Clarinetist’s fusions prove liberating for klezmer

How does a musician reconcile the deep yearnings for one’s genetic roots with a determination to remain curious about the world outside? Clarinetist David Krakauer continues to find a way.

As part of the Yiddishkayt Los Angeles Festival, Krakauer took his Klezmer Madness! band into the hip labyrinth of the Knitting Factory Hollywood on Friday night -- an act that itself was a statement of liberation -- trying to stretch the boundaries of klezmer. Encouragingly -- and to the delight of those who came for more than the usual leaping, yelping wedding dances -- Krakauer’s best shots were those that invigorated the old music with strong injections of avant-garde jazz, R&B;, hip-hop and other dangerous viruses.

Take “Klezmer a la Bechet,” the high point of the set, in which Krakauer’s teasing clarinet captured the essences of klezmer and funk styles over Sheryl Bailey’s percolating wah-wah electric guitar, Nicki Parrott’s very funky stand-up electric bass, Rob Curto’s nearly camouflaged accordion and Tony Lewis’ second-line New Orleans beat on drums.

Or how about the acid-jazz groove that ran through “Tribe No. 13,” the high-pitched, John Coltrane-drenched clarinet trills from the opening medley of dance tunes and the droning, wailing jazz freakout that formed the climax of “The New Year After” (inspired by Sept. 11), featuring a guest shofar player from the audience.

Perhaps the most self-defining moment came when Krakauer reached back to his American baby boomer roots for themes from ultra-familiar TV theme songs like “Leave It to Beaver” and “The Munsters.”

We have found an honest man, one who dares to use everything, even the guiltiest pleasures.