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Sugar Land, TX – 06/24/17

Who
Jan Seides in Concert
When
Saturday, June 24, 2017
10:00am - All Ages
Where
198 Kempner Street
Sugar Land, TX, US 77498
Other Info
I'll be entertaining from 10 - 1 ... and watching the children and dogs. 🙂

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Del Valle, TX – 06/19/16

Who
Tribute to Kerry Polk
When
Sunday, June 19, 2016
3:00pm - All Ages
Where
Arhaven House Concerts (map)
Arhaven House Concerts – Kerry Polk
PO Box 1085
Del Valle, TX

Del Valle, TX, US 78617

Contact Joe Angel at www.arhaven.org for details

Other Info
Tribute to Kerry Polk by Jenny Reynolds, Todd Hoke, Danny Britt, Jan Seides, George Ensle, Mark Viator and Susan Maxey, Karen Abrahams, Sherry Brokus, Him & Her, Jean Synodinos, Phil Lancaster and Alison Moore, Lisa Fancher and Joanna Howerton of Gal Dangit, Paula Held with Jane Gillman

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New Discovery: Yiddish Tango

Screen shot 2014-09-02 at 10.47.21 PMThose who know me are aware that I have a show of Yiddish songs I learned growing up, which of course, I love and perform when and wherever I can. I stumbled across the Yiddish tango quite by accident, and wanted to share my delight.

Ultimately, you could argue that this is either Yiddish music being played with a tango beat, or else tangos being played by klezmer instruments. And you’d be more-or-less right. But it’s actually much more than that, and has a long and intricate history, some of it ugly, some shining.

We can start with the tango developing out of other dance forms in Buenos Aires in the early 1900s. Most of this was occurring at the brothels and such on the waterfront, attended by the less savory portion of the population. Originally, the dance was designed to portray a prostitute and her pimp, and so was not danced in polite company. But as time went on, the music became less raucous, and though the dance remained more or less the same, it became more acceptable as a result. This video was apparently made at a tango contest in the 1900, and the tango had already gained enough popularity to be competitive.

Just so you know, I make no claims upon the videos that follow, or the music in them.

TANGO (Old film from 1900)

I mostly included this next video because, even though it’s a computer simulation, it shows the setting most of the participants would be in for an evening of tango.

TANGO – Computer simulation of dance with 1920s tango

Over the years, the tango music began to acquire lyrics, resulting in singers achieving stardom and increasing the popularity of the music.

At the same time as this was developing, there was a heavy influx of immigrants from mid and eastern-Europe. A large proportion of the newcomers were Russian, Ukrainian, Romanian, Slavic Jews, who were seeking escape from the pogroms and other persecutions in the area.  Part of that population ended up in the United States, but many went to South America, and particularly to Argentina, which was calling for laborers at the time (large areas of land to be developed now that the native population had been slaughtered). The immigrants gravitated to the dancing and good times as a way of easing their distress at being uprooted and displaced into a new and foreign setting.

So, into this musical environment came the influx of Jews from Eastern Europe, invited by the Argentinian government to work the land.  Between 1910 and 1940, 250,000 Jews entered Argentina, making Buenos Aires the largest Jewish community after New York. In much the same way as the Jewish cultural heritage made its way into the general culture in New York, so it also did in Buenos Aires. Jewish musicians began to become prominent in the world of tango as performers, composers and lyricists.

And as the Yiddish Theater, which thrived in New York and Buenos Aires, continued on into the 30s and 40s, songwriters from the theater began to write tangos, both for theater pieces and as stand-alone songs, suitable for dancing. One of the most popular players from Yiddish theater was Molly Picon, who was Yenta in the movie version of Fiddler on the Roof. She  wrote the lyrics for a lovely song called Oygn, set to a tango beat (also known as “milonga” with accents as follows 1-2-3-4-56-78)

Yiddish Tango – Friling

JACOB SANDLER Git mir ob main hartz tzurik

The tango became more and more popular, and it made its way back to Europe, in the tracks of American blues and Jazz (and later, rock and roll.) Soon you could find Yiddish-speaking musicians writing tangos for their own performances, especially in Eastern Europe, where there was still a strong Yiddish culture.

Old Polish tango in Polish and Hebrew: Graj skrzypku, graj!

By the time of World War II, Tango was the rage in Europe, in city and ghetto. But as the Nazis came to power, and began absorbing their neighbors, life became untenable for the Jewish population in general. Those musicians who did not escape, and ended up in the concentration camps, found themselves enlisted in Lagernkapellen orchestras by the Nazis.  They were required to play tango, in preference to jazz. This was because the Nazis saw jazz as more likely, and tango as less likely to inspire rebellion. And they were required to play tangos,  in particular the Tango of Death, as accompaniment to mass executions.

Jewish Music from Holocaust – Yiddish Tango

An example of El Tango de la Muerte:

El Tango de la Muerte

In the U.S., the Yiddish Theater continued to thrive, and tango was often the vehicle for the songs.  The Barry Sisters recorded this one:

Ikh hob dikh tsi fil lib

And today, in Buenos Aires, Yiddish tango is alive and well, in the form of the Yiddish Tango Club, founded by Gustavo Bulgach. Have a listen. You won’t be sorry:

Librescu Tango – Gustavo Bulgach KLEZMER JUICE

And if you’d like to hear a sampling of my Yiddish show, go here:

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On Getting Reviewed

Of course, if you never got a bad review, you won’t have the least idea of what this post is about. And how wonderful for you!

