Review-Sababa! Live at Sinai Temple

It was with some trepidation that I went to see Sababa lead a Friday Night Shabbat Service at Sinai Temple in Springfield, MA last night – especially since I just just posted a review of their new album, “It’s All Good.” After all, they’re not only colleagues, they’re friends. Yes, it was a good review, but as readers know, I can be awfully picky. You’ll note that, after talking with Scott, Robbi, and Steve, that I did update my review. It has always been my policy to offer artists a chance to respond to my reviews, and I’ll make changes to them sometimes on the basis of those conversations, as I did in this case. But enough about the album – which I like. I want to talk about the service they lead last night.

In a word, wow! Through the years, I’ve seen many a performer or band participate in a synagogue service. Sometimes it works really well, sometimes not so well. This worked really well.

The energy in the room was palpable. Steve, Robbi, and Scott connected easily with the congregation, yet at the same time managed to show respect for them. Sometimes, local minhag and visiting artists clash. Not so, in this case. Of course, the situation was helped by the presence and participation of Sinai Temple’s Cantor Martin Levson, who knows the trio. Rabbi Mark Dov Shapiro ably led the service, knowing when to step back and let the music flow. He was also an active and eager singer (as was Cantor Levson.)

The combined experience of Sababa’s members has given them the wisdom to ably craft a workable service, and not turn it into a performance. Far too often, visiting artists or groups overwhelm the service with their own music, disregarding the local minhag. Sababa’s members clearly know how to create just the right mix – giving the congregation its “cats” (some of you may have heard this famous story as told by Rabbi Hoffman-as Tom Lehrer used to say “the rest of you can look that up when you get home .)

I do have a quibble, and it’s one that I have far too often at services. Sababa used a lot of melodies not their own. In fact, there were probably more non-Sababa-created tunes. It would have been nice to hear all those settings attributed (or at least written up in a service program.)

My second quibble is the length of the service. A phenomenon I have observed at far too many congregations, and in particular Reform congregations, are Friday night services that just try to pack too much in. In this case we had Sababa’s participation, along with the congregations youth choir “Shir Fun,” a touching “adult bat mitzvah” for a very special congregation, a blessing and short speech for graduating high school seniors, and a membership pitch. It made for a very long evening. Fortunately, it was all made endurable by Sababa’s presence.

Sababa was given a short period to just sort of “perform” some of their songs, and I think the congregation found their new music as accessible and enjoyable as I did and you will when you hear it on their albums, or live.

Sababa did manage to integrate a few of their new songs into the actual service, and they all worked well. I was pleased to observe that their “Adonai S’fatai” worked well live, as I had it pegged as more of a listening song in the album review.

The participation of the youth choir “Shir Fun” was nice to see (and it gave Robbi a chance to kvell over hearing one of her songs sung by a choir for the first time) though they were not very easy to hear, even given the pretty decent sound system in use. Overall, too, the room audio was a bit on the loud side. While it did help drive the overall ruach in the room, it also left a few ears ringing.

In conclusion, allow me to saw that with Sababa, I don;t think you can lose whether you invite them to your congregation to help with a service, or simply perform a concert. With Sababa, you get three consummate, sensitive, and talented professionals who understand what it takes to connect with people, whether performing, or working to create a spiritual space.

To learn more about Sababa, and booking opportunities, visit their website at http://www.sababamusic.com/

Adrian A. Durlester
©2010

Coming Soon – Reviews of Sababa’s New CD “It’s All Good” Abby Gostein’s “Blessing” and the lastest OyBaby CD

Coming soon: reviews of

• The new Sababa CD, “It’s All Good”
• Abby Gostein’s “Each Blessing”
• Latest Release from OyBaby

Review: Blessings – Peri Smilow

Some years back, just about the same time as the Hava Nashira songleading Workshops at OSRUI started in 1992, a bright star burst upon the contemporary Jewish liturgical music scene in the person of Peri Smilow and her album "Songs of Peace." Peri's golden voice and tasteful production values gave a series of familiar and new songs on the theme of peace a pleasant new presentation.  Her next album, Ashrey, in 1997,  featured the hit song of the same name, the powerful "Song for America, " along with one of my personal favorites, a new setting of "Ha Lachma Anya." Keeping with her 5-year cycle between releases, Peri next gave us "The Freedom Music Project" in 2002. This groundbreaking album features songs of Passover and Civil Rights, sung and backed by a vibrant young choir of Jewish and African-American voices. It's on my "must have" list of albums, and if you don't have a copy, rush right out and get one (or download it!)

