he did beautifully. The other two, Adon Hashalom and Yehei Raavo were both enjoyable. And just because I don’t know them, doesn’t mean the audience didn’t – they all seemed to know all the songs! All in all, another beautiful segment to add to the chain of beautiful music these guys were creating.

Udi Davidi, an Israeli singer I have never heard before sang an original composition called Vayishma Koli which was touching and left me wanting more, but he wasn’t due back at the mike for a while. Chaim Kirschenbaum a talented musician was up next with an instrumental set where he played clarinet, guitar and saxophone.

The next singer was described by the emcee as a “yehudi pashut”, none other than Lipa Schmeltzer. I must take a minute here to mention how impressed I was with all the singer’s command of the Hebrew language. Every one of them was fluent and sounded completely at ease in the language, something I wasn’t expecting. Back to Lipa who, together with Ori Avraham, sang Avraham’s Tsur Chayeinu, an unexpectedly heartwarming song. Yitchok Fuchs’ Hallelu always reminds me of Robin Hood and his merry band of man, but everyone followed Lipa’s request to join in and sing with all their hearts.

Ori Avraham sang another original composition, entitled Yamim Baim, another hartzig song (hey, it’s a kumzitz, you kind of expect to hear lots of slow pretty stuff.) Berry Weber sang an original Yerushalyaim, a beautiful niggun, which I would have liked it even better with words.

And following in the original composition department, Udi Davidi sang an upbeat Sameach medley consisting of Sameach, Eize Tov Hashem and Tachshov Tov, a feel good song with a pop feel to it.

Yosef Chaim returned with a medley of songs from his album: Torasi, Keayal Taarog and Kol B’romo. The more I listen to Yosef Chaim the more I like him. He’s not loud or flashy and doesn’t over sing his songs. I look forward to hearing more from him.

Dovid Gabay, always a crowd pleaser sang two classic Avi Kula songs from his albums: Av Harachamim and Rachem, both perfect kumzitz songs.

The last performer for the night was Lipa with the Be’ezrat Hashem medley: Be’ezrat Hashem, Chamol, Ochila and my favorite song of the medley, Yosef Karduner’s Shir Lamaalot, which while not a song that makes me think Lipa Schmeltzer, was quite good. All the singers joined together for a finale with a song entitled Lechu V’neshuva, written by R’ Noach Paley for this event.

My final thoughts on this album? There were quite a few moments on this album were truly breathtaking. While there was plenty of clapping and singing along, there wasn’t a lot of outside noise to mar the sound. There is a lot to listen to here, with quite a few beautiful songs, sung by some very talented singers. If you like kumzitz, this is a great album. Not bad for an album I wasn’t even going to listen to, huh?

In this episode of A – Z Report series I get to interview Shua Kessin. Shua is someone who has been making quite a splash these past 3 years. Shua, who is more well known for his Carlebach flavor and Kumzitsin, goes all out on his debut album “Lo Lihityaeish”. Ozer Babad joins us during this interview to give us “insight” into the production of this album. The interview is divided into 2 parts.

Part 1

A-Z Report with SHUA KESSIN Part 1 from Jewish Insights on Vimeo.

Part 2

A-Z Report with SHUA KESSIN Part 2 from Jewish Insights on Vimeo.

(Source)

CD Cover: Sruly Meyer. Photo: Shmuli Evers.

The long awaited debut album is almost here!

Presented by Sameach Music and produced by Avi Newmark, this has been one of the most anticipated albums in recent memory, featuring 12 tracks sure to satisfy all musical palettes.

A variety of talented artists team up to bring you this masterful musical production. Selections include compositions from such famed composers as Yitzy Waldner and Elimelech Blumstein, and relative newcomers like Meshulum Greenberger and Oriel Avraham. Arrangers range from Good ol’ Mona and Moshe Laufer to the always incredible Leib Yaakov Rigler and Avremi G, along with some great surprises from Ian Freitor, the album’s engineer.

The Friedman/Marcus families showcase some very strong talent with three compositions, including the title track, Taamu, composed by Shmuel Marcus, an incredible piece of music sure to take your breath away composed by Simche Friedman, and a Bentzi Marcus composition featuring a duet with 8th Day! Rabbi Manis Friedman, Benny’s father, collaborates with Lipa Schmeltzer to compose a Yiddish lyric that will at once force you to look inward, while causing your feet to move with the beat!

A special musical tribute was composed by Yitzy Spinner in memory of Izzy Taubenfeld, the founder of Sameach Music.

As an added bonus, the cover art and the CD jacket and all the corresponding art was all designed by the undisputed king of Jewish Music design, Sruly Meyer!

Keep an eye on JewishJukebox.com for an official release date coming very soon!

