The Klezmatics Featuring Joshua Nelson Come to The Broad Stage

The Klezmatics, known for their unique blend of melodic mysticism and improvisational activism, return to The Broad Stage to turn their music inside out on Thursday, March 29 at 7:30pm. Performing alongside the "Prince of Kosher Gospel," Joshua Nelson, this evening will expose the complexity of Jewish identity, Black identity and human identity.

Since their emergence more than 30 years ago, The Klezmatics have raised the bar for Eastern European Jewish music, made aesthetically, politically and musically interesting recordings, inspired future generations, created a large body of work that is enduring, and helped to change the face of contemporary Yiddish culture. Often called a "Jewish roots band," The Klezmatics have led a popular revival of this ages-old, nearly forgotten art form. Today, with three original members-Lorin Sklamberg (lead vocals, accordion, guitar, piano), Frank London (trumpet, keyboards, vocals) and Paul Morrissett (bass, tsimbl, vocals)-still on board, alongside longtime members Matt Darriau (kaval, clarinet, saxophone, vocals), Richie Barshay (drums) and Lisa Gutkin (violin, vocals), The Klezmatics are without a doubt the most successful proponents of klezmer music in the world.

Joining The Klezmatics is Joshua Nelson, who performs "Kosher Gospel," a mix of religious music taken from Jewish liturgy and Christian hymnals. Born to a Jewish mother and an African American father, and inspired by the gospel music of Mahalia Jackson, Nelson has carved out a musical niche that explores the sinews between these two cultures.

Nelson and The Klezmatics came together in 2005 for the album, Brother Moses Smote the Water. All About Jazz said about the record, "The Klezmatics, together with black Jewish gospel singer Joshua Nelson, find inspiration in the freedom songs and spirituals from the African-American tradition that celebrate the struggle for emancipation during the American Civil War and the Civil Rights Movement, identifying a common theme of social justice in both musical traditions. [Brother Moses Smote the Water is] a beautiful musical statement from a band that dares to explore its cultural and religious identity in a manner that encompasses universal human and social values, delivering a very touching message of hope, common fate, and faith."

Tickets are on sale at www.thebroadstage.org or by calling 310-434-3200.

The Klezmatics have performed in more than 20 countries and released 11 albums to date-most recently the album Apikorsim (Heretics), produced by Danny Blume (who helped the band win a Grammy in 2006) and the first of the band's albums to feature only the 6 members. On their Grammy-winning 2006 album Wonder Wheel, The Klezmatics set a dozen previously unsung Woody Guthrie lyrics to music, widening their stylistic base by largely diverging from klezmer. They have also recently served as the subject of a feature-length documentary film, The Klezmatics: On Holy Ground.

During their third-of-a-century existence The Klezmatics have collaborated with such brilliant artists as violinist Itzhak Perlman, Pulitzer prize-winning playwright Tony Kushner and Israeli vocal icon Chava Alberstein, plus many other prominent artists working within multiple genres.

Although tradition is at the core of what they do, since the beginning The Klezmatics have adapted to the artistic sensibilities of a contemporary world. "Klezmer has everything you want, ethnically, and yet it's so intertwined with American culture," says Morrissett. "We want to make sure that we are part of a living tradition, and living traditions change; they don't stay in a pickled form."

Indeed, The Klezmatics are very much of the modern world. Says London, "By putting forth a consistent and coherent political and aesthetic Yiddish/klezmer music that embraces our political values-supporting gay rights, workers' rights, human rights, universal religious and spiritual values expressed through particular art forms-and eschewing the aspects of Yiddish/Jewish culture that are nostalgic, tacky, kitschy, nationalistic and misogynistic, we have shown a way for people to embrace Yiddish culture on their own terms as a living, breathing part of our world and its political and aesthetic landscape."

Formed in New York in 1986, The Klezmatics quickly built a devoted following that expanded outward once word spread about this exotic new band that was bringing klezmer back from the abyss. For some fans, the group's appeal went beyond the music itself. "People have a need for something to hold onto," says Gutkin. "They want to be part of something."

