Categories
Biography

Abe Katzman and the Kishinever Sick Benevolent Society of New York, Inc.

Connoisseurs of old New York klezmer may be familiar with the two 1927 discs on Brunswick Records by Abe Katzman’s Bessarabian Orchestra:  Ismaelover Bulgar/Simchas Torah in Kishenev and Erinerung From Kischenev/Kishenever Bulgar. Abraham Katzman (1868–1940) was a notable presence in the New York Jewish music scene in the 1910s and 1920s, appearing in dozens of advertisements and hiring such figures as Dave Tarras to play in his band. He also had plenty of relatives who went on to become famous, including his son the film producer Sam Katzman, his nephew the bandleader and arranger Louis Katzman, and his grand-nephew, Dallas showrunner Leonard Katzman.

In my research into landsmanshaft and relief society collections at YIVO this month, I’ve been looking for traces of klezmer musicians, or musicians of any kind, with ties to particular communities or organizations. I’m still in the early stages of it, but with so many to choose from, the first boxes I called up are ones from places which I can already tie to klezmer musicians I have researched. So, for example, Beresh Katz and the Glinianer association, or Abe Katzman and the Keshenever/Bessarabier ones. I was pleasantly surprised to find that Katzman was everywhere in YIVO’s collection of the Kishinever Sick Benevolent Society, as well as documents of the same organization in the AJHS’s Landsmanshaft collection. He cofounded the organization in 1903, was its first president and played music for its events into the 1930s. In this post I’ll go over some of those documents and try to put it in the context of his music career in New York.

Which Abe Katzman?

In cases like this, there’s always the possibility that I could be mixing up two people with the same name. Plenty of Jewish men in early 20th century New York were called Abraham Katzman, including another musician. But there are plenty of reasons to think that the landsmanshaft society president and the 1927 klezmer musician are the same person:

  • He fits the profile. Born in Chișinău in 1868, he arrived in New York in 1897 or 1898. The organization was founded in 1903.
  • In some of the anniversary journals of the organization, Abe Katzman appears in the front sections as a president or ex-president, and in the concert program section as bandleader for the anniversary banquet.
  • In the old New York Yiddish press, there are dozens of advertisements for concerts and balls with music by Professor A. Katzman; many of these were put on by the same Kishinever Society.
  • 3 of his 4 1927 discs mention Chișinău in their titles, and in some of the Yiddish press advertisements he is said to lead a Kishenever Orkester. More than a passing association!
  • The other Abe Katzman musician whose career overlapped with our Abe was born in Minsk Gubernia in the late 1890s. Too young, wrong birthplace.
  • In his 1940 obituary in Der Tog, he is identified as the beloved first president of the Kishinever society, and a mention in Motion Picture Daily identifies him as Sam Katzman’s father.

I think the evidence is pretty solid.

The Kishinever Sick Benevolent Society, Inc.

The organization Abe cofounded in December 1903 wasn’t the first Kishenever mutual aid society in New York; a 1903 issue of Der Idisher Zhurnal mentions a Yung Kishenever Untershtitsungs Farayn founded in 1891, which by then was still meeting regularly on Clinton Street. However, the aftermath of the violent Kishinev Pogrom in April 1903 spurred quite a lot of local organizing activity, including charities and support for immigrants. The desire to support Kishinevers fleeing the violence and to give them a comfortable welcome in New York was later explicitly acknowledged as a principal reason for the founding of the Kishinever Sick Benevolent Society.

a photo of the inside cover of an old, yellowed booklet with text in Yiddish (Konstitutshon fun Kishinever Kranken Untershtitsungs Farayn af Niu York (and so on).
The inside cover of the KSBS constitution, reprinted later, probably in the early 1930s. Source: YIVO collection.

I couldn’t find newspaper coverage of the December 29th, 1903 founding of the organization, but the group’s own materials acknowledge it as the date. Its original name was the Kishinever Mutual Immigrant Association. Per the various histories of the organization written for their anniversary journals, it was a very small organization at first, which offered limited services. Katzman, as first president, worked to establish a plot for members at Mt. Zion Cemetery, which was secured in 1904. It was not until 1907 that the organization was established enough to offer loan services to its members, which the histories later described as a key step towards creating stability for newly-arrived Kishinevers.

