Contents: folkus - celebration - update on Noah – disc review - new Italian discs

Recently I spent an evening with Ray in his new recording studio, one which is profoundly different from any sort of studio with which I am familiar. The facilities I have known have been situated in gargantuan ware- houses, consisting of sealed -off rooms which are for all practical purposes dead to the world and sound- proofed to the rafters. Not so Ray's place, which in point of fact is located in his living room, with the windows wide open (closed during recording). Admittedly, it isn't located on a main thoroughfare. Nevertheless, the place is very much alive. Ray explained that he has no use for sterile, dead- sounding material. Indeed the entire setup is dynamic, so as to deal with all of the talents and idiosyncrasies of clients. For instance, as one might well imagine, the microphone is pivotal. But there is more to it than that. Where the mike is located is also of prime importance. Ray's mikes are not fixed in one place. They can be moved all around the living room so as to best take advantage of individual singing qualities. Whatever the voice, the exact place for it must be found, as well as the exact place for the singer vis a vis the mike. Sometimes, says Ray, he can tell right away what and who goes where. At other times, it is trial and error, or to be more precise an ongoing learning process for both himself and the client.

Ray's equipment is not massive. But it is amazingly powerful and versatile. It is up to the most modern standards of computerized technology. Ray can mix and multi-track. He can create and burn compact disks, DAT tapes and whatever else is necessary. He has an array of artificial and real life instruments at his disposal.

What are the implications of all this. It is not just that this studio is a one-man outfit. It is that the man and the studio are a symbiosis, the man is the studio and the studio the man. As compre- hensive as is the equipment, so is the grasp of the operator. No nuance of sound produced escapes him. As an artist records, Ray’s presence is all pervading. This means that Ray is much more than a recording technician. He is a producer, an enhancer, indeed, a fellow recording artist. Frequently Ray will lay down additional

complementary tracks, either vocal or instrumental.

However the artist is responsible for his/her own work. Naturally, Ray does not force himself on an artist, who has the final say about the makeup and quality of the product. And yet, when one is in the presence of a master, one would do well to heed the master’s instincts and advice.

When one records with Ray, it is well to have your act together, but be flexible enough to engage in the learning process about who you are as an artist and what you want to do. Lest anyone think that I am merely relating a philosophical angle, let me tell you that I have seen the results. I have seen how the recording process can be enriching for some and a struggle for others. I have in hand the results of the process, two new CD’s which are reviewed elsewhere in this issue. They speak for themselves. Each one is, ostensibly, a solo act. But we hear layer upon layer of voices and instrumen- tation. On one of the recordings the plan was more or less preconceived by the artist. On another, while there was a vague idea in mind, the project literally took form while it was taking place; one improvisation following another until both Ray and the artist (Rachel Jaskow) were finally satisfied.

Recording with Ray Scudero is an extremely intense experience. You have to be on your toes all the time, just as he is. You have to know your stuff, because you will be reflected back upon yourself for better and worse. In the end, you will be the better for the process, and the finished product may well be the top of the line.

--Larry Gamliel

Paul and I played on the same stage at the old Jacob’s Ladder venue at the ancient stone building at Machanayim in the early eighties, not festivals generally but a monthly Friday night intimate format. We hadn’t really been in any contact for some fifteen years. Contact was renewed, ironically, by way of a mutual cyber-correspondent on the other side of the world. We started to e-mail each other, we exchanged CD’s and he invited me to his backyard celebration last Friday, June 16^th. This was something I didn’t want to miss.

The man and the musician definitely have a penchant for the abstruse. The evening was among other things fronted as a celebration of Hawaiian music, jugbands, ukulele playing and the late great “Hoosier Hot Shots”. They were a countryish band that went in for weird instrumen- tation: washboards, kazoos, jugs, washtub basses and the likes. I do not make any claims to exceptional erudition on the subject of thirties country string bands, but I think I was more aware of these guys in a previous incarnation as “Ezra Buzzington’s Rustic Revelers”. Certainly many would say that the lack of universal notoriety of this band is well deserved, but they played with a real verve and vibrancy and they ful- filled one of my cardinal tenets for great bands: they didn’t take themselves too seriously.

My wife and I arrived around nine, fortuitously at the tail end of the Hawaiian music section of the evening (Hawaiian is not my thing) and just in time to hear recordings of Hoosier Hot Shot music. We settled in, schmoozing with other guests, including musicians I hadn’t talked to in years like Dave Deckelbaum. I was actually quite flattered that some of these people recog- nized me and remembered me.

