I am a music snob. People know this about me, and I deserve the title. I have said hurtful things in the past, and if you were on the receiving end of any of my snobbery, I apologize (unless I was right).
My snobbery extends to Jewish music, as well. My master’s thesis, after all, is entirely about the history and meanings of contemporary klezmer, a musical genre descended from the instrumental music of Eastern European Jews.
So, in preparation for my wedding last weekend, one question loomed larger than any other: what to do about “Hava Nagila?”
I won’t recap the entirety of the song’s history, ubiquity and supposed fall from favor, but it is fair to say that I fall into the camp of concerned listeners who hear it as a schlocky piece of music that has come to stand in for a much richer repertoire of celebratory Jewish tunes. But people expect it. After a few fraught exchanges with our wedding DJ and extended consultation with fellow music snobs, I came to the following conclusion: the DJ could begin with the version of “Hava Nagila” he’d originally proposed—the beginning of a pretty canned medley of Hebrew songs—so long as he faded into my preferred tracks. The opening “Hava Nagila” got people dancing in a circle and cued our friends to lift me and my bride up in our chairs, but by the time I was safe on the ground again, I was able to dance to Jewish music I actually enjoy.
So here are the tunes I picked:
This is a live video of Maxwell Street Klezmer Band> performing “Chusn Kalleh Mazl Tov.” I picked a studio recording of the track from their 2002 album Old Roots New World.
And a personal favorite, Frank London’s Klezmer Brass Allstars doing “Lieberman Funky Freylekhs,” from the 2002 album, Brotherhood of Brass. Just hit the play button below.
Sometimes oral history interviews yield interesting clips that don’t have a clear home among our current history resources. Fortunately, this blog now gives me a space to share some of these selections from our archives. The first one comes to us from an interview conducted this past June with Rabbi Martin Hinchin, who served for 31 years as rabbi of Gemiluth Chassodim in Alexandria, Louisiana.
In the clip below, Rabbi Hinchin talks about his years as a student at Hebrew Union College and his relationship with Dr. Jacob Rader Marcus. Dr. Marcus (1896-1995) was one of the first scholars of American Jewish History and the founder of the American Jewish Archives, which were renamed for him after his death.
Other times, it becomes part of a musical moment of comedy.
Recently, in partnership with the Schusterman Visiting Artists Program, the ISJL brought dynamic Israeli musician Amir Gwirtzman, “a cultural ambassador of the Jewish State,” on several whirlwind tours in the Deep South. Amir delighted audiences of all ages and backgrounds wherever he went.
And in LaGrange, GA, his shofar-and-modern-horn-comedy-duet brought the house down. For those in the audience who might not have ever heard the sound of the shofar before, they now know it to be a versatile and hilarious instrument, as well as one with deep meaning, much like the community that hearkens to its sound.
Just another day in the Jewish South…