1. Tsen brider
2. Varshe
3. Regndl
4. Friling
5. Shabes, Shabes
6. Alts geyt avek mitn roykh
7. Yeder ruft mikh zhamele
8. Her nor, du sheyn meydele		play
9. Yidishe maykholim				play
10. Blayb gezunt mir, Kroke
11. Ven du lakhst
12. Zol shoyn kumen di geule

Personnel:
Wolf Krakowski - vocals, rhythm guitar

THE LONESOME BROTHERS:
Jim Armenti - guitars, mandolin, bouzouki, saxophone
Ray Mason - bass guitar
Bob Grant - drums

Daniel Lombardo - conga drum, tambourine, maracas, claves, doumbek, shakers, chains
Fraidy Katz - backup vocals
Jaye Simms, Pamela Smith Salavka - backup vocals

Take a sensitive musician steeped in blues, R&B and rock as well as in Yiddish culture, and traditional Yiddish songs, and what do you get? Not necessarily anything much. But when the musician is the extraordinary Wolf Krakowski, you get an utterly compelling, emotionally highly charged and eclectic, unique blend that is perhaps best described as Yiddishe Blues.

Wolf Krakowski's album Transmigrations - Gilgul, first released in 1996 on Kame'a Media and re-issued on John Zorn's Tzadik label in 2001, is something of a revelation if you haven't heard this outstanding singer before. It is like meeting, quite by chance and completely unexpectedly, a close old friend that you lost contact with more than half a lifetime ago, and discovering that you still relate after all those years.

The title, Transmigrations, derives from the Yiddish and Hebrew term, "Gilgul", a being (human or animal) into which the soul of a dead person may pass to continue life and atone for sins committed in the previous incarnation. Krakowski and his Yiddish songs in the garb of modern blues, R&B, folk-rock, country-rock, and reggae provide, as it were, a vessel for all the stilled voices of the murdered Eastern European Yiddish civilization to "transmigrate" to and be heard once more in a contemporary setting. Given modern trends in popular and world music, and moreover given the pre-existing strong natural affinity between Yiddish and Afro-American musical idioms, it is easy to imagine that had Eastern European Yiddish culture continued to flourish through the 20th century (C.E.), Yiddish popular song might have sounded something like Wolf Krakowski's interpretations at the turn of the 20th century. --- rainloresworldofmusic.net

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01. My Father And Mother
02. Dona, Dona
03. I'll Never Steal Again
04. With Eyes Closed
05. A Waste Of Your Tears
06. You Will Be Mine				play
07. Spin, Dreydl
08. Deep Pits, Red Clay
09. One Hundred						play
10. Let's Just Think About Today
11. Buddy, Have A Smoke With Me
12. Zingarella

Personnel:
Wolf Krakowski - vocals, acoustic rhythm guitar

THE LONESOME BROTHERS:
Jim Armenti - guitars, mandolin, violin, balalaika, batar
Ray Mason - bass guitar, guitar
Tom Shea - drums, guitar

Seth Austen - National steel guitar, 12-string guitar, mandola, mandolin
Doug Beaumier - pedal steel guitar, dobro
Bejegyzés közzététele

Fraidy Katz - back-up vocals
Daniel Lombardo - percussion
Frank London - trumpet
Corner Mentos - steel drum
Brian Mitchell - accordion, organ
Charles Neville - saxophones
Jaye Simms, Pamela Smith Salavka - back-up vocals
Beverly Woods – tsimbl

After Wolf Krakowski's last outing, the stunning Transmigrations: Gilgul, he and his band, the Lonesome Brothers, took country music to the extreme margins of integration, where it met blues and traditional Yiddish music in a swirl of loss, longing, and celebrations of holiday foods. This time out, Krakowski branches out even further to mine the deep vein of musical cultures from all over the world -- reggae, tango -- without losing his beautifully mystifying meld of traditional Yiddish folk melodies or American country and folk-blues. Had he written his own material this way, we could have called him an original, but Krakowski's upside-down cake of musical mementos is actually the accompanying soundtrack for a bunch of radically rearranged Yiddish songs from the theater, pop, and folk musics.

Composers from the last century, such as Abraham Levin, Itzak Manger, Shmuel Halkin, and others, are represented here in clashing forms where pedal-steel guitars meet steel drums from Trinidad on "Mit Farmakhte Oygin" (With Eyes Closed), or Kurt Weill's German cabaret meets the Italian tarantella and a crunchy electric guitar on "Dona Dona." In fact, the depths are so profound and rich here they defy categorization, other than "great Jewish music." This is the accumulated music of the diaspora of a people who have settled in almost every corner of the earth and who cling to their identity despite many attempts to wipe it -- and them -- out. Krakowski's recording, which was produced by Frank London of the Klezmatics, is, consciously or not, a signpost for the way to the future. He uses the past as a way of being inclusive rather than as a tool for revision. This is gorgeous music any way you slice it, moving, deep, sensual, and full of a warm humor to boot. --- Thom Jurek, All Music Guide

I saw Wolf Krakowski, the Lonesome Brothers and his backup singers in concert in Gainesville FL. It was like entering a strange and spooky world - the voices of a language almost never heard anymore, set to bluesy rhythms that rock gently. Now I own this album and the translation in the liner notes are testament to the pain, sadness and regret that are heard so plainly in Krakowski's voice. Songs of regrets over the loss of family, of parents treated badly, a calf on its way to slaughter, a thief who longs to change. Folk songs of enforced poverty and conscription. I love this album, and every time I listen to it, Krakowski's voice seems more expressive. This album is a labor of love, made in defiance against a world that may soon forget the circumstances that produced it, but the spiritual longings are still relevant and beautifully expressed. ---Linda Rice Carlton Abraham "Sandhill Garden", amazon.com

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