Naftule Brandwein ~ King of the Klezmer Clarinet 78 rpm

01. Heiser Bulgar 3:05
02. Freit Sich, Yiddelach [Be Happy Jews] 3:16
03. Der Terkisher-Bulgar Tanz 3:09
04. Kolomeika [Ukrainian Dance] 2:46
05. Naftule spielt far dem rebin [Naftule plays for the Rabbi] 2:42
06. Nifty's Freilach 2:46
07. Oi tate, s'is gut [Oh daddy, that's good!] 3:04
08. Der Terk in America 2:58
09. Wie bist die gewesen vor Prohibition [Where were you before Prohibition] 3:05
10. Das Teureste in Bukowina [The dearest one in Bukovina] 3:06
11. Der Heisser [Tartar dance] 3:13
12. A hora mit tzibeles [Hora with onions] 3:13
13. Fun Tashlach [Returning from the river] 3:00
14. Leben zol Palestina [Long live Palestine] 3:01
15. Dem Rebin's Chusid [The Rabbi's disciple] 3:01
16. Der Yid in Jerusaleim 3:00
17. Bulgar ala Naftule 3:04
18. Kleine Princessin [Little princess] 2:43
19. Turkishe yalle vey uve 3:18
20. Naftule, shpiel es noch amol [Naftule, play it again] 3:10
21. Araber Tanz 3:04
22. Nifty's eigene [Nifty's own] 2:37
23. Fufzehn yahr fon der heim awek [fifteen years away from home] (Russian Dance) 3:08
24. Vie tsvie is Naftule der driter [Where there are two, Naftule is the third] 3:01
25. Freilicher yontov [Happy holiday] ['Naftule's Own,' #1] 2:41



Naftule Brandwein [1884–1963] was a Jewish clarinetist and influential in klezmer musique. Brandwein was born in Przemyslany, Galicia [now Ukraine], into a family of klezmer musicians, part of the Strettener Hasidic dynasty of Rabbi Yehuda Hirsch Brandwein of Stratyn. His father Peysekhe played violin and was an improvising wedding poet [badkhn]; of his thirteen sons, Moyshe played violin, French horn, and valve trombone, Mendel played piano, Leyzer played drums, and Azriel played cornet; Azriel became Naftule's first music teacher, and had a lasting impact on his playing.

In 1908, Brandwein at the age of nineteen emigrated to the United States where he quickly became a star of the 78 rpm record era, proclaiming himself the 'King of Jewish Music'. Thus, he was considered to be among the first wave of American klezmer artists, those trained in the Old World, as opposed to the second generation who learned their skills in America. Between 1922 and 1927, he cut twenty-four records, first as a member of Abe Schwartz's orchestra, and then as a solo artist after 1923.

Brandwein was known as much for his colorful personality as for his musical talent, often playing with a neon sign, reading 'Naftule Brandwein Orchestra', around his neck, and with his back facing the audience, to conceal his fingering tricks. He also wore plugged-in Christmas lights as part of his costume on several occasions, which once shorted out when he perspired too much, almost electrocuting him. His wild style incorporated not only the influence of Jewish music, but also flourishes of Greek, Turkish, and Gypsy music. His warm and lively playing style would constantly jump up and down the scale and express itself in trills, slides and other ornamentation; he is often contrasted to the other famous klezmer clarinettist of his time, Dave Tarras, who had a more conservative but nonetheless very talented playing style.

Brandwein was notoriously unreliable, unable to read music, & had a reputation as a nasty drunk. He even supposedly played private shows in backrooms for the largely Jewish contract-killing gang, Murder Inc.

His career soured from the mid-1920s onward, as demand for his traditional approach to klezmer music waned; he made his last recording in 1941 and lived out his final years in relative obscurity, playing in the Borscht Belt.

While he did not live to witness the resurgence of interest in klezmer that began in the mid-1970s, his legacy has been revived by a new generation of klezmer musicians, who cite him as a key source of inspiration. The intricate traditions of klezmer music are not well preserved in sheet music, and his recordings are one of the main sources people look to for the 'original' klezmer style.' ~ wiki

didn't know the bit about da Naff slumming it & blowing for hebraic hitmen, what a mensch! also thought Murder Inc was a rap group or something, but now we know the roots. 320 shaloms to the og uploader. r.i.p. Naftule Brandwein 1884-1963

Lili Labassi - La Génie du Chââbi Vol.1 - 1932-39 ~ 78 rpms

Lili Labassi - La Génie du Chààbi Vol.1 - 1932-39
Blue Silver - 50349 - P. 1995

01 Ma Fiha Bass [1934] 6:05
02 El Guelsa Di Fes [1939] 6:09
03 Ya Bechar [1934] 6:12
04 DJani Bechari DJa [1939] 5:45
05 Ya Sââd Dak Ennar [1933] 6:30
06 Cheftek Fel M'Name [1934] 5:54
07 Ââfou Ââfou Ya Lebnats [1932] 6:20
08 Ya Kelbi Testehal [1937] 5:57
09 Moulat El Messiassa [1937] 5:50
10 Malheubi [1937] 5:03
11 Ana Bellah Ou Bechââr [1933] 6:32

The day an unbiased musicologist worthy of his title & without any prejudice of race, religion or origin studies Algerian musique [Chààbi & Andaluz] the obvious will appear; that its paramount lord is undoubtedly Lili Labassi.

He was barely twenty when he was first called Cheikh [master]. As an instrumentalist, this viola virtuoso invented a style which has become legend & remains unequalled. As a vocalist he created a unique style of interpretation,
combining tradition with his personal rendition. In regard to musical creation, there are about 300 masterpieces displaying his talent as a lyricist & composeur.

Such talent gathered in the same person make Lili Labassi the genius of Algerie Chààbi as well as Arab-Andalusian musique.

Twas his father Mààlem Youcef who taight him the basiques of classikal Andaluzian musique by the book. Lili Labassi mastered all the classikal nubas [suites] including Moroccan nubas still unknown to Algerian musicians at the thyme, which explains his pre-eminence.

His viola was his confidant, his advocate, his alter ego. The osmosis between him & his instrument was unique. Upon hearing him a good 200 meters away from where he was playing, one could actually say 'this is Lili Labassi playing', as people often did.

Although often imitated & heavily plagiarized, his style has remained unmatached. He re-invented all the stikhbars of all the various modes, each thyme creating new melodique lines without altering the original ones. Twas magique.

The viola was his favourite instrument, but on some 78s he plays lute or kointra with equal skillfullness & exceptional style.

He had a tenor tessitura. He would fully express himself in live performances ~ concerts, celebrations, baptisms, weddings, bar-mitvahs & galas were not limited to a few minutes as were the sides of a 78 rpm disque. He despised plagiarism [hehe] & he enjoyed enjoyed confusing & surprising his audience by switching to another mode of tonality whist he enriched his creations with improvisation & arabesques.

He was a total artist ~ altogether a writer, composer, singer & virtuoso instrumentalist. These characteristics make him exceptional. The singer of genius he was, he re-invented a style & masterfully expressed all the range of feelings in orientsal lyricism. He invented a violin style that has become legendary. No one will ever play the violin the way Labassi did. As a lyricist & composeur, he enriched the Algerian cultural heritage with massterpieces which now pertain to its classical repertoire.

marvelous, one of a kind recordings of a singular talent, generously bestowed upon us by the aforementioned autodidactique musicologue extraordinaire who still wishes to remain anonymous. a thousand thanks for this glorious gift. tiz indeed a rare & wondrous treasure. for another fabulous Labassi 78 side, kindly see excavated shellac