Eventually the live music started with Eli Marcus and Paul on National Steel Guitar and washboard respectively. After a couple of songs Paul called me up to join them. We did some desultory feeling-out of each other and the audience and then I, trying to click with some- thing or other, did a song of mine. I think we started to get the audience’s attention around then, especially when towards the end of the song Paul joined in with a jug. Paul and I shared the vocal on “Somebody Stole My Gal” when on our left a three- piece reed section joined in. These guys started to wail: Merton Kam on soprano sax, Jonathan Miller on clarinet and Sharon Rostner on what I would describe at a slide clarinet. I think Eli and Paul were calling it a slide whistle but I’m certain that thing had a reed on it. Anyway they brought the music up to another level with soulful virtuosity. From there we naturally slid into “Jug Band Music” and from where I was sitting we were sounding pretty good. The reed section took solos one by one, Paul went from the vocal to playing kazoo and somewhere in back of me on my right Ariela Orion (T.A. Folkclub) was joining in with impeccable comb and tissue paper accompaniment. After that, not wanting to overstay my welcome in the limelight, I went back to being audience.

At one of these lapses Ariela came to the rescue. Eli Marcus accompanied her taking on the role of anchor musician, which he would maintain steadily through- out. Ariela managed to touch this old faded jaded acoustic wailer deeply. Yes, I know and she knows that the guitar wasn’t always quite there, but the choice and interpretation of the material were remarkable for their intelligent sensitivity.

Allow me a few words about Eli and me. Up until this year we played together two or three times a decade. This year we’ve played together more than all the years put together since we met in the early eighties. Eli even helped me out with a few guitar tracks on my CD. Eli mentions and even wrote (July 2000 FolkNotes) about the amazing coincidence of two ragtime acoustic guitarists meeting in Israel. I don’t entirely agree. The fact that two ragtime guita- rists should come to Israel from North America is not really that amazing and, that happening, that they should meet seems almost inevitable. The real wonder of our interaction is that virtually every time we meet we discover new areas of common musical interest. Mose Allison, Gary Davis, Jelly Roll Morton, Kinky Friedman and Percy Mayfield are but a few examples. These parallels of interest and repertoire are, to my mind, truly amazing and make for an uncommon potential, still largely unrealized, for musical synergism.

Anyway, after Ariela another woman (whose name I’m afraid I don’t know) did a few songs, among them “Nobody Knows You When You’re Down and Out” and the difficult pungent Mexican ballad El Preso Numero Nueve. She had a strong voice and a pretty formi- dable presentation. She made the mistake of arguing with Eli about the name and origin of the aforementioned Bessie Smith standard. If she had consulted me beforehand I would have told her that Eli’s knowledge on such matters is encyclopedic and utterly authoritative. I also wanted to give her some tips on the proper pronun- ciation of Mexican Spanish, but thought better of it. It didn’t seem a likely way to win a new friend.

There was a Celtic interlude. Irish music is not my area of expertise so I am totally unqualified to comment. Moreover, once again, the performer’s names eluded my quasi- senile synapse connections. I will just venture that the music was well received and that the ubiquitous Shay Tochner joined in at some point and demon- strated surprising know- ledge of the material, translated into intricate guitar work on Irish dance tunes.

For many of the people there, however, it seemed that everything was leading up to the inevitable climax of the evening: a reincarnation or partial reunion of the Taverners. Dave Deckel- baum and Shay Tochner were not far from us in the audience and were spouting pithier and bawdier and louder commentary as things progressed. To be fair, Dave was the more strident of the two, but Shay seemed to be egging him on. Someone commented to them that they sounded like the old geezers in the balcony on the Muppet show. It was clear that this energy was building up to becoming concentrated entertainment.

And then they were. Paul, Jonathan, Dave and Shay with Eli sitting in at his anchor position, perhaps not the full classic Taverners but these guys were the heart and soul of the evening. They were just the way I like it: rowdy, bawdy, outrageous, loud, in-your-face, and absolutely politically incorrect. All that was backed up by the fine musicianship they know so well how to produce. My wife, whose command of colloquial English is less than perfect, didn’t always understand why I was doubled over in laughter. I spent a good hunk of the drive home to the Golan Heights explaining the humor to her. Further description is beyond my humble talents as a wordsmith except to say that we present there experienced a rare pleasure.

