It’s Shabbat, what Rabbi Abraham Joshua Heschel called both a “cathedral” and a “palace” in time. My daughter’s eating raspberries and watching Beauty and the Beast and I’m seizing a few moments while the rest of the family is napping to jot down some thoughts and recollections about the 2nd album of original Jewish music I wrote and created for The Davis Academy, A Palace in Time.
Let’s start with the basics– A Palace in Time is a musical exploration of the psalms and other liturgy that make up the traditional Kabbalat Shabbat service. Kabbalat Shabbat is the portion of the Friday evening service that precedes Maariv. It’s a time when we focus on opening our hearts, minds, and souls to the possibility of Shabbat. Kabbalat Shabbat is about creating within ourselves the capacity for active receptivity. It’s about fine tuning our ears, our eyes, and all of our senses so that we might behold the beautiful imperfection of our lives and our world, all with God’s blessing.
Pretty much every contemporary Jewish songwriter/composer has set pieces of Kabbalat Shabbat to music. Kabbalat Shabbat and Shabbat generally are the anchor of the Jewish people– a weekly reminder of the core values of our people and a time to be together in sacred community. I am drawn to Kabbalat Shabbat for these reasons and because Kabbalat Shabbat is both well-known and shrouded in mystery for many Jews. Some liturgical passages are sung weekly, others remain whispered. There are recurring themes such as God’s sovereignty and creation’s collective praise and affirmation of God and many others. It’s ripe for musical exploration.
Here are some things to I want to remember about the process of creating A Palace in Time:
1. The title of the album was never a question in my mind.
2. Will Robertson, my musical chevruta and the album’s producer, remarked that he’d never started a project knowing in advance the entire track list, track order, and album title.
3. Many of the initial seeds of the melodies came to me all at once– I’m talking about 10-15 songs in a single sitting. I remember in those moments a profound sense of feeling that I was discovering rather than writing music. I continue to believe, perhaps foolishly, that “discovering” is more accurate a way of thinking about my role in creating this music than “writing.”
4. Initially I wanted and continue to want the music to feel instantly familiar and author less. Those who know Jewish music know that there are many melodies whose composers names are unknown or meaningless to us as the melodies are a part of soul. That’s my dream. My dream is that when people hear these songs they’ll feel like they’ve heard them before, like they’ve always been there, like they’re old friends.
5. Initially I envisioned very simple instrumentation for the album so that congregations would instantly be able to hear how the songs could live in their worship services. Though the recording studio seduced me into pursuing more dynamic arrangements the fact remains that every song could be rendered a cappella or with whatever instrumentation a congregation has available. The songs are meant for Jewish congregations across the religious spectrum and could easily be sung in Orthodox shuls.
6. In a similar spirit to the aforementioned musical simplicity the songs were originally intended to be only in Hebrew. I chose to include English because I felt like I wanted to participate in the poetry of Kabbalat Shabbat by interpreting the words in ways that reflected my understanding. All the English is optional. Some people really don’t like English in their Jewish music and I totally understand this. In the end I feel very strongly that the English lyrics are really quite beautiful and remain very true to the spirit of the liturgy.
7. The L’chah Dodi on the album was “discovered” (i.e. written) in the city of S’fat– the mystical city where the original words of this prayer were written in the 15th century. The melody came to me as I was chaperoning a group of Davis Academy students on our 8th grade Israel trip. We happened to be in S’fat on Erev Shavuot (the day leading up to Shavuot). The fact that Shavuot commemorates the giving of Torah and the revelation at Sinai isn’t lost on me. Another way of saying that I want these songs to sound familiar or that I “found” them is to say that the melodies are “mi-Sinai” from Sinai. That’s a Jewish way of saying that they’ve always been here, waiting for us to find them.
8. The percussion on the song Mizmor Shir is comprised entirely of things you’d find at or around a Shabbat table– candlesticks, spoons, a challah plate, bread knife, and trash can.
9. Even if no one else likes this music my daughter loves it and has learned much of the Kabbalat Shabbat liturgy by singing along.
10. The first couple of tracks on the album aren’t actually from the Kabbalat Shabbat liturgy. They’re included as “opening songs” in the siddur of the Reform Movement, Mishkan T’fila. For the song Hineih Mah Tov I reached out to the faculty and students of the Marist School, a local Catholic school with which we have an interfaith partnership. The message of Hineih Mah Tov– that it’s good for brothers and sisters to dwell together in peace– is a perfect message for Jewish and Catholic teens to share with the world. There’s a deeper story here but it will be told elsewhere.
11. The student artwork is incredible. Rebecca Ganz, Davis’ visual arts teacher and I together came up with the idea of merging the traditional Hebrew Illuminated Manuscript with 1960s psychedelic music poster art. The cover, which she created with some input from me, captures one of Shabbat’s key ideas: the dual remembrance of the original act of creation and the liberation of the Jews from Egypt. Shabbat is fundamentally an affirmation of creation and liberation. Rebecca’s profoundly beautiful cover tells this story. I’m sure many people will be drawn to this incredible artwork and the cover in particular without ever noticing the fact that Rebecca hid the word “Shabbat” in the candles flames.
12. The closing song, Bar’chu, is what’s traditionally known as the call to prayer. It typically comes towards the beginning part of the worship service. That the Bar’chu is the closing song on this album symbolizes a couple of things. First, it reinforces the fact that A Palace in Time is truly focused on Kabbalat Shabbat– the beginning of the Friday night prayer service. Second, it subtly implies that, having taken this musical journey, whatever you do once you’ve listened to the Bar’chu has the potential to be a form of worship or devotion. Typically the Bar’chu is followed by specific liturgical passages. On this album it’s an invitation to think differently about what you’re about to do next.
13. One tough part of this album is the fact that many melodies I “discovered” for Kabbalat Shabbat didn’t make the final cut. 18 songs is more than any album really should have. God willing there will be future opportunities to bring even more Jewish music into the world.
14. A Palace in Time is inspired by a quote attributed to musician Mickey Hart who said of The Grateful Dead, “We aren’t in the entertainment business, we are in the transportation business.” Hopefully this music will transport the listener spiritually and emotionally.
The album will be available for complimentary download on all major music sites.