Life sometimes intervenes, and Peri couldn't keep to her 5-year cycle for her latest release, but it was well worth the wait. It's so wonderful to hear Peri's golden voice again. This new CD features 8 new songs by Peri, a new setting of the Havdallah Blessings by a young Russian-Jewish-Israeli songwriter, along with two covers, "When I'm Gone" by Phil Ochs, and Janis Ian's "Joy."

Do I like this new album from Peri, and can I recommend it? The answer is an enthusiastic yes! Ask me why, however, and I might find it hard to answer, or at least answer in a way that makes sense. The closest I can come is to say that everything gels and comes together to create a top-notch production. Allow me a brief diversion for an analogy. For years, I had a career in theatrical production. A wise man once taught me about a philosophy which at first I thought was simply about shortcuts and saving time and energy. That philosophy was summed up in the acronym GEFTS - Good Enough For This Show. Despite outward appearances, this isn't about laziness, or getting away with the least possible effort. What it is about, is making sure that all elements of a production strive for the same (realistic, achievable, and communal) quality level. One can have a show with great actors and lousy lighting, or fabulous costumes and awful sound reinforcement. That usually doesn't work well. GEFTS is about making sure that every area strives for the best, without allowing any one area to so far surpass the others that it detracts. Some of the best shows I've seen are those in which all the elements achieve that same quality level. Sometimes that level was great, other times it was only mediocre. Yet even the mediocre productions were so well balanced that they congealed into a well-rounded whole, making them outstanding.

In the case of "Blessings." there's nothing mediocre about it. Every element is superb-songwriting, singing, arrangements, backup, studio production and mastering, etc. Similarly, there's nothing on it that so far outshines everything else that it detracts from the overall effect. Everything on this album is in balance. That's why I like it so much. Every song on the album is a great listen, and many are fun to sing, too!

It’s hard to miss when you’ve got Grammy-winning producer Ben Wisch on your project. Add to that world-class bass player Tony Levin, and the talented Elana Arian singing backup vocals, and you can see why this project came together at a top level, with production values as good as any typical high-end Indie album.

Peri starts off with a new setting of Psalm 96's "Shiru L'Adonai." Peri describes it as an instant camp creation, and it would certainly be fun to sing at camp (or services, or wherever.) Musically, I have a few quibbles. One is with the somewhat Phillip Glass-esque  repetitiveness, and the other with the melodic line, which, while it's aesthetically pleasing from a musician's perspective, I think its similar but not exactly the same lines with close intervals can make it harder to teach and harder to sing correctly. Of course, that's just my perspective. Peri's own liner notes report that just hours after writing and teaching it at camp, it was "performed by the very choir that inspired it." I particularly like the song's bridge, and think it's a great arrangement with superb production values.

The next song is the extremely powerful and emotional "Carry On." Peri's own life's journey has had it challenges, and this song speaks of the inspiration she received from relatives and friends along her own path to healing. For a song with such powerful lyrics, the presentation remains, even when it builds a bit near the end, somewhat understated. The song's strong, slow rhythm feels sometimes like one is carrying on a bit drudgingly, rather than with vibrant enthusiasm. Nevertheless, it's a truly inspiring song, by a gifted songwriter and great singer.

Peri also presents us with new settings of "Nishmat  Kol Chai" and "Ma'ariv Aravim" which are both pretty and pleasant; a "Priestly Blessing" that is truly beautiful, and a "Gomeil," the traditional prayer of one who survives a life-threatening situation, that is truly inspiring and uplifting. Peri's sweet voice graces these solid arrangements with tasteful instrumental and vocal backup. At once truly personal and majestic, Peri's "Gomeil" features a wonderful backup choir (more about that later) and is a piece that I hope begins to find wide use in the community, because it can work equally well, as it does on the album, in both a small, intimate way, and in a more glorious communal manner.

