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The Klezmatics take one of the wildest approaches to klezmer, the traditional dance music of the Eastern European Jews. Although their music is heavily influenced by the recordings of Abe Ellstein and Dave Tarras in the 1940s and 1950s, their lyrics comment on a wide variety of political and social issues and have led the group to be labeled... [+] Read More

The Klezmatics take one of the wildest approaches to klezmer, the traditional dance music of the Eastern European Jews. Although their music is heavily influenced by the recordings of Abe Ellstein and Dave Tarras in the 1940s and 1950s, their lyrics comment on a wide variety of political and social issues and have led the group to be labeled "the planet's radical Jewish roots band."

The original members of the Klezmatics -- Dave Lindsay (bass), Rob Chavez (clarinet), Alicia Svigals (fiddle) -- were recruited through an ad in the Village Voice in 1985. Trumpet player Frank London of the Klezmer Conservatory Band joined the group soon afterward. Within a few weeks, the band was expanded with the addition of Lorin Sklamberg (vocals, accordion), Margot Leverett (clarinet), and David Licht (drums). Initially calling themselves "Hortzeplotz," they soon renamed themselves the Klezmatics, a play on words inspired by the rock band the Plasmatics.

Despite their off-the-wall approach, the Klezmatics are held in high esteem for their musical virtuosity. The group recorded two albums with classical violinist Itzhak Perlman, 1995's In the Fiddler's House and 1996's Live in the Fiddler's House. In 1998, they collaborated with Israeli vocalist Chava Alberstein on an album titled The Well. In 2006, the Klezmatics released Wonder Wheel, an album seven years in the making that features the late Woody Guthrie's lyrics over Eastern European, klezmer, Latin, Celtic, Afro-Caribbean, and folk-flavored music. ~ Craig Harris, All Music Guide [-] Hide

Naftule Brandwein was not only one of the most influential musicians in the history of Klezmer music but one of this century's truly eccentric personalities. Proclaiming himself, "the king of the Klezmer clarinet", Brandwein brought innovation and excitement to the Jewish dance music that originated in eastern Europe. According to "CMJ-NMR",... [+] Read More

Naftule Brandwein was not only one of the most influential musicians in the history of Klezmer music but one of this century's truly eccentric personalities. Proclaiming himself, "the king of the Klezmer clarinet", Brandwein brought innovation and excitement to the Jewish dance music that originated in eastern Europe. According to "CMJ-NMR", Brandwein was "the Charlie Parker of klezmer, a master musician of the 78 rpm era who influenced everyone in his field who came after him".

As outrageous a personality as he was an imaginative musician, Brandwein often performed with a neon sign, that read "Naftule Brandwein Orchestra", around his neck. In his liner notes to the 1997 album, "King Of The Klezmer Clarinet", Klezmer historian Henry Sapoznik wrote of Brandwein walking onto a stage while wearing an Uncle Sam costume adorned with Christmas lights and nearly electrocuting himself.

One of thirteen children, Brandwein was descended from the Strettener Hasidic dynesty of Rabbi Yehuda Hersch Brandwein of Stratyn, Poland. His father played fiddle and was an improvisatory wedding poet. His older brother, Azriel, played clarinet and served as his first music teacher. Emigrating to the United States in 1908, Brandwein attracted attention as a Yiddish Theater musician. His earliest recordings came as a member of Abe Schwartz's Orchestra, with whom he played until 1923 when he launched his solo career. His spot in the band was taken over by influential Klezmer clarinetist Dave Tarras. Although he played briefly with Joseph Cherniavsky's Hasidic-American Jazz Band in the early-1920s, most of the twenty three tunes that Brandwein recorded between 1922 and 1927 came as a bandleader.

In the mid-1920s, Brandwein's fortune began to sour. Developing a reputation as a "nasty drunk", he failed to appear for numerous gigs. At the same time, his traditional approach to klezmer music began to sound more and more out of date. Anti-immigration legislation passed in 1924 decreased the number of European immigrants who preferred his style of music. Following a recording session in October 1927, Brandwein did not record until 1941. Although he did not live long enough to see the klezmer revival of the 1980s, Brandwein had a major impact on younger generations of musicians. ~ Craig Harris, All Music Guide [-] Hide

The Klezmer music of Eastern European Jews is turned into a springboard for the turbo-charged performances of the Toronto-based Flying Bulgar Klezmer Band. Under the leadership of trumpet player David Buchbinder, the group has earned a reputation for taking a fun-filled approach to this traditional music. The Beat described the band's musical... [+] Read More