The evening was also a belated fiftieth birthday party for Paul. He is a true original, a very funny man with an exceptional sense of drama and timing. It was delightful to be his guest at an evening worthy of its talented host.

If these impressionistic ramblings slighted someone, I beg forgiveness as I do from all those whose names I don’t know or can’t recall.

--Marc Miller

Ray Scudero's new recording studio has been in operation for but

a short time; and yet we have a bumper crop of four

new compact discs that have just been, or will soon be released. This month I will talk about two of them.

Let us start with the master himself. Ray's release With the Help of Angels, is a veritable potpourri of his work, with a few selections from

other people with whom he has worked in his studio. Of particular note are two newer songs featuring Jill Rogoff, Marc Gittelson and Rahel Jaskow. Of course, many of our favorite Ray songs, which he has performed all over the

country for many years, are included. These songs range from the light and

whimsical Astronauts Song and We're Going On a Picnic, to lovers’ songs like Please Don't, to the rousing The Sky is Broken. Hearing Ray is being exposed to a unique blend of sensitive poetry, tuneful melodies and impeccable instrumentation. Ray plays all the instruments in most cases and harmonizes with himself in layer upon layer of

smoothly blending vocals.

One disorienting feeling which admittedly is my own subjective shtick, is that I have been weaned on the real live Scudero where

the audience is very much a part of the performance. Of

necessity, this element is lacking on the disc and it takes a bit of getting used to. The result in my case was an almost subconscious

effort to be drawn into the songs for their own sake,

which might be a plus after all.

I do have one technical reservation which was also voiced by acquaintances of mine who have heard the recording. Somehow the

sound is too focused. By which I mean that the base is too basy and the treble too trebly. This seems particularly obvious when

you listen with stereo ear- phones. Ironically, the sample track included from the Ofer Golany CD which Ray recorded, suffers from the exact opposite problem. But this is a minor issue

which I am sure will be addressed in future releases of Ray's work.

Now for the second CD. Day of Rest, Rahel Jaskow does not regard herself as a folk singer as such. Accordingly, this disc is probably not for everyone. It is in fact a collection of Sabbath liturgical material, performed entirely by herself a capella, with a bit of accompaniment now and then by Ray. Rahel has been carrying this material around in her head for years, waiting for the opportunity to let it out. Her voice is unique and very beautiful. It is soft, sweet and very compelling. The recording is multi- voiced with good clean harmonies. Since it is mostly vocal, it does not have the over-sharpness and brightness which I mentioned earlier. There are maybe three tracks with guitar work, and it is gentle and unobtrusive.

Of course, all of the liturgical material is in Hebrew or Aramaic, covering a broad spectrum of traditions and disper- sions. Anyone who is Sabbath observant will be familiar with all of the words, even if some of the melodies are perhaps

a bit different. Rahel does well by both. Her diction is picture perfect and her harmonies are simple and strait forward.

If you are at all into this sort of music, Rahel's CD will be a wonderful treat.

--lg

The release took place at the Tranzac Club and was attended by 150 people – an assortment of young and old, male and female, Yid and non-Yid. Even Mom and

Dad came in from Montreal for the concert. Noah was thrilled to play 2 sets, "… a sprinkling of solo material in with band stuff..". The band consisted of a talented drummer – percu- ssionist and bass player ...who played a gorgeous Zeta upright." The evening was videotaped for posterity. The group will be playing again together in September for Noah's birthday performance/ party and once more in mid-December to close off the calendar year.

For those interested in keeping on top of things, updates and club dates are always available at http://noahsong.com. The site is currently being updated. In addition, Noah will have a promo-video within a month or so.

Noah, in my opinion, is a very talented musician/ singer/songwriter and I

wish him much success in his future endeavors. We were very lucky to have had him here and I hope to see him back here in the not-too- distant future.

--Laurie

BLACK VELVET CD:

After almost 20 years - Black Velvet's debut CD has been released. The CD includes 11 tracks of original. Balkan and, of course, Irish music. GREAT STUFF! - (the CD was produced by NADA Production and distributed by MCI). You can find it in a store near you in Israel as of today! International distribution will follow, soon.

(who says we don't cover all sorts of music? --ed.)

Cane Andaluso and Microsolco are two Italian musical and publishing labels, combining collabo- rations between musicians and artists such as painters, graphics, writers, sculptors and photographers.