Peri also gives us two songs from a more feminist (and I don't mean that pejoratively) perspective. The first is the beautiful "Hineini" which is based on kavanot used at the Mayyim Hayyim Living Waters Community Mikveh. The second is the piece she was commissioned to write by the Women of Reform Judaism in celebration of the publication of  "The Torah: A Woman's Commentary." This milestone event is well served by Peri's "We Were There Too." It's a fun song, with an infectious beat, and with just enough of a touch of , jazzy, bluesy, gypsy, and other musical turns and twists to make it not-so-easy-to-classify the genre.

Peri was enthused with the music of the young Russian emigre to Israel Evgeny Leshenko. So much so that she recorded his setting of the Havdallah Blessings for this project, in hopes of introducing his music to the American Jewish community. It's a pleasant enough setting, and I do hope it finds some use (and I am sure it will) in congregations and camps. As I do with many songwriters, I'd like to encourage the young Evgeny to try setting some less frequently heard prayers, blessing, and p'sukim from our rich textual heritage to music, and put his obvious talents to work filling the gaps and voids in the spectrum of contemporary liturgical music. We've enough Sh'mas, Oseh Shaloms, and settings of the Havdallah Blessings to go around. That's not to say this isn't a version worth considering among the many others, for it truly is a musical and fun setting.

Finally, Peri presents two covers. The first is of Phil Och's "When I'm Gone." The arrangement is tight, and Peri's voice lends a new clarity and beauty to Phil's lyrics. Peri's take is somewhat laid back, and thus lacks urgency that's present in and drives the song's original incarnation. No matter, for Peri manages to deliver the same message in her own unique way.

The album ends with a cover of Janis Ian's "Joy." Peri manages to make this song her own, especially with the expert keyboard stylings of Josh Neslon in place of the guitar of the original recording. I do miss those few seconds of chorus that set apart the word "joy" on the original, nevertheless, Peri's version manages to get inside me just as Janis Ian's did.

In keeping with her penchant for working across boundaries, in “Gomeil” Peri’s backup singers are all from the Calvary Baptist Church in Morristown, NJ. As I stated earlier, what makes this album work so well is that...well, everything works so well, and is top notch. It wasn't manic in some spots and depressive in others, though that's not to say it doesn't have variety. The mix of songs and styles in part of that certain something that this album has that makes it so good. Peri has a beautiful, lyric voice that's easy on the ears. The arrangements and backup musicians are all top notch and solid.  In summary, "Blessings" is worthy addition to your collection of Jewish music.

Janis Ian's "Joy" is perhaps the culmination of her 4 decade-long career. “‘Joy’ could be her ‘Forever Young’,” as Americana-uk.com reviewer Robin Cracknell put it. Let's hope "Blessings" is not the last we hear from Peri, because she, and her music truly are as the title says.

Blessings is available from the following sources:

• CD Baby
• Soundswrite
• OySongs

Peri has a website: www.perismilow.com 
and a FaceBook page

Review: Reunion - Julie Silver

What do an old wicker chair, St. Patrick, Carole King, a Hollywood score writer and Torah have in common, and what are they doing together on a contemporary Jewish album? Leave it to Julie Silver to bring these disparate elements and more together in a musically stunning and aurally beautiful new album - Reunion. It has been far too long since we've had a new project from Julie. It was worth the wait. Reunion is the work of a mature, sophisticated, experienced artist, yet retains the spirit of the seeker that characterizes much of Julie's earlier work. Julie has always been a gifted songwriter, her words expressing the angst, peace, uncertainty, commitment, confusion, clarity, insecurity, pride and more that we all have in our lives. In Reunion, Julie's ability to turn everyday life situations and experiences into spiritual encounters imbued with teachings and meanings has achieved a new level of artistry and skill.

The album begins with the infectious "Step by Step." It's the perfect way to start this brave walk into the water that is "Reunion."

Songs like "The Barefoot Sisters" challenge us to come to terms with who we are, and teach us the lesson of Yitro - that we can and should learn from those outside our little circle. Her cover of Carole King's "Been to Canaan" aptly demonstrates that expressions that touch our Jewish souls can come from anywhere. In "Monica's Chair" Julie sings lovingly of the healing and comforting power of memory.