The Klezmer music of Eastern European Jews is turned into a springboard for the turbo-charged performances of the Toronto-based Flying Bulgar Klezmer Band. Under the leadership of trumpet player David Buchbinder, the group has earned a reputation for taking a fun-filled approach to this traditional music. The Beat described the band's musical approach as "...mixing the pinpoint precision of a symphony orchestra with a saloon air of unabashed abandon." The musicians of the Flying Bulgar Klezmer Band represent backgrounds in contemporary R&B and rock. Accordion player Sasha Luminsky spent three years with the Soviet Army Orchestra, while, drummer Bucky Berger spent seven years with the Toronto-based punk band Rough Trade. While the Flying Bulgar Klezmer Band's three Juno-nominated albums feature the lead vocals of Adrienne Cooper, Cooper was recently replaced by Dave Wall, a former gospel, soul and R&B singer who had worked as a solo artist and with the Bourbon Tabernacle Choir. The Flying Bulgar Klezmer Band's third album, Fire, was recorded during a May 1996 performance at Toronto's Music Gallery; Tsirkus followed in 1999. ~ Craig Harris, All Music Guide [-] Hide

With his guitar, mandolin, and banjo wizardry, Jeff Warschauer has emerged as one of the foremost Klezmer musicians in the United States. A member of the Klezmer Conservatory Band, Warschauer has helped bring the traditional music of Eastern European Jews to the concert stage. Warschauer has also performed in a duo with Klezmer Conservatory Band... [+] Read More

With his guitar, mandolin, and banjo wizardry, Jeff Warschauer has emerged as one of the foremost Klezmer musicians in the United States. A member of the Klezmer Conservatory Band, Warschauer has helped bring the traditional music of Eastern European Jews to the concert stage. Warschauer has also performed in a duo with Klezmer Conservatory Band violinist Deborah Strauss and has worked with Zalman Mlotek, Michael Alpert, Josh Waletzky, and Dutch Yiddish vocalist Shura Lipovsky. His compositions have been featured on the soundtracks for Public Radio International and HBO. Warschauer has taught for many years at Klez Kanada and the Klez Kamp Yiddish Folk Arts program. While the Chicago Tribune called him a "virtuoso of the first order," Acoustic Guitar declared that his "range of technique and emotion is nothing short of astounding." ~ Craig Harris, All Music Guide [-] Hide

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On this Western market debut release of Taraf de Haïdouks, the supergroup of Romanian gypsy music in recent years attempts to represent all of the major styles of Romanian music as well as gypsy musics from surrounding areas. The ability to switch between a heart-wrenching ballad and an ultrafast instrumental romp again and again is really one... [+] Read More

On this Western market debut release of Taraf de Haïdouks, the supergroup of Romanian gypsy music in recent years attempts to represent all of the major styles of Romanian music as well as gypsy musics from surrounding areas. The ability to switch between a heart-wrenching ballad and an ultrafast instrumental romp again and again is really one of the specialties of the group, which exploits that specialty to good use here. The violins rage when necessary and provide a light backing when necessary. The cymbalum can be used for a bouncing background or for a seething solo passage. Listener be prepared: You're in for a joyride through the musical traditions of Eastern Europe in less than an hour. Given the sudden popularity of Taraf de Haïdouks in the worldwide marketplace, one might wonder why the buzz erupted as it did. This disc answers that question quickly. ~ Adam Greenberg, All Music Guide [-] Hide

The sophomore release (in America, at least) by the great Bulgarian saxophonist Yuri Yunakov and his ensemble after the days of the Trakija orchestra. This is wedding music at its best, as Yuri and his band rush through a number of dances at breakneck speed, warbling their instruments all the way. The parallel lines played by Yunakov and Neshko... [+] Read More

The sophomore release (in America, at least) by the great Bulgarian saxophonist Yuri Yunakov and his ensemble after the days of the Trakija orchestra. This is wedding music at its best, as Yuri and his band rush through a number of dances at breakneck speed, warbling their instruments all the way. The parallel lines played by Yunakov and Neshko Neshev on accordion work perfectly as they rush through a complex passage together, only to break apart for a short passage of counterpoint. Also, the vocal work of Catherine Foster and Carol Silverman provide a worthwhile listen as they lay out a thick layer of melody over the top of melody and harmony alike. While Bulgarian vocal music has taken the world music scene by storm for some time, wedding music has slowly built up a fanbase due to its virtuosity and speed. Yunakov has been at the forefront of this movement, and shows off just why he is regarded as a master on this album. It would make a good addition to those interested in Balkan music, and a good starting point for the uninitiated, as it shows off the range of abilities from a virtuoso in the genre. ~ Adam Greenberg, All Music Guide [-] Hide

Subtitled "Hungarian & Gypsy Fiddle Music and Songs," this is a more eclectic and swinging release than most such recordings, including both instrumental and vocal workouts on traditional numbers (as well as Bela Bartok's "Romanian Dance #4"). Gregor Schafer's jazz-derived double-bass makes this more approachable to non-tradition-bound listeners... [+] Read More

Subtitled "Hungarian & Gypsy Fiddle Music and Songs," this is a more eclectic and swinging release than most such recordings, including both instrumental and vocal workouts on traditional numbers (as well as Bela Bartok's "Romanian Dance #4"). Gregor Schafer's jazz-derived double-bass makes this more approachable to non-tradition-bound listeners than much Eastern European fiddle music, giving it a rhythmic pulse; Anti von Klewitz's low vocals have an interesting spontaneous and worn quality. ~ Richie Unterberger, All Music Guide [-] Hide

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