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By Recorded Sound Archives, October 11, 2010 10:32 am

The question that everyone has been asking me since Nathan Tinanoff resigned his position as Director of the JSA on September 30th  is,”What will happen to the Judaica Sound Archives?

The JSA will continue to thrive…but, there will be changes.

What will stay the same?

1. The JSA will continue to have the largest online collection of Judaic music and voice in the world.

2. The JSA website (rsa.fau.edu/judaic) will continue to delight you with collections featuring performers of the past, cantorial greats and new artists.

3. The JSA Research Station will continue to bring Judaic music to scholars and students at institutions of Judaic studies around the world.

4. The JSA blog will continue to bring you information about new music collections and the goings on at the JSA at Florida Atlantic University.

5. The JSA will continue to be found on the 5th floor of the Wimberly Library on FAU’s Boca Raton campus.

What will change?

The JSA will no longer stand alone.  It is now part of a family of sound archives at FAU Libraries.  The newly formed Recorded Sound Archives at Florida Atlantic University Libraries is larger and more diverse. The JSA  will join a preservation effort that includes not only Jewish culture but also classical music, opera, jazz and American folk and pop.

I am pleased to accept the position as Director of FAU Library’s Recorded Sound Archives. I have worked closely with Nat Tinanoff since the inception of the JSA. As the JSA’s Assistant Director I have seen it grow from a few thousand recordings into a major Judaic music resource.

I look forward to building upon our success as we develop FAU’s Recorded Sound Archives.

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By Recorded Sound Archives, October 4, 2010 9:35 am

“The Jazz Singer,” released in 1927, was the first commercially successful “talking motion picture.” One of the most iconic moments in movie history occurs in this film when Al Jolson on stage, turns to his enthusiastic audience and says, “Wait a minute! You ain’t heard nothin’ yet!”  This promise of even more exciting entertainment to come is fulfilled as he sings “Toot-toot-tootsie” using moves that could have made Elvis Presley and Michael Jackson jealous. The effect is electrifying.

Known as “The World’s Greatest Entertainer” during his lifetime, Al Jolson’s life story (on which the movie was based) tells of a young Jewish boy who is driven to become a Pop singer despite the fact that his Orthodox father wants him to be a Cantor.

Who would think that a Jewish child born in anti-Semitic Tsarist Russia could become an American entertainment icon whose fame would continue to flourish  more than 50 years after his death?

When Asa Yoelson was only four years old his father became a rabbi and left his family and the old country to find a better life. After four years the Rabbi found a position in Washington D.C. and his family joined him. Tragically Asa’s mother died in 1895 only a short time after her arrival in the USA.

Embracing their “American” identities, young Asa soon became known as Al and his older brother Hirsh became Harry. The boys were obsessed with show business and by 1901 they were getting bookings in burlesque and vaudeville.

In 1904 Al, now known as Al Jolson, was called upon to fill-in for a performer in a blackface vaudeville comedy show.  Blackface, an important performance tradition in the American theater beginning around 1830 can now be seen as racist and offensive. But to young Al Jolson it was a blessing. Hidden behind the make-up, he found that he could give a freer, more energetic performance.  When this chance opportunity was well-received by the audience and critics, he soon decided to continue using blackface. The spontaneity and freedom he felt when in blackface elevated his performance and his fame.

In 1911 Jolson had his Broadway debut. His rendition of George M. Cohan’s Haunting Melody in the show “Vera Violetta “made him a Broadway star.

This was followed by other Broadway musicals and other hits for Jolson including You Made Me Love You in 1913 where he sang the final chorus pleading on one knee, a pose he would assume many times over in his career; Rock-a-Bye Your Baby With a Dixie Melody (1918); and George Gershwins’s Swanee (1918).

To hear all 55 songs in the JSA’s collection, click here. This collection of songs originally recorded by Al Jolson on 78 rpm discs between 1911 and 1919 was digitized and compiled by The Judaica Sound Archives at Florida Atlantic University Libraries. These albums are not available for sale or reproduction.

