voice of klezmer line
Reviews
elizabeth
Elizabeth Schwartz with Mama Labushnik

“It is her voice that captivated the audience.  Schwartz's smoky tones could single-handedly revive the magic of Yiddish songs.  Like the pied-piper, she draws you in to the nuances and beauty of the music.”

-San Diego Jewish Journal

 
The Devil's Brides (Arc Music UK)

deviles bridesThe standout track (is) Getshinke, which describes the unhappy fate of a Jewish girl from Vilna during the First World War (sung here in customarily soulful style by Elizabeth Schwartz). ...The music is superb, in turns joyful and mournful, recorded in such an intimate acoustic that the listener is really caught up in the ebb and flow of the often brilliant improvisations on violin, cimbalom, accordeon and bass. In the macaronic Dire Gelt, for example, Yale Strom's violin leads a subtle exploration of themes and languages and stories and understanding and you can hear every delicate twist and variation and flit of breath and bow and plot.
Schwartz sings the new Sofia's Song, a tale of poverty and doomed love, with cool desperation, as the musicians take it in turns to back her yearning. On the earthy and expansive Lustig Zayn, meanwhile, with its neat accordeon lunacy and spirited conclusion, she successfully captures the indignity and senselessness of the poor Jew ensconced in a bear suit for the amusement of the whiskey-fueled audience.
What the album really is, of course, is a wonderful primer for someone who wants to commence an exploration of klezmer music, an approachable introduction to a rich musical world that can sometimes appear intimidating and mysterious.
John Pheby, Folk Roots Magazine (#346, April 2012)


In 18th-century Poland there were women klezmer musicians who travelled to perform at fairs all over Central Europe. Ethnographer-violinist Strom has researched their repertoire, and this CD contains some of his discoveries.

With Miriam Margolyes' help he also introduces the music: supported by cimbalom, accordion and bass, the husky timbre of Elizabeth Schwartz brings an aching authenticity to these songs and dances from the shtetls of pre-1939 Europe. Four Stars.
Michael Church, The Independent


It’s not generally known that in late-18th-century Poland there were women klezmer musicians who travelled to perform at fairs all over Central Europe. Ethnographer-violinist Yale Strom has researched their repertoire exhaustively, and here – with his klezmer group Hot Pstromi – he presents a few of his trouvailles, some of which have a poignant history. One dance tune was collected from a Jewish barrel-maker by Menachem Kipnis, who died in the Warsaw ghetto in 1942; another was collected from a Jewish baker in Kiev in 1937. One poem was found by Strom in a folder in the archives of a library in Vilnius: it had been lodged there by the Yiddish folklorist Yehudah Leib Cahan before he emigrated to America, and tells of the plight of a young Jewish girl in Vilna, as the armies of Germany and the Soviet Union were advancing on the city. Another song Cahan collected reflects the klezmer musicians’ traditional money problems in the shtetls, where their status was – despite their music’s popularity – at the bottom of the social heap. The spoken commentary by Margolyes and Strom works well, with the music itself achingly genuine. And that is thanks to the musical integrity of the performers: the husky sound of Elizabeth Schwartz, a one-time collaborator with Muzsikas; the dexterity of Alexander Fedoriouk, whose playing of the cimbalom began with village weddings in the Carpathian Mountains; plus Sprocket on bass, and Peter Stan on accordion.
The Scotsman, January 2012


The album is thus more of a documentary perhaps, but the music itself is truly wonderful – klezmer and Yiddish folksongs played on violin, tsimbl (the dulcimer-like cimbalom), accordion, bass, and with many tracks benefitting from the vocals of Elizabeth Schwartz. Wild, uplifting or deeply melancholy, this music is of great interest to all klezmer enthusiasts…
R2 Magazine

"Not surprisingly, The Devil’s Brides is a serious work by an accomplished musicologist. Originally conceived as the musical score for the 2011 audio drama “The Witches of Lublin,” The Devil’s Brides is based on Strom’s discovery that, contrary to conventional belief, there were occasionally women klezmer musicians performing publicly at fairs throughout Central Europe in the 17th and early 18th centuries. The Devil’s Brides consists of 11 songs (some traditional arrangements and others composed by Strom) of the sort that might have been heard at the typical Jewish wedding in 18th century Poland, each one with an audio introduction by Strom and actress/voice artist Miriam Maygolyes (Harry Potter). The songs – some festive, others melancholy – are performed in the klezmer style featuring violin (Strom), cimbalom (a hammered dulcimer) (Alexander Federiouk), bass (Sprocket), and accordion (Peter Stan), with substantial spontaneous improvisation. Strom’s wife, Elizabeth Schwartz, contributes her trademark dusky vocals.

