Frank London’s Latest Soulful Epic Commemorates Ghettoes Around the World

by delarue

Frank London may be the foremost trumpeter in all of klezmer music. He’s without a doubt the most ambitious. His epic new album Ghetto Songs – streaming at Spotify – is just out today, the anniversary of the murderous Nazi invasion of the Warsaw ghetto. The album also commemorates the five hundredth anniversary of the founding of the first Jewish ghetto, in Venice in 1516. It’s a mix of familiar material, some of it reinvented, along with more obscure tunes.

As London acknowledges, ghettoes are complex institutions. They can be places of refuge, but historically have also mirrored the repression of the societies around them: after all, in an enlightened world, there is no need for ghettoes to exist.

Ghettoes can serve as centers of cultural continuity, but often at the price of losing contact with developments beyond their walls. This vast project underscores the kind of musical alchemy that can result when sounds from ghettoes around the world, from Eastern Europe, to South Africa, to South Central Los Angeles, are open to everyone.

Obviously, cultural cross-pollination like this flies in the face of the lockdowner divide-and-conquer agenda. The purpose of surveillance-based “health passports,” for example, is not only to kill off entire populations with the needle of death: it’s also meant to prevent those smart enough not to take it from escaping to free countries or states. Under the lockdown, the world truly is a ghetto.

That classic War hit is one of the songs on the album, reinvented with a Pink Floyd digital chill beneath London’s soulful one-man brass section and slinky organ work. He opens the record with a brief, carnivalesque, strutting take of the Italian folk tune Amore An, sung with coy glee by Karim Sulayman over the tongue-in-cheek pulse of bassist Gregg August and drummer Kenny Wollesen.

Accordionist Ilya Shneyveys and cellist Marika Hughes join as Sulayman and Sveta Kundish exchange Renaissance counterpoint in a stately madrigal by Venetian-Jewish composer Salomone Rossi. Then Kundish takes over the mic in Mordechai Gebirtig’s elegantly pulsing klezmer classic Minutn Fun Bitokn, London cutting loose with one of his signature, chromatically simmering solos.

Cantor Yanky Lemmer turns in a spine-tingling, dynamic take of the antiwar anthem Oseh Shalom over stately piano-based art-rock. Kundish brings an optimistic calm to an Indian carnatic theme, then Sulayman brings back the operatic drama over a somber backdrop in La Barcheta.

Sulayman and Kundish return to duet on the angst-fueled ballad Ve’etah El Shaddai. Shneyveys leads the charge in the lighthearted South African romp Accordion Jive. Then Sulayman and Kundish keep the party going in the flamenco-tinged dance tune Tahi Taha.

London’s pensive, sustained lines anchor Lemmer’s impassioned intensity in Retsey, the album’s biggest, most enveloping epic. Sulayman and Kundish close the album with with a benedictory duet on the Hanukah hymn Ma’Oz Tzur. As eclectically captivating as much of this is, nothing beats Sir Fank London in concert. Maybe there’s somewhere in Brooklyn’s Satmar community – who helped kickstart his lifelong plunge into global Jewish sounds – where we can see him play this summer.

Fun fact: Sir Frank London was knighted by the government of Hungary.