In 1913 it was legally incorporated under its longer-lasting name, the Kishinever Sick Benevolent Society of New York (hereafter KSBS). It was generally referred to by its English name, even in Yiddish transliteration, but its name was occasionally printed in Yiddish (as in the constitution shown above) as der Kishinever Kranken Untershtitsungs Farayn af New York. The amount of sick and death benefits offered by the Society grew through the 1910s as it gained members, and by 1920 they had acquired a building to hold meetings in. By then many of its members were no longer impoverished “green” immigrants but were affluent and well-established. The organization acquired a second and then a third cemetery plot (at Mt. Hebron and United Hebrew), and donated $10,000 towards a seniors home for its aged members.

black and white portrait of a man with a moustache which says Abe Katzman, First President underneath
A portrait of Katzman from the 20th anniversary journal of the KSBS. Source: YIVO collection.

In the 1928 25th anniversary journal, a two-page tribute to Katzman was published. Calling him “our George Washington,” (!) it touted some of his contributions over the years and noted that he was still active as head of the charity committee. He seems to have remained active in the early 1930s, at which point he was in his 60s. He left for Hollywood in the late 1930s and died in 1940.

Above we can see covers of some of the KSBS anniversary journals which were released at a celebratory banquet every five years. The Society remained quite active and robust at least into the 1960s. As with many such Mutual Aid societies established before World War I, by the 1970s and 1980s its function was mainly related to burial of its very elderly membership, as well as their families. It was dissolved in the early 1990s.

Abe Katzman’s Music Career

I wish I knew more about Abe Katzman’s family background and musical career back in Bessarabia. He emigrated when he was thirty years old, so he had more than a decade of activity in Europe. We have some information about the Katzman family’s musical background from a 2013 conference paper presented by Abe’s grandnephew:

Music was the Katzman family trade. Prior to emigrating to the U.S., Katzmans played in some of the major orchestras in the Russian Empire. Louis Katzman claimed to have been trained as both an artist and as a classical musician in Moscow and elsewhere during the first decade of the twentieth century. [… his] father, Philip, was an orchestra member of one of the Moscow Opera Companies and trained his eldest son on the violin and his own instrument, the cornet, both in Kishinev (Louis’ birthplace) and in Moscow. Louis also claimed to have studied at an Odessa conservatory. At the same time Louis attended an art school near Moscow, and was trained in oils and other media – a background he found useful after immigrating to New York. He recounted that, at the age of 13, in 1903-1904, he was sent out to work with a traveling band master.
The family emigrated from Kishinev to New York. The first members came in the 1890s (including Louis’ uncle Abe Katzman) followed by most of the others in period 1906 to 1908, after the Kishinev Pogroms of 1903 and 1907 – Philip Katzman emigrated in 1905 and Louis arrived in 1907. Louis was naturalized as an American citizen in March 1916.

– Michael M. Katzman, “Louis Katzman: His Musical Life and Times.” ARSC Journal 45.2 (2014), p.180–1.

An endnote in the same piece also mentions that Louis may have played in Abe’s orchestra in the years after he arrived in 1907:

In taped interviews in 2003-2005, Berdie Katzman, Louis’ daughter-in-law, recalled being told that Louis played cornet on occasion for his uncle Abraham’s klezmer band (later Abe Katzman’s Bessarabian Orchestra) in Brooklyn during this period.

“Louis Katzman” p.198.

If the family was so active in Russia, there are probable mentions of them in old newspapers. A deep dive for another time. A short biography in the New York listings of the 1921-22 Musical Blue Book of America gives a clue to Abe’s training:

Katzman, Abraham, Conductor. Violinist. 1437 Madison Ave.

Studied, Russia, under Prof. Gilla. Conductor of A. Katzman’s Orchestra, furnishing music for all occasions.

I don’t doubt that Abe was active as a musician as soon as he arrived in New York c.1898. But the earliest actual evidence I have found is from 1912. An ad in Die Wahrheit promises a Full Dress and Civic Ball put on by the Independent Kishinever Ladies’ Farein with music by Prof. Katzman’s union orchestra.

Advertisement, Die Wahrheit, January 1912. Source: jpress.

