Posts from — September 2009

My real estate job is pretty easy physically. I just boss custodians and repairmen around  and do paperwork: pay taxes, pay cockroach killers, and argue about security deposit refunds.  The only physical part is climbing the stairs and going on roofs.  None of my buildings has elevators.

Playing the clarinet . . . that can injure you.  You know where?  The right thumb.  The right thumb holds a disproportionate weight when you’re standing.

I had a pain in my right thumb that lasted 18 months.  The pain took a long leisurely trip through my body. Went from my thumb to my shoulders to my neck.

Physical therapists love musicians, particularly violinists, flutists, pianists and clarinetists.

I drove to Cincinnati to see a specialist for clarinet pain.  Then I did Alexander Technique, and every other technique short of amputation.

Some clarinet players use a neck strap. I do.  At KlezKamp, the music conference, I met a clarinetist who wore a neck strap.  He said, “The pain eventually goes away.”  That was my mantra for more than a year.

The clarinet is the agony stick.  Musicians call it that.  Not simply because the clarinet can be painful to play, but because it’s difficult.  The fingerings are harder than the sax, and a clarinet has the “break,” the awkward leap from A to B in the middle register.  The clarinet squeaks.  And the clarinet’s register key raises the note a twelfth, not an octave.  This is extremely odd physics.  The clarinet’s sound doesn’t typically come out the bell, like on a sax.

You mic a sax by clipping a mic on the bell, but on a clarinet you surround the clarinet with mics like on Wagon Train.  I had a mic rig for my clarinet that was so complex and heavy — and cost more than my axe — I  gave up on it.  Plus, it was hurting my thumb.

I asked a sax player in a big band if he played clarinet.  He said, “I have a clarinet.”
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1 of 2 posts for 9/30/09.  Please see the post below too.
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A version of this post will appear in the upcoming (Dec. 2009) issue of The Clarinet, the magazine of the International Clarinet Association, www.clarinet.org.
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Apparently some people don’t know there is a comments section to this blog.  Click on the “comments” link  below the “Tell A Friend” link. If there are few, or no, comments, go to the end of the “Sanctuary” post — two down from here. There are a lot of comments there.

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Arvids Jansons.  I got a desk when he left.

Argero Vassileros.   Nickname: Argie.

Michael Bielemuk.  The Professor.  He had three rooms with floor-to-ceiling bookshelves.

Maria Malfundido.  (Not her real name but close enough.)  A kleptomaniac.  She stole light bulbs from the hall so we glued the bulbs into the sockets.

Zenon Chaikovsky.  Building manager and Ukrainian musician.

Saram Carmichael.  A black transvestite who solicited customers from her second floor window.  The johns waited at the bus stop outside her window.  What is a Saram?

Stan Hershfield.  One of the few Jews on the West Side.  He was raised in an orphanage and loved the word bubkes (beans), as in: “Stratton, I have bubkes so don’t hondle me about the rent.”  [Hondle is haggle.]  When Hershfield painted the wood floor in his kitchen, he beamed, “Only the best, Stratton, Benjamin Moore!”

Malfalda Bedrossian.  She was never late with her rent.  Put that on her tombstone.

Chris Andrews.  He made up for his regular name by sleeping in a coffin.

Merjeme Haxhiraj.  An Albanian who talked me down $10 on her rent every year.

John “Chip” Stephens.  A Chet Baker-like figure — in looks, music and name.  He played jazz piano all day and was so good he landed a tenure track job at a university in Missouri.
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2 of 2 posts for 9/30/09

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I rent to musicians.  I used to give them a break. Like one musician didn’t leave his forwarding address for his security deposit, and I mailed it to him anyhow.  He specialized in electronic music.  I put “please forward” on the envelope.  I never got a thank you.  He should have sent an email thank-you at least.  He messed it up for the next guitar picker.

I had an older blues guy who screwed me out of a couple months’ rent.  A guy in his fifties ought to know that “12-month lease” means 12 months, not six months.

Youngsters — say, 22-to-30 year olds — can’t envision what 12 months means.  They think that’s forever.  I felt that way when I was in my twenties.  These young tenants try to weasel out of their leases.  They say they need to move home to help Grandpa, who broke his hip.  They need to help him drink beer and watch the Three Stooges!  These kids are moving out for one main reason: to shack up with their girl/boyfriend to save on rent.
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2 of 2 posts for 9/16/09

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Everybody needs a mentor. Trouble is I’ve only found semi-mentors.

For music, I’ve basically taught myself.  My clarinet teacher showed me the notes and fingerings but he couldn’t improvise.  And he never recommended music to listen to.   He thought clarinet was like typing.

That was OK with me. I liked typing.  I practiced a lot.  My mother had me sign a contract not to practice more than an hour a day.  And I could not throw my clarinet when I hit a wrong note, particularly at my sister.

Here’s the secret to superior musicianship: Lock yourself in a room for years and hope you were born with a good ear.

That’s why pop musicians sometimes disdain singers.  They just sing.  They don’t play anything.  Many of them never locked themselves in rooms to practice.

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Vis-a-vis my band, we’ve had some mentors:

(1.) Greg Selker, who reacquainted Cleveland with klezmer in the early 1980s.  Greg learned about klezmer from Hankus Netsky at the New England Conservatory in Boston.  Greg gave me lessons in 1987.

(2.) Jack Saul (1923-2009), a Jewish record collector.  You couldn’t find a seat in his house unless he moved a ton of records for you.

Every time Jack played a record he’d clean it with Windex.  No scratches.  Smooth-h-h.

