On September 14, 2010, the Idelsohn Society will be releasing Black Sabbath: The Secret Musical History of Black-Jewish Relations, a stirring compilation of Jewish songs covered by renowned African-American singers. The unique collection spans the 1930s to the 1960, highlighting through music the complex historical, political, spiritual, economic, and cultural ties between Jewish and African-American cultures.
These fifteen tracks give credence to the lively musical exchanges between two communities that have sometimes been against each other, sometimes alongside each other. Both groups, oppressed and struggling for freedom at certain points in history, can relate to the other's spiritually-based songs. As Paul Robeson, no stranger to this genre, stated: "If it had been true that the Jewish people, like so many other national groups for whom I have sung, have warmly understood the loved songs of my people, it has also been true that Negro audiences have been moved by the songs of the Jewish people."
Songs on Black Sabbath range from spiritual prayers to uptempo, feel-good jive, with a array of legendary African-American artists covering the traditional tunes. The first song on the CD is Billie Holiday's version of "My Yiddishe Momme," a moving paean to mama made even more plaintive by Holiday's elegiac voice. Cab Calloway's "Utt Da Zay" mixes his hepcat jargon with Yiddish, the song seriously "swinging" as only Calloway could do. Cannonball Adderley's "Sabbath Prayer" is a haunting melody of lasting perfection, as opposed to the Slim Gaillard's tongue-in-cheek "Dunkin' Bagels," an upbeat ode to bagels and gefilte fish. From Aretha Franklin's soulful rendition of Al Jolson's "Swanee" to Johnny Mathis' genuine and captivating take on "Kol Nidre," the album is a satisfying blend of Jewish verse and African-American rhythms. Black Sabbath showcases two rich cultures, reflecting the intricacies of their relations, woven together in song. It's the first compilation of its kind and is a jewel of a musical fervor.
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