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By Alethea Perez, October 14, 2011 12:04 pm

Blanche Serota embraces a copy of the specially-created record label that honors her son, Barry Serota. Photo Credit: Alethea Perez

 BOCA RATON, FL (October 4, 2011) –Florida Atlantic University recently received a gift in memory of the late Barry Serota, an attorney, record producer and executive director of the Chicago-based Institute for Jewish Sound Recording. Serota was widely known for his deep knowledge of Jewish music and produced more than 100 recordings of Jewish sacred and secular music. His productions at the Institute for Jewish Sound Recording included choral,   instrumental, folk and art music.

Serota’s mother, Blanche, donated 1,500 LPs, more than 700 78-rpm discs, 100 digital audio tapes and 1,443 audio reel-to-reel tapes to the Judaica Sound Archives (JSA) at FAU Libraries in honor of her son. The collection includes rare record masters and pre-production one-of-a-kind recordings.

“Barry Serota devoted his life to collecting great Jewish music and producing high-quality recordings,” said Maxine Schackman, Ph.D., director of the Recorded Sound Archives at FAU Libraries. “Although we knew this was a wonderful donation to the JSA, we really couldn’t be sure what treasures we would find. Many of these recordings are legendary in the world of the cantorial arts.”

Blanche Serota became acquainted with the FAU Libraries when Ben Roth-Aroni, JSA’s sound technician, called to offer his condolences following Barry’s death. During his youth, Roth-Aroni worked for Serota as a tape editor and greatly admired his expertise in the field of Jewish music. Roth-Aroni encouraged Blanche to visit FAU Libraries, and during her February 2011 visit, she arranged to donate her son’s treasured collection to the JSA.

“She wanted to honor his memory,” said Schackman. “It comforted her to know that what he loved so much would find a warm welcome and a permanent home at the JSA.”

The JSA has digitized and compiled a collection of 56 albums produced by Barry Serota. The recordings can be heard on the JSA website at Musique Internationale.

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By Recorded Sound Archives, August 1, 2011 1:25 pm

Mrs. Blanche Serota holds a recording produced by her son under the Musique Internationale label.

Blanche Serota visited the JSA in February 2011 to arrange for the donation of  her son’s personal record collection to the Judaica Sound Archives at FAU Libraries.

Mrs. Serota was clearly still grieving over the loss of her son, lawyer and record producer, Barry Serota, when she visited the JSA.  She told me that her son was never interested in making money.  He collected and produced Jewish music recordings just for the love of it.

She wanted to honor his his memory.  It comforted her to know that what he loved so much would find a warm welcome and a permanent home at the Judaica Sound Archives at FAU Libraries.

Ben Roth-Aroni, RSA’s sound archivist, was especially elated about the gift. His  relationship with Barry Serota went back to the early 1970’s when he was employed as Serota’s tape editor.  “When I first heard about his passing, it didn’t sink in right away.  I couldn’t believe it! I was very fond of him. I called Barry’s mother to offer my condolences and to tell her how much I admired his dedication to the preservation of cantorial and other Jewish music. I invited her to visit the Judaica Sound Archives. She was spending the winter in West Palm Beach and I thought she would be interested in what we were doing here.”

Mrs. Serota was unable to make the trip to Boca Raton that winter but we made arrangements for Ben to visit her in Chicago to assess the collection of recordings and Musique Internationale masters that were stacked in her basement.  “I would have to say that it was pleasantly overwhelming!” he reported.  He estimated that there were approximately 100 boxes of recordings, record masters, and reel-to-reel tapes.

Meeting Mrs. Serota face-to-face for the first time, Ben talked about his memories of Barry. She remembered the beautiful voice of Ben’s father, Cantor Zvee Aroni. And so they talked and ate deli sandwiches for lunch.

Dr. Wiiliam Miller (right), Dean of FAU Libraries, looks on as Blanche Serota (middle) and Maxine Schackman (left) pose in front of the new "gold record" honoring Barry Serota.