He didn’t throw anything out — since day one.  He even had a John McGraw baseball card.

A couple years ago I sold my baseball cards — for a few grand — and he said, “Why’d you do that?”  I wasn’t looking at them and my kids didn’t want them.  My kids didn’t know who Harmon Killebrew was. “Why’d you do that?” Jack repeated, semi-stunned.

The Cleveland Jewish music scene was synonymous with Jack Saul. The Kleveland Klezmorim musicians went to Jack’s house in the early 1980s to record 78s.  Those 78s were pristine.  When Boston public radio did a radio show in 2000 about clarinetist/parodist Mickey Katz, they came to Jack for clean recordings.

Jack never let a record out of his house.  You had to sit there for an hour or two, and have him dub the records onto tape.

The first time I went there, in 1988, I recorded cuts from Music For Happy Occasions, Paul Pincus; Jay Chernow and his Hi-Hat Ensemble; Dukes of Freilachland, Max Epstein; Jewish Wedding Dances, Sam Musiker; Twisting the Freilachs; and Casamiento Judio, Sam Lieberman — a freaking klezmer musician from Latin America!

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Several months after Jack died, Nathan Tinanoff, the founder of the Judaica Sound Archives at Florida Atlantic University, went into Jack’s basement and came out with 4,000 Jewish LPs in one day.  And he didn’t even get to the 78s.  By comparison, the National Yiddish Book Center in Amherst, Mass., had 3,000 records, which the center eventually  turned over to Florida Atlantic University.

Jack Saul liked Yiddishe Cup a lot.  (He also liked Steven Greenman, Lori Cahan-Simon, Cantor Kathyrn Wolfe Sebo — all Cleveland Jewish musicians.)  At one community meeting, he said, “We’ve got talent in this town.  We don’t have to always run to New York for entertainers.”

That meant a lot to us locals.  Go Tribe.

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Klezmer bands are often run like dictatorships because klezmer music originated in Eastern Europe — a part of the world notorious for autocrats.  Or so hypothesized Walt Mahovlich, the leader of the renowned gypsy-style band Harmonia.  Walt is an expert on Eastern Europe. His full name is Waltipedia.  Maybe.

Walt used to be in Yiddishe Cup. Technically he still is.  He is on a leave of absence, which he requested 13 years ago.  Walt likes to keep his options open.

If you run a band as a democracy, you’ll be in total disarray on the bandstand, Walt said.  I had a musician who liked to call tunes for me.  Drove me nuts.  Luckily he moved out of town 19 years ago.

Yiddishe Cup’s keyboard player, Alan Douglass, occasionally requests songs.  More often, he requests not to play a certain song.  For instance, he does not like playing “balls out” (hard-driving) music during guests’ meals.  Sometimes I agree with him, sometimes not.  These folks — at bar mitzvah luncheons — are comatose from a three-hour shabbat service followed by a 30-minute kiddush (post-service schmooze).  Sometimes they need a bracing shot of high-proof klez.

Some musicians have trouble with bandleaders’ czar-like behavior. My guys — not so much.  Yiddishe Cup’s musicians are the best in Cleveland; they get paid the most; and they generally cooperate.  If I have a problem with a guy, I’ll talk to him alone, not in front of the others.

Craig Woodson, a veteran drummer, taught me not to air private grievances in public.  Craig, too, believed in the benevolent monarch thing.  He had worked with a king — Elvis.  (Check Craig out in the movie Clambake.)

Craig was Yiddishe Cup’s second drummer. He was good — and in California too often on his own gigs.  Yiddishe Cup went through a ton of drummers.  Our current drummer, Don Friedman — who has been with us 13 years — knows how to keep time and add tasteful fills.  So does our alternate drummer, a yingl (boy) named Diddle.

Diddle, 21, started “playing out” (gigging) when he was 13.  I hate that — that start-out-as-young as-Mozart-or-you’re-toast mentality.  Diddle’s father hangs around our gigs, kind of like Venus and Serena’s dad.

Cleveland’s jazz king Ernie Krivda played in his dad’s polka band at 13.  Clarinetist Ken Peplowski played in a polka band at 13.  Joe Lovano started the sax at 5.  “At 16 the young Joe Lovano got his driver’s license and no longer needed his father, Big T, to drive
him . . .” blah, blah.

My father was a “Big T” too.  Toby.  Why didn’t he have a band?  Or at least a decent record player.
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1 of 2 posts for 9/2/09.  Please see post below too.
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Yiddishe Cup concert 7:15 p.m. Sun., Sept. 6, Orange Village (Ohio) gazebo.

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My father said job one was getting the rent checks in the bank.

He didn’t even trust the night drop.  Had to wait in line.

The worst was when a money order got lost.  It might take up to three months to get a replacement.

One time the bank lost 16 rent checks.  I used the night drop, and the envelope wedged between the metal chute and the bank’s brick wall.  Just got buried in there like a time capsule.  I thought I was going nuts . . . Did I forget to make the deposit?  Was the deposit in my car somewhere?  At home I spent many hours looking through file cabinets and garbage cans for that deposit.

The bank found the deposit three months later, and I said to my tenants, “See, I’m not senile.  It was the bank’s fault.”  It’s rarely the bank’s fault, so I had to brag.

I wrote the bank manager about my  predicament — my embarrassment telling 16 people I had lost their checks.  I asked the bank to waive its service fees for a year.  I wrote: “My late father, who started the business, began talking to me! . . . ‘You did what?  You lost the money?'”

The bank didn’t waive the fees.  They did, however, give me $110 to cover tenants’ tracer fees.
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2 of 2 posts for 9/2/09

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