Reviews of Klezamir CD's

George Robinson, 5/29/01, the Jewish Week, NY, NY:

Klezamir: "Der Bloyfoygl of Happiness" (Self-produced). Their third
album is the best yet, a bouncy, tough set with a nicely balanced mix of
Sholom Secunda shmaltz, Balkan bop and lively instrumental jams. I'm
still a little skeptical of the flute as a klezmer (or jazz) instrument
but Amy Rose can flat-out play, and new lead vocalist Felicia Shpall
brings some smoldering to the recipe. Excellent. Rating: 5 stars.
 

Seth Rogovoy, the Berkshire Eagle, 5/18/01:
(author of ÎThe Essential Klezmerâ)

With its new album, "Der Bloyfoygl of Happiness (The Bluebird Fun Freyd),"
Pioneer Valley klezmer outfit Klezamir may well join the front ranks of
modern klezmer bands. The brand-new CD features a compelling blend of original, inventive instrumentals and vocal numbers by Klezamirâs new singer, Felicia Shpall.

Previously heard as lead vocalist with the Bashert Klezmer Band, Shpall is
the hottest newcomer to Yiddish song. Shpallâs background in theater and
jazz and her cantorial training combine to give her vocals a soulful
sensuality that will undoubtedly put Klezamir in the forefront of
contemporary klezmer bands.

Included on the new CD is a luscious, accordion-inflected tango version of
"Mayn Yidishe Meydele" and mainstream fare such as "Oy Mame Bin Ikh
 Farlibt," which begins with a soulful vocal improvisation and ends in a
full-band Dixieland arrangement, featuring the swinging clarinet of Jim
Armenti.

Juggling duties as composer, clarinetist, and guitarist, Armenti is the
groupâs other secret weapon. He wields his electric six-string -- an
instrument not always suited to Old World-rooted klezmer -- with delicacy,
using it to paint suggestive colors on the "Rumenisher Hora," and to push
the Serbian folk dance "Nishki Cochek" ö which also features a lively flute
solo by Amy Rose -- into Dick Dale territory.
 

Leslie Lutsky of Radio Centre-Ville in Montreal writes:

"Felicia Shpall brings passion, soul and a hot sultry voice to Klezamir. Der Bloyfoygl of Happiness is like a delicious ice cream soda...always tasting luscious and refreshing, whatever the mix, and good to the last drop."
 
 
 

                                          Ari Davidow, www.klezmershack.com:
 

                                        The last time I got a chance to hear new Klezamir
                                        material was just after Balkan night a few years
                                        ago. Well, here we are again! And the new album
                                        is very much worth the wait. This is the sort of
                                        music for which I moved to Boston--a diversity of
                                        incredible Jewish music spread throughout the
                                        beauty of New England. Oh, and I (maybe
                                        Klezamir, too) am possibly also influenced by the
                                        rare popularity of world folk musics from all over,
                                        throughout the region.

                                        The band takes its initial inspiration from
                                        neo-traditional klezmer bands such as Boston's
                                        Klezmer Conservatory Band, performing a mix of
                                        traditional Jewish wedding music, Yiddish folk and
                                        theatre standards. With the addition of new
                                        vocalist, Cantor Felicia Shpall, the band extends
                                        its repertoire into the more spiritual side of Yiddish
                                        songwriter Shalom Secunda, with a soulful, very
                                        theatrical "Got fun Avrom" (God of Abraham), set
                                        in part by the occasional Jethro Tull trill by flautist
                                        Rose, or the perfect country rock guitar lick by
                                        Armenti. Of course, the rest of the song is pure
                                        klezmer. By extending the song to showcase its
                                        many talents, the band is also transforming the
                                        song to this time and place.