The Devil’s Brides, subtitled Klezmer & Yiddish Songs, is released by ARC Music (UK), a leading label for top quality world and folk music. The packaging is first rate, including extensive liner notes with photos (translated into English, German, French, and Spanish). One need not be a student of klezmer music to enjoy this exuberant compilation of expertly performed tunes. The “history lessons” between each song are short and interesting. Highlights (at least to this reviewer) are “Dire Gelt” (showcasing intricate violin work by Strom and instrumental improvisation among the Hot Pstromi ensemble), “Tumbalalayka” (featuring Schwartz’s robust vocals), and “Lustig Zayn” (featuring spirited accordion and cimbalom work).

Serious listeners (or even beginning klezmer enthusiasts) will be riveted by Strom’s research, the diversity of the selections, the artist biographies, the original Yiddish lyrics, and the cultural/ historical significance of the songs. Even klezmer novices will enjoy this excellent survey of a rich (but once almost forgotten) musical tradition."



Absolutely Klezmer Volume II (Transcontinental/URJ)

I'm tempted to say "Never mind the quality, feel the width" - but this marathon CD is not just about quantity. Of the seventeen tracks here, most are great pieces of Jewish music: the poignancy of The Bride's Lament or Vizhnitser Nign, the exotic exuberance of Freylachs and Horas, and the earthy emotions and laconic wit of songs such as Lekhayim or The Mother-in Law. Yale Strom has assembled all the key ingredients of great klezmer on this recording. There's his own weeping fiddle, the powerful expressive voice of Elizabeth Schwartz, the deep throbbing accordion of Peter Stan, and the woodwind virtuosity of Norbert Stachel on clarinet, sax and flute. Jim Whitney's double bass is solid throughout too, bowed or plucked. One or two of the arrangements didn't work for me, and there's an odd tendency for the woodwind to lag behind the beat on some tracks, but most of the time this quintet is tight and thrilling. From understated beauty on Dobranotsh to full-throated abandon for Knayfl's Freylekhs, there's plenty to enjoy here. Mitsve Tants, Londre, The Youngest Daughter's Wedding and other highlights exemplify the zest for life and the extremes of emotion expressed in European Jewish music from Brooklyn to the Balkans.
Alex Monaghan, FolkWorld #45 07/2011

BORSHT WITH BREAD, BROTHERS (ARC Music)


bort"This great gift of music is tied to Jewish folk songs and melded with the rhythms of all the places Jews have lived around the world where they have been touched by the local culture and music. The tunes are infused with a sound that I can only describe as Jewish blues/jazz, Roma (Gypsy) music, and all things Middle Eastern and pentatonic. It takes you on the road of the Jewish Diaspora with music local to each country along the route but unique in its heartfelt similarities and sounds. This is an exciting CD as well as an historic one. It introduces and extends the Klezmer themes and music into a European borsht-like mixture of many musical colors and sounds.

The CD iincludes a mélange of different musicians, starting with Yale Strom on violin and Hot Pstromi members Fred Benedetti on guitar, David Licht on percussion, Jeff Pekarek on bass, Sprocket Royer on bass, Elizabeth Schwartz providing soulful vocals, Tripp Sprague on saxophone, Norbert Stachel on saxophone/multi woodwinds, and Peter Stan on accordion.

The CD roams through 12 songs, each unique and each a musical piece of a musical puzzle that takes you through an exciting journey of Eastern European Jewish dance and folk music. Listening to this music filled me with many emotions, both joyous and sorrowful. This type of emotional reaction is something that seems to have disappeared recently as we listen to the music we are force fed by robotic radio and the odes played on American Idol. This CD touches your soul and your heart and never lets up. Yale Strom has created a CD that makes you want more, so you play it again, over and over, always finding new themes, new rhythms, and emotionally laden vocals with notes that shake your soul.

The CD sings to the six million lost, bringing them back to the rest of us still here who are alive and dancing to Bread with Borsht, Brothers. Indeed, Yale Strom has created a CD for everyone. Its melodies will make you move your feet, shed a tear, laugh out loud, and forever remember the songs of a people who wandered through many lands and mixed in the cultures they absorbed along the way. This is truly world music, culturally created in Eastern Europe, but cross-fertilized with sounds from as far away as Turkey, the Middle East, and North Africa, brought to life again in those long gone, ghost-inhabited Jewish communities that still exist in our DNA.   