To join Benny’s street team, help promote the album, and win prizes in the process, email StreetTeam@BennysMusic.com

Photos By: Boruch Ezagui

This CD is for Ladies only

The last time I listened to a female singing on a CD, it was me in my senior year of high school.( I was in the choir and our school put out a CD of our performances.) When I was presented with the task to review Malky Giniger’s new album, I’ll be honest, I was a bit hesitant. Female vocalists in the Jewish Music business aren’t so much my forte but I figured I would give it a shot.

Malky Giniger runs the RATZON music program for girls and women. The CD features songs she wrote and composed with musical arrangements by Nochi Krohn and Leib Yaacov Rigler.

Park East Synagogue invites you to an evening of celebration.  120 years of Synagogue Music. Featuring World renowned cantor Yitzchak Helfgot will be joined by Cantor Sol Zim.  Cantor Gildar ont he piano, accompanied by the Park East Synagogue Choir.

Saturday Decembrer 5th 2009  8:o0pm Promptly

www.pesyn.org

Park East Synagogue is a vibrant spiritual center for Jewish life in New York City and beyond. Its doors are open daily from morning to evening for prayer, meditation and the study of Torah. With its Day School, Afternoon Religious School, and adult education programs it is committed to further the Jewish heritage from generation to generation (L’Dor Va’Dor). Its humanitarian and outreach programs sensitize us to man’s responsibility to bring about Tikkun Olam (repairing the world). The Synagogue’s architecture was based on the unique Byzantine-Moorish design.  Opened in 1890, in 1980 New York City declared Park East Synagogue an historic landmark.

Over a decade ago, as I sat in yeshiva, I found myself deep in a conversation about non-Jewish music with some friends. One of my friends – a mentor, really – mentioned a gemara that said that non-Jewish music was the reason that Elisha ben Avuyah, the famous Tana and teacher of Rabbi Meir, became a heretic. That shocked me quite a bit. I understood that impure music could have a detrimental effect on the soul, but this seemed a bit excessive! I tracked down the gemara, which is found in Tractate Chagiga, page 15b, and I began to do a bit of research. I was surprised to see that most of the commentaries don’t touch the subject. (Then I realized that most commentaries don’t touch Aggada in general.) But over time, I found myself compiling questions, ideas and threads of thoughts, until I came upon a particularly illuminating concept which clarified just about everything.

Elisha ben Avuya, otherwise known as “Acheir”, “The Other”, is one of the most enigmatic characters in Jewish history. Much of the Talmud bears his stamp to some degree, as he taught Rabbi Meir, and an open Mishna is Rabbi Meir’s. He was a colleague of Rabbi Akiva’s, and he joined him in ascending to heavenly heights through the mystical experience known as “Pardes”. That excursion ended in tragedy – Ben Azzai died, Ben Zoma went crazy, and Acheir became a heretic. Only Rabbi Akiva “entered in peace and left in peace.”

After recounting this story, the gemara proceeds to tell us more stories of the sage who became a heretic. Many reasons and anecdotes are given as to why he went off the path. But the gemara focuses itself and, strangely enough, in the middle of the discussion, asks, “Acheir, mai? Zemer yevani lo pasak mipumei.”* Why did he go off? Greek music never left his lips. As for the other reasons, they are left as strands in other parts of the story; but here, it seems that the Talmud is telling us that Greek music is the reason for the fall. Come, now! That seems ridiculous. Look at the other reasons: His mother was affected by nonkosher food when she was pregnant with him; he saw Biblical verses seemingly contradicted before his eyes; he experienced a mystical sight of the Angel Metatron and he thought G-d has His equal (G-d forbid); and he frequently read Greek philosophy. Couldn’t one of those reasons have been a better reason? Greek music?!

Rashi says simply, “He should have left it alone (vehaya lo lehani’ach) because of the destruction of the Temple, as the verse says, (Yeshaya 24:9) Do not drink wine with song.” Well, the destruction of the Temple certainly caused the Sages to limit the type of music one was allowed to sing (Gittin 7a). But is that it? By violating a Rabbinic enactment, Elisha became a heretic? And why does Rashi use the term “should have left it alone”? Would it be okay to listen to Greek music if the Temple stood? And why is the emphasis on “Greek” music, and not any other non-Jewish music?

The Maharsha explains that the music he was listening to contained Greek lyrics and messages that were heretical. But that still seems excessive, considering that a) Elisha was one of the great sages of his time, and one would think that he’d have the ability to censure immoral messages, and b) when one considers the incredible fall that Elisha had. Elisha became a vicious person; for example, wickedly using his knowledge of halacha to inform Roman soldiers exactly how to make sure to force Jewish slaves to violate the Shabbat Biblically. Jews tried to get out of Biblical transgressions by violating mere Rabbinic infractions, but there was Elisha telling the soldiers, “Make them carry that board single-handedly in a public domain. Make sure those two Jews don’t carry it together in a side street.” But that wasn’t the worst of it all. He would convince children with potential to become great sages that they were destined to be nothing, destroying their will to study Torah. He also committed acts of immorality and witchcraft, and more. Where did this viciousness come from?