From there I found a few dozen advertisements on jpress, the latest of which was in 1929. You can see a sampling here:

Most are for Kishenever or Bessarabian organizations in New York, although a few are for south Ukrainian ones (e.g. Podolian). Quite often he is only referred to as Prof. Katzman.

The earliest KSBS anniversary journal YIVO has in their collection is the one from 1923. In that issue Katzman’s dance set is listed in the programme:

A Concert Programme from a booklet listing various operatic works and foxtrots.
Concert Program page from the Kishenever Sick Benevolent Society 20th anniversary journal, 1923. Source: YIVO collection.

There isn’t much Bessarabian about this setlist, although I can assume “Selection–Jewish.” is teasing us with more. It does show that Katzman, then in his 50s, was versatile and by necessity kept up with modern American music.

The 1927 Brunswick recordings

And now to the two 1927 discs. DAHR lists some basic information about where and when they were made: at the Brunswick Records office on 7th Avenue in New York, with a 9-man orchestra. Joel Rubin suggests in his recent book that Dave Tarras may have been the clarinetist on the recording (see New York Klezmer in the Early Twentieth Century: The Music of Naftule Brandwein and Dave Tarras, Boydell & Brewer, 2020, p.323).

a disc label from a 78rpm record for Abe Katzman from Brunswick records
The disc label for Erinerung fun Kishenev. Source: Mayrent Collection.

The Mayrent Collection has both discs available for streaming: Ismaelover Bulgar (a great snappy major-key piece), Simchas Torah in Keshenev (the first part of which most klezmer musicians know as “Oi Tate”), Erinerung fun Kishenev, and my favourite, Kishenever Bulgar. (The Ismaelover and Keshenever Bulgars appears in Susan Watts’ recent book of family repertoire, The Hoffman Book, on pages 119–20.)

Although the discs got decent reviews in trade journals–The Gramophone called it “lively and brimming over with local colour” in October 1928–less and less klezmer discs were being made, and he was not invited back to record more. So, those two discs are our only taste of his decades of Bessarabian klezmer performances in New York.

Categories
Research Summary

A mixed list of scores and recordings by Philadelphia klezmer Harry Kandel

I may update this over time. Here’s a table of various copyright scores and links to commercial recordings by the Philadelphia klezmer clarinetist and bandleader Harry Kandel. (Also: this is the kind of thing that would eventually be great to have in a more dynamic framework like the Klezmer Archive, but for now a table will do.) My goal here is partly to give context to the new copyright scores I received, but also to explore the overlapping Kandel items in digital collections and what copyright limits are put on them.

I compiled this from various sources: audio listings in Florida Atlantic University’s Recorded Sound Archive, University of Wisconsin-Madison’s Mayrent Collection of Yiddish Recordings, as well as others like the Internet Archive, Dartmouth Jewish Sound Archive and the Discography of American Historical Recordings when those first two fell short. I did not try to add every single possible link to a digitized recording (Dartmouth has many more than I linked, for example).

I juxtaposed these with scanned manuscripts from the U.S. Library of Congress’ Yiddish American Popular Sheet Music collection or others I paid to have digitized from the LOC.; and checked the list against listed recordings in Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942 Vol. 3 by Richard K. Spottswood, the Discography of American Historical Recordings list of Kandel’s work, and Allen Lutins’ KlezmerGuide. Some of these same melodies were also recorded by other artists or printed in other collections; take a look at KlezmerGuide for further info.

