April 26th - 3:00pm
(Doors open 2:30pm)
Santa Monica Bay Woman’s Club
1210 4th St., Santa Monica, CA 90401
with Tracy Newman – MC - 'Banjo Gal' Donna Lynn Caskey
- Rowan Storm - Tom & Patrick Sauber - Joe Fontenot
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Click below more information and YouTube VideosRead more: 2015 Benefit Concert
of all the artists who will be performing at the FolkWorks Benefit Concert
THE LITTLEST BIRDS
Cello and Banjo duet with a unique sound blending elements of bluegrass, folk and old-time
April 10th - 8:00pm - House Concert in Van Nuys
General Admission: $15
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By Mail: FolkWorks
PO Box 55051 Sherman Oaks, CA 91413
Produced in conjunction with Noble House ConcertsRead more: THE LITTLEST BIRDS
MARCH 26TH, 2015
Jerry Silverman (3/26/1931) is an American folksinger, guitar teacher and author of music books. He has had over 200 books published, which have sold in the millions, including folk song collections, anthologies and method books for the guitar, banjo and fiddle. He has taught guitar to hundreds of students. He is currently a folk performer and lecturer at schools, universities and concert halls in the U.S. and abroad. ... [wikipedia]
7:30pm HOLLY NEAR
8:00pm CHRISTINE LAVIN
TAKING THE CONFUSION OUT OF FUSION
Decades ago I used to have a beef about the rock-style bass beat too often introduced into folk music performance. Living in Montréal, where traditional folk music groups abounded, I noticed a trend that infuriated me. A group that had a warm, vibrant acoustic sound evoking rural French-Canadian roots would acquire a trap set. Presto! Their sound would become more contemporary. Now the musical ensemble could proudly bid for attention alongside rock groups. I assumed these groups were aiming to expand their audience. That’s what the word fusion meant to me. I was vaguely familiar with the term as a reference to the combination of disparate musical elements. If the above was an example of fusion, then I hated fusion.
Anyone for Yiddish Tango?
Put the two words “Yiddish” and “tango” together, and some might respond, “You’re joking?” But history bears out a strong connection between the two. These will be evident in the upcoming performance of Yiddish Tango Club at the Skirball Cultural Center on Thursday evening, August 21. Having investigated Vietnamese tango in my June column, this gives me yet another opportunity to dig for treasures in music history.
But first here’s the scoop on the show. Virtuoso klezmer clarinetist Gustavo Bulgach, who launched the Yiddish Tango Club project in 2012, will lead his ensemble in accompanying tangos with lyrics written in Yiddish as well as Argentine tango instrumentals from the early days of the genre and the innovative tangos of Astor Piazzolla. They also will be performing pieces from the klezmer repertoire, freilachs (happy, fast-paced numbers) and nigunim (improvised vocal numbers with roots in religious and particularly Hasidic texts and music). Along with the Bulgach on clarinet and saxophone, the multi-ethnic ensemble includes Andrew Markham on piano, Ken Rosser on guitar, Hiroo Nakano on drums, Hector Pineda on bass and Mariano Dugatkin on accordion and that tango signature instrument, the bandoneón.
Interpreting the lyrics will be guest artist Divina Gloria, who, as her stage name suggests, is larger than life; I recall her vibrant vocals in a Yiddish tango-themed concert at Disney Hall’s Redcat Theater several years ago. Born Martha Gloria Goldsztern, the Argentine vocalist is equally mesmerizing interpreting traditional Yiddish songs, tangos in Spanish and Yiddish, and jazz and pop material. Her background includes numerous appearances as a dramatic actress on stage, screen, and television in Argentina since the mid-seventies. Together, Divina Gloria and Gustavo Bulgach are sure to ignite the Skirball stage. The outdoor setting will allow room for spontaneous dancing by audience members.
Now to history. The roots of Yiddish tango extend from Argentina to Western and Eastern European centers, and New York. Researcher Lloica Czackis traces its path in articles published in the Jewish Quarterly (2004) and European Judaism (2009). In her opening to the former article, she comments that tango music and Jewish folk music share the prominence of the violin as well as an indefinable sense of yearning. The Argentine tango, born in the brothels of Buenos Aires in the first decade of the 20th century, emerged at a time when the Jewish population of Argentina was beginning to swell. The East European Jews fleeing the brutal Russian pogroms of the 1880s initially resettled in North America but before the end of the century Argentina became an equally attractive destination. Thus, whereas in the 1880s there were about 1500 Jews in the entire country, by the 1920s a thriving Jewish population of mainly Ashkenazi origin had reached 200,000 in Buenos Aires alone. The Jewish community of Buenos Aires boasted a rich cultural life mainly conducted in Yiddish. But this was no ghetto. Jewish immigrants also learned Spanish and interacted in matters of business and culture with the outer society. After the tango gained status from its enthusiastic reception in Paris, Jewish musicians began playing in tango orchestras. When, thanks to the interpretive talents of Carlos Gardel, the tango became a form of passionate vocal expression, Jewish lyricists penned tangos with Spanish lyrics.
The next step was the composition and performance of tangos in Yiddish. In Eastern Europe, where tangos were already performed in Polish and Russian due to the success of the genre in Paris, Yiddish theater troupes composed their own tangos in addition to adopting the Argentine Yiddish tangos. By the 1930s, Yiddish Theater companies from both Buenos Aires and Eastern Europe were touring to New York, performing tangos and other genres to great acclaim. Some of the most popular East European tangos Czackis cites are from the Ararat Yiddish revue company of Lodz: Ikh ganve in der nakht (“I steal at night”) and Tsi darf es azoy zain? (“Must I be this way?”). Touring companies from New York, Eastern Europe, and Buenos Aires cross-pollinated creatively until the outbreak of the Second World War.
The tango has always had its dimension of emotional darkness, but the era of the Holocaust was its darkest chapter. Jewish musicians and lyricists living in Nazi-imposed ghettos in Vilna, Kovno, Lodz, Bialystok and other urban centers composed, among other songs of resistance, tangos bitterly decrying the conditions under which they struggled to survive. This also occurred in concentration camps. Most of these compositions were lost, but Shmerke Kaczerginsky collected fraction of them was and in 1948 published Lieder fun di getos und lagern (Songs from the Ghettos and Concentration Camps). More macabre still, it is documented that Nazi officers regularly ordered concentration camp orchestras, the lagernkapellen, to play tangos to accompany the marching of prisoners to their deaths. This nightmarish scenario was immortalized in the poem Todestango (Tango of Death) published by Paul Antschel in 1947.
It is amusing to hear the Yiddish tangos that emerged from Jewish communities that flourished in Buenos Aires, Europe and New York through the 1930s but also it is necessary–and I don’t know if Thursday’s performance will represent it—to acknowledge tangos that grew in the desert of despair brought on by the Holocaust. In either case, Yiddish tangos are no joke.
The Yiddish Tango Club performance officially starts at 8:00pm on Thursday, August 21 at the Skirball Cultural Center located at 2701 Sepulveda Blvd. (near Mulholland Drive exit), Los Angeles 90049. The event is free. Doors open at 7:00pm. Apparently Gustavo Bulgach will be informally sharing vintage Yiddish tango recordings between 7:00pm and 8:00pm.
Audrey Coleman-Macheret is a writer, educator, and ethnomusicologist who explores traditional and world music performed in Southern California and beyond.
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