The glosses of Rabbi Akiva Eiger point us to the sourcetext of Rashi – in Gittin 7a, which tells us of the source of the Rabbinic enactment. If we look there, we see their basis in Tanach (Hoshea, 9:1): “Rejoice not, Israel, like the exultation of the nations, for you have strayed from your G-d; you have loved a harlot’s fee on all the threshing floors of grain.” Rashi on site tells us, “Like the early nations who did not accept the Torah and did not come into My portion. You, however, strayed from Me, and you lost many good things.” Obviously, considering Acheir’s backstory, we can certainly appreciate how this particular verse applied to Acheir. Acheir ignored the Sages’ dictum to stay away from music at the time, and the very verse they used to base their dictum upon became true in a personal prophecy regarding Acheir.

This, however, does not fully answer our question – it only explains Rashi’s basic interpretation. But again, why the focus on Greek music? Let’s take what the Maharsha explains and bring it one step further. The gemara (Megilla 32a) tell us: “Rabbi Yochanan says: Anyone who reads without sweetness and studies without song, upon them the verse (Yechezkel 20:25) states: So I too gave them decrees that were not good etc.” So music and studying Torah are inextricably linked. But why? Tosfot explains that this has to do with the style of studying by heart. But isn’t there something deeper at work here?

In a talk about meditation during prayer (Sefer Hamaamarim 5684), Rabbi Yosef Yitzchak Schneerson, the previous Lubavitcher Rebbe, explains that singing is an integral component to meditation. He explains: Information is dry, but tangible. When you study something, you explore a concept. How do you give that information life? For that, you need a niggun. Music is an experience; it is intangible (known in the Chassidic lexicon as “Makif” – encompassing). While you can explain a concept, you can’t really explain a niggun. Take a concept, and while thinking about it, sing a niggun that fits the concept. That combination of experiential G-dliness with informational G-dliness is a powerful duo that allows you to make the concept truly part of yourself. It is now no longer dry; it is alive, as it excites you. It becomes YOUR concept and YOUR experience. Or, in Chassidic lingo, you are “mafnim”, you internalize the concept.

Drawing this back to Acheir – we know that he was a mystic. We know that he was a philosopher. And we know that he obviously loved music. But it was precisely when he combined all of the above – when he began studying Greek philosophy, and he started meditating on the concepts along with the Greek music that came naturally with it, THAT was the spiritual straw that broke his back. All the other reasons were certainly causes, and they all led down that path. But Acheir’s involvement in combining Greek music and Greek philosophy (and in the Gemara itself, the second reason in fact follows the other) and meditating on them, caused him to internalize the immorality to the point that he found himself spiritually destroyed. (This particularly powerful when understood along with the point of R’ Nachman of Breslov (Likutei Maharan Vol. 1, 64:5 )- regarding the story of Acheir – where he points out that each intellectual doctrine has its own style of song; hence Acheir’s descent.)

(As a final note, it seems that Rashi’s opinion was that Acheir’s big mistake was that at the time, being so close to the destruction of the Temple, it was totally inappropriate to be involved in music. His light tone in his wording “he should have left it alone” (rather than “he should have stopped” or even “never started in the first place”) seems to indicate that there is a time and place for using music from non-Jewish sources. Indeed, over the years, Jewish songs have certainly been influenced indelibly by non-Jewish sources – everywhere from Chassidic dynasties and Rebbes “stealing” songs, to the songs we sing as “amcha” such as “Mishenichnas Adar” to the tune of “Pick a Bail of Cotton”. However, and this I want to stress, this is obviously not a simple matter, and should not be done without significant and well-informed Rabbinic advisory.)

*Rashi’s text has it read “Mibeito – never stopped from his house.” While this seems to change the actual story, it does not change Rashi’s opinion of what happened versus the Maharsha’s opinion. In fact, the difference in their opinions may well be based on this textual variance.

Hatzalah of Union County Soiree featuring the inspiring music of Eitan Katz. Sunday November 1st, 2009 – 6:30pm

Union YM-WYHA 501 Green Lane, Union NJ, Go to Hatzalahofunioncounty.org for more information!