L'Chaim ("to Life!") to a treasury of culture and music that plays out on this wonderful, intelligent CD. "
- Allen Singer, San Diego Troubador, October 2009


"Vocalist Elizabeth Schwartz displays a wonderful appreciation for the nuances inherent in the interpretations of this music. Her mastery of the ornamentations is superb on selections like the movingly ethereal Hungarian Jewish folk song “Szol a Kakas Mar (The Rooster Crows Already)” and an extended version of the Czarist protest song “Vemen Veln Mir Dinen, Brider (Whom Shall We Serve Brothers?). She also gives an inspired performance of “Ver es Keseyder Tseyln (Who Can Count in Order?) that wonderfully portrays both the cantorial and badkhen (wedding jester rhymer) underpinnings to this music".
- All About Jazz, Dec. 2007

"...seriously soulful vocals by Elizabeth Schwartz."
- Spin The Globe World Music News, Nov. 2007

"Intense and riveting CD.  And, of course, another factor at play here is the awesome virtuosity and versatility of the various musicians in Hot Pstromi: guitarist Fred Benedetti; David Licht, a former Klezmatic, on percussion; bassists Jeff Pekarek and Sprocket Royer; reed players Tripp Sprague and Norbert Stachel; accordionist Peter Stan; and vocalist Elizabeth Schwartz.

Picking favourite tracks from the dozen here is almost impossible, but I’ll call special attention to “Szol A Kakos Mar,” a Hasidic song from Hungary sung in Hungarian and Hebrew, with a vocal performance from Schwartz and perfect accompaniment from the band, that almost reminds me of Edith Piaf at her best. Another that must be singled out is “Vemen Veln Mir Dinen, Brider,” a Yiddish protest song that laments being forced to serve in the czar’s army.

This is a very special Klezmer album."
- Sing Out! Magazine

Dveykes (Adhesion) (Global Village Music)


dveykesStrom with newly composed music in hand meets bassist Mark Dresser, clarinetist/saxophonist Marty Ehrlich, pianist Diane Moser and drummer Benny Koonyevsky for Dveykes. Ensemble presentations evince a communal character that fuses freedom with spirit and klezmer with jazz. Schwartz' earthy alto voice sonically blends with tenor and bass for the sultry "Stained Red" and rises in sarcastic political protest on "If God Moved to the Neighborhood". Dveykes is a synergistically soulful cutting edge meeting.
- All About Jazz

Café Jew Zoo (Naxos World)

cafjew...Amazing. Strom's ensemble includes the passionate vocal talents of Elizabeth Schwartz... (and) the gut-wrenching passion Schwartz's voice adds to his ensemble.
- Dirty Linen

It doesn't hurt that Strom can tap the soulful vocals of Elizabeth Schwartz. ...brilliant.
- Global Rhythm Magazine

I was captivated by the powerful voice of Elizabeth Schwartz.
- New Age Retailer

The album features the soulful Yiddish vocals of Elizabeth Schwartz.
- The Forward

Garden of Yidn (Naxos World)


garden of yidenThe revelation of the album is vocalist Elizabeth Schwartz. Heard here on recording for the first time, Schwartz boasts a deep, dark, rich vocal instrument, with enough versatility to pull off an Arabic taksim, a cantorial wedding blessing, and a jazz waltz version of “Moscow Nights.” For the final number, a Gypsy-influenced doina, Schwartz reclaims the free-metered, improvisational lament for the singer, in whom its origin lies. Schwartz channels her wide-ranging background in musical theater, blues, rock and jazz into a vivid, contemporary Yiddish idiom that needs no translation.
- Sing Out! Magazine,Winter 2002 Vol. 45 #4

I've never heard A Finf un Tzvantziker sound more like a strutting Czarist march; Papirossen more like a cabaret plea for the reality of the street; and the Sheva B'Rachot more ethereal and actually timeless. Even the unklezmatic Moscow Nights has the silk of early ‘60's jazz. Here is a plate for everything. Elizabeth Schwartz's Yiddish is just right.
- Folk Roots Magazine

  Four Stars.
- Applaus Magazine


The Rough Guide to Klezmer Revival (compilation, various artists)

klezmer revivalThe Rough Guide is a collection of 18 klezmer tunes performed by some of the most important names in modern klezmer music. Although klezmer music has been around since the 15th century or so, the 1980s saw a renaissance, a revival of interest in this ancient Jewish folk music. Andy Statman, The Klezmer Conservatory Band, Kapelye, and Klezmorim were at the forefront of a rebirth and re-invigoration of this joyous genre.  Building on what these revival groups began, new groups, also represented in this compilation, sought to seize upon true klezmer tradition by importing the flavors of modern American music, including jazz, rock, and bluegrass... It was refreshing to see a compilation that did not include only the "usual suspects" — the standards. The album's selections are slightly more obscure, including several that I have never before heard performed. They were brought to life by klezmer luminaries such as the clarinet virtuoso Giora Feidman ("Dancing with the Rabbi") and The Klezmer Conservatory Band (one of my favorite klezmer ensembles). I enjoyed the smoky, very jazzy, vocals of "Café Jew Zoo" performed by Yale Strom with Hot Pstromi and Klazzj. "Ode to Favourtism and Corruption" by the UK-based Merlin Shepherd Kapelye is a classical-influenced ditty, that was an amusing finale to the CD.
-Blog Critics Magazine