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By Recorded Sound Archives, September 30, 2010 11:09 am

The JSA is saddened by the sudden loss of one of our most beloved volunteers, Rene Yucht. She was a dedicated worker who felt deeply about her work at the Judaica Sound Archives. She succumbed on September 27, 2010 after a brief battle with pneumonia. She will be missed by all of us at the JSA. Our heartfelt condolences to her family.

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By Recorded Sound Archives, September 2, 2010 3:45 pm

Several of the Vogue Picture records in the Recorded Sound Archives at FAU Libraries capitalize on America’s love affair with Latin rhythms during the 1930s , 40s and 50s.

During the Prohibition Era (1920-1933), Havana, Cuba was a popular tourist destination for Americans seeking fun and excitement. One of the pleasures they discovered there was the rhumba. Popularized by performers such as Spanish-Cuban bandleader Xavier Cugat and Desi Arnaz, Latin ballroom dances and rhythms became a common staple of American entertainment for decades.

Riding this wave of popularity Sav-way produced several Latin-themed recordings and a series of recorded rhumba ballroom dance lessons. By today’s standards the music seems somewhat watered down and mild.  Nevertheless, these recordings give us a true representation of Americanized Latin music as it actually was during the mid-20^th century.

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By Recorded Sound Archives, August 25, 2010 1:05 pm

During the High Holy Days Jews around the world congregate to experience a sense of spiritual community.  It is a time of family gatherings and happy times juxtaposed with introspection and solemn prayer.

In choosing the music for this year’s JSA High Holy Days Music Mix we wanted to highlight the voices of cantors who have devoted themselves to perfecting their art. The High Holy Days has inspired some of the most beautiful and compelling Jewish sacred music ever recorded. On this album we feature such legendary cantors as Leib Glantz, Leibele Waldman, Gershon Sirota and Moishe Oysher. We also highlight the interpretations of some of today’s finest cantors.

In addition, we also wanted to share the more upbeat, happy tunes that appeal to children learning about Jewish traditions and the meaning of the holidays. Some of my fondest memories are of helping my mother prepare for the big holiday dinner and learning about the special foods that meant a “happy new year!’

This special mix of songs has been excerpted from albums which can be heard any time on our website. The mix includes light-hearted, yet meaningful, songs for children.  It also includes some of the most beautiful cantorial music ever written. Enjoy!

Click here to hear all 18 songs or to listen to your favorites.

These songs are for your listening pleasure only.  They may not be copied, reproduced or sold.

Excerpts of selections from these albums were used to create the JSA High Holidays Music Mix 5771.

Click on any title to hear the entire album.

(1) Ye Shall Rejoice On Your Festivals by Shimon & Ilana Gewirtz

(2) Simeni Ka Hotam by Cantor Ehud Spielman

(3) Misha Alexandrovich by Cantor Misha Alexandrovich

(4) Concerts & Recitals #3 by Cantor Zvee Aroni

(5)  Our Prayers in Song by Cantor Henry Butensky

(6) Prayers of My People by Cantor Louis Danto

(7) Chants Folkloriques Israeliens by Cantor Michel Heymann

(8)  Hallel & Three Festivals by Cantor Leib Glantz

(9) High Holy Days in a Conservative Synagogue by Cantor Moshe Schwimmer

(10) Holidays around the Year by Chaim Parchi

(11) Kinder Songs – Holiday Songs for the Entire Family by Cantor Deborah Katchko-Gray

(12) S’iz Yontev Kinder! Lomir Zingen by Cindy Paley

(13) Teshuva: Liturgical Explorations for the Days of Awe by Ramon Tasat

(14) Chassidic Melodies by Cantor Leibele Waldman

(15) Cantorial Chants & Jewish Songs by Cantor Seymour Schwartzman

(16) European Recordings (1906-1907) Vol. 2 by Cantor Gershon Sirota

(17) The Power, The Glory, The Soul of Moishe Oysher by Moishe Oysher

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By Recorded Sound Archives, August 18, 2010 3:52 pm

The Recorded Sound Archives at FAU Libraries has been sorting, organizing, washing and digitizing tens of thousands of vintage 78 rpm recordings since we received a large donation of the discs from the estate of Cleveland collector, Jack Saul.