Recently, Zamir was in the headlines, as Tzippi Livni brought her husband to one of his concerts for their 25th wedding anniversary. Livni told Zamir that she told Bill Clinton that she would send him a copy of his stuff. Obviously, Zamir was tickled by the thought. But here’s the thing – this young Baal Teshuva is one of the brightest lights in the Israeli jazz world, so it’s no surprise that he’s going places. If you’re looking for pure jazz, with a dash of Yemenite spice, Zamir has got to be next on your “To Buy” list.

Andy Statman
Genre: Jazz, Bluegrass, Klezmer, Improv, Fusion, Folk
Instruments: Mandolin, clarinet
Jewish Albums:
• 1979 Jewish Klezmer Music
• 1992 Andy Statman Klezmer Orchestra
• 1994 Klezmer Suite
• 1995 Doyres (Generations): Traditional Klezmer Recordings, 1979-1994
• 1995 Songs of Our Fathers
• 1996 Klezmer Music: A Marriage of Heaven & Earth
• 1997 Between Heaven & Earth: Music of the Jewish Mystics
• 1998 The Hidden Light
• 1998 Holiday Tradition
• 1998 The Soul of Klezmer
• 2000 Klezmer: From Old World To Our World
• 2001 New York City: Global Beat of the Boroughs – Music From New York City’s Ethnic….
• 2004 Wisdom, Understanding, Knowledge
• 2005 On Air
• 2005 Avodas Halevi
• 2006 Awakening from Above
• 2007 New Shabbos Waltz

Here’s the thing about Andy Statman. From a brief review of the above albums, it would be very easy to pinhole him as a klezmer musician, and nothing more. I mean, look at all the klezmer albums! In truth, however, Statman is what’s called “a musician’s musician”. He’s a legend in his own time, and he’s one of the few musician who defines genres, and then defies them.
So, among other things, no – he’s not just a klezmer musician. And since I don’t care that much for klezmer in any case, I don’t want to focus on that aspect of his career at all. I want to point out a certain album that is heads and shoulders above almost anything that has ever been produced. The album Between Heaven and Earth is a heavenly musical experience, and to completely understand it, you need to know a bit about its production.
It was recorded over three days. The musicians went into the studio, decided what songs they wanted to play, and just played. They rarely redid a take. This is noteworthy when you consider the intense improvisational style of the album. As a result, the emotion is so inherent that the pianist, Kenny Werner, actually broke down in tears during one of his solos. Yeah – it’s that kind of album. The first track, Maggid, is mind blowing in its sheer emotional core. Its beauty is heartrending. Secondly, the open-ended style lends itself to all kinds of experimentation. So while at times, you’re hearing jazz; and at other times you’re hearing klezmer; yet most of the time you’re hearing an amalgamation of who-knows-how-many genres. Over the entire album you’re treated to exquisite musicianship.

The truth is, if you have a discerning ear, you will hear something out of this world on every Statman CD. Like furious mandolin licks on Nye Zhuritzi on Wisdom, Understanding and Knowledge. Or brand new energy on tired classics, performed with mandolin virtuoso David Grisman, on New Shabbos Waltz and Songs of Our Fathers. New Shabbos Waltz, in particular, has a dynamic version of Shabbos Hayom LaHashem; a slide guitar on Yaaleh Tachanuneinu; and some wicked bass relief going on in the Breslover Lecha Dodi.

Let’s put it this way: Andy Statman is among the top of his craft in the world. And if you love creativity and virtuosity, along with depth and emotion, you must own a few Statman albums.

JMR and The Cool Jew both recorded interviews last week with Shua Kessin. We decided to post both interviews.  We believe they are different styles and the readers of each site will enjoy watching both.

mobile users click here for part 1 and here for part 2.

Here is TheCoolJew’s interview.

Don’t forget to join Shua at Hi Tech 2000 for the release party today at 5PM

Shua Kessin is not stam (normal), in a good sense. There, I’ve said it. He is a multi-talented artist. Singer & Composer, Kessin is the next big thing! I may not enjoy every one of his songs, but it’s obvious that he is brimming with talent and a lot of work went into this album. From the top notch compositions, to the masterful arrangements, to the mix of genre’s in the songs – This album screams “HIT!”-

The artwork for this album “Lo Lihitya’eish” is easily one of Sruly Meyer’s greatest creations. And the booklet is gorgeous. You’re going to want to go to DesignsBySruly for your next photo design project, because he’s the best in the business. One of the coolest features of the booklet is the notes supplied under every song. Kessin added notes from where he was inspired for each song, allowing you to feel like your personally there with him, listening to his story.

Kessin was interviewed by JMR’s very own KolIsha in Country Yossi, which can be seen here. That article will give you the gist of the album.

