Contents: Jacob's Ladder Reviews; Ed Silberman Visit; Dulcimers Return; IFS/AACI Jerusalem Sing Thing; etcetera etcetera

Dear Menachem & Yehudit,

From myself and the other seven members of Julio's friends, thanks again for giving us the opportunity to share our music and participate in the Festival. We definitely had fun, both performing and listening. Now that the curtain has gone down, and the roadies have packed it all up, I would like to add my own two cents:

1) Although far better than in previous years, the sound was, shall we say, less than perfect (at least for our show... it did improve afterwards). This is because Essev Bar did a 2 hour sound check (!) on our time even though they were on after us, and we were left with no sound check at all. Performers must have a proper balance and check b4 a show. All the talent in the world, and all the rehearsals and coordination between the leader and the other members, won't help without proper sound. I watched our video, and though pleased at certain aspects, I was saddened by the various sound problems that were totally unnecessary. Tov, lomdim u'mitkadmim.

2) For the umpteenth time Sefi Karnieli played and sang his blessed little heart out from right after the last show all the way 'til the first show at 9:00 am. Ok, I was there too, but he is the soul and main musician that keeps this wonderful tradition going year after year.

That's about it. Begadol, Kol Hakavod. I know it's very difficult, which is why I have tried in my own little way to help out, by at least not being a nudnik and prima donna. If I can help in the future, performing or otherwise (my services are still inexpensive but not cheap) I will do so gladly.

--Chaim Gefen & Julio's Friends

What is it about Irish music that makes Israelis and Anglo/Israelis go crazy for it? Perplexed, I asked a respected and acclaimed world music multi-instrumentalist. Is it akin to the ecstasy music of trance, house and acid? Her reply that it is "tribal" was thought provoking. This melodious exotica may well explain the massive turnout at Jacob's Ladder. It also justified (?) having five excellent Irish musical groups on the program: Evergreen, Irish Cream, 5 Shamrocks, Blue, and Black Velvet (twice). We also had some superb Celtic harp by Sunita, and even some exciting Scottish music by Jug O'Punch (we Yanks sometimes get the two confused).

In my youth, I used to clamor over the Clancey brothers and even knocked down boiler-makers with the best of 'em at the corner Blarney Stone. So is some of the music nostalgia based? But how many of us actually have Belfast, Dublin, Galway, Limerick or Cork roots?

I did a small survey and discovered that Irish music makes a person get up and dance. It has haunting melodies, ballads, side- splitting comical songs (Hal Wrobel does some doozies), and they all have a unique beer-tinged ambiance. Someone even claimed that an Irish fiddle can sound like crying, and that the Irish and Yiddish psyches are comparable. Is that the reason?

Another "good heart" claimed that there's more soul in one drunken Irish bar fly geezer than in a whole Irish-style Israeli band. Obviously, the Israeli bands we heard at Jacob's Ladder not only captured the musical mechanics of the genre, but have also caught the spirit of the Irish soul. Pass me that pint o'Guinness, you Leprechaun.

--Harold Jacobs

I am writing immediately after the Festival, because we had such a wonderful time. I wish I could write a detailed report with all the right commentary about the performances and quality of the performers. I can say though, that Sandy Cash was tops and left me with tears in my eyes -- from both laughing and crying, depending on the subject matter -- and a big grin

on my face. Her absolutely beautiful voice is still ringing in my ears. The other performance I was very enthusiastic about was of Ray, Joanna and Marc. Joanna's sweet voice perfectly complimented Ray's and the sensitive songs just made my day (the Golan Heights song was a particular success). I also enjoyed the Irish music on the second day, because it sounded so natural and authentic. This is in contrast to the more metallic sounds of the night before, even though the music was good.

I am delighted that Jacob's Ladder was planned for a day when the weather was wonderful. The atmosphere was as in the olden days. So many families with children of all ages, and hardly any crying ones. In fact, I cannot recall a J.L. Festival with so many babies and toddlers.

Kol HaKavod to Menachem and Yehudit and all the people who made it possible.

