KlezFactor

The deubt CD of this Toronto based ensemble, "The Golem of Bathurst Manor" is a spirited romp off the well-beaten path of the Klezmer revival that has swept North America recently. As daring as creative as its title, this CD is not for the Klezmer traditionalist, but is rather a foray into the realm of rock and jazz. Of the ten tracks, only four are based on recognizable traditional Klezmer tunes; the rest are original compositions of bandleader Mike Anklewicz. The Golem, by the way, is a man-made (somewhat frightening) creature in Jewish folklore fashioned out of clay and bruoght to life for the purpose of performing menial tasks and protecting the community. Anklewicz writes that the title track was inspired by Michael Chabon's "The Amazing Adventures of Kavalier and Clay", in which the author weaves the legend of the Golem of Prague into his own story. What is woven in this track is a complex contrapuntal layering of electric guitar, clarinet, soprano sax and violin, over a bedrock of percussion, introduced by a jazz piano solo, with elements of chorale style harmony, a real mix of musical styles that nevertheless has cohesiveness. The track titled "Naftule Brandwein is a Badass Mathematician" pays tribute to the legendary Klezmer clarinetist of the earlier part of the last century; the "Mathematician" refers to the successful juxtaposition of 4/4 and 7/8 metres in the piece, and "Badass" is a tip of the hat to jazz bassist Charles Mingus. The six musicians of KlezFactor, all Conservatory trained, give polished performances throughout this well-engineered (in both the technical and musical sense) release. Anklewicz displays not only a mastery of saxophones and clarinet, but arranging skills derived from formal study of composition. Mark Pellizzer plays a mean electric guitar, ranging from punk rock to Caribbean style. They are joined by Ali Berkok (piano and melodica), Gregg Brennan (drums, percussion), Jennifer Burford (violin) and Steve Gotlib (bass).

-- Karen Ages - Wholenote Magazine

One of the most interesting groups on the scene today is Klezfactor, the Neo-Klezmer band led by composer/Reed player/Producer Mike Anklewicz. Their new release, Klezmachine, continues the klez/jazz/funk sound that first grabbed my attention when I heard their first album, The Golem Of Bathurst Manor. The music is smooth, rich in harmonies and textures, and is unforgettable. All but one of these tracks was penned by Anklewicz, and he has certainly made his mark on the World Music community. The performances are outstanding, giving free reign to the band members to bring their own personalities and experiences to the table with ample time given for improvisation. I loved all the songs on the album, each one making its own statement and contributing to the project as a whole.

The title track, "Klezmachine," shows us right from the beginning that Anklewicz' contemporary vision is rooted in the Klezmer tradition. By starting the song as a thin, scratchy 78 RPM recording sound, we see the beginnings of recorded Klezmer music. Then, they gracefully transition to a clean contemporary-sounding entrance of the rhythm section, followed by the band joining in on the main theme. It's a gimmick to be sure, but it is not overdone, and I think is a great way of paying homage to the early recordings that we all love while pushing the envelope of today's music. Well done Klezfactor!

A favorite is "Bulgarian Dance (Kopanitsa)," a great tune that is lively and has a fabulous bass line that drives the whole way through. The band comes in with the Bulgarian melody, then opens up for solos from Clarinet and Violin. The Piano soon joins in on the bass line, and by the end everyone plays it in unison. The song has a nice additional touch. The band claps the bass line at the beginning and end of the song. It lends a different element to the song, and gets us into the Bulgarian rhythm that keeps looping through our mind long after the song ends.

There are a pair of Waltzes that add some nice colors to the album. "Golden Medine" is a fast waltz the has a nice flowing melody, with some great harmonies, and nice solos from Guitar and Clarinet. "Waltz For Ronit" is a slow waltz and is an extended solo vehicle for Anklewicz' beautiful Alto Sax. I liked the lovely accompaniment from the rhythm section and some nice touches from the Violin and Cello.

