FleytMuzik
Klezmer music for the flute
with violin, cimbalom and bass

Adrianne Greenbaum, flute
Cookie Segelstein, violin
Joshua Horowitz, cimbalom
Marty Confurius, bass

I can't think of a stronger case being made for the flute as an essential klezmer instrument (besides the historical fact that Old World kapelyes often included flutes) than this album, particularly Adrianne Greenbaum's spirited playing on her own composition, 'Di Terkishe Fleyt,' which boasts the soulful vibrancy, wit and virtuosity of the great clarinetists like Brandwein and Tarras. With tsimblist Josh Horowitz, fiddler Cookie Segelstein and bassist Marty Confurius, Greenbaum has assembled a gorgeous neo-traditional ensemble of classical proportions. Call her the Andy Statman of the klezmer flute. -- Seth Rogovoy, author, "The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music"


I am awestruck, and am not going to waste further verbiage trying to describe what an amazing, beautiful, virtuosic album this is. If you like klezmer, or you like flute, or if you didn't know that you liked either, this will still be your favorite album for a long time. This CD, by Klezical Tradition's Adrianne Greenbaum, opens with a stunning, muscular flute doina and never stops. Covering older klezmer repertoire (although "traditional" doesn't necessarily mean, "as recorded on early '78s" or notated by Beregovski any more). There is much of that, but ensemble member Josh Horowitz, for example, spent many years wandering Eastern Europe recording and playing with local musicians. The album also includes a vibrant medley of tunes from former-Soviet klezmer turned New York klezmer, German Goldenshteyn, as well as his rocking, driving "Rusishe Sher". And, then, Greenbaum's own "Dobriden" is such a perfect period processional, despite its recent origin. Nor is this a neo-classical snob's album. The album closer, "Gelebt und Gelakht," for instance, gives everyone a chance to stretch a bit, but the thrilling flute runs that carry the piece are simply sublime. (About what you'd expect from a tune recorded by Naftule Brandwein!). Along with Greenbaum, we get a chance to hear Josh Horowitz accompany on the tsimbl, and Cookie Segelstein on violin, and get a sense of how klezmer might have sounded, at its best, 100 or 200 years ago, before klezmer horns, before Americanized klezmer, before the clarinet became the main solo instrument. It's classical klezmer, if you will.
It's classical klezmer featuring a variety of vintage flutes for the perfect period sound. But this is also classical music grounded in dance tradition. Playing the older wooden flutes makes a difference. This music swings. It also has power. And yet, it is also very modern. It blows my mind to the possibilities of klezmer the way Andy Statman and Zev Feldman's groundbreaking "Jewish Klezmer Music" of 20 years ago made me first excited about klezmer. (Would the fact that bassist Marty Confurious played on that recording, and on this one, suggest that this is not coincidence?) What is certain is that this album makes clear how good a flute can make klezmer sound, and how perfectly it works with tsimbl and bass and fidl. Mostly, though, this is Greenbaum's album. Her flute playing is inspired. It rocks. Even on the most intricate, quiet, classical passages, this is the sort of playing that makes clear how much of a difference amazing musicianship makes. This is amazing musicianship. This is the sort of album that defines a sound and a standard, the way that Alicia Svigal's "Fidl" defined klezmer fiddle for many, years ago, and this is accomplished by going far back to klezmer's pre-American roots. The CD also includes some nice notes about the history of the flute, and the klezmer flute. What an amazing, profoundly essential CD! What a beautiful, wonderful, gift. This CD is instantly part of my "essential klezmer" collection. Ari Davidow Klezmershack.com


With Segelstein, Horowitz and Confurius, this is a veritable Klezmer Supergroup. Greenbaum makes the flute conform to the unique requirements of melody playing in klezmer, finding ways of playing the bent, achy, and crying notes on flute that characterize the klezmer soloist. Greenbaum also flexes her own considerable compositional muscles on Di Terkishe Fleyt and Dobriden. Sing Out! Magazine


It's an important CD, and I enjoyed it. It left me with the strong impression that you should abandon classical music and dedicate yourself to Klezmer playing 100%. There is some great Klezmer flute playing on that recording which made me want more of it . . . Go Adrianne! Chris Norman


Adrianne, I listened to your CD and LOVED it! There is no doubt in my mind that this music touches the soul and you all did a very good job in touching mine.
Best wishes, Jimmy/Sir James Galway


To anybody who hasn't heard Adrianne Greenbaum’s new album yet, and anybody who loves good music in general or Jewish music or klezmer music in particular, may I urge you to "beg, steal, or borrow", or preferably buy (and thereby support a wonderful musician and hopefully encourage and enable her to let us continue to enjoy her talents in the form of continuing releases) this splendid album and hear for yourself.
FleytMuzik to me is the most exciting new klezmer recording since the old "Jewish Klezmer Music" by Zev Feldman, Andy Statman and Marty Confurius (the latter of whom also features on this album) in the 70s. It is fresh, refreshing, marvelously joyous and soulful at once - it's everything the best klezmer music, and the best music per se, should be, music that not only the ears listen to but the heart as well, and music that delights both.
Somebody here remarked that Adrianne could be called the Andy Statman of the klezmer flute. I should like to add to that in saying that my personal "rogues' gallery" of outstanding flautists, regardless of genre and in no particular order, so far consisting of Jean Pierre Rampal, Herbie Mann, Yusef Lateef, and Hubert Laws, has been extended by one. The combination of flute, violin, tsimbl and double bass really is another delight in itself. Plus, two original compositions by Adrianne further add to the delight of her album and should make a splendid addition to the general repertory as well. A big vote of thanks to Adrianne and her fellow musicians for a beautiful album of beautiful music.Also, I must emphasize, the sleeve notes and overall presentation are absolutely superb and it's immediately obvious that a lot of thought and meticulous planning, care and hard work went into these, even down to the choice of the paper for the booklet. (There's another nice touch to it but I'll leave that as a surprise - so go on, treat yourselves! ;-) Performers are Adrianne herself on (period wooden, wonderful tone) flutes, Cookie Segelstein, fidl (violin), Joshua Horowitz, tsimbl (cimbalom or hammered dulcimer), and Marty Confurius, bass - a finer small ensemble won't be easy to find, and it's a superbly delightful combination initself. I'm sure Adrianne's "pardners-in-crime" need no further introduction to regular listers from me. Amongst them, I would find it impossible to pick any particular favourite/s - I love them all, all tracks are equally delightful, equally strong, each in their own way. This is one of those relatively rare beasts, an album that doesn't have a single track that is relatively weaker than the rest or misses, it is beautifully consistent throughout. ...Rainlore Reviews

I thought I'd share my unembarrased ethusiasm. I am often cynical about recordings by folks who have had the benefit of a strong classical education; but this record is one of those that proves that it ain't where you got the chops, it's what you DO with the chops that matters. (In other words, I'm only envious of those years of training).Foremost, it has a flute as a lead instrument. Back in the old days before Klezmer came to America and discovered Jazz music, back in the days where it was illegal (seriously) for Jewish musicians to play "loud instuments", the flute was a significant lead instrument for klezmer music. There are some great flute and tsimbl recordings in the early days of European recording, just as the tradition was dying. Adrianne has brought this tradition back to life and I think brought it authentically up to date in terms of technique that the old Klezmorim might have gone to had the Nazis and clarinets not wiped them out.
I am often cynical about recordings by folks who have had the benefit of a strong classical education; but this record is one of those that proves that it ain't where you got the chops, it's what you DO with the chops that matters. R. Reid

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