In "Where Am I?" Julie questions the often exclusionary content of our sacred texts, in this particular case, citing parashat Matot holding males accountable for vows yet relegating responsibility for women's vows to their fathers of husbands. May it be that her question does not fall on deaf ears.

There is no shortage of liturgical content. First, there's a song written many years ago that has found its way into regular use at many services, the inspiring "O Guide My Steps." This song has a special place in my heart, as I was there when it was created by (now Cantor) Debra Winston with contribution of a Hebrew lyric counter-melody by Julie. I know the emotion behind the initial genesis of song, and it still brings tears to my eyes. It's nice to hear a recording of the song by Julie, whose voice is perfectly matched with that of Rabbi Joe Black in this emotional duet. Oddly, this arrangement is light on the Hebrew counter-melody, spending most of its time on the English verses. Humility, perhaps?

There's a beautiful, melodic, peaceful and somewhat hypnotic setting of the healing prayer "R'faeinu" Julie graces us with a new setting based on the Y'hiyu l'ratzon/May the words entitled "Meditation" that is plaintively simple and hauntingly beautiful. No masks or technical tricks separate us from the outpourings of Julie's heart in this song, which allows her natural voice and natural vibrato to be heard. It's nice to see an artist willing to take that risk. This is generally true for most of the songs on this album - we get "natural" Julie. So many times, what you get in a live performance disappoints compared to a recording. Not so in Julie's case, and in particular on this album.  Close your eyes when listening to "Reunion"and it will really be like hearing her live.

Julie also includes four songs  written by the talented Hollywood composer David Kates. "Circles" explores the cycles in our lives, and dealing with loss and finding continuity.  in  "Lead the Way" expresses the hope of every parent and teacher for the children. There's also a gorgeous setting of "Dodi Li." The album closes with David Kates' joyful, spirited setting of "Halleluyah (Psalm 150.)" Like any good project should do, this final song leaves you wanting more. We're waiting, Julie!

There are those who might object to a Jewish album having seemingly tangential, even secular songs included. I'm not one of those. Judaism is not just a religion or culture. It is a way of thinking, living, doing, being. All our life experiences, from the quotidian to the awesome are in conversation with and informed by and inform our understanding of Judaism. Julie's songs are the authentic expression of that process, and we are all richer for her sharing that with us in her music.

Reunion is available from Soundswrite/URJ Books & Music

Julie Silver’s website is www.juliesilver.com

Julie’s FaceBook page www.facebook.com/people/Julie-Silver//1071015337

Julie’s Twitter Page www.twitter.com/julieannsilver

UPDATED 2/1/2010: Coming Soon-Reviews of Julie Silver’s New REUNION CD, and Peri Smilow’s new CD BLESSINGS.

I’ve been listening to my new copy of Julie Silver’s latest CD, Reunion.  Expecting a copy of Peri Smilow’s new Blessing CD any day. Look for a reviews soon! Sorry for the delay in getting new review posted.

Little Taste of Torah Is A Tasty Meal – Review of Peter and Ellen Allard’s New CD “Little Taste of Torah”

Review: Peter and Ellen Allard -- "Little Taste of Torah" 
Scheduled release date: Nov. 1, 2009
Available for pre-orders at www.soundswrite.com
Artist website: www.peterandellen.com

Little Taste of Torah Is A Tasty Meal

Jewish children's music has come a long way. There was a time when parents might politely tolerate listening to Jewish kid's music for the sake of their children. Times have certainly changed. While there are still plenty of Jewish children's albums that appeal mostly to kids, more and more artists are producing projects that add the quality songwriting and higher production values necessary to have their work appeal to the parents as well. The music of Peter and Ellen Allard has proven, over time, to enthrall adults as much as children. Perhaps some of that is because they help bring out the inner child in each of us (which, for anyone who has ever seen Ellen Allard's high-energy stage presence is no surprise.) I believe it is also because the Allards take their work seriously, and approach it with passion and intelligence. The Allard's latest project, "Little Taste of Torah" easily meets the listening (and value) test for both children and adults. It's a CD I highly recommend to both.