"Rumanian Rhythm" is a jazzy Latin-influenced Rumanian tune that is a nice blend of sounds and textures, and features a Piano solo by Ali Berkok.

Klezfactor has always done well with the Jazz/Funk side of their personality, and again they do not disappoint. The band really cranks it up a notch with The "Jewce (Manischewitz)" and "Gonif." I really like the heavier rhythm section combined with a light Piano and the great Clarinet/Sax/Violin work.

A nod to Sephardic/Yemenite tradition comes from "Dundah Meditation" and "Dror Yikra," starting out with Dumbek and layers of long tone rich harmonies from the band as Anklewicz soars above with a beautiful sax solo that serves as a prelude to Limore Twena's distinctive vocal, accompanied so well by Oud, Strings, and Sax.

Those of you who like mainstream jazz will certainly go for "Greenhouse Effect" with a nice 5/4 swing feel, Electric Bass, and some outstanding solo Piano again from Berkok. The ending is cool, as the band drops out leaving only the Sax and Violin. Wonderful!

New Age fans will want to check out "Chalom" and the triplet background that moves around the rhythm section in this interesting waltz. Then we are treated to a nice Bass solo from Michael Smith, as well as a Violin solo from Ben Plotnick.

The last track, "Shepping Nakhes," brings us ful circle back to the more traditional Klezmer melodies (but keeping the Electric Bass and Electric Guitar). Anklewicz on Clarinet and Plotnick on Violin make a great duo and show that they have a firm grasp of Klezmer.

The album sounds terrific. The engineering and mixing by Jim Morgan are great. The instruments are nicely balanced and even the smallest cymbal hits can be heard clearly.

My preview copy had no liner notes to speak of, only a two-page CD insert that lists the tracks and credits. I am told that the full release will have more complete liner notes and artwork.

A very exciting extra from the Klezfactor website is the Making of Klezmachine Podcast. What a great idea! Anklewicz and Ali Berkok take us behind the scenes of the recording, mixing, and editing that was used to make the album. I especially enjoyed the way that they deconstructed Dror Yikra to show how a song is built up from the basic tracks with overdubs and alternate takes. This is fascinating listening. Nice job Mike!

Anklewicz pours his soul into this music and the album. He has surrounded himself with sidemen who share his vision and passion. It is a great gift to us, the listeners. I highly recommend Klezmachine. I'll be keeping it in my music rotation for a long time.

Reviewed by Keith Wolzinger, June 10, 2008 - Klezmer Podcast

An extraordinary clarity of vision is what makes KlezFactor's "Klezmachine" a surprising success. Be it the performances, the compositions, or the production qualities, here is an unusually charming musical adventure. The tour de force behind the project is saxophonist/clarinetist/composer Mike Anklewicz who has penned all but one of the tracks. In his liner notes, he is exceedingly clear about from where he draws his compositional influences, be it the funk gods in The Jewce (Manischewitz), to the gentle stylings of pianist Marilyn Lerner in Waltz for Ronit, to the more heavy metal(!) groove of Gonif. This sharing of musical styles is justified as a peak on the Klezfactor website which states that klezmer music traditionally draws from different stylistic roots. Anklewicz is a clever not smith - the defining elements of compositions are a sly wit and an even stronger compositional technique.

Klezfactor the band is good - pianist Ali Bertok [sic], guitarist Jaro Dabrowski, drummer David MacDougall, violinist/violist Ben Plotnick and bassist Michael Smith are a strong unit. They are joined by special guests cellist Erika Nielsen and vocalist Limore Twena. The band plays it a bit too safe occasionally, but thankfully these moments are few and far between. This is a moot point however as all players shine whether following their charts or improvising intelligently.

This is the second for Klezfactor. Kudos to Anklewicz and the band as "Klezmachine" is an unexpected yet pleasant musical surprise. - Wholenote Magazine Dec 08/Jan 09