Throughout the years a wide range of lyrical ideas has inhabited The Klezmatics' songs, ranging from contemporary issues of global import facing each of us to matters of intimate love, and from leftist politics to age-old Jewish mysticism. "From early on," says Sklamberg, "even before we made a conscious effort to make the music our own, we decided that if we sang songs, they would be ones we believed in."

Live at Town Hall captures the group's March 5, 2006 20th anniversary concert at the New York venue. Recorded in conjunction with the On Holy Ground documentary, the set features a cross-section of music from throughout The Klezmatics' history, and includes a lengthy list of special guests, among them previous members David Krakauer and Margot Leverett, who had never recorded with the band until this gig. The repertoire draws from the group's earliest days and material as recent as the Guthrie adaptations.

Says London, "We wanted to celebrate being together for so many years with everyone who has been part of our family."

Indeed, The Klezmatics have always been as much about community as music. Says Sklamberg, "The energy and support we received from the local community fueled the band, rather than it being a particular sensibility. At the very least it allowed us the freedom to be us."

Thirty years after their formation, The Klezmatics remain committed to their music and to the close relationship they share with their fans. "In 1986," says Sklamberg, "I never imagined that preserving, disseminating and helping to redefine Yiddish music would become my life's work. "I certainly don't think we sound like anyone else."

Indeed, they don't. Never have and-should The Klezmatics (hopefully) last another 30 years-it's a safe guess that no one else ever will!

Joshua Nelson born and raised Jewish, studied of Judaism, including two years on a college and kibbutz program in Israel, clarified his understanding that throughout history, Jews had always integrated Jewish law and religious practices with the cultural context in which they lived; for example, as Nelson points out, any ethnic style of cuisine can be Jewish if it is kosher.

Upon his return from Israel, Nelson began to apply this understanding to music, beginning what has been called "a revolution in Jewish music" by combining Jewish liturgical lyrics with one of America's best-known indigenous musical forms; thus kosher gospel music was born. For Joshua Nelson, kosher gospel is a way to claim both parts of his identity as a Black Jew.

When Joshua was eight, he discovered an album by Mahalia Jackson, the Queen of Gospel, in his grandparents' record collection, and he fell in love with her singing. During his teens and early twenties, he became widely celebrated as a gospel singer continuing the Jackson's legacy.

For his audiences, whatever their faith or heritage, kosher gospel has been a revelation. Now in his early thirties, Nelson has performed around the world, for Presidents, congregations, major music festivals-and for Oprah, who named him a "Next Big Thing." He has produced a stellar album, Mi Chamocha, sung with stars from Aretha Franklin to The Klezmatics, and served as the subject of the acclaimed documentary film Keep on Walking. Nelson also passes on this musical gift as an artist in residence at Jewish congregations across the country, including at his home synagogue of Temple Sharey Tefilo-Israel, a Reform congregation in South Orange, New Jersey where he taught Hebrew School for 15 years. Whatever the venue, Joshua Nelson, the Prince of Kosher Gospel, brings people-and cultures-together in joyous song.

The Broad Stage, beginning its landmark 10th season, offers theatre, dance, film, opera, jazz, world music, musicals, symphony and chamber orchestras, family programming and more. Each genre features superlative talent from every generation and around the globe. No other performing arts center west of the 405 can boast such consistently stellar lineups of performers, including André Watts, Anna Netrebko, Sir James Galway, Sutton Foster, Preservation Hall Jazz Band, Mikhail Baryshnikov, Patti LuPone, Aaron Neville, Lee Ritenou, Dave Grusin, Joshua Redman, Lil Buck, Bobby McFerrin, Helen Hunt, Academy of St Martin in the Fields and many others.

In addition to The Broad Stage, The Edye, our 100-seat black box theater, presents new, developing and innovative work in theatre, music and dance as part of our Under the Radar Series, as well as offerings from our other genres. Featuring younger, emerging artists, chamber pieces and plays, programming at The Edye reflects the dynamic nature of the space and allows for the latest, most exciting artists to be booked on short notice.

The Broad Stage's Education and Community Programs offer opportunities for cultural exposure through various student events, currently reaching more than 20,000 children, parents, educators and community members every year.

Photo Credit: Adrian Buckmaster

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