The songs from the Allard's previous two Jewish CDs, "Bring the Sabbath Home," and "Sing Shalom: Songs for the Jewish Holidays" have quickly become standards for the songleaders and music educators who are out there teaching our children, your humble reviewer included. This new CD has been long awaited and is a more than worthy successor to the previous two Jewish CDs (as well as the Allard's pantheon of secular children's CDs.)

Overall, the new CD has more of a rock than folk type feel to it, and that shows the Allards are working to keep up with their audiences. Peter and Ellen are clearly striving for a more mature listening audience, especially evident in songs like "Be Holy" and "There's a Time." If this CD is somewhat of a crossover attempt from the realm of children’s music to a broader audience , it is a successful one. The title song, "Little Taste of Torah" is itself a song that will easily appeal to young and old. There's truly something for everyone.

The themes explored (and taught) by the Allards on this CD are varied, as are the musical styles. They include environmental values ("For Trees",) gossip ("Lashon Hara") and our our obligation to "Be Holy." The Allards aren't afraid of tackling the subject of G"d, asking, in a style reminiscent of Native American chants, the musical question "How D'ya Know" that G"d is here? You can even find G"d in a peanut butter sandwich, say the Allards--uite convincingly, I might add.

The funniest song on the CD is actually one of most serious in the lesson it attempts to teach - about the power of language and the dangers of engaging in "Lashon Hara." Learning the lyrics and singing them clearly is as much fun (and perhaps as much of a challenge) as learning a Gilbert & Sullivan patter song. You almost want to hear an encore where Ellen sings it really fast!

There are, of course, a few holiday songs. The touching "May You Be Sealed" is a thoughtful song for Yom Kippur, beautifully sung and accompanied. Even before appearing on this CD, "Shofar Blast" had already become a classic. Jewish children (and adults!) the world 'round are singing and learning the sounds of the shofar from it. Now, many more will get the opportunity to hear the song done by its creators, and that alone is reason to rejoice.  I was a bit disappointed to not hear children's voices singing, and the adults singing the backup instead seem to emote a feeling that is more self-indulgent studio fun than the enthusiastic sound of children imitating the shofar. This is a great song that perhaps deserved more than it got in production, especially given it's enormous advance popularity. Nevertheless, it’s still a winner.

To their earlier song about the crossing of the reed sea, "Standing at the Sea," they have now added "Nachshon," and "Wall of Water." "Nachshon" is one of the songs on this CD that shows it's not just for kids, combining a hard rock style and maybe even a hint of Beatles. It might be the best and most mature cut on the CD, though I might have preferred a violin to electric guitar in the instrumental break. In contrast, "Wall of Water" is a bluesy-jazzy-country bit of fun, with its own built-in shtick and choreography which you won't be able to resist.

"Gotta Groove" is Peter and Ellen's clever homage to the asher yatzar prayer from the morning liturgy, and groovin' is what you'll do to this song. It starts out quite busy at the beginning, so it doesn't leave itself much room to build until the inevitable key-change near the end, and at times the lyrics "Thank You G"d" feel a bit understated. No matter--this one is sure to get you up and moving, and thinking about the miracle that is the human body and its workings.

Though Peter has always been featured singing on few songs on the earlier CDs, on this one Peter gets a real chance to shine. My first thought, when I heard "Baby Moses" was "you go, Peter!" I dare you to resist dancing, clapping, or otherwise enjoying this one. The rocking "Shake, Shake, Shake" (no, it's not yet another lulav shaking song-this one is about tzedakah, and shaking the tzedakah box,) also features Peter singing, with great instrumental backup. (The gratuitous little "shake it, baby" tag at the end didn't quite work for me, but kids seem to enjoy it.) "There's a Time," a setting of Kohelet (Ecclesiastes) 3:1 is well written and performed, and it's got a great bridge with some nice vocals, instrumentation, and a flute solo. It isn't as solid as most of the other offerings on this album, and, as a new setting of a familiar text isn't likely to eclipse the attempts of other notable songwriters and performers who took a "turn" setting it to song. This song still has its purpose under the Sun, so enjoy!

