J.J. Goldberg

Songs to Atone By: Dylan, Jolson, Streisand, Oysher

By J.J. Goldberg

YouTube Screen Shot
Al Jolson sings Kol Nidre in ‘The Jazz Singer,’ 1927

As we approach the holiest day of the year, I’ve put together a selection of songs that sum up the day and capture its spirit, at least for me. I’ve tried to follow the order of the day, from the introductory prayer to Kol Nidre, the Maariv service, some highlights of Mussaf, the Jonah story and finally Neilah and absolution. Some selections are traditional liturgy in particularly excellent musical rendering; others are American songs that capture the message and the flavor IMHO. Included are performances by Bob Dylan, Al Jolson, Barbra Streisand, Joe Cocker, Cass Elliott and Joni Mitchell, Cantor Yossele Rosenblatt, Leonard Cohen, The Beatles, Steve Lawrence and Eydie Gorme and Louis Armstrong, among many others.

Note: Steve and Eydie are a late addition, erev chag. I don’t know how I forgot them, as you’ll see when you hear their tune. They close the concert. Eydie closed hers just a month ago, on the 4th of Ellul, August 10.

We start as evening approaches and we prepare to stand before the Gates of Heaven. You know the drill: It’s getting too dark to see, and we’re Knocking on Heaven’s Door. This is a live version of the Bob Dylan song, from his 1976 Rolling Thunder Review concert tour, and he’s joined by Joan Baez and Roger McGuinn. By the way, the most emotionally devastating version of the song ever recorded might be this one; it’s sung by Warren Zevon on his final album, “The Wind,” reflections on his own upcoming death of cancer, which came just 10 years ago, on September 7, 2003, at age 56, a few days after the album was released.

Incidentally, Dylan originally wrote and performed “Knocking on Heaven’s Door” for the soundtrack (here’s the original) of the 1973 Sam Peckinpah film “Pat Garrett and Billy the Kid.” At the time Dylan was living in New York and meeting with kibbutz aliyah shaliach Shaul Pe’er, who was negotiating for Dylan and his family to spend a trial year at Kibbutz Kfar Blum. But in late 1972 Dylan told Shaul he was putting the talks on hold for several months while he went to Los Angeles to make the film. He never left LA.

Next are the two most powerful versions of Kol Nidre ever committed to film, in my opinion. The first is the iconic rendition by Al Jolson at the climax of the very first talking picture, “The Jazz Singer,” in 1927. It’s a tale that closely parallels Jolson’s own life of a cantor’s son who runs off to become a pop crooner and finally comes home on Yom Kippur to fill in on the bima for his dying father.

The second is sung by the great cantor Moishe Oysher in the 1939 Yiddish film “Overture to Glory” (“Der Vilner Shtot Khazn” or “Vilna City Cantor”). It’s a variation on the “Jazz Singer” theme with Oysher playing a young cantor who is lured from the synagogue to become an opera singer, learns his son has died, loses his voice, takes to the streets and finally stumbles back into shul for one last Kol Nidre before dying. Not to be missed.

After Kol Nidre we enter the evening Maariv service, which more or less begins with the Maariv Aravim prayer, Blessed is He who creates night and day and arranges the stars in the heavens. This is Bob Dylan’s approximate translation of the prayer, Father of Night, sung here by Manfred Mann’s Earth Band:

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Permalink | | Share | Email | Print | Filed under: Who By Fire, Warren Zevon, Vienna Jewish Choir, Unetaneh Tokef, Shepsel Kanarek, The Jazz Singer, Mordecai Ben-David, Moishe Oysher, Michla Rosenberg, Menasha Skulnik, Meir Banai, Mary Travers, Maariv Aravim, Lord Buckley, Leonard Cohen, Kol Nidre, Joe Cocker, Joni Mitchell, Knocking on Heaven's Door, I Shall Be Released, Father of Night, Eydie Gorme and Steve Lawrence, El Nora Alila, Cass Elliott, Bob Dylan, Barbra Streisand, Avinu Malkeinu, Al Jolson, A Little Help From My Friends, Yossele Rosenblatt

Tunes for Atonement II: Who Shall Live, Who Shall Die, Who Shall Get Eaten by a Big Fish

By J.J. Goldberg

Now we’re coming into the home stretch. Coming up are Leonard Cohen, Hasidic crooner Mordecai Ben-David, Abbott and Costello, Louis Armstrong, Barbra Streisand, Meir Banai and The Band getting us, finally, released.

Berosh Hashana: On Rosh Hashanah it is written, and on the fast day of Kippur it is sealed, who shall live and who shall die, but repentance, prayer and righteousness — teshuva, tefila u-tzedaka — avert the harshness of the decree. Here’s a lively Hasidishe version, sung by kosherer krooner Mordechai Ben-David. (Here is another take on teshuva, tefila and tzedaka, set to the tune of — what else? — “Tequila.”)

And here’s the piece you knew was coming: Leonard Cohen singing his version, Who by Fire, with Sonny Rollins on sax. (If you didn’t catch his tour last year, you owe it to yourself to check out this version, not for the vocals but for the incredible 3-minute intro by Javier Mas on the bandurria.)

Essential to the Yom Kippur cycle is the reading of the biblical Book of Jonah during Minchah in the late afternoon. Here are three versions of the story, first as stunningly related by Louis Armstrong; then perhaps the weirdest version of Jonah ever, by the eternal high priest of hip, the late Lord Buckley; and finally as told by Abbott and Costello.

Jonah and the Whale (Lord, Wasn’t That a Fish?) – by Louis Armstrong.

Jonah and the Whale, Lord Buckley’s hipster version, performed by Lord Buckley impersonator Rod Harrison. (If you’re curious, here is a clip of Lord Buckley himself in a 1949 television show, doing his impersonation of Louis Armstrong.)

And bringing up the rear, Abbott and Costello offering their learned exegesis, Captain Jonah and the Whale:

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