How am I getting this review out to every so soon after the album was released? I had the privilege to listen to the album early so that I could review and get out the information on this album to you, the buyer, as soon as it hit the stores! I’m reminding you to constantly check into the Jewishmusicreport.com for the most up-to-date information in the Jewish Music industry. Also, see my blog, jmderech.blogspot.com

Tachils & HOT, MILD, COLD Meter Time!

Lo Lahitya’eish: (HOT) Crazy Israeli styled intro. Kessin’s range can be heard from the start with this “bang” of an intro! Very often I hear that words don’t really fit the music (you know who you are ;D), but there’s a noticeable difference with this song. The mix of Hebrew and English and the meanings are fantastic. What’s amazing, is the fact that the song is 5:23 long and never gets boring. Fantastic intro and title song!

Nishmas: (HOT) This song, we were privileged to hear early as an acapella version. I was not nearly as impressed with the song then as I am now. This is definitely a song that needs and sounds better with musical backup. Kessin mentions in the booklet that his inspiration for this song came from after speaking to a friend who had been through a troubled life. He told him, Nishmas is about thanking Hashem for the basics of life, not the extras.

Maminim: (HOT) A hora or salsa? composed by Kessin during a friend’s sheva brachos. This song is not something to just sit and listen to, one needs to be dancing in order to bring out the pleasure of this song. So come on! Get up off your feet and break it down! My favorite parts of the song are the wordless parts; the “ay di da da dum” parts. Great ending to the song as well :)

Aneini: (HOT)What’s interesting about this song, is the fact theat the music has an eerie twist to it, yet the actual song sounds like something off a Shalsheles album. A weird combo. It doesn’t matter, this song is a lot of fun to sing. The second part of the song, Kessin plays around more with his voice and harmonizes with himself, giving the song a better sounding quality. For me, this song is more fun for me to sing then to listen to.

Nekudos Toivas: (HOT) Why does this song start off with a stereotypical rap sounding “ya! woo!”? Regardless, it works and it’s a intro I’ve never heard, yet enjoy. The beauty of this song is it’s simplicity and sing-ability. You’re not going to find anything complicated in this song, which is what gives the song its gadlus! The shticky part, with the added lyrics toward the end (3:55) are very smooth and sweet. Sounds like something Yossi Green would do.

Niggun: (HOT) What would an album filled with diversity be without a Niggun to add to the collection? The sound of this song gives off an “around the campfire” feeling. The music is gorgeous, especially the violin work starting at 2:45. The harmonies following the violin piece spice up the song. It goes from “just another niggun” to a “geshmake niggun”.

Refueini: (MILD) Kessin chooses a Chassidic pronunciation for this song and uses Yiddish as well. Kessin composed this song while by an ill young man’s bed side. While the song lacks in an amount of different words, it makes up for it in depth. You can feel the heart in this song when he screams out “Refua Shelaima!” (Heal Completely!).

Beitin: (HOT) Motti Illowitz lended a hand in this song with lyrics. Kessin writes that he decided he needed a song with some rhythm and that’s where “Beitin” comes in. It sounds very much like a Shloime Dachs song; perhaps Bayom Hahu from Dachs’s Avinu album? Regardless, it’s way better than that song. 3:59 is amazing! Listen for when he slows down the song for a little bit, it adds some spice.

Generations: (HOT) This song is composed by Yossi Toiv, originally for his zaidy, now with Shua’s help, the lyrics are directed more towards all of Klal Yisrael. The guest child soloist is Ami Eller from Kol Noar Boys Choir. He adds some beautiful harmonies behind Kessin – 4:21 and on is beyond words. Kessin slows down the song and begins the climactic ending of the song. This is by far one of the best English songs I’ve heard in a long time. It’s Abie Rotenberg’s, Journeys caliber.

Vizamrun Loch: (MILD) This song is very Shlomo Carlebach/Eitan Katz style, with some additives. Anyone who appreciates that style of song can more than appreciate this song. Kessin has the perfect voice for this genre. The guitar strumming behind his voice throughout the song is very befitting. It’s my least favorite song on the album, but I still enjoy it, that’s saying something.

Bye Bye Bye: (HOT) We all had the pleasure of hearing this song already. A rocking song composed by David Kaufman. Shua uses a Chassidic pronunciation for this song as well. It really would be Bay Bay Bay, but with this change in pronunciation, it sounds like Bye Bye Bye. When I first heard this song, I’ll be honest, I didn’t like it. However, after the umpteenth time playing it, I fell in love with it. Now I can’t stop singing it, just ask my wife. She was going to send me “bye bye bye” if I didn’t stop. :P A terrific song to close up a spectacular debut album.

HOT = 9

MILD = 2

COLD = 0

Conclusion:

Go to the store now! Go buy it now! Why are you still sitting at your computer now? Bye Bye Bye!!! :). You can also buy it on Mostlymusic.com through this link, Shua Kessin – Lo Lahitya’eish.