Overall, the production values are great, if a bit uneven in spots. There's some truly fine instrumental work on the CD, most notably Scott Leader's piano on "May You Be Sealed," "Baby Moses," "Be Holy," and the aforementioned flute solo on "There's a Time." There was one instrumental choice which I found odd, though I admit it is probably just my own personal taste - featuring a saxophone on the "Sh'ma Lullaby." The saxophone here has a mellow feel to it, but it is more the relaxed feel of a smoky jazz club than a child's bedroom. The instrumentation is a bit busy at times, obscuring the lyrics, and the EQ on Ellen's vocal sometimes has a bit too much on the high-end, more odd choices for my taste in a lullaby. All this will probably be just fine for most listeners, especially with the more lullaby-like keyboard patch and guitar sounds. It's a beautiful song, beautifully sung by Ellen, and a great way to introduce the practice of the bedtime Sh'ma to both children and their parents.

On this album there are a few abrupt starts, odd endings, and the like-at least for my tastes. Bear in mind that I'm a tough critic, and awfully nit-picky--so don't get me wrong. "Little Taste of Torah" bears all the hallmarks of the Allard's talents and the great production values we've come to expect from projects placed in Scott Leader's capable hands. I loved this CD, and you will too. Go out and buy a CD or down-loadable copy now. (Well, the official release date is Nov. 1, 2009, but you can pre-order copies right now at www.soundswrite.com You’ll be glad you did.

When Peter and Ellen taught the new song “For Trees” at the annual Hava Nashira Songleading workshop last June in Oconomowoc, Wisconsin, apropos to that great state, it was quickly parodied by Ross and Malka Wolman in the delightful “For Cheese.” Let me tell you, there is nothing cheesy about Peter and Ellen Allard’s new recording. Raise your hands up high--for all the world to see--every one stand up - for "Little Taste of Torah."

Adrian A. Durlester
October 19, 2009

Technorati tags: jewish, music, children

Review: Erik Contzuis' Teach My Lips a Blessing

Cross-posted from the Teruah Blog. Review by Jack Zaientz

Tuesday, July 8, 2008

Erik Contzius - New Cantorial Music in the German Reform Style

There are other histories out there, if we know how to listen for them. Other musics that remind us of how complicated, and interesting, our trip has been and how brutally the 20th century disrupted that trip. But these histories are starting to reassert themselves. We all know about the klezmer revival, and I've written many times about reassertion of Sephardic musical culture in west, the explosion in Jewish popular and art musics, and the rise of the songleader folk pop-liturgy. Guess what..chazzanut, that great voice on the pulpit, still has it's champions and they're creating a new generation of liturgy work that is vital and compelling. And they're reconnecting current chazznut with historic traditions that have all but faded from memory in America.

Erik Contzius has a new recording, Teach My Lips a Blessing, of cantorial music in the German Reform tradition. For someone growing up in a mid-20th century Conservative American synagogue, it sounds like it could be from the moon. Shabbat prayers sung over pipe organ, backed by a large mixed choir? It's a distinctive soundscape that violates Orthodox and Conservative halacha (use of instruments on the Shabbat) and my sense of history (the role of the cantor fading as community prayer practice has become communal and participatory). But that sound!

Contzius has done something magical. This isn't the mighty voiced lion of a cantor praising and supplicating as the voice of his community. It's also not a call and response prayer leader. It's something different. Contzius has a strong clear voice, without the operatic theatrics I've heard in many cantors and cantorial recordings (If anything, his voice tends toward Broadway a bit too much at points. ) It's warm and inviting, and with the choir and organ behind him feels like he's singing both for and with the community at the same time. This is a very different sensibility than a songleader grabbing a guitar to lead a hundred congregants through an out of tune Shalom Rav. (which is a wonderful thing, too). There is a sense of leadership here, Contzius reaching out through his voice, showing us the way, and bringing us along. I don't feel the urge to sing when listening to Contzius, but I feel that his singing includes me already. While I love communal singing, there is a power to this way too.

Amazon has graciously provided us with a chance to hear some clips of Contzius recording. In particular listen to V'Shamru. I've relistened to it about a dozen times. (I get to cheat. Contzius sent me the album so I get to hear the full recording). It soars, but never so high that it leaves the choir voices behind. And that's pretty special and may help breath new life into chazzanut.



You can hear more Contzius compositions, learn more about his approach, and purchase this recording via his website or download the tracks through the Amazon player.