Thanks from the Pearl Foundation; Editorial; History of TAFC; The Tontine; For the love of Hadassa; Who is Rory?

Daniel Pearl Foundation

16161 Ventura Boulevard, #671

Encino, CA 91436

March 5, 2003

IFS

P.O.Box 12188,

Jerusalem 91120

Israel

Thank you for sending us your CD’s from the Daniel Pearl Memorial Concert you held on October 10, 2002 and for your kind comments about our foundation. Our work is in Danny’s name and he, of course, remains in our hearts.

Music Day in memory of Danny saw over 100 events in 17 countries around the globe, and allowed peoples of many cultures to unite in a musical celebration for tolerance and harmony. The participation of the Israel FolkStuff Society added significantly to the spirit of Music Day. We were moved by the eloquence of the speakers and the warmth of their comments; you captured the essence of Danny without ever meeting him.

Thanks again for sharing your music with us and we hope you will participate in Music Day 2003.

Best Wishes,

Judea Pearl, President

Daniel Pearl Foundation

(Danny’s parents: Judea & Ruth, wife: Mariane; sisters: Tamara & Michelle)

Well hello there. It's been a while. How's the wife/husband and kids? Hope you all had a happy holiday, etc.

In a recent article appearing in the Jerusalem Post Magazine entitled Not An Anthem, Robert Hilburn took note of a phenomenon which is apparently not all that uncommon in popular music: the public ascribing meanings to the lyrics of a song which might not reflect the original intentions of the author, and in fact might be actually diametrically opposed. Among other examples he cited were the lyrics of a song which had been written by a gentleman opposed to the recent war in Iraq, but which was on the lips of the soldiers as they marched into Baghdad. Folk music folks might be more familiar with the Dylan song Masters of War, also cited in the article, which Mr. Dylan now says was never meant to be an anti-war song, as he is not and never was anti-war. The article caused me to reflect on what might be a broader issue, i.e. the simple folk song versus the complex one. Which of these do we like more?

It seems to me that folk songs by their very nature were simple things. They had to be, so that people could sing and play them. They dealt with the nuts and bolts issues of life, the universe and everything -- various kinds of love, rain, crops, war, food and drink, (preferably the latter) and all of them there drab, boring and ho-hum things which make up human existence.

Of course, when you think about it, that is precisely the beauty of folk music -- it deals with all of this in an uncomplicated way. While more subtle and varied types of music have also existed since the dawn of time, when we sing traditional music or modern derivatives, we’re looking for something we can learn easily and repeat fast.

Ah, but … there's a but. There always is you know. Do subtle melodies and lyrics have no place in folk music, particularly in these modern times? We all know that they do. The printed word and the recorded melody, mass communications and computers have made it possible for more people than ever before to hear more music than ever before. In fact, we’re flooded with it. It is easier now for the masses to learn words and music that are more sophisticated. Anyone who is familiar with the musical history of the 20^th century knows what I'm prattling about. Whether you take classical music, Jazz, popular music, rock or folk, things were simpler at the beginning of the last century and more complex at the end.

Let's consider the Weavers. If you look through any anthology of their greatest hits, the songs are straightforward both lyrically and musically. This of course is not to say that the songs aren't eloquent or the harmonies inspiring. Indeed, the very reason the Weavers’ music spoke to millions is because what you heard and saw is what you got.

When Simon and Garfunkle started to perform together, they performed that sort of traditional music. But it wasn't long before Paul Simon felt the need to write more complex lyrics and melodies. Their first recorded album, Wednesday Morning 3 AM, superbly illustrates the simple versus the more amorphous or complex. It contains straightforward spirituals and songs relating to the issues of the day, such as nuclear war and racial discrimination, which are also readily understood. And then there are others: Bleeker Street, Who Will Love a Little Sparrow, and the most famous, Sounds of Silence. The words seem simple in these songs, but you have to stop and think about what the poet is trying to convey. In these cases perhaps it isn't all that hard. But in his later work, Paul Simon, along with his contemporaries, delights in highlighting the obscure. Listen to the second side of Bookends and see what I mean.

I cited Simon And Garfunkle but I could just as well named many others, for example my favorite flea in the ear, Joni Mitchell. Most of her songs are not quite in focus, and perhaps that is precisely the reason why they have struck such a resounding chord. They contain enough substance for us to identify with a sad and sensitive lady, who is constantly looking for something or someone. But they are abstract enough so that we must paint upon the canvas that she has provided. The question is no longer what she means. It is rather what every listener means. Each of us will see fit to fill in the blanks in a totally different way from one other. So be it. Many of our modern artists write their material with just that purpose in mind.

So where does all this leave us? Up in the air I suppose. But on our way down, let us take what comfort we can in the human condition. We read this rag because for a variety of reasons we are drawn to folk music, particularly that written in the English language. The beauty of this family of music is that it has always striven to be direct and to the point. Surely it will always continue to do so. Yet there has proven to be room to grow and to deliberately get lost in the forest instead of proceeding in a straight line to Grandma's house with the goodies. It is vital to realize that these two musical sides of ours do not contradict each other. On the contrary, they compliment each other and hopefully will continue to reinforce each other as the years go by. May the reinforcement be with you.