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By Recorded Sound Archives, July 21, 2011 3:01 pm

When Barry Serota’s life suddenly ended because of a heart attack in November 2009, the world of recorded Jewish music lost one of its most respected professionals.

Barry Serota, a practicing attorney and executive director of the Institute for Jewish Sound Recording, died suddenly November 16, 2009 on a plane flight between New York and Madrid on the way to Israel.

Serota, widely known for his deep knowledge of Jewish music, had produced more than 100 recordings of Jewish sacred and secular music. Serota’s output at the Institute, based in Chicago, included choral, instrumental, folk and art music. Serota was especially known a promoter of chazzanut. Starting in 1969, he issued many esoteric Jewish music recordings under the imprint of Musique Internationale.

Serota, an advisor to the Milken Foundation, worked on their large project of the Library of American Jewish Music, the recordings which were published under the Naxos label. He was also involved in the Foundation’s oral-history project, for which he interviewed many of the leading figures in Jewish music.

Serota earned degrees at Columbia University and the Jewish Theological Seminary, and received a law degree from De Paul University of Chicago. He lectured widely, including numerous professional and academic organizations such as the Cantorial Council of America, HUC (Hebrew Union College), TACI (Tel Aviv Cantorial Institute), and the Museum of the Diaspora.

At the time of his death, Jeffrey P. Lieuwen wrote, “I hope the enormous collection he leaves behind will fall into good hands, so it will be preserved for generations to come.” I hope Mr. Lieuwen and others will be pleased to learn that Barry Serota’s mother, Mrs. Blanche Serota, has donated his entire personal collection to the Judaica Sound Archives at FAU Libraries.

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By Recorded Sound Archives, April 28, 2011 8:55 am

When I learned that Marlene Englander (Jack Saul’s daughter) and her husband Jon would be visiting us on Feb. 28, 2011 I couldn’t have been more excited. Marlene had been very helpful to the Recorded Sound Archives in negotiating the details of the delivery of two large truckloads of audio recordings from her mother’s home in Cleveland to FAU Libraries.

As a matter of fact, it was this enormous gift of recordings from the Saul family that inspired FAU Libraries to create the Recorded Sound Archives (RSA). Over the past six years the Judaica Sound Archives has been gaining in prominence and size. So you can imagine the excitement when we started unpacking the Saul Collection and found hundreds of gems that were new the JSA collection. Since Jack Saul had a wonderful collection of early Victor recordings we were able to put together collections of music by such Jewish entertainment super-stars as Al Jolson, Jascha Heifetz, Efrem Zimbalist and Alma Gluck.

FAU Libraries’ large collection of Jazz recordings did not fit within the parameters of the JSA and had been sitting dormant on the shelves at Wimberly Library. This new addition of more than 50,000 non-Jewish 78rpm recordings of classical, popular and folk music as well as historic speeches were also inappropriate for the JSA. Luckily, we were in a position to apply what we had learned processing Jewish recordings to these other music treasures. Creating a more comprehensive Recorded Sound Archives just seemed like the logical thing to do.

We gave Marlene and Jon a tour of the new RSA’s three separate areas: Judaica, Jazz and Vintage 78’s.

Alethea Perez (RSA Operations Coordinator) and Marlene Englander (Jack Saul’s daughter)

“How much of this came from my father?” she asked looking down a long aisle of records. “Just about all of them,” I replied. I was especially pleased to be able to show Marlene the recognition “gold record” that had been placed on our Sound Angels wall and to present  her with a similar plaque to take home to her mother.

Not long ago I received the following email from Marlene.  I am proud to share it with you.

“What a pleasure it was to … see the fabulous things you are doing with both the Recorded Sound Archives in general and the Jack Saul collection in particular. Our family is so pleased with the dedication and devotion of your staff and volunteers in working to provide access to this unique resource.  [We] were pleased to see familiar faces – you, Ben, Alethea, Dean William Miller and Associate Dean Rita Pellen – and to meet a volunteer who was so excited to have found a signed 78 recording from the collection while we there!

