With their exuberance, musicianship and ability to have any audience get up and dance, The Klez Dispensers have become the house band for klezmer's newest wave. New Jersey Freylekhs draws inspiration from the experimental jazz/Jewish interchanges of the late '50s where bop added to klezmer's established relationship with swing.
It is obvious throughout that the Dispensers are filled with "players"; clarinetist/saxophonist Alex Kontorovich, trumpeter Ben Holmes and saxophonist Audrey Betsy Wright use the genre to highlight their technical ability while maintaining the requisite melodic respect. Amy Zakar's heartfelt violin alternates between Jewish and swing to impart warmth that touches the soul. While the band's take on traditional tunes, like their arrangement of "Dave's Freylekhs," where Kontorovich's clarinet brings back clarinetist Dave Tarras; and "Abi Gezunt," which has Amy's swing violin conjuring up Stephane Grappelli, do delight, it is the newly composed music and arrangements that most impress such as the Ben Holmes compositions "Doina," "Karnofsky Tanz" and the title cut.
"Doina" draws its effectiveness from Holmes' restraint as he holds each note while delicately rolling it around until it subtly changes as he spits it out. His "Karnofsky Tanz" serves as the perfect up-tempo release with each instrumentalist taking a turn on the dance floor. The title cut begins with a traditional sound, as the piano of Adrian Banner pumps along the rhythm with drummer Gregg Mervine leading violin, clarinet, trumpet and sax to find interesting changes. Banner likewise proves to be a strong composer and arranger as he blends the classical piano/violin duet of "Freymilekh" into an introductory doina, followed by some hot avant klez freylekhing. Banner's version of "Der Heyser Bulgar" takes things further out as Kontorovich switches to baritone sax, and with Ed Browne's electric bass, turns what begins as a stately violin/trumpet duet into a modern downtown NYC klez blow out.
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith. We hung out at my Aunt Kate's Soul Food restaurant in Harlem after the matinees at the Apollo where I listened to their stories. I knew I wanted to be a jazz musician from then on. My mother wanted me to play piano, but my Aunt bought me a guitar. I've been playing ever since.
At my mother's early prompting, I first sang Blue Velvet at my Catholic elementary school...and all the nuns came running in and asked me to sing again, so I knew I must have sounded pretty good. I've been singing ever since.
I met Tony Bennett in Miami and he inspired me to return to New York. He was a great mentor.
The best show I ever attended is mpossible to say, I've seen so many great shows. From Tony Bennett to Pat Martino, Return to Forever to Weather Report...I've seen some great performances.
My advice to new listeners is don't let jazz intimidate you, the music has something for every listener and it is our American gift to the world.