--Chana Hochstein,

with regards from Yitz, who had a great time jamming on the banjo.

And Jacob dreamed that there was a ladder set up on the earth and the top of it reached to heaven, and behold the leprechauns were ascending and descending on it. Gerinesis 28.12

Yes folks, as everyone and his or her palm reader knows, too much cream can make you sick, even if it is Irish Cream -- and this year's main evening concert was just a mite too bilious a green. Esev Bar, Kahol, Black Velvet and Irish Cream are wonderful bands, but all together? The number of splendid and professional musicians forming various groups whom we reveled in throughout the Saturday day programs could have easily provided some much needed contrast.

On Saturday, after Shay Tochner and his Friends had provided an absolute rave of a session that had the packed lecture hall in raptures, I turned to Hal Wrobel and said they could well have provided much needed variety to the evening concert. His response indicated a dangerous trend creeping into the organizers' thinking. "Oh," he said, "The days for that kind of thing are past." What I suppose he meant was that a group playing and singing a grand set of "golden oldies" to which the entire audience could (and did) sing along, is now deemed unworthy of appearing during the main evening concert, no matter how much panache, drive and professionalism they display.

Allow me to disagree. The complete lack of any sense of balance and variety displayed in the Friday evening program indicates a kind of snobbish elitism that ignores audience likes and dislikes. And it takes Shay or Ray Scudero a fraction of the time needed by the bigger groups to set up and do sound balances.

This brings me to the sorest of points, a matter that creates frustration year after year. Let me ask Menachem and Co. what they would say if they went to a show advertised for 8:30pm and then had to sit for over an hour while the stagehands erected the set? Or a concert by the Philharmonic and waited a hour plus while the orchestra attended to technical matters? They would, rightly, be furious. Why is a folk festival audience any less deserving of consideration? I've been to other festivals (e.g. Tacoma Park) where matters are much better handled -- so it is perfectly possible. That we were made to sit forever, during the heart of the evening, while Black Velvet did their technical thing, displayed a real contempt for the audience, and ruined my enjoof theimusic, despite their high standard of performance. SOUND BALANCE MUST BE LARGELY ACCOMPLISHED DURING THE AFTERNOON, BEFORE THE CONCERT BEGINS. IF THAT MEANS THAT THE SOUND CREW MUST SET UP EARLIER AND MAIN GROUPS ARRIVE EARLIER, SO BE IT. Minor adjustments taking a few minutes are acceptable in between sets, and would still provide Menachem with a chance to air the slightly less pathetic jokes in his repertoire.

Another suggestion. Since Cyrelle's square dancing session is preplanned, why not rope off a decent area of grass ahead of time, so those sitting in front are not irritated by having to move back, and more people can dance without suffocation? Afterwards, the audience can move forward.

Having got that off my chest -- not that I expect it to do the slightest good -- let me list a few of my highlights. I've already mentioned Tochner et al; Sandy Cash was a joy in her early pre-Shabbat performance, with some new and newish songs - the Viagra number was a real show stopper. BTW,

Finally, of course, Karei Deshe is a great venue and the May timing makes the weather so much more bearable. We've already booked our room for next year.

-- Amiel Schotz

It has been claimed that there were no foreign visitors at Jacob's Ladder this year. Not true: in fact there was one. And he is but one of two guests who graced our shores in recent weeks.

Let's go in chronological order. Ed Silberman is no stranger. He came here two years ago, and indeed was lauded in this very rag by these very hands, meaning my own. He is as good as ever. He still carries a huge pile of harmonicas around with him. His voice is as deep and distinctive as it always was. Primarily a storyteller or raconteur, he had a special treat for us this time: a warm recount of his previous visit which kinda made us poor wretches feel quite good about ourselves. Besides, the man has an astounding number of folk songs at his disposal. They range from the sublime to the ridiculous, such as the one about the shoehorn and free speech, which, by his own admission is amazingly silly. Who says the human condition has to make sense anyway? I hope he comes back real soon.

