This is just an awesome CD
Reviewer: Ari Davidow 10/4/04 (click
for website)
About 20 years ago Andy Statman recorded an
album titled, simply, "Jewish Klezmer Music"
with Zev Feldman. It was the first klezmer album
that excited me, and it generated enough excitement
on its own to drag me deep into the revival
scene. After a flurry of albums in the late
1990s, he stopped recording for several years.
He hasn't stopped touring, though, appearing
frequently with a combo playing something he
purposefully does not describe as klezmer (although
it includes much klezmer), or with bluegrass
all-star ensembles such as "Wayfaring Strangers".
If this album gets much circulation, people
will be talking about new Statman music again.
Although the backup band, as usual, is more
workadik than inspired, Statman's own
clarinet and mandolin are as deep, soulful,
and incendiary as ever. The opening
"Rikud" (dance) is as good as he has
ever played klezmer. His soulful "Ki Hinei
Ka'Chomer (here I am as raw material [in your
hands])/Yom Kippur Eve Melody" and the
all-too-short "Hisbonenus" show that
the years have only improved his ability to
speak with the clarinet. His rendition of the
Lubavitch "Avinu Malkeinu" (not the
more familiar Ashkenazic cantorial masterpiece)
is almost as moving as the more familiar melody.
Those familiar with hassidic nign in general,
or with Lubavitch nign in particular, might
notice the difference between a nign as it is
sung by the human voice, humming, say, around
a shabbes table, and the improvisation and changes
that Statman introduces in his playing here.
Partly this can be ascribed to the difference
between human voice and instrumental voice.
But this is also a reflection of the fact that
for Statman, the nign is a starting point. He
has one of the richest musical imaginations
performing. From my perspective, for
him to focus on the hypnotic repetition of a
nign would make no sense.
The liner notes suggest that he is also, in
part, trying to revitalize Jewish instrumental
traditions which have been frozen or stagnant
for decades in America. If so, they are stagnant
no more. (The person writing the liner notes
might want to look up the meaning of the word
"fulsome"—it does not mean "overflowing
with" as seems intended in the text. He
or she should also consider that the eye can
read about 60 characters across before losing
place. Using teensy type in a single column
layout across the width of a CD panel is one
sure way to ensure that the reader will miss
much of what is written.)
This is just an awesome CD.
The title is "Wisdom Understanding Knowledge"
(Khokhma beena dei-a) and the music reflects
all of those attributes. Statman's mandolin
(as on "Nye Zuritzi"—don't worry)
and clarinet are at peak.
According to the folks who sent me this review
copy, the drought of new Andy Statman work is
ending. Three more CDs slated to come out soon:
"a Jewish one with his Trio for a company
called Brassland; a live Trio CD for Radio Bremen
in Germany; and a sort of avant-gardish improv
with drummer Bob Meyer on John Zorn's Tzaddik
label." In the meantime, this is wonderful
music. If you love klezmer, or hassidic music,
or bluegrass, this is essential listening.
Enjoy.
For
more information contact info@MayonMedia.org
