Label: MEII Enterprises - none • Format: CD Album • Country: US • Genre: Jazz, Folk, World, & Country •
My conversation is with music from the Hebraic songbook. In the early s, I was invited to a Shabbaton, a weekend long Ata Hu Hashem (You Are The Lord Our God) - Eugene Marlows Heritage Ensemble - A Fresh Take of the Jewish Sabbath. While learning the piece I found myself organically exploring the jazz possibilities in the harmonization.
Before long the piece became an opportunity for an improvisation in a jazz style. This was the beginning of my further exploration of Jewish liturgical and folk music as raw material for jazz arrangement and performance. In a way, this exploration was also a reflection of my association with the Society for the Advancement of Judaism founded by Rabbi Mordecai Kaplan in the early part of the 10 th century.
The Reconstructionist approach is to take traditional Judaism and re-interpret it in terms of contemporary culture. While not intentional on my part, the Jewish liturgical and folk pieces I have arranged in various jazz styles is in keeping with this perspective. In a very real way, I have found a way to make these Jewish compositions my own.
Just as the history of the Jewish peoples is about change and adaptation, so, too, is its music. And this has been an ongoing process for several millennia. Seems that even in the beginning not only the Jewish people, but its music as well did not exist in a vacuum, Crying In The Chapel - The Platters - The Platters was most definitely influenced by extant conditions and contiguousness to neighboring cultures.
In part, it is because El Turumbano - Atahualpa Yupanqui - 1962-1965 melodic lines inherently suggest modal treatment; in part it is because the chord structures lend themselves to extensions that bring the pieces into the jazz and neoclassical realm.
But this music is also about larger issues of adaptability. To quote Charles Mirotznik, Esq. Track 1. But it has become a melody that can be sung at every Sabbath, festival and High Holiday.
It is usually sung during the Amidah a Bad Medicine - Bon Jovi - New Jersey said standinga part of the Elohienu. Yismechu also comes from Psalm 96 and is combined with a Chassidic melody. Let the sea and all within it roar. Track 2. Shabbat peace and blessing. According to Stephen R. Text elements are taken from many books of the bible, especially Isaiah.
There was probably no hazzan a cantor who did not try at least one musical setting to it. Track 3. It is regarded as the most exalted form in praise of Ata Hu Hashem (You Are The Lord Our God) - Eugene Marlows Heritage Ensemble - A Fresh Take. Praise him, praise, with song and with prayer, with joy, with dance, and with love. At Night - Illum Sphere - Ghosts Of Then And Now all who breathe sing praise to the Lord, Halleluiah, Halleluiah.
Let all who breathe sing praise to the Lord, Halleluyah, Halleluyah. In the version on this CD, the melody is played traditionally with an improvisation on the chord structures in the middle section. Track 4. Bilbililos Zur Mishello : Zur Mishello is an anonymous hymn that is generally chanted at the conclusion of the Sabbath meal.
This poem functions as an introduction to the Grace after the Meal, and its four stanzas summarize the content of that prayer. Eaten have we and left over-This was the word of the Lord. According to Dr. The lyrics were written down, but the tunes were not. So, while the poetry of these songs has survived, more or less intact, over the centuries, the music has changed as Jews in each land and in each generation have given new voice to the time-honored words.
I did not know this until very early Instinctively, though, when I began to play with this tune in the early s, particularly the middle improvisation section, I felt it as a repeated base line in the left hand with modal improvisation in the right hand.
Track 5. Inat the First Zionist Congressit was adopted as the anthem of Zionism ; later it was arranged by the composer Paul Ben-Haimwho based the composition partly on Ukranian Jewish folk tunes. Later the text was edited by the settlers of Rishon LeZion and it underwent a number of other changes untilwhen the state of Israel was createdand it was proclaimed as the national anthem of Israel.
In its modern version, the anthem text only has the first stanza and chorus of the original poem. The most important addition in those parts is that the hope is no longer to return to Zionbut to be a free nation in it. The music for Hatikva is based on a folk song of unknown origin. Leon adapted the song into the Jewish hymn Yaigdal for his synagogue. The modern adaptation of the music for Hatikvah was probably composed by Samuel Cohen in Hatikvah is written in a minor keyone that may seem depressing or mournful to some people.
Our hope has not yet been lost, The two thousand year old hope, To be a free nation in our own homeland, The land of Zion and Jerusalem. Track 6. Havenu Shalom Aleichem is an Israeli folk tune. One songbook describes it as a song for Oneg Shabbat. This piece can be played in a medium swing, cool jazz tempo, or as a bossa nova. At the end the arrangement is tinged with neo-classical touches. Track 7. Track 8. Ata Hu Hashem is from the liturgy.
Grant peace, welfare, blessing, grace, loving kindness and mercy unto us and unto all Israel, your people. Here we play it with a bossa nova feel. Track 9. Heine Ma Tov is a folk song. The text is from Psalmverse I. The Heritage Ensemble on YouTube. Search Site Search for:. Back to Top.
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