Hundreds of boxes containing vintage 78 rpm recordings remain stacked in the hallways while others are being opened by volunteers. The black shellac discs are piled high on work tables for volunteers to sort.

Opening the first box containing Vogue Picture Records caused a commotion that I could hear all the way in my office down the hall. Volunteers had discovered over 20 recordings that were stunningly beautiful. This was the first time any of us had ever seen such lovely artwork embedded within an entire record. “It’s like finding an unexpected treasure,” one of our volunteers told me.

The Recorded Sound Archives has now inventoried 62 different pictures on 32 two-sided 78 rpm discs. The pictures, together with the songs embedded within them, provide a glimpse into the post WWII American pop scene. The recordings feature the big band sounds popular at the time, swing sounds for teenagers, hillbilly/country songs, children’s songs and stories, and reflecting a growing interest in South American culture, Rhumba dance lessons and music with a Latin beat.

Despite Sav-Way’s inability to attract big-name recording talent, these beautiful discs are appealing to collectors who value them as standouts among the drab black shellac records of their day and because the limited number of different titles (74) make them more valuable as a complete set.

Discover this collection of  Vogue Records.

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By Recorded Sound Archives, August 5, 2010 1:40 pm

Who said Yiddish Musical Comedy is dead?

Now you can revisit the glory days of the Lower East Side and hear the songs as they were actually sung.

The recordings in this special JSA collection were produced on 78 rpm recordings between 1901 and 1922, at the height of Yiddish Theater’s popularity.

Four stars of Yiddish Musical Comedy are highlighted: Gus Goldstein, Clara Gold, Anna Hoffman and Jacob Jacobs.

Gus Goldstein, an American Yiddish actor of the early 20th century made many recordings for Columbia Records.  This JSA collection features 37 of his solo songs.

He also made recordings with Clara Gold that focused on immigrant issues and Yiddish humor, and featuring Litvak, Galitzianer and Italian dialects. Clara Gold played character roles in the Yiddish Theater and was known for her comedic performances. She partnered with Gus Goldstein from 1916 to 1926. Forty-four of the songs they recorded together are in this collection.

Gus Goldstein also partnered with Anna Hoffman, a well-known comedic singer of her day. This collection includes 7 of their songs. It also features 25 songs that she recorded solo.

Jacob Jacobs was known for adding timely dialogue to his Yiddish comedy acts and translating English songs into Yiddish. This collection includes 12 of his songs recorded between 1909 and 1922. An interesting historical note is that in 1932 he collaborated with composer Sholom Secunda on a Yiddish musical comedy, “I Would If I Could.”  Although the show was not a great success it did produce a song that would later become the #1 hit, Bei Mir Bist du Shon.

If you understand Yiddish, remember Yiddish Theater, or just want a nostalgic journey, you won’t be disappointed. Click here to listen to any of the 14 digitized albums in the collection.

Or select one of these favorites tunes: America, Ich Lieb Dich; Ich bin a boarder by mein vieb;  Yente Telebende.

These albums are not available for sale or reproduction but can be heard in their entirety on the JSA website.

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By Recorded Sound Archives, June 9, 2010 3:18 pm

There have been many great classical violinists in the past, but few have achieved the fame of Jascha Heifetz. His use of rapid vibrato and emotionally charged fast tempos, together with exquisite control over his instrument helped to make his music distinctive, exciting, and brilliant.

A child prodigy, he began making phonograph recordings in Russia when he was only 9 years old. These early recordings are quite rare. On October 27, 1917, at the age of 16 he made his NYC debut in Carnegie Hall.  Shortly thereafter he began recording for the Victor Talking Machine Company and later RCA Victor. The Judaica Sound Archives at Florida Atlantic University Libraries has created four audio albums consisting of 32 of these Victor recordings produced between 1917 and 1922. This vintage collection of music originally recorded on 78 rpm discs was digitized and compiled by The Judaica Sound Archives at Florida Atlantic University Libraries. These albums are not available for sale or reproduction but can be heard in their entirety on the JSA website.

