Search - Steven Bernstein :: Diaspora Soul

The word "eclectic" is thrown around a lot, but seldom does a record in this post-everything era live up to that billing. Judging by its title, Diaspora Soul would seem to be another klezmer record--in fact, its raison d'être is as one of a series of albums foisted by John Zorn as part of his "Radical Jewish Culture" series. But apparently, Steve Bernstein--who's logged time in the Lounge Lizards--was doing some radical cultural-thinking of his own. This album came about as a result of Bernstein's desire to combine what he described as "the Gulf Coast sound, encompassing Texas and Cuba" with traditional Hebrew music. The result is a totally twisted and brilliant affair that pairs greasy organ with Cuban percussion (think Willie Bobo or Mongo Santamaria) and bears little resemblance to the rock-influenced experiments of sometime collaborator Marc Ribot. Bernstein's own trumpet leads the way on most of the compositions--which are principally made up of traditional Hebrew tunes like "Shalom Bimramov" and "Manishtana"--and it's a lot closer tone-wise to the clarity of a Booker Little than, say, the muted wheeze of Miles Davis. A great example of the genuine eclecticism displayed here by Bernstein and his cohorts can be heard on "Roumania, Roumania"; Brian Mitchell's whirring Wurlitzer organ, which is suitably smoldering throughout, provides much of the ride, beginning with a sustained sizzle that actually, for about 10 seconds, evokes the pyrotechnic pomp of organ-laden bands like Deep Purple before slinking into a sleazy groove. What's even more amazing is that this song was recorded. On five tracks, Bernstein expands the lineup to include a big band of sorts featuring the underrated Briggan Krauss, who plays baritone sax here and duels it out to good effect with tenor man Peter Apfelbaum on "Mazinka" before Bernstein gets that Cuban thing going once more. Jews with the blues or urban toreadors, take your pick. Who said it couldn't happen here? --Joe S. Harrington