We are happy to announce new releases in our developing Italian Klezmer tradition. The first two works are the debut albums of the most important Italian Klezmer

Ensembles. All our works are released in limited edition.

Meshuge Klezmer Band - Dreidel - (Love 3)

An example of musical synthesis, it is balanced between orthodoxy and folklore recalling the Eastern European tradition. Dreidel is an important way to approach the Italian Klezmer. 15 $ (Post and handling is included)

Full Metal Klezmer/

When the earth comes apart (Cat: CA6). With 13 astonishing b/w shots, Alessandra Spranzi gives body to the sound visions of this modern Italian Klezmer ensemble. Spranzi is a visionary photographer, emotionally tied to the everyday inner side of flats. The common tools of a kitchen take life inside her images, existing by their own light, escaping from the static reality. Colanders which look like spaceships, then glasses and teapots floating in front of those present. The musical contents are exploding jazz, just like a hypothetical hard-boiled alteration of modern Klezmer music. A CD which won't disappoint the John Zorn’s Radical Jewish Culture disciples. (Limited edition) 15 $ (Post and handling included)

Both the groups have a great knowledge of Klezmer musical heritage,

combining traditional elements with new arrangements and a

re-interpretation of skills.

Order or ask information at: Air Studio - via Teodosio 85 - 20131 - Milano - Italy - Tel. +39 02 26824083 Fax +39 02 26827972

e-mail: artaud@libero.it

We're sorry but we don't accept cheques or money orders. (Because of the low number of released copies we can't satisfy all the

promotional requests)

-- Alessandro Raina-Giacomo Spazio

Well folks, two things happened of late to IFS involving radio. First of all,Carol got a call from a Carol Zall, of BBC Scotland. She just happened to be visiting Israel and wanted to talk to someone about the Israel folk scene in English. So I sat down with her for an hour and told her everything she wanted to know, and much more besides. I referred her to several folkies, including Jill Rogoff and Amiel Shotz. The entire program will be aired in Scotland sometime in the fall. Carol promised to send us a copy.

IFS was invited to put together a two hour radio special, or to be more precise an ongoing series of specials to be broadcast on Reshet Aleph. This was done through the auspices of Chaim Tsur, the head of Kol Yisrael's Folk Department. We recorded the first program yesterday. Participants included: Ray Scudero (with Marc Gittelson and Rahel Jaskow), Judi and Lynn Lewis, three of the Taverners, Shelly Ellen, and Diane Kaplan with Ada Dahan. Despite the complicated

logistics of running such a show within the time limits, it all came together.

The program will be broad- cast on Sunday, August 27, at 10 PM..

--Larry Gamliel

Condolences to Nachman and Ellen Rosenberg on the sudden, tragic loss of their son Avi.

NOT TRAD ADS - fee is NIS 10 (NIS 5 for members).

**Jill Rogoff's "THE CELTIC CRADLE" and ACROSS THE NARROW SEAS (ALC 129) are available on cassette (NIS 40) or CD (NIS 60). Tel/Fax (02) 679-0410.

**SUZALEH'S SILK ART - Glassed and Framed, modestly sized and modestly priced, door signs, mazal tovs, etc. Handmade by Sue Tourkin-Komet (02) 676-3346. **SHELLEY ELLEN guitarlessons, available for performances (03) 674-5356.

Israel Dulcimer Society : hibernating for the summer. Balkan Dancing: hibernating for the summer.

JERUSALEM FOLK CLUB – no Folk Club in August

Try to get your information to the appropriate persons for the Calendar, as early as possible, so we can meet publication deadlines (15th of each month). Contact Sue Tourkin-Komet (02) 676-3346 for Jerusalem activities; all areas: Larry Gamliel at (02) 641-1043 or (053) 801-202, or by fax to Carol at: (02) 675-8376.

ISRAEL FOLKSTUFF SOCIETY Membership (clip and MAIL today) Oh, yes!! I'd like to become a member of/renew my membership in IFS. Includes a subscription to FolkNotes, discounts on IFS-sponsored concerts and Home Hoots, etc. (Send to IFS, P.O.B. 12188 Jerusalem 91120 Israel)

Single: NIS 50 Family: NIS 65 Outside Israel: NIS 75

Name: __________________________________ Birth month: _____________

Address: _________________________________________________________

City:________________ ZIP_______email: ____________________________

Phones: Home: _____________ Work: ___________ Cellular: ______________

YES!!! I want to be active - write - organize - do something ________________

-------------------------------------------------------------------------------------------