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Politically, it never worked for anyone. Of course, the original klezmorim never sang about—to use the most obvious example—same-sex rights. But, London has said, so much of what they do cover in their songs, even songs touching on radical political ideas, has correlations in the ancient religious tomes. We fit right in with old Yiddish socialist music.

I had grown up in an arty household where my father held international folk dance parties featuring Israeli, Balkan, Greek and Scandinavian dance music. It developed from there, all the while with an intention of integrating improvisatory ideas with this music. Possessed included liner notes and lyrics for two songs by Tony Kushner, the renowned playwright of Angels in America fame.

By this point in their career, the Klezmatics had long been considered virtuosic musicians, each member of the band praised by critics and beloved by fans for his or her playing skills. Even those who were not particularly klezmer fanatics had to give the band their props.

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The trick, perhaps, was that they made it looks easy. Playing Yiddish music well requires a skill set not unlike playing classical or any other highly evolved musical style. Thus it was no surprise that other highly acclaimed artists yearned to work with them. Inthe same year that they released Possessed, the Klezmatics took part in the highest-profile collaboration of their career to that point.

Another equally magnanimous collaboration followed inwhen the Klezmatics teamed with the renowned Israeli vocalist Chava Alberstein for their next album, The Well Xenophile, later Rounder.

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Composed of 20th century Yiddish poetry, with music by Alberstein and arrangements primarily by the Klezmatics, The Well incorporated a wide range of ethnic styles, proving the adaptability of the Klezmatics. This is perhaps the most consistent of all Klezmatics recordings. The experience of creating and singing with Chava makes this a personal favorite.

Rise Up! Shteyt Oyf! Unlike the others, who came to klezmer from various circuitous routes, Gutkin found the music through…the Klezmatics! Gutkin had grown up playing classical violin and then bluegrass, Irish and a host of other international styles, as well as backing songwriters.

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The concert featured two amazing guest artists, gospel singer Joshua Nelson and jazz stylist Kathryn Farmer, both of whom contributed vocals, piano and organ to the show. Critics fell in love. The world is changed, somehow. If you have any soul at all, you will weep. Through an introduction to Nora Guthrie, the daughter of American folk icon Woody Guthrie and sister of Arlo, the Klezmatics began working on their most ambitious project to date, one that would ultimately take seven years to come to fruition.

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While living in Coney Island, Woody had written many lyrics inspired by his relationship with his mother-in-law. Guthrie had set the words to music, but never wrote it down or recorded it, so the music was lost and the words remained. Enter, decades later, the Klezmatics. Recognizing Nora at one of their concerts, Lorin introduced himself and struck up a conversation.

Nora mentioned that Woody had written some Jewish-themed songs and would the Klezmatics be interested in seeing them? All in need of music. Here they incorporated elements of everything from Latin to—with the help of guest vocalist Susan McKeown—Celtic music and, of course, the pure Americana of the late, great Mr. Wonder Wheel garnered rave reviews from critics and, ultimately, it gave the Klezmatics their first Grammy Award, when it was chosen as the Best Contemporary World Music Album at the 49th annual award ceremony.

Another five years would pass before the Klezmatics would release a new album. By that time, drummer Licht, who had been with the band since its inception, had departed to spend more time with his family. Since then, the Klezmatics have not utilized a specific permanent drummer, but have instead relied upon a handful of trusted percussionists, among them Richie Barshay who worked previously with Herbie Hancock, Chick Corea and others and Aaron Alexander, who has recorded with many of the top names in world music, jazz and klezmer.

Licht has on occasion returned to reprise his inimitable drumming for the band. Licht, Barshay and Alexander all contribute lorin sklamberg biographies channel to the proceedings, and McKeown and Nelson are among the featured vocalists. For everyone involved, the event was a celebration. We still have a real excitement for doing this. It felt so good and natural and right.

The energy was incredible; the love and mutual respect. His film endeavors encompass both the narrative and documentary arenas, having directed "the cool surface" starring Robert Patrick and Teri Hatcher and the award-winning "Jon Schueler: A Life In Painting" about the abstract-expressionist painter. Director s. Erik Anjou. SFJFF It has the power to evoke a feeling of other-worldliness, of being there and then, of nostalgia for a time and place that we never knew.

Although tradition is at the core of what they do, since the beginning the Klezmatics have adapted to the artistic sensibilities of a contemporary world. Indeed, the Klezmatics are very much of the modern world. Formed in New York inthe Klezmatics quickly built a devoted following that expanded outward once word spread about this exotic new band that was bringing klezmer back from the abyss.

Indeed, the Klezmatics have always been as much about community as music. At the very least it allowed us the freedom to be us.