Artist

The Western Wind

Genre: International ,Jewish Music ,Choral ,Celebrity ,Christmas ,Holidays ,Avant-Garde Music ,Vocal Music
Origin: U.S.A
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New York-based a cappella ensemble Western Wind has ranged across the entire spectrum of vocal repertoire. Early recordings concentrated on New England traditional songs and Southern folk hymns, whereas later projects turned to extended cycles of Jewish holiday music, Christmas material, and American pop. The Judaica series—A Musical Sabbath, The Birthday of the World, Chanukkah in Story and Song, The Passover Story, and Mazel Bueno: A Portrait in Song of the Spanish Jews—incorporated spoken narration by Leonard Nimoy, Theodore Bikel, and Tovah Feldshuh. Western Wind’s command of experimental repertoire produced several pioneering releases. Birth of the War God, devoted to Charlie Morrow’s vocal works, was among the earliest recordings to employ the EMU Emulator digital sampler. Blessings and Batey presented the group’s readings of David Darling’s “Blessings: A Prayer for the Planet” and the Afro-Cuban piece “Batey” by Michel Camilo and Tania Leon. Their contribution to Philip Glass’s 1983 film Koyaanisqatsi: Life Out of Balance was later re-recorded and reissued in 1998.

Western Wind originated in 1969 as the shared vision of baritone Elliott Z. Levine and countertenor William Zukof, who also serves as executive producer of the ensemble’s Western Wind Records label. Levine earned a master’s degree from the Manhattan School of Music and has taught at City College, Upsala College, Lighthouse Music School, and Hebrew Arts School; he is composer-in-residence at St. Thomas More Church and cantor at Temple Emmanuel in Great Neck, New York. A New York native, Zukof has performed as soloist with the Richard Wagner Chorale, Gregg Smith Singers, Handel and Haydn Society of Boston, and Music Sacra, and has appeared in opera productions with the Washington Opera, Eastern Opera Company, and Eastman School. Since 1989 the group has created radio programs for National Public Radio and Public Radio International. The New York Times characterized the ensemble’s output as a “music of astonishing directness, iridescence and spiritual depth.”