But most of those of an artistic bent who have ventured into the public arena, know perfectly well what a bad review feels like. Devastating, not to put too fine a point on it.

For example, early in my recording efforts, I read a review of one of my albums that began with “First of all, you should know that I hate this kind of music, but…..” and the reviewer went on to inadvertently reveal that he hadn’t listened to more than the first track. My music is very eclectic, a fact which marketers apparently hate, and my fans appear to love. So his detailed description applied only to the first track, and not to the rest, a clear sign that he’d based his review on one track. Be that as it may, it was still shocking and painful to read. Especially since it was my first foray into the public arena. (Fortunately, others liked the album better.)

More recently, a reviewer attacked the production on an album, describing it as “crying out” for more simple treatment. The word “tedious” came up. Ouch.

With any luck, after one recovers from that initial pained surprise, one learns from the legitimate points. Hopefully. And picks up the pen/brush/instrument and lives to write/paint/play another day. And it must be said that most reviewers try to publish well-thought-out, constructive criticism, not mean-spirited one-liners. But because of that, it can feel especially painful when their opinion of your work doesn’t include glowing praise.

OK. But how about when glowing praise is  included?  How about when the reviewer loves every word/stroke/note? How does one respond to that?

“Hah! I knew I was right!” doesn’t really seem appropriate, does it.

I know, of course, to post the good reviews where others can see them. After all, this is a business too, and I want to encourage people to take a chance on my music. But as far as what it does or doesn’t do for me as an artist, that’s kind of a mixed bag.

That being the case, I found a couple of quotes that I have hanging where I can see them easily in my work-space:

“Success is nothing more than going from failure to failure with undiminished enthusiasm.” – Winston Churchill

and

“Think of yourself as a sieve when it comes to the opinions of others. You’re going to hear wonderful things about yourself. You’re going to hear horrible things. Because you are a sieve, they’re all going to pass through. Do not believe the positive any more than you believe the negative. All feedback falls through the sieve. The only opinion that should matter to you is your own. That is the only opinion that should be solid enough that it doesn’t pass through the sieve.” – (no attribution, I’m afraid. If you know who said this or wrote it, please comment below.)

Both of these quotes speak to the point of not letting “failure” or “horrible things” derail you from your artistic efforts, and that, I think, is a good point to take to heart. (I have a musician friend who is a perfect illustration of that idea. When he started out, people used to wince at his music and smile behind their hands. Now he is an international household name.) But I also believe there is another point to keep in your heart. Don’t let the “successes” and the “good things” derail you either. Smile. Say thank you. Move on. With undiminished enthusiasm.

PS:  Here is one of the reviews for my latest CD.

“Beautifully arranged and sober orchestrated self-penned songs are forming the basics of Jan Seides’ newest record ‘Siren Song’. Her soft and relaxing lovely voice is the so-called ‘cherry on the pie’. She should not keep us waiting for another six years to hear her compositions on a new album.” – www.rootstime.be

If you’d like to hear the music, please go to http://janseides.com/music. There, you’ll find samples and instructions for purchasing. 🙂

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The most unusual place you ever …..

“Singer stages gig in store window
May 16, 2014”

That was the headline that caught my eye, and started this train of thought.

When I was in high-school, my girlfriends and I once had a conversation in which we were supposed to name the most unusual place we’d ever kissed a boy. (Yes, I know that can be taken more than one way, but it was a more innocent time.) Some of the suggestions were under a street lamp, behind the garage (We lived in the city. No barns.), on the football field, under the bleachers, backstage.  All sorts of places that are available to teenagers. No bedrooms or airplanes ever came into play.

The question that occurred to me after I saw this headline was, where are some of the more unusual places you’ve put on a show? I’ll start the ball rolling and I’d love your comments.

One night I dreamed that I was playing a show in a dance studio, complete with mirrors, a barre and an audience of about 100 people. On waking, I thought that was such a good idea that I started calling around to tell people about my dream. No one took the bait and the idea languished, unfulfilled. Until I was having dinner with a couple of friends, one of whom was a dancer.  When I was suddenly reminded of my dream, and said something about it, she said “That’s totally possible, and I even know where you could do it.”  We ended up doing several shows at Cafe Dance in Austin, TX. We had a great time despite obstacles like the acoustic unsuitability of the space, and the fact that it was pretty much off the beaten track, as music venues go. Still, it was a dream come true, and we got a radio interview out of the press release — never hurts.

I’ve also had several friends that played in store-front windows to an audience standing on the street. Most notably, when SXSW first started expanding into “official” and “unofficial” showcases, a band I knew convinced a store owner in the heart of Austin’s 6th street entertainment district to let them take over for the night. The passing crowd loved it, and most stopped to listen for a song or two, which is as much as anyone can  hope for during SXSW.

The most truly unusual gig I’ve ever had as far as location was concerned, was also one of the sweetest.  I received a call from a gentleman who told me that his wife was about to go into the hospital for brain surgery. But before that could happen, she had to have her head shaved. He asked me to come to the beauty salon and sing love songs from him to her, including “You Are So Beautiful”, while the haircut was happening.  He told me after I’d finished that his wife was formerly a singer with the Dallas Opera, had studied under Beverly Sills. I’m glad I didn’t know that while I was singing. And she really was beautiful, even when her hair was gone.I also sang her the song which I’ve included at the bottom of this post, which is one of my own.

So how about you? Street corner? Subway? Living room? Standing on a table? Comment with the ones you found the most surprising.

Oh, and here’s the song I sang her: