Several regular readers of SoTW were gracious enough to write and ask why there were no postings for the last two weeks. The reason is that I went to the Old Country to bury my mother. I’m back, and I can’t say it’s easy to talk about music. I’m in a very dark and depressed place, as those of you who have been through this will understand, with no taste for mirth or fun or entertainment. Not even for music.
But in the five days since I’ve returned from the proscribed mourning period, I’ve been reluctantly thrown back into the Musical mode.
In September, I joined the Light Opera Group of the Negev for their annual production, which this year is Rogers & Hammerstein’s “South Pacific“. I’ll be playing Emile de Becque, the male lead…
Other
071: Lyy, ‘Giftavisan’
Väsen, Ranarim, Garmarna. Huh? Gjallarhorn, Hedningarna, Hoven Droven, Lyy? WTF?? Put on your fleece parkas, folks. This week we’re going to take a little jaunt up to the lands of the North, to make the...
Continue reading...067: Musica Nuda, ‘I Will Survive’
I’ve always been a fan of minimalism in music. In jazz it’s pretty easy because the default is four or five players. But my predilections in classical music are almost exclusively for solo or chamber...
Continue reading...066: Rickie Lee Jones, ‘Skeletons’
I had the good fortune last week to attend the Red Sea Jazz Festival in Eilat as a member of the press, representing the Jerusalem Report. It was my first formal journalism gig in 40...
Continue reading...024: Oi Va Voi, ‘Refugee’
I’m a seriously committed Jew, but I don’t like any flavor of klezmer. I don’t believe in world peace, and I don’t like world music. I don’t believe in leaderless bands with amorphous rosters. But I’ve coerced literally dozens unsuspecting friends and acquaintances to listen to Oi Va Voi’s “Laughter Through Tears”, and nary a one hasn’t apologized for snickering. It’s is an utterly irresistible album.
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