TitleManuscriptSound RecordingYear
A Freilachs Von Der Chuppe {A Happy Dance From The Wedding Ceremony}No known copyright scoreMayrent Collection, FAU RSA1917
Oddessar Bulgarish {Jewish Dance From Odessa}No known copyright scoreMayrent Collection, FAU RSA1917
A Freylachs Die Mamma Is Gegangen In Mark Arein
{The Mother Goes To Market} {Old Hebrew Song From Odessa}
No known copyright scoreFAU RSA, Mayrent Collection1917
Der Stiller Bulgarish {The Quiet Bulgar}No known copyright scoreMayrent Collection, LOC Jukebox1917
A Abspiel Far Die Machatonim {Hebrew Wedding Music For The Parents
 Of The Bridegroom}
No known copyright scoreMayrent Collection, FAU RSA1917
A Yiddisha Honga-Hebrew DanceNo known copyright scoreMayrent Collection, FAU RSA1917
Polka Lubka {Lively Polka}No known copyright scoreInternet Archive; Mayrent Collection1918
Mazur Weselny {Lively Mazurka}No known copyright scoreMayrent Collection, Internet Archive1918
KolomeykaNo known copyright scoreMayrent Collection, LOC Jukebox1918
Rusiche Shaer {Russian Dance}-Pt. 1No known copyright scoreMayrent Collection, FAU RSA, (*Earlier recording of this was a reject)1918
Rusiche Shaer {Russian Dance}-Pt. 2No known copyright scoreMayrent Collection, FAU RSA, (*Earlier recording of this was a reject)1918
Hora {Dance}No known copyright scoreMayrent Collection, (*Earlier recording of this was a reject)1918
Dem Trisker Rebens Nigen {Characteristic Jewish dance}No known copyright scoreMayrent Collection, FAU RSA, LOC Jukebox1918
Der Nicolaiver Bulgar {A Bulgar Dance}No known copyright scoreMayrent Collection, FAU RSA, LOC Jukebox1918
HopackNo known copyright scoreMayrent Collection, LOC Jukebox 1918
DoinaNo known copyright score*Recording was a reject1918
Lebedig Und Freylach {Lively and Happy}LOCMayrent Collection, FAU RSA, Mayrent Collection (1921)1918/21
Kiever Bulgar {Dance From Kiev}LOCMayrent Collection, FAU RSA1921
Bapolier Freylachs {Bapolier Song Of Happiness}Google drive (from LOC)Mayrent Collection, FAU RSA1921
Die Lustige ChsideemLOCFAU RSA, Mayrent Collection1921
Freyleche Mechitonim {Lively Relatives}LOCMayrent Collection, Internet Archive, LOC Jukebox, FAU RSA 1921
Patch Tanz {Hand-Clapping Dance}LOCInternet Archive, FAU RSA, Mayrent Collection1921
Choosin Kalle Mazel Tov {Good Luck, Bride And Groom}No known copyright scoreMayrent Collection, FAU RSA1921
Sha! {”Hush!”}LOC was not able to locate this scoreInternet Archive, FAU RSA, Mayrent Collection1921
Roumainische Bulgar {Roumainian Dance}LOCMayrent Collection, Internet Archive, FAU RSA1921
Russishe KomarinskaNo known copyright scoreMayrent Collection (1921), FAU RSA (1921), LOC Jukebox (1921), Internet Archive (1921), DJSA (1924, login required), FAU RSA (1927, login required)1921/24/27
Der Broiges TanzLOCFAU RSA, Mayrent Collection1921
Flaskadriga-Dance Of The ”Chasidem”Google drive (from LOC)Mayrent Collection, Internet Archive, FAU RSA1921
A Zoi Feift Min Un A Schweiger {Putting It Over On Mother-In-Law!}LOCMayrent Collection, FAU RSA1921
A Purim By Der SeedaLOCMayrent Collection, FAU RSA, DJSA (login required)1921
The Goldene Chasina {The Golden Wedding}LOCMayrent Collection (1921), Internet Archive (1923), FAU RSA (1923, login required), Mayrent Collection (1923), Mayrent Collection (1924)1921/23/24
Yasser BulgarLOCFAU RSA (1921), Mayrent Collection (1921), FAU RSA (1923, login requred)1921/23
Bukarester BulgarLOCFAU RSA (1921), Mayrent Collection (1921), FAU RSA (1923, login requred)1921/23
Mohlever BulgarLOCMayrent Collection, FAU RSA1921
Ma YofisGoogle drive (from LOC)Mayrent Collection, FAU RSA1921
Ba A Glassella WeinLOCFAU RSA, Mayrent Collection1921
Kandel’s BulgarGoogle drive (from LOC)FAU RSA, Mayrent Collection1921
Yekatarinslaver BulgarLOCMayrent Collection, FAU RSA1921
Auf Der Mohldivanka {On The Great White Way Of Odessa}No known copyright scoreMayrent Collection, LOC Jukebox1923
Mamaliga-Roumanian DanceNo known copyright scoreMayrent Collection, FAU RSA (login required), LOC Jukebox1923
Buccaviner BulgarNo known copyright scoreUnclear if this was a reject1923