Upon returning home, I couldn’t wait to show my mother some of the pictures, and she, of course, was very pleased. She also was touched by the plaque you had made for her and to see that our family’s name is now on your donor wall. I hope she will join us on our next trip – the way the weather is up here, it may be sooner than anticipated!

Again, many thanks for all your hard work, your wonderful blogs (which I read regularly) and your ongoing commitment to preserving not only my father’s collections of Jazz, vintage and Judaica recordings, but those of others as well.”

Marlene and Jon Englander

(Jack Saul Family)

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By Recorded Sound Archives, February 18, 2010 4:24 pm

Cleveland weather provides a rare opportunity for Floridians to shovel snow

Nathan Tinanoff, Ben Roth and Alethea Perez left South Florida to complete the final packing of the Jack Saul  recordings that will find a home at FAU’s Wimberly Library. They arrived in Cleveland to find a snow-covered landscape and frigid temperatures. How did the Floridians handle the weather?

Alethea said, “It was amazing! I got to throw my first snowball!” But they didn’t have much time to play in the snow, or make snow angels or even create a snowman, there were 78-rpm records to pack into boxes.

Each box holds 40 to 50 records and they packed almost 500 boxes over the Presidents Day weekend. That translates to between 20,000 and 24,000 records.

Working in both the Saul’s home and the furniture store they were amazed at what was still left behind. “This collection was so extensive that even after we packed two truckloads of recordings, it still seemed like there was so much more there,” said Nathan Tinanoff, director of the JSA. But as these pictures show, a lot of progress has been made in clearing out the clutter and packing treasured recordings.

Before

After boxes are packed

The 78-rpm records that were packed during this trip to Cleveland will NOT become part of the Judaica Sound Archives.  These 78-rpm recordings contain American pop music, classical music, opera and the works of many famous entertainers of 50 to 100 years ago. Because of the size of this collection FAU Libraries is establishing a new Vintage Record Collection which will be under the direction of Nathan Tinanoff.

Below is newspaper article from 1976 showing Jack Saul with a basement full of recordings. It seemed huge , but who knew at the time that Jack Saul would continue adding to his enormous collection of recordings for over 30 more years?

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By Recorded Sound Archives, January 8, 2010 11:09 am

• December 29, 2009:  The large donation of recordings to FAU Libraries from Jack Saul’s private collection sparked interest in the Judaica Sound Archives and resulted in the following  newspaper article by Lona O’Connor, Palm Beach Post Staff Writer

The Judaica Sound Archive is accustomed to receiving large donations of old recordings. But its latest bequest — 10,000 records — arrived in an 18-wheel trailer truck.

The 7-year-old musical archive, part of Florida Atlantic University’s library, has a lot of cataloging to do in the next few months, because another 18-wheeler will arrive as soon as the snow melts . It will carry at least twice as many recordings — all from the late Jack Saul, a Cleveland furniture store owner whose collection may have amounted to as many as 300,000 recordings at its peak.

The Saul contribution will add about 60,000 recordings, including a few unique examples, to the FAU archive, already one of the largest in the world.

The sound archive is run by Nat Tinanoff and Maxine Schackman, who, aided by tech-savvy volunteers and students, have made 10,000 songs from the archive’s collection available online to the public. The archive contains religious, folk and children’s music, theater and music-hall performances. Click here for full text.

• December 31, 2009:  The following editorial in the Palm Beach Post explains the importance of the work that is being done by the Judaica Sound Archives.

In the larger scheme of things, the dedication of the employees of the Judaica Sound Archive at Florida Atlantic University isn’t earth-shattering. It doesn’t change Florida, the way oil drilling off the coast would. It doesn’t build houses or end foreclosures or reinvigorate the economy.

But it alters Florida just the same, adding a twist of culture to a state that too often is criticized for sterile shopping malls, cookie-cutter houses and cultural voids.

We mention the dedication of employees Nat Tinanoff and Maxine Schackman, aided by volunteers and students, because it was their dedication that persuaded a Cleveland furniture store owner and record-collector extraordinaire to donate to the archives 60,000 record albums for preservation. As The Post’s Lona O’Connor reported Wednesday, thanks to these workers, the mountain of wax recordings preserving the music of the past will be catalogued and digitized so that they can remain far into the future.