Here the audio sampler here.

It’s finally here! Lo Lihitya’eish. This debut album from Shua Kessin features 11 tracks. 9 of the tracks are composed by Shua, 1 by Yossi Toiv (Country Yossi) and this track, Bye Bye Bye, composed by David Kaufman. (Be’eilokim, Hareinu Mezamin, Hinei) This album is being delivered to stores as we speak. It’s also available online at MostlyMusic.com (http://www.mostlymusic.com/shuakessinlolihityaeish-p-4305.html) you can purchase the CD or download the album with a full PDF booklet!

Please also enjoy an interview which was in the recent Country Yossi magazine.

For updates and more upcoming information, please go to http://www.ShuaKessin.com or follow Shua at http://www.twitter.com/ShuaKessin.

For promotional and booking info call 347-678-2536 or email Ozer Babad at Info@OzerBabad.com

Here is the information from Shlock Rock’s website:

Here is the 31st Shlock Rock Release! SHLOCK ROCK NO LIMITS

Anyone paying $15 or more will also receive the CD version of the album shipped to them when it is released on December 3rd of this year! So Enjoy the Music!

Baruch Hashem there were so many different events to be M’sameach Yidden during Chol Hamoed Succos. These Simchas Beis Hashoeiva’s were all very much enjoyed and it seems people have not yet stopped talking about them. Here are the individual links to all our coverage and a few bonus links as well.

Miami boys Choir YOVO Chol Hamoed Show with Miami and Baruch Levine and The Alumni

YBC LIVE SUCCOS with Yeshiva Boys Choir, Dovid Gabay, Yaakov Mordechai Gerstner, Yosef Chaim, & Dovid Stein

LIPA Mit FRIED Succos also special guest Yosef Chaim

Photos from Hamaspik Event featuring Dovid Gabay, Berri Weber, Miami Boys Choir, Yoni Ziegelbaum

Shlomo & Eitan Katz in Israel

Mendel the Sheichet in Pittsburgh

Pruzansky in Chicago

Eli Marcus in Philadelphia

Ezras Nashim concert at the Millenium Theater in Brighten Beach with Chanale and Kineret (external link)

The orchestra consisted of Moshe Pekkar and Kivi Bernhardt on Keyboards, Rabbi Mordechai Rosenberg on Sax, Rabbi Sholom Cohen on Clarinet, Yitzchok Cowen on Trombone, Hatomim Yitzi Rothman on Drums and vocalist Mendel “the Sheichet” Markel.

As the niggunim were played to pulsing colored lights, the community engaged in lively dancing in the streets which were blocked off courtesy of the Pittsburgh Police Department. Refreshments were generously sponsored by Mr. Hertzl Fakiro.

See more photos at JoshsJm site.

They’ve been around for so long that there aren’t many of us who can remember a life without Miami Boys Choir.  And after all this time, we still keep coming back for more.  In this case, it was the annual Succos concert, held this year at the charming State Theater in New Brunswick, New Jersey.  Every single one of the 1800 seats in the theater was sold and there has been some buzz online about staging a second concert on 24 hours notice.   Let’s just say it turned out to be a night to remember in some very unexpected ways.  Intrigued?  Good.  Keep reading.

A few things I need to say up front.  For starters, I am writing this review at an obscene hour of the morning, so forgive me if I don’t mention which album each song is from.  Miami has released so many albums, it would take a while to track down each song.  Given that everyone wants to read concert reviews right away, I am not going to spend the time naming each album.  Next:  the crowd was a little different than what you normally see at a concert, in that there were no white shirted yeshiva bochurim dancing in the aisles, cheering and singing along.  From the pictures I have seen of the audience at the Fried mit Lipa concert it looks like they all went there.  A pity that two such good concerts were scheduled for the same night.  But not to worry.  Yeshiva bochurim don’t have the monopoly on being leibidic and there was plenty of energy in the audience.

Yerachmiel Begun seems to have heard our disappointment with the pint sized band he used at the Pesach concert, and this concert featured five musicians:  keyboard, drums, bass guitar, guitar and another musician who played assorted horns.  The sound  level and mixes were better at this concert than at most I have heard and the lighting was used nicely to enhance the concert.

Aside from the boys, this years concert also featured singer/composer Baruch Levine and The Alumni, who were the opening act.  While MC Yoily Karr did announce their names, I didn’t catch them and couldn’t tell you for sure who they were.   They clearly have nice voices and were enjoyable to listen to.  They also seemed to have brought their own cheering section with them.  This was one leibidic crowd.  Their first song was Ilu, probably the only song I can remember that The Alumni ever sang.  They followed that up with Miami’s Mehaira which they then took into P’sach Libi.  While the Alumni were perfectly fine, they are not exactly a household name and I would have enjoyed if they had added one more performer to the roster that was a little more well known.

