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sweetness of Shabbat into the coming
week as the worshipper savors the
spices within."
Best known for her work in fibers,
Golub has won numerous awards,
including two from the Interfaith
Forum of Religious Art and Architec-
ture. Her works are included in the
permanent collection at the Jewish
Museum in New York, as well as in
other institutions. She has been com-
missioned to create Jewish ceremonial
textiles by more than 40 American
synagogues. Her studio is in Moun-
tainside, N.J.
The pomegranate-shaped spice con-
tainer by runner-up Burde, a yeshiva
student in Israel, is made of copper
and sterling silver. Newman of Oak-
land, Calif., the other runner-up, sub-
mitted a stainless-steel floral entry.
Torah coverings are sought for the
next Spertus Judaica Prize competition
in 2000.
— Esther Allweiss Tschirhart
"The Havdalah Spice Con-
tainer: The Philip and Sylvia
Spertus Judaica Prize Exhibition"
will remain at the Spertus Muse-
urn through June 20, 1999. The
museum, which contains the
most comprehensive Judaica col-
lection in the Midwest, is located
at 618 S. Michigan Ave., in
Chicago. For further informa-
tion, call the museum at
(312) 322-1744 or visit its Web
site at www.spertus.edu .
New On CD
years or so, the musical tradition has
rebounded, so much so that klezmer
ensembles — most notably the Klez-
matics and the Klezmer Conservatory
Band — have become as plentiful as
tulips in April. Even violinist Itzhak
Perlman got into the act with his
album and video In the Fiddler's
House.
In this crossover-crazy musical
world, it's no surprise that jazz and
klezmer have been fused by several
groups, but none has done it so suc-
cessfully as the Andy Statman Quar-
tet. The pairing of the two forms isn't
so odd, for they're both highly rhap-
sodic and improvisatory.
In his latest release, The Hidden
Light (Sony Classical), Statman, who
plays clarinet and mandolin, injects
klezmer with spiky rhythms and har-
monies while still being reverential to
the ancient tradition. Some are Stat-
man's original compositions, but sever-
al are centuries old.
The Sabbath hymn "Come, My
Beloved" ("Lecha Dodi") is solemn,
but the rhythms are bent ever so gen-
tly, resulting in a syncopated fantasia.
In "Shamil's Song," an opening string
bass suggests a smoky nightclub num-
ber until Statman's plaintive clarinet
enters, only to conclude with a funky
flight of fancy. "Farah Adumah" ("The
Red Heifer") is a lively conversation
between the clarinet and drums. Stat-
man shows his fondness for klezmer's
roots on the title song, while the
"Heritage Waltz," written as the theme
music for the PBS series "Jewish
Cooking in America," brings the disc
to a lilting conclusion.
Statman is capably assisted by
pianist Bruce Barth, bassist Scott Lee
and percussionist Bob Weiner.
— Reviewed by George Bulanda
Hidden Light; The Andy Statman
Quartet; Sony Classical
The klezmer tradition can
be traced back to medieval
Europe, but it reached its
greatest flowering during the
19th and early 20th centuries.
With the large influx of East-
ern European Jews to this
country, klezmer flourished
here during the 1920s and
'30s. But with the homoge-
nization of the American cul-
ture, klezmer faded from pop-
ularity, becoming almost
quaint. Instruments such as
the accordion and clarinet
also were deemed a little
square for contemporary ears.
However, for the last 15
Andy Statman: Exploring "The Hidden Light."
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DETROIT
JEWISIIIIEWS
11/13
1998
Detroit Jewish News
107