Heifetz was often a controversial figure. He was attacked in Israel in 1953 because he insisted on including the works of Richard Strauss and Richard Wagner in his repertoire despite the strong sentiment at the time that they were Nazis. On the other hand, he was a strong critic of the Soviet Union and was considered to be a defector by other Russian musicians.

Click on any label to hear that song.

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By Recorded Sound Archives, April 16, 2010 2:53 pm

Alma Gluck and Efrem Zimbalist

Who is your favorite star couple? From Debbie Reynolds & Eddie Fisher to Brad Pitt & Angelina Jolie, love among celebrities is exciting.  We always want to know more. That’s the way it is today… it is also the way it was a hundred years ago.

In 1911 two Jewish superstars of classical music met and fell in love. They were young, they were talented, and they made beautiful music together.

The Zimbalist-Gluck romance provided lots of material for the gossips of their day. While the idea of such a wonderful pairing of talents was thrilling, there were those who pointed out that Gluck was six years older, as well as a divorcee with a daughter. Scandalous!

Before and during the early years of her marriage to the violin virtuoso, Efrem Zimbalist, famed operatic soprano Alma Gluck enjoyed a highly successful recording career. Her release of Carry Me Back to Old Virginny for the Victor Talking Machine Co. was the first celebrity classical recording to sell over one million copies.

After their marriage Victor/Victrola capitalized on a sure bet: recording the newlyweds together. You can hear two of the most popular of these recordings by clicking on the record labels below.

In his biography of Efrem Zimbalist (Efrem Zimbalist: A Life, 2004), Roy Malan  describes the process of making a recording in the days prior to the electric microphone. “The technique was very basic: a large metal horn was suspended from the ceiling; connected from its small end was a flexible pipe that pssed through a thick curtain to the etching machine in an adjourning room. Singers were instructed to face away from the horn on particularly high notes. Violinists had to position themselves with the sound holes facing directly into the horn’s mouth….The possibility of knocking against the metal rim had constantly to be guarded against (p.117).”

When they recorded together “the singer and violinist each had separate pick-up horns; Efrem later joked that his was much smaller than Alma’s: ‘They didn’t want me to play too loudly and spoil everything!’ (p. 135)”

Among their most financially successful recordings was the Zionist hymn, Hatikva, produced in 1919, and Old Folks at Home by Stephen Foster, produced in 1915.

While rehearsing for this latter recording, Zimbalist discovered that the obbligato was inadequate. He came upon the idea of playing Dvorak’s Humoresque at a slightly slower tempo instead. It was recorded this way and the recording became one of their most popular.

Hear the music.

The JSA has collected 20 song recordings featuring the combined talents of Alma Gluck and Efrem Zimbalist.

To hear all 20 song recordings,

click here.

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By Recorded Sound Archives, March 22, 2010 2:38 pm

Why is this night different from all other nights?

On this night  we celebrate the gift of freedom with special foods, stories and song. On this we night we have a seder!

To help make your Passover even more festive, the JSA has compiled this special mix of holiday songs. This year’s Passover Music Mix includes familiar traditional songs and also many children’s tunes that educate as well as entertain.

Click here to hear all 19 songs or to listen to your favorites.

These songs were selected from albums on the JSA website.  They are for your listening pleasure only.  They may not be copied, reproduced or sold.

All of the songs in this music mix can be heard on the JSA website all year long. Selections from the following albums were used to create this 2010 Passover Music Mix.

Around the Table – A User-friendly Haggadah by Gadi Elon

Chag Sameach/Happy Holiday by Judy Caplan Ginsburgh.

Celebrate with Cindy by Cindy Paley.

Haggadah Songs by Chaim Parchi.

Menorah’s Little Seder by Gladys Gewirtz.

Mostly Matzah by Fran Avni.

Mother Goose Rhymes for Passover can be found in the KTAV record label collection.

The Passover Collection by Safam.

Passover Seder Service by Cantor Samuel Malavsky and the Family Choir.

Passover Sing-a-long can be found in the Children’s Village record label collection.

A Singing Seder by Cindy Paley.

Seder by Cantor Moshe Koussevitzky.

Canciones de Pesah/Passover Songs by Gaston Bogomolni can be found in the JSA participating performers collection.