                                        Of course, if the vocals sound like fun (one is
                                        reminded, of course, of the significant Jewish
                                        tradition whereby a Cantor Moyshe Oysher, for
                                        instance, had an entire second career singing
                                        Yiddish popular songs, or Cantor Jan Peerce at
                                        the opera), the instrumentals, going back and forth
                                        between the more traditional Jewish theatre sound
                                        and a sparer "country klezmer rock" reminiscent of
                                        the Freilachmakers, are pure heaven. Similar
                                        "rock" breaks occur in the Jewish/Balkan dance
                                        duo (Rumenisher Hora/Nishki Cochek). What
                                        fascinates me most is that not only are these
                                        breaks from eastern European melody perfectly
                                        done, but one can imagine today's wedding party,
                                        perhaps less familiar with the chochek than with
                                        country rock, suddenly feeling reassured that
                                        dance music is, after all, dance music and familiar.
                                        Similarly, Amy Rose's many new instrumentals,
                                        starting with "Mayn Bashertes Tants" (My
                                        Beloved's Dance) which pulls together the more
                                        formal waltz and a very eastern european feel,
                                        lifted by her gentle, skillful flute-playing, provide
                                        contemporary reasons to celebrate. Balanced by
                                        Jim Armenti's fusion music, such as "Der
                                        Memfiskider tsimes" (Memphis Stew), the band is
                                        also an instrumental delight.

                                        If I have any complaints, it is "Mayn Yidishe
                                        Meydele," (My Jewish Meydele). It is the 'NSync
                                        hit of its day. I would have gone a long way never
                                        to hear it again, even when the band vamps with it
                                       to the extent that they do here. The same holds, a
                                        bit, for "Oy mame, bin ikh farlibt," and "Di
                                        Sapozhkelekh" (Yiddish music's contribution to the
                                        "beat me, hit me, I'll still follow you anywhere"
                                        school of bad blues, albeit usually sung these days
                                        playing to the poetry of extreme self-effacing
                                        desire. Ahem.). Does the world really need the
                                        15000th recording of these, however well done?
                                        But the band is right. Everyone else loves the song.
                                        What's a reviewer to do? Klezamir has always
                                        gone for superb vocalists in the New York
                                        Second Avenue tradition. Newcomer Shpall may
                                        be the best yet. When she starts singing new
                                        material as well as she sings the old, the way Rose
                                        and Armanti fuse klezmer with newer American
                                        music, this band could well be the ultimate
                                        American klezmer band.

                                        The album ends with one of the hoariest chestnuts
                                        of all, from the grand tradition in which a mother
                                        fears that the new mother in-law may not
                                        appreciate her daughter's finer qualities. Oh, yes,
                                        "mazel tov and be damn good to my kid or she'll
                                        knock you into the next state. Not that she would
                                        ever be anything but a lady!" Which provides the
                                        band a chance to remind us of why each new
                                        Klezamir album is so welcome: impeccable,
                                        wonderful new instrumentals, and a wonderfully
                                        theatrical presentation of Yiddish music, old and
                                        new. Klezamir is a perfect example of how
                                        American klezmer music should sound in this time
                                        and place. If you're not lucky to live nearby, send
                                        away for a copy of this new album and hear what
                                        you're missing.

                                        Reviewed by Ari Davidow 3/25/01
 
 
 
 
 

Program Notes for Der Bloyfoygl of Happiness
 

1. JUBILEE by Jim Armenti         A fiery freylekh featuring the clarinet.

2. GOT FUN AVROM(God of Abraham), music by Sholom Secunda (1894-1974), lyrics by H. Roisenblatt (1878-1956)
"Got fun Avrom"  is a womanâs prayer marking the end of the Sabbath.

3. SHPILT MIR KLEZMORIMLEKH
(Play for Me Dear Klezmorim [musicians]) / 4. FREYLEKH (happy dance)
A pair of dance tunes featuring the mandolin.

 5. OY MAME BIN IKH FARLIBT (Oh Mama, Am I in Love) music and lyrics by Abraham S. Ellstein
Opening with a solo vocal doina, this swing tune is the opening tune in the 1936 film "Yidl Mitn Fidl."