Freylacher Choosid {Happy Student}No known copyright scoreMayrent Collection (1923), UC Santa Barbara via DAHR (1923) LOC Jukebox (1923), Mayrent Collection (1927), FAU RSA (login required)1923/27
Der Zaide Mit Die Babba {The Grandfather And The Grandmother}No known copyright scoreInternet Archive (1923), FAU RSA (1923, login required), Mayrent Collection (1923), Mayrent Collection (1924)1923/24
Der Gassen Nigen {The Street Melody}No known copyright scoreMayrent Collection, LOC Jukebox, FAU RSA (login required),1923
Serba Popilor {The Serbian Priest}No known copyright scoreMayrent Collection1923
Bolter Bulgar {The Bulgar Of Balta}No known copyright scoreMayrent Collection, Internet Archive1923
Simchas Toirah In Der Alter Haim
{The Rejoicing Of The Torah In The Old Country}
No known copyright scoreFAU RSA (login required)1923
Doina and HoraNo known copyright scoreFAU RSA (login required)1923
Sha! Der Rebe Tantzt {Sh! The Rabbi Is Dancing}Google drive (from LOC)Mayrent Collection, FAU RSA (login required)1924
HopakCopyright score exists but not yet ordered from LOCDJSA (login required)1924
Der Ferginegen Fin Tatta Mamma {The Parents Joy}Google drive (from LOC)* the name is switched with Nacht in Gan EdenMayrent Collection, FAU RSA (login required)1924
Dus Zekele Geld {The Sack Of Gold}LOC was not able to locate this scoreMayrent Collection (1924), FAU RSA (1924, login required), Mayrent Collection (date unknown)1924
A Nacht In Gan Adin {A Night In Paradise} / Die Freylachs Nacht In Ganeden {The Happy Night In Heaven}-FreylachsLOC was not able to locate this score. *the score by this name corresponds to “Der Ferginegen..” melody aboveMayrent Collection (1924), FAU RSA (1924, login required), UC Santa Barbara via DAHR (1926)1924/26
Der Zisser Cholem Google drive (from LOC)*Recording was a reject1924
Machotonim A HeimLOC was not able to locate this scoreMayrent Collection, FAU RSA (login required)1924
Far Dem Rebbins KoovidLOC was not able to locate this scoreMayrent Collection, FAU RSA (login required)1924
Die Chasidim Forren Tsum Rebbin {The Chasidim Visit The Rabbi}Google drive (from LOC)FAU RSA (login required), DJSA (login required); earlier recording was a reject1924
Der Zaida Mit Dem AinikelLOC was not able to locate this score*Recording was a reject1924
A Yiddisha Chasina {A Jewish Wedding}LOC was not able to locate this scoreYoutube, DJSA (login required)1924
Es Is Schön Lightig {Dawn Appears}Google drive (from LOC)Mayrent Collection1924
Russian Revolution MarchGoogle Drive (from LOC)*Recording was a reject1924
Doina {Doina Und Serba} (arr Kandel)No known copyright scoreMayrent Collection 1924
Der Shikerer Moldawan-BulgarNo known copyright scoreMayrent Collection, FAU RSA (login required)1924
Naches {Joy} -BulgarNo known copyright scoreMayrent Collection, FAU RSA (login required)1924
Die Turkishe Chasene {A Turkish Wedding}No known copyright scoreMayrent Collection1924
Dus Geliebte Palestina {Beloved Palestine}-BulgarNo known copyright scoreMayrent Collection, FAU RSA (login required)1925
Froeliche Rusiska {Malo-Russian Peasants’ Dance}No known copyright scoreMayrent Collection, FAU RSA (login required)1925
Pozsha {Fire}-BulgarNo known copyright scoreMayrent Collection1925
Dus Freylache Russland {Happy Russia}No known copyright scoreMayrent Collection, FAU RSA (login required)1925
A Laibediga Honga {A Lively Honga}-BulgarNo known copyright scoreMayrent Collection, FAU RSA (login required)1925
Cohen’s Visit To The Sesquicentennial- Novelty Fox TrotNo known copyright scoreMayrent Collection1926
Jakie Jazz ‘Em UpNo known copyright scoreMayrent Collection1926
Bie A Glezele Mashke {At The Drinking Table}-FreylachsNo known copyright scoreUC Santa Barbara via DAHR1926
Der Muzinikel {The Youngest One}-FreylachsNo known copyright scoreMayrent Collection, FAU RSA (login required)1927
Chevre, Nit Gezorgt {Folks, Don’t Worry}-FreylachsNo known copyright scoreMayrent Collection, FAU RSA (login required)1927
Lebedig, Chatskel {Lively, Chatskel}No known copyright scoreMayrent Collection, FAU RSA (login required)1927
Diene Schwartze Oigen {Your Black Eyes}No known copyright scoreFAU RSA (login required)1927

