c Sieren

The Bride
Unfastens Her Braids, the Groom
Faints: Ladino Love Songs (New

ENEZIA

BEN-ZAKEN, ETTY:

tional klezmer. Leverett, an original
Klezmatic who now splits her time
between Kapelye and Mikveh, works
Albion).
the whole range of the instrument
Torrid stuff, this. Ben-Zaken has
with equal facility and has as sure a
one of those husky, smoky alto voic-
grasp over its expressive voice as any-
es like the great flamenco cantaoras,
one working in the genre. She brings
and she wields it with real power.
new insight to old chestnuts like
The instrumental sound, from the
"Gann Nign" and the obligatory "Firn
Ensemble Yat•n At•n, is highly remi-
di Mekhetonim Aheym." There is able
niscent of Renaissance dance music,
support from an excellent group of
like many bands in this genre. This
musicians, particularly Mimi Rabson
is a smoldering recording
on violin. It's an absolute
that manages to bring up
must for anyone with an
GHETTO TANGO
unfamiliar material and
interest in or taste for
•
avoid the air of sameness
klezmer clarinet.
that too often creeps into
this genre by, shall we say,
LEVY, MARK: IM a Little
visitors.
Tailor: Yiddish Work Songs
(Mitzvah Music).
BUDOWITZ: Wedding Without
A wonderfully pro-
a Bride (Buda Musique).
grammed and performed
The brilliant European
collection of songs about
band recreates the experience
work and struggle by
of an Old World wedding,
singer-guitarist Mark Levy.
complete with badkhones, or
Levy has a rich, pliant
rhymed chanting that the
baritone, reminiscent of
wedding jester (badkhan)
Israeli folk singer Hillel
writes about the people at
Raveh (look in your par-
the party. As with their first
ents' record collection —
CD, the sound is not what
they'll have some of his
you are expecting. The tradi-
recordings as half of Hillel
tional Eastern European
and Aviva), and an intelli-
klezmer sound is driven by
gently percussive acoustic
tsimbl and violin, with brass
guitar style. The songs are,
and clarinet taking a distant
for the most part, unfamil-
back seat. A magnificent
iar and Levy gives them an
,
piece of historical recon-
impassioned, moving read-
struction that is also a pleas-
ing. Granted, I'm a sucker
ure to listen and to dance to.
for any recording of "Mayn Rue
Plats," but his is really fresh.

COOPER, ADRIENNE AND ZALMEN
MLOTEK: Ghetto Tango: Wartime

Yiddish Theater (Traditional
Crossroads).
In one of the most famous moments
in Claude Lanzmann's film Shoah, a
former Warsaw Ghetto fighter says, "If
you could lick my heart, it would poi-
son you." I thought of that quote as I
listened to this magnificent but relent-
lessly disturbing record. Cooper and
Mlotek are two of the best that con-
temporary Yiddish music has to offer,
and this collection of songs from the
ghettos of the Nazi era is brilliantly
performed. As might be expected,
every song here is corrosive, even the
lullabies carry a powerful accusatory
charge. A great record but certainly
not a comfortable one.

LEVERETT, MARGOT:

The Art of

Klezmer Clarinet (Traditional

Crossroads).
A masterful showcase for one of the
strongest voices on clarinet in tradi-

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LONDON, FRANK, LORIN SKLAMBERG
AND URI CAINE: Nigunim (Tzadik).

A masterpiece. Three heavyweights
combine forces for a set of Chasidic
tunes performed with extraordinary
power. Impeccable playing and
Sklamberg's reedy tenor work perfectly
here. If you are serious about Jewish
music, you should have this record.

METROPOLITAN KLEZMER, FEATURING
ISLE OF KLEZBOS: Mosaic Persuasion

(Rhythm Music).
It sure didn't take long for these guys
to emerge as one of the best traditional
klezmer bands around. Their first CD
served notice that they were a force to
be reckoned with and there sure wasn't
a sophomore jinx. They have a tighter,
more unified sound than ever, with
leader Eve Sicular booting things along
from her drum kit. The band can han-
dle any tempo and a wide range of
moods with equal mastery.

MIXED MEDIA on page 63

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