In 1947, a magnificent jazz pianist and singer named Nat King Cole recorded a breakthrough number titled “Nature Boy.” In a world of late-era swing, novelty songs, and syrupy ballads, “Nature Boy” stood out because of mysterious, evocative lyrics but also because of its brooding, urgent melody. Few listeners were aware of the Jewish resonances of “Nature Boy,” including perhaps its putative composer, Eden Ahbez.
The Metropolitan Opera press release dated April 14 stating that long-time music director James Levine is retiring at age 72 due to health issues — without even a perfunctory quote from the departing maestro himself — has left all opera fans agog at the possibilities of who may be hired for the job. No one can really replace a conductor who has run the ship at the Met continuously since 1976, and it seems unlikely that any musician will be permitted such a lengthy stay at the top again. Opera is an innately hysterical art form, where primal, tantrum-like shrieks are rewarded with ovations. Little if anything about selecting a new Met opera director is likely to be rational. Possible successors to Levine, only of handful of whom have been widely discussed, include Gianandrea Noseda, Andris Nelsons, Simone Young, Kazushi Ono, Richard Farnes, Ivor Bolton, Evelino Pidò, and Yannick Nézet-Séguin; it may be helpful to consider a few generally overlooked alternatives, some of them Jewish.
Although the voice is definitely familiar, the genre is definitely not. Could that possibly be the late Allen Ginsberg, talk-singing while accompanied by horn and guitar? In fact, it is. In conjunction with the release of the 3 CD box set “The Last Word On First Blues” released by Omnivore Recordings, the Forward presents the premiere of “Father Death Blues,” a song by the beat poet laureate himself.
The video for Tel Aviv-based Jane Bordeaux Band’s pretty, wistful acoustic song “Ma’agalim” has been making the rounds on the Internet, and for good reason—it’s gorgeous. Enjoy!
It was 40 years ago this weekend, on April 9, 1976, that Phil Ochs was found dead at his sister’s home in Far Rockaway, Queens. He was one of the best-loved of the generation of young singer-songwriters of the 1960s, but he was much more than that. He was the most eloquent, wittiest, most piercing political bard of the era. For many of us he was the Other Great Jewish Folksinger of the 1960s. In many ways he was the truest voice of that generation. He was just 35 when he died by his own hand.
When I posted a note about the anniversary on Facebook last night, having been reminded by my friend Hank Albert — who knows more than most about loss — I was surprised to see how many others remembered just where they were when they heard of his death. For me the moment is as clear as if it were yesterday. I was wiping down tables after lunch in the dining room at Kibbutz Gezer when the news came on Galei Tzahal, Army Radio. I put down my sponge, found a chair in the corner and wept.
Born Matthew Paul Miller, Matisyahu rocked the music world as an
ultra–orthodox Jew with a passion for reggae and Chassidus alike—he’s
essentially a unicorn. But after years under the spotlight as the Jewish
claim to fame, a shocking shave and subsequent departure from Orthodox
Judaism had fans turn to haters.
Fast forward five years: Matisyahu embarked on a tour across campus
Hillels with rapper Nadim Azzam of both Jewish and Palestinian
background to promote dialogue and unity through music. Last week,
Hillel representatives (and us) sat down with Matisyahu and Nadim for
guac and good conversation before their World Cafe Live show.
Each year, Jewish children around the world learn the Four Questions. After all the image of the small child chanting their way through the Four Questions is one of the most endearing images of the Passover seder. The image is so strong that for many it automatically conjures music and words. This simple piece of the Haggadah liturgy is one the first Jews learn but few of us know about the history of this text and the music that has now become the classic tradition!