A few observations. First, Kandel was most active in submitting copyright scores in two years, 1921 and 1924, despite putting out 78rpm discs between 1917 and 1927. Second, he has an interesting range of material, including some things that are a bit more exotic in the 1910s/20s American klezmer context (A Abspiel Far Die Machatonim, Die Turkishe Chasene). Others are very common melodies recorded by a number of his contemporaries (Der Gassen Nigen, Serba Popilor, Der Stiller Bulgarish, etc.).

The other thing that interests me in comparing these various digital collections is how these 100 year old materials are treated in terms of copyright and public access.

  • Mayrent Collection is the most open and complete; login is not required to stream any of the pieces, and they were often the only archive to have a rare Kandel piece. In my opinion, as it is more recent and digitized with care, the audio quality is best here too.
  • Florida Atlantic University’s Recorded Sound Archive was the original place I encountered a lot of these Kandel sides 15 years ago. They require an account and login to stream the full recordings for ones made in 1923 or later. I think most of them were digitized 15 years ago or more and so they have acceptable sound quality but not quite as good as the Mayrent Collection.
  • Dartmouth University’s Jewish Sound Archive has almost as many as MC and RSA, even though I got to it last in this effort and therefore didn’t link most of them. It requires registration and login to stream any of them, no matter when they were released, although registration can be done with social media.
  • The Internet Archive has about a dozen Kandel pieces, and they can be streamed without a login. However, the sound quality is mixed.
  • The Library of Congress has 15 of Kandel’s manuscripts posted publicly on their digital collection. These are all from 1921, although they missed a few 1921 scores by him. They also have about a dozen Kandel sound recordings on their digital jukebox which have a decent sound quality and can be streamed without a login. By paying for digitization I got a handful more copyright scores from 1921, and another batch from 1924. They couldn’t locate about 10 that are known to exist.
  • The Discography of American Historical Recordings has a very complete list of Kandel’s recordings, of which about 25 can be streamed without a login. The digitization is of decent quality and was done at UC Santa Barbara; I tried to follow through to UBSB’s library and see if they host the tracks directly but I couldn’t get them to come up in their catalogue.

One last thing that made me chuckle a bit was the mixup between “Der Ferginegen Fin Tatta Mamma” and “A Nacht in Gan Adin.” “A Nakht in Gan Eden” has been one of the best-known klezmer tunes since the 1970s revival, appearing in Compleat Klezmer and many a jam session. On the copyright score we can see that “Der Ferginegen..” has been written out under the title “A Nacht..” I assume if they had been able to find the other score it would have had the familiar “A Nacht..” melody. The titles are equally meaningless in relation to the tunes, but I wonder if Kandel has originally meant the opposite and it was a record company mixup that immortalized A Nakht in Gan Eden as we know it. Or maybe he changed his mind at the last minute. By the time of the 1926 re-recording he kept the name.

Thanks to Tom Deakin who noticed the “Nacht in Gan Adin” mixup and to Patty Farrell who sent me a trove of info about Kandel a few years ago. And of course to Hankus Netsky whose Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia, Temple University Press, 2015, gives a great background on Kandel and his context.

Categories
Biography

A look at Sam Young, Galician klezmer in 1920s New York

Sam Young is one of those names I was vaguely aware of from the old New York klezmer recording industry, but I couldn’t have said anything about who he was or what he recorded. I’d seen him listed in books among other minor artists of the time, but hadn’t even heard any of his three 78rpm discs from 1921. When I was ordering klezmer copyright scores from the Library of Congress this spring, I obtained his 6 handwritten copyright scores among my latest batch, which correspond to those 3 discs. To mark the occasion I’ve tried my best to piece together what I can about his life from genealogy records. For the most part, his music background and career remain a mystery.