Baruch Levine, as usual, was hartzig, sweet and a welcome treat.  His first song Shalom, from his Chosson HaTorah album, was one of the few songs he did where he didn’t play piano, which is how I enjoy Baruch Levine most.  After that it was piano time and Levine performed my favorite song from his last album, Ki Hu.  One thing I’ve noticed about Baruch Levine is that when he comes on stage, he always takes a water bottle with him and tonight was no exception.  He opened up the water bottle, poured it into a glass and announced “Mommy, this glass is for you” as he explained to the audience that his mother was in the audience and she always tells him to drink out of a glass instead of straight out of the bottle.  Next, Levine sang Kol Haberuim and the audience clapped enthusiastically along with him as he sang the high part.

And then it was time for the main event.   So many things I want to say before I get down to what they sang.

First of all, I estimated that there were nineteen boys in the choir.  (I could be wrong.  They kept moving around.)  I’m guessing there were about eight younger boys and the rest seemed to be anywhere from seventh through ninth grade.  I know that at least two of those boys are in high school already.   Which means that while right now Begun has some seasoned performers, he is going to have to start cultivating the younger kids.  The ones he had on stage tonight were all terrific and showed lots of potential.

Second, because there weren’t a lot of boys on stage, each kid had his own mike.  I don’t think I’ve ever seen that before and they were able to get a fuller sound out of the kids.  There were a few instances where a few mikes weren’t working well, but all the issues were worked out quickly and painlessly.

Third, no mikes on the stage gave the boys a lot more room to dance. And wow, did these boys dance.  This wasn’t just motions to go along with the music, these kids were REALLY moving up there.  There were times when they appeared to be simcha dancing, but there were other times where some of the moves had just a little too much movement in them for my taste.

Fourth:  Costumes.  While I can’t tell you that I would ever want to see my son wearing sequins, the idea that the boys were changing their costumes and coming out on stage looking completely different from time to time added to the professionalism of the choir.

Fifth:  Music.  There is no question that not all the music that you heard was being played live.  Stay tuned for more on that one.  There were a few times during the concert when I wondered if there was also some choir on the soundtrack, but I honestly don’t know.

Sixth:  Names.   I’m sorry, I just don’t know most of their names.  They did introduce the boys at the end, but there is just no way I can tell you who sang which solo on which song.

Seventh:  My apologies to Yerachmiel Begun.  I was so busy keeping track of songs, costumes and all the other details, while at the same time trying to video that I wasn’t able to keep track of when he came out and sang.  Suffice it to say that he made occasional appearances and enhanced the boys performance, really giving them the opportunity to be the stars of the show.

Eighth:  There is something so professional about a boys choir performing and doing a great job on stage without anyone up front directing them.  I can’t think of another choir that does that.  Again, these boys are real pros as became obvious a little later.  No hints  yet.  Just keep reading.

The choir’s opening number was Galey, from Miami Yovo.  The boys came out dressed in either shiny silver shirts with maroon ties or shiny maroon shirts with silver ties amid swirls of fog and lots of lighting schtick.  A four level riser in the middle of the stage gave the boys a lot to work with in terms of placement and choreography and they used the space well.  It looked to be the same arrangement that they used in their Pesach concert, but do you really expect a concert with no repeats from the last concert?  As long as they mix things up a little, I don’t mind.

Their next song was Yerushalayim, which, unfortunately, did not feature Yoshi Bender doing his chazanus at the beginning.  A word about Yoshi Bender.  Now a ninth grader, his voice has gotten very deep and while his solos were excellent, he had very few of them.  But it didn’t matter.  That kid owned the stage and is an unbelievable dancer.  I can’t imagine what it’s like for a boy to deal with the idea that he can’t hit the notes he used to be able to but Yoshi Bender seemed to handle it with grace and dignity and there were many moments during the night where the crowd was calling his name.

Next were some oldies:  Al Eileh from Miami Moshiach and Nikadesh from Shiru Lo.  Both slow songs, both pretty, both gave the boys a little bit of a chance to rest as they arranged themselves on the risers and took advantage of an opportunity to sit down.  Baavur David featured only five boys:  Yoshi Bender, Yair Kenig, Jeremy Hershkowitz, David Hershkowitz and Moshe Yaakov Braun.  (I may have gotten the names  wrong.  Someone please correct me if I did?)  Yerachmiel Begun came out and gave a short d’var Torah on Esa Einai, before the boys began the song, all wearing suit jackets over their shiny shirts.  The last song before intermission was Moshiach and watching those boys, you’d think they had springs for legs.  To be able to sing and dance like that all at the same time?  Wow.  I don’t think I had their energy at that age!

