At Knitting Factory, the Sephardic Music Festival Delivers Eclectic Show
Reviewed:
Pshutei Ha’am, Pharoah’s Daughter, Asefa
Prior to a recent winter night in Lower Manhattan, the whole of my exposure to Jewish music consisted of Adam Sandler’s immortal Hanukkah Song. My formal education in the genre began at the Knitting Factory on December 11, the final night of Modular Moods and shemspeed.com‘s 3rd annual Sephardic Music Festival. After more than four hours of music that drew on such wide ranging influences as trance, folk, funk, and reggae, I left with my head full of Middle Eastern melodies and a new appreciation for the contemporary Jewish music scene.
The Knitting Factory, on Manhattan’s Lower East Side, is known for featuring experimental music, from jazz to punk and everything in between. Though the drastically underworked bartender might suggest otherwise, it made a great venue for the night’s festivities. First up was Asefa, a four-piece combo that fuses the Jewish tradition of piyut with something resembling Qawwali music of India. Led by Samuel Thomas, the group was anchored by the droning, powerful rhythms of percussionists Rich Stein and David Buchbut and bassist Noah Jarrett. Jarrett was a particularly forceful presence on upright bass, simultaneously anchoring and coloring the music while never overpowering Thomas. Those who had the foresight to show up on time were mesmerized by the pulse and intensity radiating from the group.
Although late in arriving, the crowd eventually turned out in full force, and they brought their dancing shoes. Pharaoh’s Daughter took the stage next with their unique blend of Hasidic music and folk rock. The sight of three beautiful women with limitless skill on their instruments might evoke thoughts of The Dixie Chicks, but Pharaoh’s Daughter quickly put that comparison to rest. Led by Basya Schechter on vocals and assorted strings, Pharaoh’s Daughter played an eclectic, often poignant set. Highlights included a Hanukkah suite and a song that pitted Greek and Jewish melodies against one another in a musical duel. Guess which tradition won out?
Schechter has a commanding presence, and on the crowded stage she was always the focal point of attention. That being said, the band offered a perfect compliment to her ethereal vocal stylings. With Shanir Blumenkranz on bass, Mathias Kunzli on drums, Uri Sharlin on accordion and keys and Asefa’s Rich Stein helping out on percussion, they offered a rock steady beat behind the dueling leads of Daphna Mor‘s woodwinds and Meg Okura‘s violin. The band swelled and ebbed together beautifully, and often built the songs into feverish jams that had the crowd dancing, stomping and clapping.
At long last, the headliners of the festival took the stage, and they did not disappoint. Pshutei Ha’am (Simple People) played a set that defied description. Fresh off their U.S. debut the night before, the group painted a rich, highly danceable sonic landscape. Featuring the electronic wizardry of Gilad Vital and the vocals of Roi Levi, the duo was joined by bona fide reggae legend Cedric “Im” Brooks. Brooks’ smooth-as-silk tenor sax has graced recordings by Bob Marley and Burning Spear, amongst many others. His guest spot was a rare and entirely unexpected treat. As Vilal noted, “Jamaicans and Jews just get along.”
To quote George Harrison, “All Things Must Pass.” This saying rang doubly true on a night that marked both the end of a fine festival and the end of the Festival of Lights. From the veterans of the Jewish music scene to the clueless critic in the corner, the grooves of Pshutei Ha’am sent the crowd into the frigid Manhattan night yearning for more.