Jack Saul, who died in May at 86, picked FAU’s sound archive specifically because he saw that it would preserve his collection. He once had been burned, giving away 200,000 recordings to an organization that later sold them. Mr. Tinanoff estimates that it will take five years to inventory Mr. Saul’s collection. He expects to make 4,000 compact discs available to students. The collection includes an album of Fanny Brice singing to children and a fantasy cantata about the Brooklyn Dodgers by opera singer Robert Merrill.

It’s a cultural bonus Florida would not have, if not for the dedication of the Judaica Sound Archive’s employees. Click here for full text.

• January 6, 2010: The Jewish Forward recognized the importance of recorded Jewish music for musicians and others who cherish Jewish culture in this article by Ezra Glinter.

It’s a truism of traditional music that in order to go forward, you have to go back. To innovate on old material, you have to know the old material in the first place.

But in the case of Yiddish music, there’s often not much to go back to. During the heyday of Yiddish culture in the late 19th and early 20th centuries, klezmer melodies, Yiddish theater tunes and cantorial music were popular entertainments for Jews from Warsaw to New York. But with the Holocaust in Europe and the rapid assimilation of Jewish immigrants in America, that culture went away as quickly as it had come. For musicians today who want to learn the Yiddish repertoire, finding a living link to that centuries-old musical tradition is nearly impossible.

But there is another way. Between 1898 and 1942, some 6,000 78-rpm recordings of Jewish music were produced in the United States, and some 5,000 in Europe. When Jewish musicians in the 1970s revived the Yiddish music that had largely disappeared after the Second World War, it was to those recordings that they turned.

“If it weren’t for these historic recordings, there wouldn’t have been a klezmer revival,” said producer Henry Sapoznik, executive director of Living Traditions, a Yiddish arts organization that produces the annual weeklong KlezKamp in Kerhonkson, N.Y. “Of every traditional music scene, whether it’s Balkan or Greek or blues or early jazz, the only one that relied completely on using 78s as a style and repertoire model was the klezmer scene. . . . ”

Florida Atlantic University’s Judaica Sound Archives has been collecting Jewish music of all kinds since 2002, and provides much of it in streaming format on its Web site and more through research stations located in libraries throughout the United States, Canada, Israel and the United Kingdom. Click here for full text.

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By Recorded Sound Archives, October 5, 2009 10:29 am

The excitement we were all feeling when the truck from Cleveland, filled with recordings from Jack Saul’s collection, pulled up to the Library’s loading dock was quickly replaced by focused activity. Everyone had a job to do and immediately jumped into action. Unloaders moved the boxes from the truck to pallets which were then moved with a handtruck through the Wimberly Library lobby into the elevator to the fifth floor where they were stacked for later unpacking. Other boxes were placed on carts and deposited in other areas of the library.

Of the 730 boxes in this shipment 255 are filled with recordings headed for the Judaica Sound Archives and the FAU Music Department’s Jazz Sound Collection. The remaining 475 boxes contain vintage 78 rpm recordings which will form a new FAU Library collection.

Transporting boxes through the Wimberly Library lobby

Removing boxes from elevator on Wimberly Library’s 5th floor

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By Alethea Perez, September 30, 2009 1:58 pm

Truck backing up to Wimberly Library loading dock

I cannot express to you the excitement on the morning of Friday, September 11, 2009 as the entire staff of the Judaica Sound Archives and volunteers from other FAU Library departments waited for the arrival of the truck which had been loaded with recordings from the Jack Saul collection in Cleveland.

Nat had been preparing for a week, finding areas of the Wimberly Library where the boxes could be stored until they are unpacked, rounding up volunteers, assigning work tasks at the loading dock, measuring entranceways to make sure that the pallets loaded with boxes could fit through, arranging for carts to be available where the pallets couldn’t fit, etc. With his incredible organizational skills and attention to detail the operation felt like a well-designed military operation. Everything went perfectly! Within 4 hours all the boxes had been unloaded and stacked in their designated areas.