Please look around the site and check out the changes we’ve made over the past few days, including:
1) Posting an interview with Susan Watts on the “History” page
2) Posting a group interview with attendees at the Stiffel Senior Center Yiddish group, also on the “History” page
3) Cleaning up the “Audio” and “Video” pages to make them easier to navigate
4) Updating the “Events” page
Check back over the next few weeks for more updates!
Posted in Multimedia updates, News
Owing to a perfect storm of technical difficulties, this post has been a long time in coming–but check out the videos of the kickoff of the community side of the Philly Sher Project at Kol Tzedek‘s Chanukah party on December 13, 2009. The first clip shows the community lighting Chanukah candles, saying blessings and singing traditional songs. The second and third clips show Naomi Segal teaching the sher; the fourth and fifth clips show the community dancing the sher to the sounds of the Kol Tzedek Klezmer All-Stars featuring Susan and Elaine Hoffman Watts. You can see all of the clips on our video page. Thanks to Kol Tzedek member Greg Scruggs for manning the video camera.
I’ve recently re-input the score of the sher given to me by Susan Watts and posted both the lead sheet and individual instrumental parts (violin, clarinet in Bb, trombone) on the sheet music page. I hope to put together a violin sekund and piano part, as well as a simplified bass instrument part, soon.
Check out our new and improved “History of the sher” page! Naomi Segal, Kol Tzedek’s resident dance expert, talks about learning the sher at Camp Galil in Bucks County and Jewish life in Philly and Israel.
Posted in Multimedia updates
Tagged Camp Galil, history of the Philadelphia sher, Naomi Segal
And now, the pièce de résistance that you’ve all been waiting for–recordings of our first performance of the sher at Kol Tzedek‘s annual Chanukah party are up!
The first clip is of the band warming up (including special guests Susan and Elaine Hoffman Watts and Dan Blacksberg). What I find most interesting about this clip is how two groups of people who aren’t used to playing together (i.e., Susan, Elaine and Dan, and the Simcha Band) find out ways to integrate sound, personnel, and equipment fairly rapidly.
The second clip is a recording of our Chanukah blessings and songs. The whole assembled congregation joins in and contributes what they can musically (whether improvised on an instrument, or vocally), which I think is a nice metaphor for how Kol Tzedek works.
In the third clip, founding member Naomi Segal teaches everyone how to dance the sher. I like how she combines straightforward instruction with jokes and personal interpretations of each step. Furthermore, she adapts the dance to the needs of the community at the time–encouraging small children to sit on their parents’ shoulders and “silly moves.”
The fourth clip is of the “real deal”–the full performance of the sher with band and dancers. We sounded good and everyone seemed to enjoy themselves. We came a long way from our September 22 lesson!
There’s some new audio up of the Simcha Band’s November 29 rehearsal. In it, Sherri Cohen and I (Meredith) work through the sher with our flute/sax player Jon Grabelle Herrmann. What I find most interesting about this is Sherri’s and my attempts to explain to Jon what Susan explained to us, especially about the finer points of the style we’re trying to achieve.
Posted in Multimedia updates
I’ve just posted a bunch of new audio clips, this time of the Simcha Band’s October 27 lesson with Susan Watts. Susan worked more intensively with us this time on learning how to play in the proper style. We already had most of the notes down by this time, and since our ultimate goal was to perform the sher in a way that would make sense in a klezmer dance setting, we needed some help understanding exactly how we should sound and how all the dance steps fit with the music.
I find the clips labeled “Playthrough of tune 2 and some stylistic modifications” and “Tunes 3 and 4 and ‘simpler is better’ discussion” particularly interesting. You can get a good sense of the progress we’ve made by this point (or haven’t made), but you can also get a sense for how Susan conceptualizes the sher, and the subtle ways in which klezmer style can be changed and personalized within set limits.
Despite the fact that I (Meredith Aska McBride) sound comically “classical” in the clips labeled “Susan and Meredith discuss vibrato” and “Susan working with Meredith on violin technique,” I still think they’re worth a listen if you’re interested in comparing and contrasting classical vs. klezmer style. Susan is quite explicit about the ways I should think about my klezmer playing and how that differs from my typical style, and I think that the ways I try to negotiate this stylistic transition are sort of interesting.
I’ve just posted a few audio clips from the Kol Tzedek Simcha Band’s lesson with Susan Watts on September 22, 2009. This was my first encounter ever with playing the sher, and trombonist Sherri Cohen’s first time playing it in a while.
The first recording in the list (labeled “Sightreading the first tune of the sher”) makes our musical backgrounds pretty obvious. For example, while I am able to read the music pretty well in terms of pitch and rhythm, I clearly have no real concept of how to translate the klezmer style I’ve heard in recordings to my instrument (violin).
I grew up playing primarily classical music and a little bit of Irish fiddle, and it shows: I play everything as closely as possible to what is written on the sheet music in front of me, and use typical classical techniques such as vibrating on every note. By our final playthrough, I’m doing marginally better, but still struggling with understanding what constitutes tasteful klezmer style.
Sherri, on the other hand, is facing a different set of musical challenges. She is a very good trombonist whose primary experience is in school bands. She has attended KlezKamp and played in Kol Tzedek’s klezmer band for a few years. Therefore, she has a better grasp of the style and is able to improvise–she can look at a lead sheet and figure things out on her feet better than I can. However, she’s not quite as comfortable with sightreading.
Susan, of course, knows exactly what she’s doing, has a distinctive voice on her instrument (trumpet), and tries various teaching techniques to explain to me and Sherri how we should approach performing in a new style. Listen to a few of the clips and see how we progress throughout the lesson. We sound much better–if not great!–by the clip titled “Final playthrough” than we did in the first clip. And Susan has quite a few words of musical wisdom embedded in each track.
the Philadelphia Sher Project 