Family backround in Europe

Sam Young was born near Tarnopol, Galicia, Austria-Hungary (today Ternopil, Ternopil Oblast, Ukraine) in the late 1870s. I’m fairly confident this birth record for an Elias Simon Jung born in July 1877 in Pokropiwna village (near Kozłów, about 25 km west of Tarnopol) refers to Sam. He was never consistent about his exact birth year in later US documents. His parents, Kelman Jung (born c.1860) and Riwke Wasser (born c.1862), lived in Kozłów. His brother Mechel Jacob Wasser (later Michael Young) was born in September 1883 in Chorobrów village, also near Kozłów, but the middle brother Moses Hensel Jung (later Morris Young) was born in Borysław in 1880, near Drohobycz, 180 km to the west. I have no idea why they moved and moved back, though the Yizkor book for Drohobycz, Boryslaw and Surroundings (translated to English here) describes it as a booming oil town in that era. Ternopil is also described in its Yizkor book (translated here) including an interesting chapter about the Wolfstahl family of musicians.

Pokropiwna village circa 1915. Source: Wikimedia Commons.

In New York, Sam was a member of the First Uscie Biskupier Society (landsmanshaft), referring to Uście Biskupie (today Ustia, Ukraine), about 150 km south of Ternopil. I’m not sure what his connection was to that community, whether it was through his wife’s family or something else. It’s also about 40 km northwest of where fellow klezmer Israel J. Hochman‘s father was born, near Khotyn.

Detail of the Miczyński Map of Galicia, 1872, showing places associated with Sam Young and his family: 1 (Kozłów town), 2 (Pokropiwna village) and 3 (Chorobrów village), 4 (Borysław, near Drohobycz), and 5 (Uście Biskupie).

The only Galician place name among his 1921 78 rpm records is Drohobych in his track Drohobitcher Chosid. I mention this because I’m interested in how these American klezmers titled their discs with geographic references, which in some cases are very close to their home region (eg. Hochman, who referenced Podolian place names a fair amount, or Katzman who almost always referenced his native Chișinău).

I wasn’t able to find any direct evidence that Sam Young was from a musical or klezmer family in Europe, nor anything about his education (musical or otherwise). His great-great granddaughter mentioned to me that she had always heard he came from a musical family, although she couldn’t find out much about his life either. As far as I can tell Sam’s father Kelman was a tailor and I didn’t encounter any other musicians in the family tree in U.S. documents.

Emigration to New York and life in the LES & Bronx

The Jungs emigrated as a family, landing in New York in around 1890, although I couldn’t find any direct documentation and on various censuses the year was occasionally recorded as being a few years earlier or later. They Americanized their family name to Young, and their given names to Rebecca, Sam, Morris and Mike, although the father kept the name Kalmen. Sam got married in 1898 to Chane Taub, later Anna Young, another Galician Jewish immigrant (the marriage record is here on the NYC vital records site). On that certificate they were living at 85 Ludlow street in the Lower East Side of Manhattan.

A photo of the corner of Hester and Ludlow streets from 1892, the block Sam lived on when he got married in 1898. Source: Brooklyn Public Library.

In the 1900 census Sam appears twice, first on June 2nd at his own home at 145 Orchard Street with his wife Anna and 2-year-old daughter Bella, and again on June 11th at his father’s place at 142 Eldridge Street with his parents and siblings. On that form Sam is listed as a musician, Kalmen as a tailor, Morris as a waist maker, and Mike as a furrier. Sam and Anna’s second daughter Clara (later Kate or Katie) was born in 1903. By then they were living a few doors down at 167 Orchard street; in the 1905 NY census they are still living there and Sam is still listed as “musician.”

In the 1910 census Sam is living at 129 Clinton street and is listed as “violinist, teacher.” What’s a bit more interesting is that, in 1911 and still living on Clinton street, Sam appears as a guarantor on the naturalization petition for Hyman “Hymie” Millrad, a slightly better known klezmer bassist who had worked with Max Leibowitz. By the 1915 NY census and 1920 census Sam is living at 84 Essex street and listed on the latter as “musician, lieder theatre [?].” By this time his daughter Kate was 17 and listed as a bookkeeper. Here Sam was following the path of many fellow klezmers and Jewish immigrant contemporaries in moving out of tenements and into nicer freestanding houses.

