I'll Never Walk Alone in the Desert
Gal Paz
Ken Burgess has a long and accomplished career as a composer and performer. One of his compositions was even reviewed by John Lennon as a “psychedelic anthem”. In recent years Burgess has converted to Judaism, and is today an observant resident of Israel.
He has recently released his first album of Jewish Music, and it is a very pleasing piece of art. Nine of the thirteen tracks are in English, with three in Hebrew, and one instrumental. The music speaks of the soul's re-awakening as it finds expression in Judaism and identification with G-d. Through the music, Burgess expresses the peace he has found since his conversion and the purity of the soul he has experienced as he follows his new path.
The music is a masterpiece. It is performed by many of the leading musicians in Israel, include Arieh Volnitz on bass, Ran Vered on drums, and Avi Singolda on guitars. There is also a complete brass section, and full acoustic sound. What is special about the music on this album, though, is the combination of these top-flight musicians with the Burgess touch. The harmony of the music and the beauty of the lyrics offer a wondrous combination that cannot fail to impress.
Burgess is joined on this album by Mordechai Ben-David, his son Yeedle, and two up-and-coming Israeli singers -- Ohad Moshkovitz and Amiran D'vir. But with all of the power and talent contained on this album, the major influence is clearly Burgess.
This album provides the clearest definition yet within the Jewish music genre for the term "soul music". It is music of the soul that speaks from the soul and to the soul. And for Ken Burgess, it provides a wonderful entre to the world of Jewish Music.
Mordechai Fuks
Shir Ushvacha
Gal Paz
Mordechai Fuks has also just released his debut album, Shir Ushvacha. The album is a prime example of what happens when you combine decent electric guitar and brass music with a voice that, while decent enough on its own, is not melodious or expressive. On most of the tracks, I got the impression that Fuks could use some voice lessons in order to make the album a real hit.
There is no question that the songs all have incredible potential. This is particularly true on the lead track, Avinu and the third track, Geulat Yisrael. But that potential is not realized, due to the unpolished, almost tired quality of Fuks's voice. A pleasant exception is the fifth track, Ma Ashiv, which is more restrained. But it is that restraint that allows Fuks to make full use of his voice without sounding like something is missing.
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