6. RUMENISHER HORA (Romanian Hora) / 7. NISKI COCEK (Chochek from Nish)
The flute begins with a slow haunting hora and moves into a fast folk dance from Nish, a city in Serbia.

8. MAYN YIDISHE MEYDELE (My Jewish Meydele), music by Sholom Secunda, lyrics by Anshel Schorr
A sultry tango. Meydele means girl, unmarried woman, or "babe."

9. MAYN BASHERTES TANTS  (My Belovedâs Dance) by Amy Rose, A gentle waltz for flute.

10. DER MEMFISDIKER TSIMES (Memphis Stew) by Jim Armenti / DER BLOYFOYGL* (The Bluebird)
by Jim Armenti
The clarinet comes out front for DER MEMFISDIKER TSIMES - from the big American music cooking pot, Klezmer rhythm and blues / DER BLOYFOYGL - like the bluebird, Klezmer returns to New England.

11. DI SAPOZHKELEKH (The Boots)

12. SALONICA by Amy Rose
A flute feature in 7/8 time, dedicated to the Jewish Salonica of old and the peaceful Balkans of the future.

13. VAYTER, VAYTER (Further, Further)  by Amy Rose        A tango for clarinet.

14. MEKHUTENESTE MAYNE  (My Dear In-Law)
 
 

SIDE A:	SIDE B:
Araber tants/Kalisky bulgar  Bay mir bistu sheyn Di mashke  Doina/Baym Rebn in Palestine  Ki Tinam  Chicken	Khsidim tants/Tsurik fun der milkhome  Mayn elterns fargenign  Di zilberne khasene  Gas-nign/Skotshne  Ne platsh, mame  Miami Beach Rhumba

[One of the] "best recent klezmer releases."

"This outfit really does know how to light a fire."

"[Klezamir Cooks for Tante Barbara is] a rich musical stew....a full course, satisfying feast....with heaping helpings of humor, great musicianship, and high energy danceability."

"This is a band that I'd really, really like to see live--they sound like they'd blow everyone off the stage and have a lot of fun (and be fun to watch) doing it. They cook up some really nice yiddishkeit."

"The musicianship on display in this first recording by the Northampton-based band is first rate, especially Jim Armenti's fevered clarinet playing and Rhoda Bernard's full-bodied, nicely accented vocals. This is a jazzed-up version of the way this splendid music was performed in the old country."

And now, a word from our fans:

" Klezamir was just what we wanted for our wedding. We were in Heaven. "

" The musicianship, the choice of songs, the talents of each of you, the overwhelming enthusiasm of the whole group--what spirited passionate, accomplished performers you are! "

" The audience spontaneously sprang to their feet and danced to the irresistible pulse of Klezamir. "

" Noted klezmer critic Seth Rogovoy says of Klezamir's lead singer Felicia Shpall, "...virtuosic vocals...a combination of raw talent, abundant technique and unquantifiable soul...a deep luscious tone matched by an earthy sensuality...songs delivered with stunning drama, authority and conviction...all of it artfully done , and just the right amount of edge...I can't tell if I've done an adequate job describing just how amazing a performer she is." "

" Klezamir inspired us to dance and sing along with incredible joy and enthusiasm! "

" ...fabulous performance! We were pleased with the large attendance. "

Schools may apply for financial assistance from local Arts Councils and the Massachusetts Cultural Commission by calling 800-232-0960
 
 

JIM ARMENTI (clarinet, electric and acoustic guitars, mandolin, lead vocals), area master musician, is known throughout the northeast as an instrumentalist, songwriter and teacher. Jim is currently performing and writing with several bands. As principal writer, vocalist and guitarist of the Lonesome Brothers he shares the stage with recording artist and longtime collaborator Ray Mason and Steel Guitar World columnist Doug Beaumier. The Lonesome Brothers just released a self-titled CD with all originals by Jim Armenti and Ray Mason. In 1996 the Lonesome Brothers completed a CD of traditional Yiddish songs with Canadian singer Wolf Krakowski. On "Transmigrations" Jim plays electric and acoustic guitars, mandolin, bazouki and tenor sax. Wolf's upcoming release, "Head 'em off at the pass" also features Jim with the Lonesome Brothers. Jim's acoustic playing can be heard in performances of the Gutterbirds, an all original duo with singer/guitarist/fiddler Pan Morrigan.