The Young family home at 84 Essex where they lived during the 1910s and early 1920s, from a tax photo circa 1940. Source: New York City Department of Records.

In Sam’s 1918 draft registration card, they’re still living on Essex Street, where Sam’s occupation is listed as “Musician, Loew Vaudeville House, [at] Fulton & Livingston, B’klyn.” After this, the Youngs relocated to the Bronx. In the 1925 NY census they’ve moved to 1313 Boynton street, where Sam would live for the rest of his life. It seems the house was owned by Charles Harris, a cloak salesman & the husband of Sam’s daughter Bella. The 1930 census is Sam’s final appearance as a musician in these records; still on Boynton street and listed as a “Musician, orchestra.”

The Harris-Young home at 1313 Boynton circa 1940. Source: New York City Department of Records.

In his final census appearance in 1940, still living with Bella and her family, Sam doesn’t have any occupation listed. Sam died of natural causes on July 14, 1941 and was buried in the Uscie Biskupier section of Mount Hebron Cemetery in Queens. He was listed as a Hotel Musician in the NY death certificate.

Music Career, scores and recordings

Aside from his six 78 rpm recordings, and the corresponding copyright scores, I haven’t had much luck piecing together Sam’s music career in New York, either in the Yiddish or English press of the time. Part of the problem is that his name is so common; German, Irish or English people were also called Sam Young. But in general working klezmers of his time did not get much press coverage and did not document their work, unless they happened to appear in advertisements for concerts or balls, or on schedules making radio appearances. So far I haven’t found any of these for Sam, except for a few promoting his 78 rpm records.

Title78 rpm Record #Audio available?Copyright score from US Library of Congress
DROHOBITCHER CHOSID; (The religious man from Drohobitch); by S. Young (of U. S.); violin.Cardinal 1106On archive.org courtesy of the Max and Frieda Weinstein Archive of YIVO Sound Recordings. Also on Jewish Orchestras vol. 2 cassette by Muziker.org.On Google Drive
CHOSID; (DER) GEHT TANTZEN (The religious man goes dancing); by S. Young (of U. S.); violinCardinal 1106On archive.org courtesy of the Max and Frieda Weinstein Archive of YIVO Sound Recordings. Also on Jewish Orchestras vol. 2 cassette by Muziker.org.On Google Drive
CHUPE; TANTZ (Wedding dance) ; by S. Young (of U. S.); violin.Cardinal 1104On youtube courtesy of Bill BarabashOn Google Drive
LOZT GRISEN (Send regards); by S. Young (of U. S.); violin.Cardinal 1104On youtube courtesy of Bill BarabashOn Google Drive
IN KAVKAZ; bulgar; by S. Young (of U. S.); violin.Cardinal 1105no known copyOn Google Drive
SOVIETEN (DER) BULGAR;; by S. Young (of U. S.); violin.Cardinal 1105no known copyOn Google Drive
The set of six February 1921 recordings by S. Young’s Yiddisher Orchestra, released on Cardinal Records.
disc label for Cardinal 1106 “Der Chosid Geht Tanzen” from 1921. Scanned by YIVO and uploaded to archive.org.
Cardinal records ad from May 1921 issue of Talking Machine World listing Sam Young’s discs. Source: HathiTrust.

A magazine blurb about new Cardinal records releases from May 1921 issue of Talking Machine World. Sam’s discs are mentioned in passing as “Some spirited numbers.” Source: HathiTrust.

The 4 sides I was able to listen to at the links above are pleasant old klezmer, if not remarkable. To me, they sound like fairly standard New York klezmer of the time, similar to Leibowitz, Frankel, Schwartz, etc. orchestras, with a kind of Ukrainian or Romanian feel to most of them.

I will update this post if I find any more info about him later. Feel free to let me know if you have any photos of Sam or other information.

Thanks to various people on facebook who commented some facts about Sam Young’s 78rpm records, including Bill Barabash, Sherry Mayrent, Lorin Sklamberg, Joel Rubin, and Tom Deakin. As well as people who helped me decipher the Austro-Hungarian birth records, including Paweł Dembowski, Riley Faelan, Paul Beck, and Sabrina Bonus.