Meir Panim delivers warmth, special care to families in need.
“Achas Shoalti – One Thing I Ask”
The Seth Nadel Band
Distributed by Sameach Music, 2004
Seth Nadel is active – so much so that his guitar playing can be called “kinetic music,” to borrow Agam’s term. Though his side curls and beard certainly suggest a Hassidic persona, his music resounds of rock, pop, folk and blues.
Much of the “Jewish” music that sells today showcases velvet kippas and very Jewish looking musicians who capitalize on their appearance and insert a few passages of Hebrew texts into their music to make it Jewish.
Seth Nadel, in contrast, genuinely maintains his identity as a Jewish musician, though claiming that to him the roles of musician and educator are intertwined. As a second year Semicha student at Rabbi Isaac Elchanan Theological Seminary (RIETS) at Yeshiva University (YU) who transferred to YU undergraduate from the film program at Hunter College, Nadel laments YU’s lack of an education major, even though many of the Semicha guys end up teaching.
Education, however, is not only an amateur interest of Nadel’s, but lies within his arena of expertise; he has run a Sunday program for students at the Bergen County High School of Jewish Studies (New Jersey) for six years, and he runs activities and Shabbatonim on occasion for them. He has taught a wide variety of elective courses at BCHSJS from surveys of Jewish music, Mesilat Yesharim and the Hassidic Revolution, to “Strumming Jewishly” and “MTV Challenge (Media Vs. Torah Values Challenge).”
This semester, he is teaching “G-d, Judaism and Rock ‘N Roll.” Nadel teaches his students through music generally, and this carries through to his public performances as well. “Ultimately, Jewish music has always been used to inspire,” he says. “It should move a Jew.”
“Music in Judaism was always part and parcel with the service of G-d,” Nadel feels, and one begins to grasp his meaning when one considers the central role the Levite song enjoyed in the Temple service. “There is a tachlis – a greater purpose,” he says, citing his tendency to tell personal tales, or words of Torah during his performances. He also cites much of the Hassidic literature that discusses the “holiness of song” and the necessity of a holy source for that song, like the Baal Shem Tov’s interpretation of the passage “Vehaya k’nagen hamenagen” (II Kings, 3:18), which maintains that when the musician is like the instrument, then the hand of G-d rests upon him. Nadel takes this mapping of the musician across the instrument as a statement about the removal of the components of ego, fame and fortune from the musician’s vocabulary.
Nadel released his debut CD “Achas Shoalti – One Thing I Ask” in May 2004. The backup for Nadel’s performance (vocals, acoustic and electric guitars, keys, banjo, percussion) is by David Keesey (electric guitar), Hillel Coren (bass), Elly Geldwerth (drums), Dan Cousin (piano, organ, harmonica), Bin Goldman (backing vocals) and a slew of guests for 14 original songs on “Achas,” the product of almost two years of effort. “Achas” draws inspiration from the tradition of Rav Shlomo Carlebach, though you would not necessarily recognize Carlebach – whom Nadel calls “one of my Rebbes” in an interview with Mordechai Shinefield on the Mima’amakim magazine’s website (www.mimaamakim.org) – in the distinctly American flavor that permeates Nadel’s music.
Whereas Carlebach occasionally suspended his own primarily Hassidic tunes to sing gospel songs like “On My Way To Canaan Land,” Nadel’s entire album overflows with rock-n-roll influence of the Bob Dylan variety. Nadel builds his music on the same premise that Dylan and the Band espoused when they insisted that the raucousness and joy of rock contained the spookiness of country and the soulfulness of the blues: the sound of what former “Rolling Stone” music critic Greil Marcus called “the old weird America.” Yet, instead of connecting these elements to hallucinatory poetry as Dylan did, “Achas” looks to Tehillim for most of its lyrics.
While this combination may seem more contemporary than your average niggun by rock standards, the “Achas” sound is more revivalist than revolutionary; rock like this hasn’t been popular in the mainstream for nearly 30 years. For Jewish music with a more contemporary pop attitude, you’ll have better luck with Blue Fringe or Moshav Band, but the upside is that the banjo picking, rhythm and blues horn parts and boogie-woogie piano which fill the album manage to capture the flavor of the words Nadel sings.
The soulfulness which captured the imagination of a generation of musicians from the Sixties who were searching for their own piece of the American experience complements the verses from Tehillim and the Siddur, which Nadel has chosen to adopt. The album’s back cover has a picture of Nadel approaching the train tracks, guitar in hand, like a blues-singing, train-jumping, hobo of the Jack Kerouac variety.
Ultimately, though, the nomad, wandering amongst the train tracks, wears his side curls long and his kippa large. He talks about Dylan in the same breath that he calls his purposeful union of pesukim with melody “a shidduch.” He argues that Jewish music has always been a product of contemporary society, from the Arabic influences in Mizrachi music to African rhythms in Jewish African music to heavy Ukrainian and Gypsy influences in Klezmer music.
“It’s the story of the Jew in the Diaspora being influenced by the surrounding, larger culture,” he says. And yet Nadel brings another piece to the puzzle. To him, Jewish music means teaching, and his music carries that message. He blends together a wide panoply of sounds. Like a grand tableau, he mixes in a lot of personal narrative and Hassidic tales. What emerges is a very personal, religious sound that is both experiential and instructive.
Menachem Wecker edits the Arts and Culture Section of the Yeshiva University Commentator. As an artist, he has trained at the Massachusetts College of Art. Menachem may be contacted at: email@example.com.
I gratefully acknowledge the insightful comments of my good friend Aaron Roller throughout this article.
Seth Nadel will be playing at Young Israel of East Northport on October 3rd; Tifereth Israel (Passaic) on October 4th; and at Rock B’Davar (Teaneck) on October 30th. For more information on these performances, and future ones, visit www.sethnadel.com.
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at firstname.lastname@example.org.
If you don't see your comment after publishing it, refresh the page.
Comments are closed.
Are we allowed to lie for shalom bayis? It would seem so, but what might be a healthy guideline for when it’s okay and when it’s not?
The connection between what I experienced as a high school teenager and the adult I am today did not come easy to me.
Isn’t therapy about being yourself; aren’t there different ways for people to communicate with each other?
Participating in ManiCures during the school day may feel like a break from learning, but the intended message to the students was loud and clear. Learning and chesed come in all forms, and can be fun.
Building campaign chairman Jack Gluck has led the effort over many years.
When using an extension cord always make sure to use the correct rated extension cord.
There was no question that when Mrs. Cohen entered the room to meet the teacher she was hostile from the outset.
Szold was among the founders and leaders (she served on its executive committee) of Ichud (“Unity”), a political group that campaigned against the creation of an independent, sovereign Jewish state in Eretz Yisrael.
My friend is a strong and capable Jewish woman, but she acted with a passivity that seemed out of character.
“If you don’t stand straight, you’ll never get a husband.”
The exhibit, according to a statement from guest curator Michele Waalkes which is posted on the museum website, “examines how faith can inform and inspire artists in their work, whether their work is symbolic, pictorial, or textual in nature. It further explores how present-day artwork can lead audiences to ponder God, religious themes, venerated traditions, or spiritual insights.”
It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.
One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)
Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.
It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.
Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.
The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?
Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.
Printed from: http://www.jewishpress.com/sections/requesting-one-thing-i-ask/2004/11/10/
Scan this QR code to visit this page online: