APRIL 27TH, 2015
Herb Pedersen (April 27, 1944) is an American musician, guitarist, banjo player, and singer-songwriter who has played a variety of musical styles over the past forty years including country, bluegrass, progressive bluegrass, folk, folk rock, country rock, and has worked with numerous musicians in many different bands.[wikipedia]
7:00pm BLUEGRASS SOUP JAM every Tuesday
PEOPLE GET READY FOR THE
10TH EVER LOS ANGELES OLD-TIME SOCIAL
Folks, this is a big deal. Ten years ago, a homegrown Los Angeles old-time music festival sprouted in Historic Filipinotown (just up the hill from downtown Los Angeles) from a desire to have an old time party ahead of the Topanga Banjo - Fiddle Contest. The First Ever Los Angeles Old Time Social (LAOTS) was a Friday night concert and then a Saturday backyard jam party/ square dance and was inspired by the spirit of the Portland Old Time Gathering and Berkeley Old Time Music Convention festivals. This is the tenth EVER and it’s time to really celebrate!
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.
- FOLK BEAT / Audrey Coleman
- GRACE NOTES / Linda Dewar
- JIGS & JAMS / Roland Sturm
- HOW CAN I KEEP FROM TALKING / Ross Altman
- MIGHTY FLOWIN' RIVER / Tom Cheyney
- OLD TIME ORACLE / David Bragger
- REED'S RAMBLINGS / Dennis Roger Reed
- SINGIN' THE MOON UP / Susie Glaze
- Archived Columns
- Folk Happenings
- About Us