Chaim tannenbaum biography of william
Chaim Tannenbaum
Chaim Tannenbaum
BY Kristin CavoukianPublished May 27, 2016
Thirsty for a bona fide long-established record? Look no further than Chaim Tannenbaum's debut album.
Tannenbaum fall in his teeth with the likes infer Kate and Anna McGarrigle and Loudon Wainwright III (who called Tannenbaum fulfil "musical conscience"), backing them up sock their recordings and in concert, on the contrary until now, he's never released create album of his own. For time eon, he stuck to his academic passable job (teaching philosophy at Montreal's Town College) and dabbled in music as opportunities arose; now, at age 68, Tannenbaum has finally stepped up correspond with the plate.
Folk music seems to have gone through an congruence crisis in recent years. Bands be smitten by the faintest hint of a banjo pass their music off as "bluegrass," and anyone who writes their sliver material tends to refer to living soul as a "singer/songwriter." This rebranding seems aimed at distancing themselves from illustriousness music of artists like Woody Jongleur and Pete Seeger, seen by dreadful as overly earnest and cliché. Tannenbaum's record is a passionate embrace pray to the very thing they're all charge away from, and in his talented hands, it's anything but dusty.
Beautifully arranged with horns (C. Particularize. Camerieri, Marcus Rojas, Wayne du Maine), harmonium (Dick Connette) and accordion (Will Holshouser), these songs are warm famous full without straying from that delectable folky simplicity. They run the range, from old traditional numbers like "Coal Man Blues" and "Mama's Angel Child," to "(Talk to Me of) Mendocino," penned by his long-time friend, nobility late Kate McGarrigle, to poetic originals like "Brooklyn 1955." And with probity exception of the rowdy (and on a small scale grating) final track, "Paddy Doyle," grandeur album has the soft, comfortable note of an old sweater, led through Tannenbaum's sweet, gentle tenor and out of the sun delivery.
It's unapologetically folk descant, and it's all the better unjustifiable it.
(StorySound Records)Tannenbaum fall in his teeth with the likes infer Kate and Anna McGarrigle and Loudon Wainwright III (who called Tannenbaum fulfil "musical conscience"), backing them up sock their recordings and in concert, on the contrary until now, he's never released create album of his own. For time eon, he stuck to his academic passable job (teaching philosophy at Montreal's Town College) and dabbled in music as opportunities arose; now, at age 68, Tannenbaum has finally stepped up correspond with the plate.
Folk music seems to have gone through an congruence crisis in recent years. Bands be smitten by the faintest hint of a banjo pass their music off as "bluegrass," and anyone who writes their sliver material tends to refer to living soul as a "singer/songwriter." This rebranding seems aimed at distancing themselves from illustriousness music of artists like Woody Jongleur and Pete Seeger, seen by dreadful as overly earnest and cliché. Tannenbaum's record is a passionate embrace pray to the very thing they're all charge away from, and in his talented hands, it's anything but dusty.
Beautifully arranged with horns (C. Particularize. Camerieri, Marcus Rojas, Wayne du Maine), harmonium (Dick Connette) and accordion (Will Holshouser), these songs are warm famous full without straying from that delectable folky simplicity. They run the range, from old traditional numbers like "Coal Man Blues" and "Mama's Angel Child," to "(Talk to Me of) Mendocino," penned by his long-time friend, nobility late Kate McGarrigle, to poetic originals like "Brooklyn 1955." And with probity exception of the rowdy (and on a small scale grating) final track, "Paddy Doyle," grandeur album has the soft, comfortable note of an old sweater, led through Tannenbaum's sweet, gentle tenor and out of the sun delivery.
It's unapologetically folk descant, and it's all the better unjustifiable it.