From the article:
There’s an argument to be made that the origins of mind-expanding folk music date back centuries before the advent of recorded music. There’s an old understanding, popular in Orthodox circles, that the Torah is, itself, one long song—a song handed down from smoked-out Mount Sinai by Moses, where the assembled masses of humanity experienced collective synesthesia, and saw the sounds of the voice of G-d.
Connect the dots: Jews are the people of The Book, and our book is a scroll of sheet music first performed at an ancient psychedelic rock concert. Bob Dylan (whose Hebrew name is Shabtai Zissel) knows it; Chronicles, Vol. One, for example, takes its name from the Hebrew Scriptures.
But there isn’t much scholarship around this heritage. Jeanette Leech’s wonderful book Seasons They Change: The Story of Acid and Psychedelic Folk traces a vast cosmic tree of outré acoustic music from around the world, including many examples of the surprising crossover of entheogenic religious devotional music. But it barely features a mention of a Jewish contribution to the genre. Sure, you could point to “Solomon’s Song” from C.O.B.’s 1972 album Moyshe McStiff and the Tartan Lancers of the Sacred Heart. But that’s one smudged dot on a massive map.
The final chapter of And You Shall Know Us By The Trail Of Our Vinyl, a book about Jewish LPs of yesteryear, dips a few toes into the water, pointing to some examples of frum folk rock—The Stanley Miller Band’s American Simcha or The Noam Singers’ The New Dimension in Hebrew Music. But that’s where the trail goes cold, and many of these documents never made it online. Forget about the ones they didn’t even mention: The Voices Four, Shimon & Ilana, Manguinot Bashira, the Beth Sholom Folk Rock Service’s Chants for Peace. Of these, you might find a clip or two online. Maybe.
And so it seems at least one corner of this day-glo forest remains shrouded in fog. But if you’ll allow, we’d like to guide you on a hidden path toward the world of psychedelic Jewish folk music.
Read the whole article here, and sample some works from Kinky Friedman, Victoria Hanna and Shmulik Kraus among others. A worthy read about a neglected scene.
A bit of gypsy jazz to warm your night a bit courtesy of Opa Tsupa (only in French, I’m afraid), a quintet out of France who specialize in Manouche Jazz.
How on Earth did I manage to miss Sarolta Zalatnay? She’s the Hungarian Janis Joplin, only funkier to my ears. She had the sound and the look to be an international star, but never quite pulled it off, unfortunately.
Jazz siren Ruth Price tears up this classic tune in a scat style, whereas The Wanderers give this a more hip, uptempo interpretation. Swingin’ stuff!
Today is a very happy day! It loooks like Tom Waits’ seminal albums, including Small Change, my favorite of this batch, have been remastered for Bandcamp!
Finders Keepers have released 100 of the most brilliant reissues imaginable. Spanning from weird African tapes to Jean Rollin horror soundtracks, the lads at FK seem unstoppable at the moment. Here’s to another 100 gems, at least!
We send a mountain of respect to Charif Megarbane, head honcho of the Cosmic Analog Ensemble, for producing an album that combines the best of jazz, funk, noir, soundtrack music and deep groove. We’re looking forward to more from him!
The King of Jump Blues, Louis Jordan, is giving me a very nice suggestion as to what I should be doing this evening. Cod it is!
Die Haut were a German post-punk band who were active during the 1980s and 90s. They collaborated with such luminaries as Nick Cave and Blixa Bargeld, but go full-on swamp blues here with Lydia Lunch.
PERRY BRADFORD AND THE BLUES SINGERS in Chronological Order, 1923-1927 (Document Records, DOCD-5353) all songs written & produced by Bradford, who plays piano and supervised the sessions 1 –Perry Bradford’s Jazz Phools* Fade Away Blues 2 –Perry Bradford’s Jazz Phools* Day Break Blues 3 –Ethel Ridley Liza Johnson’s Got Better Bread 4 –Ethel Ridley Here’s […]
via PERRY BRADFORD AND THE BLUES SINGERS in Chronological Order, 1923-1927 (Document DOCD-5353) — Kendra Steiner Editions