AMY ROSE (piano, flute, accordion, back-up vocals) founded Klezamir in 1986 after a summer of playing klez with Klezmer V'Od in Colorado because she discovered there was no turning back - klez was the hottest thing she'd ever heard and it was love at first boom-chick! With ancestors from Russia and Poland, among them a concert pianist and Yiddish theater director, Amy found an instant heartfelt connection with klezmer music. Amy is the band's manager and it is her friendly voice you will hear when you call to inquire about booking the band.  She divides her time between performing, managing the band, teaching piano and flute, and directing the Valley Klezmer Orchestra, a community ensemble based at the University of Massachusetts Hillel House of Amherst, MA. Since graduating from the University of Michigan, Amy has also recorded "The Rosewood Duo", an album of flute and guitar duets; and "Silver Mountains" a solo piano album of originals and compositions by Claude Debussy.

JOE BLUMENTHAL (bass, back-up vocals, nose flute) has played acoustic and electric bass with Klezamir since its inception. He owns Downtown Sounds, a musical instrument store in Northampton, Mass. In addition to Klezamir, Joe performs with the bluegrass band Maple Ridge, and a Balkan folk dance band. Joe received a BA from the University of Rochester and an MA in Teaching from Johns Hopkins University. He studied the bass and Jewish music at four Klezkamp sessions.

KEITH LEVREAULT (drums) received a BA in Music from Westfield State College in 1987 but has been playing professionally for almost 20 years. He studied privately with Alan Dawson, and toured and recorded in the U.S and Europe with many artists, including Freedy Johnston, Kevin Salem, Blood Oranges and Michael Gregory. Klezamir is his newest venture. Keith played in many smoky bars, at weddings and at bar mitzvahs.
 

JASON MOSES (trombone, lead vocals, piano, violin) played in Boston with the Klezmaniacs for ten years before moving to Northampton in 2005. He also plays with Shokazoba, an 11 piece afro-pop band.
 
 

In Memoriam

FELICIA SHPALL
Sept. 25, 1970 ö April 1, 2005

Your memory is a blessing and we miss you.

Rabbi Justin David of Congregation Bânai Israel in Northampton, MA said, ã Whatever our context of knowing Felicia might have been, each of us has had the experience of being embraced by her magic charisma·  Like every great teacher, Felicia met each person where they were, embracing and honoring the diversity of paths walked by everyone· In one of my favorite assessments of Felicia, one parent said simply, ÎShe rocks.â· And when she laughed, she roared ö it seemed as if her whole body seized and her face became one open smile. How I wish I could just laugh with her one more time.ä

Felicia Shpallwas the Spiritual Leader at Temple Beth Torah in Wethersfield, CT and the Education Director at Congregation B'nai Israel in Northampton, MA.  Felicia was a former member of the avant-garde Jewish theater company Double Edge Theater, and she graduated from the Boston University Theater Department.

Felicia's was Klezamir's lead vocalist for five years.
 
 

 Celebrate Klezamir's 20th Anniversary & CD release
Concert & Dance party
Sunday Mar. 2, 2008, 3 to 5 pm
Springfield JCC
1160 Dickenson St. Springfield, MA
413-739-4715
www.springfieldjcc.org
$12 adults, $5 children
 
 

Booking Information 

Might they be available for a spot on the Tonight Show?

To engage Klezamir for your concert or function, call Amy Rose at 413-253-3831 or send e-mail at amy@klezamir.com.

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