After a brief intermission The Miami Alumni were back and I definitely enjoyed them more their second time on stage.  They sang a few Carlebach songs:  Oseh Shalom, Esa Einai and Shomrim Hafked.  After seeing the boys choir perform, it was funny to see the Alumni and realize that one day, these boys will be grown men in suits,  sporting five o’clock shadow.

Baruch Levine returned to the stage with a story of how he asked Abie Rotenberg the secret of song writing and he replied that the music should be an expression of the meaning of the lyrics.  Levine acknowledged his parents, in laws and children, all of whom were in the audience and expressed the hope that the words of his next song, obviously V’Zakeini, would one day be fulfilled.  Instead of a sweet voiced boy joining Levine for this song, it was Yerachmiel Begun who was invited onstage and the duet was truly lovely.

Next, Levine told a story about a song that he wrote on Simchas Torah almost two years ago.  As he stood in Shul at the end of layning, the music for the song Chosson Hatorah came to him, but being yom tov, he was unable to record the music anywhere, so he spent the rest of the day singing the song to himself, in the hopes that he wouldn’t forget it.   Levine sang energetically and the crowd was more than happy to help him out.

Miami was back next with a medley of older songs including, Lo Yisa Goy, Od Yishama and Ki Hashem, among others, each song featuring a group of boys in different costumes.

Remember at the beginning when I told you things were going to get really interesting?  Well, here we go.  Fasten your seatbelts.

It’s kind of ironic that the words to this song were Me’im Hashem, because what happened next truly was. The boys came out in a costume I have never seen before:  a navy blue vest with a white v-neck.  Begun introduced the song and the crowd was clapping enthusiastically as the boys began singing.  Now, I will tell you that there were definitely moments in the concert when it was obvious that some of the music that you heard was coming from a soundtrack.  How can you hear violins when there are none on stage?  But I don’t think that’s a big issue.  At least it wouldn’t be if something hadn’t gone wrong with the soundtrack halfway through the song and it just stopped in the middle of a solo.  You can see the soloist looking around in confusion, but he had the presence of mind to just keep going.  It took just a few seconds for Begun to start singing along with the boys from backstage.  You have to understand, it wasn’t like there the band was playing in addition to the soundtrack.  ALL the background music was on the soundtrack and it just stopped.  Completely.  You can see the kids looking around in confusion, but they kept their cool and just kept going.  The audience started clapping in time to the beat to keep the kids going and they did just that, first with Begun singing in the background and eventually with some accompaniment from the band.  The fact that Begun did not come out on stage to rescue the boys tells you just how much confidence he had in them to handle the glitch and they more than rose to the occasion.  The song finished amid thunderous applause from the audience.  Don’t worry.  I got the whole thing on video.  :)

Next up, Revach.  For me, I don’t think Revach will ever be better than it was on the Miami Revach DVD, but I know.  You can’t compare live to a DVD.  The stage crew rolled out the piano again, but not for Boruch Levine this time.   It was for Yair Kenig singing the heartfelt Azor Na, accompanied by Stanislov Nikolov on the violin, truly a hartzig and beautiful moment.  Kenig is clearly a very talented boy.

Finally, finally the song everyone was waiting for:  Yovo.  The song began with the boys, newly changed into black sequined vests, lying on the floor amid swirling fog and as the song began they rose up slowly, as if rising up from the dead.  The song was awesome, so good in fact that I thought it was the finale.   The boys captured the energy of the song and it sounded almost as good as it did on the CD which makes me wonder if there was a soundtrack behind the boys to capture the fullness and the many harmonies of the song.  The song ended, unfortunately, with the boys laying back down on the floor amid the swirling fog and it reminded me of the graveyard sequence in Fiddler on the Roof.  I didn’t have a problem with the image of the boys simulating Techiyas Hamaysim but the idea of these boys going back to their graves was a little creepy for me.

After the ebullient Yovo, the boys needed a break and they followed up with Mehaira from their latest album, sitting on the risers, starting and ending the song with their heads down on their arms.

Before the finale, Begun took a minute to introduce all the boys to the audience and then he told the audience he wanted everyone on their feet for the finale. The mikes got turned up really loud, there were lights swirling all over the place and the room really rocked for Ayom V’Nora.  I have to tell you that I don’t get the idea for a really leibidic song with the lyrics “Ayom V’nora”, but what do I know.  It’s not like I’m a lyricist or anything.

And that was it for the night.  All in all, the concert, the first Miami concert I have ever been to, was a great night, full of fun and great music.  The boys were consummate professionals and did an an absolutely terrific job.