|The View from here.|
Statman and Feldman were among the first musicians to dig into the local roots of Yiddish music back in the 1970s, a period when performing Yiddish instrumental music was in deep decline. They did extensive research with clarinetist Dave Tarras while he was still in his prime, Statman essentially inheriting both the style and, eventually, the clarinets of the great musician. The experience led Zev to a career as a highly respected musicologist - his study of Ottoman classical music is the standard text for the field, while his recent "Klezmer: Music, History, and Memory" is really the most successful attempt to produce a history of the genre. I first knew Statman as a bluegrass mandolinist who would show up at the Eagle Tavern jam sessions on 14th street - he played with the legendary Wretched Refuse String Band. I had bumped into Zev via the Balkan Arts Center Friday dances at St. John the Divine Church near Columbia University. Zev and Andy had been studying Azeri Jewish music with Zebulon Avshalomov and performed at the Balkan Arts Center's 1975 festival.
In 1978 Zev and Andy recorded one of the first "klezmer" records released during the revival period, presenting a traditionalist arrangement of Andy's clarinet or mandolin backed by Zev on tsimbl (small cimbalom.) Only the Berkeley, CA based "The Klezmorim" had produced anything considered "Klezmer" music, and that was based on learning from old 78 rpm recordings. "Jewish Klezmer Music" by Zev and Andy sounded like two young virtuosos coached by living master musicians. The duo performed at a 1978 concert sponsored by the Balkan Arts Center, the predecessor of the modern CMTD at the Casa Galicia, an ethnic club for Spanish immigrants that subsequently became the rock club The Ritz. I was in the audience that day - sitting up on the balcony.
After their set, Tarras himself performed in a trio with accordion and drums. After the concert was over I approached Dave Tarras and told him how much I appreciated his music. He look at me, 19 years old... and said "Are you Jewish? OK.... See those drums? Take them out to the car." Yes, I did meet the legendary Dave Tarras, and yes, he treated me as a dumb kid. Par for the course. (Compare this to my backstage meeting in 1972 with Tom Robinson, a nonagenarian New Orleans trombone player who was the last surviving member of Buddy Bolden's Band. He gave me my first beer.)
I know that both Zev and Andy have busy careers and new musical directions, but it would be wonderful for these two to record a follow up album to Jewish Klezmer Music after nearly forty years. After a concert set on clarinet and tsimbl that some would describe as too fucking short, Prof Mark Slobin joined Statman and Feldman onstage for a discussion. One point they made is that before 1975, nobody used the term "klezmer" to refer to Yiddish instrumental music. Klezmer refers to the caste of professional musicians who play the music, not the musical genre itself, but since "Jewish Klezmer Music" was one of the very first LPs that anybody bought for Jewish music, the name stuck and for the next four decades the question of "what is klezmer music" inspired thousands of improvised and inaccurate answers until finally Zev published "Klezmer: Music, History, and Memory" (I think that now would be a proper time to address the fact that when Blogger spellchecks Klezmer it provides the alternative term "Kleenex" and so in the future all inquiries to me will be addressed regarding Kleenex Music.)
|Upskirt view of some very hot pastrami.|
|Fumie just after shaking hands with Johnny Weir, figure skating champion.|
|Why use a picture of a car? Really, we endorse Shake Shack burgers.|
|The only good reason to drive.|