And so to number two, chronologically speaking. Jon Wasserman was born in Arizona and now resides in the Greater Boston area, up on the north shore. Janet Lerner discovered him there, playing outside a coffee house, and wheedled and needled him to come visit. He too made the rounds and did quite a bit of touring to boot. I know this for a fact, because I ran him ragged in the Old City of Jerusalem, or maybe he ran me. At any event, he also did the home hoot thing and also appeared at Jacob's Ladder.

--Larry Gamliel

Up-front apologies to all non-North American Anglo readers for whom this article may seem to be a bunch of balderdash, and others for whom this is positively poppycock. What immediately comes to mind is a parting image of Jerusalem, as seen through my rearview mirror,

bowler hat and red, white and blue suspenders. We had just finished a stirring evening at the Jerusalem AACI (worth a visit for the ambiance alone) whose theme was "The Three C's": Cartoons, Commercials and Cowboy Songs. It was the kind of event that is almost impossible to describe in print. Some of the highlights included big blonde Suzanne Pomeranz breaking her whip (aha?) during a rendition of Rawhide, Laurie Z-O doing Red River Valley with harmonica and tuba back-up and Rachel Jaskow singing the Slinky Song and the theme from Mighty Mouse. Ya hadda be there.

Other hits included Oh give me a home where the buffalo roam and I'll show you a dirty house, and There's blood on the saddle and blood on the ground, and a great big puddle of blood all around (by Andrew Lowry). Git along little dogies was once the favorite song to keep the herd from stampeding. Our version would have had 'em hoofin'. And of course the Yellow Rose of Texas that Larry Gamliel played beautifully. He also concocted the whole program and rendered it perfectly on his electric organ -- which sometimes even sounded like a banjo -- he is an amazingly outstanding musician. I presented a Beverly Hillbillies parody on a real banjo:

DUI, that is. Criminal record. Cover-up. (From the internet, complete version available upon request.)

And now for some of the trivia: Who was born on a mountaintop in Tennessee? Finish these jingles: Hi ho hey hey, chew your little troubles away with .../ Double your trouble, double your fun with .../ Does she or doesn't she? Only her .../ Hey kids what time is it? It's .../ You'll wonder where the yellow went .../ M-I-C, See ya real soon, K-E-Y ....

Here's a list of kiddie & cartoon characters whom you cherished: Kukla, Fran and Ollie, Rootie Kazootie, Captain Kangaroo and Mr. Greenjeans, Bozo the Clown, Deputy Dawg, the Flintstones and Alvin the Chipmunk. Crossover cartoon characters also did commercials: Cheerios had Bullwinkle & Boris Badanov visiting Grandma's house, Tootsie Rolls had Farmer Alfalfa leading the Terry- toons crew in a square dance, Crispy Critters had Linus the Lionhearted (voice by Sheldon Leonard), while AlphaBits had a postman with the voice of Jack E. Leonard. And who can forget those great products which don't seem to be around any more: STARLAC, Ipana toothpaste, Gillette Blue Blades, Old Golds, Man Tan and Vitalis. And to top it off, we paid our respects & gratitude to that masked man played by Clayton Moore, who passed away at the age of 85 on Dec. 29, 1999, with a Hi Ho Silver! Happy trails to you Keemosabi, 'til we meet again.

And if you're British and read this, don't say I didn't warn you in advance.

-- Harold Jacobs

Happy Birthday to Sylvia Ber, Cyrelle Forman-Soffer, Carol Fuchs, David Golinkin, Andrew Jennings, Kevin , JoJennings, Susan Jennings, Alan Lewis, Marc Miller, Rachel Ravitsky and Mike Rogoff.

Mazal Tov to Esther Haynes on the release of her CD.

Welcome back Hachmoni.

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

**SHELLEY ELLEN - guitarlessons, also available for performances (03) 674-5356. **Jill Rogoff's THE CELTIC CRADLE and ACROSS THE NARROW SEAS (ALC 129) are available on cassette. 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.

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FolkNotes Staff: Sherry Whetstone, Larry Gamliel, Carol Fuchs