Late 1986-early 1987: It is decided to renew the Tel Aviv Folk club, which had been closed since 1981. After searching Tel Aviv top to bottom for a venue, the Bikurei Ha'Itim cellar is chosen, the site of the club from 1974 to 1981. Performers at the opening included the MC of the club in its previous incarnation Menachem Fisch, Shelly Ellen, Michael Greengard, and Robert Wald.

Early 1987: Shay Tochner attends Tel Aviv Folk Club for the first time, and performs his mixed Hebrew-English versions of Rolling in My Sweet Baby's arms and Motek, Motek (not heard for the past 8 years).

Mid-1987: Sandy Cash’s first performance at TAFC brings the house down.

Mid-1987: Eli Marcus plays blues at the TAFC for the first time.

--Michael Greengard

More to come later in subse- quent editions. If you have pictures we can use please be in touch with Carol.

The Tontine Vocal Ensemble’s fiperformance at the Jerusalem Folk Club’s March 13^th gathering was a huge success. In a brilliant display of virtuosity, a broad repertoire, and without instrumental accompani- ment, the group’s perfor- mance distinguished itself that evening with the richness of its tonal quality, the complexity of the choral performance, and the precision required by the arrangements and harmonies.

The acoustic quality of the auditorium at the Biblical Zoo in Jerusalem allows artists to create soft and intimate musical environments without resorting to amplification. This served the Tontine well as the group was able, so to speak, to turn on a dime -– from very soft, tender moods to booming crescendos and lively rhythms.

The Tontine is an 11-person group under the musical direction of Tami Kleinhouse. Mostly former members of the Zamir Chorale, the group have been performing together for over two decades and have melded their talents to develop a repertoire which encompasses a broad range of lively, bouncy tunes to deeply moving, melodic soundscapes. Tami Kleinhouse, the musical director and founder of Tontine, is a soprano of no mean talent. Thursday night’s performance at the Zoo did not showcase her talents, but having heard her before, I am aware of her range and skills.

To Tammy’s right, at the center of the group, stood Orrin Persky, a powerful and gifted bass with an outstanding vocal range. In real life a partner in a prestigious and successful Jerusalem law firm, Orrin anchored the group with his harmonies and powerful stage presence. To Orrin’s right stood a lyric tenor by the name of Jeremy Berkovitz whose solo performances sparkled.

Most of them Jerusalemites, the other members of the group are John & Toby Atlas, Judy Cardozo, Ronny Damboritz, Debbie Gevir, Judy Goldstein, Judy Kahan and Chuck Kleinhouse.

One of the more interesting aspects of the evening was a ping-pong performance whereby it was almost impossible to figure out who was singing at any given moment. I finally gave up, shut my eyes and just sat back to enjoy the music.

Traversing cultures and centuries as well as continents, the actual performance included a rousing version of the spiritual This Train is Bound for Glory. Another spiritual performed was Daniel in the Lion’s Den, which distinguished itself by its modern arrangement and the brilliant strategic use of a powerful solo performance by Jeremy Berkowitz. A vibrant For the Longest Time had the audience rocking in their seats and was as upbeat as Billy Joel himself. Incidentally, Ms. Kleinhouse was responsible for that arrangement.

In keeping with Folk Club’s theme of the evening -– St Patrick’ Day and Purim -- the group performed several English and Irish songs. A distinguished rendition of Johnny, I Hardly Know Ya (a poignant anti-war ballad everyone knows) surprised the audience with its dramatic ending. A rarity at the Folk Club and appropriate to the stormy weather outside, Tontine even performed a Hebrew song about the fall (Ki Hinei HaStav). A sad 15^th century Ladino song ended the performance after its sweet, haunting melody had pierced your soul.

The weakest aspect of the performance was the unclear introductions to the songs themselves. With no program guide, the audience was frequently trying to figure out what was being performed. Having said that, all in all, a great performance!

And good news for music lovers –-Tontine is putting out a CD within a few weeks. Having heard them perform live, I highly recommend their performances and CD to all who enjoy music.

--Benny Lebovits

Who is this gent? Well, as he said in a letter to Menachem (y’all know Menachem …)

“I sing songs about my family, traveling stories and I am a humanist. They are love songs -- some of my love songs are angrier than others. I sing about my experiences growing up here in the UK and traveling. A couple of songs I sing sometimes, I made for our community, old and young folks, families etc., when we were petitioning and struggling with our local London council against

evictions. They made us feel strong when we sang them, at the same time we were vocalizing how we felt and also we could DANCE to the songs at our neighborhood parties.

Like you and everyone I want peace. I sing songs for peace. I couldn't help but sing a song for peace, especially with the looming, imminent war that is about to break. Most of all I wish to celebrate our lives in Song.

I hope you agree.

Health and Joy to you.

--Rory.

Lea Avraham is a remarkable person and artist: singer, dancer and choreographer, actor and raconteur. She gave a full-length concert on April 3^rd in Jerusalem's shul Mevakshei Haderekh, to a fascinated audience. A petite figure in black and bright Palestinian embroidery, she held us captive throughout her performance with her expressive, slightly husky

voice, graceful hand gestures and lively smile. Although she was unable to do much dancing (due partly to the size of the stage and partly to her need to stay close to the microphones while she sang), we caught a little of it. Her humor and charm were also fully evident throughout the

evening (she even danced a little, while someone's mobile phone rang a second time), and shared with us some of the spicier aspects of the Yemenite woman's sheltered world

Introducing each song in exquisite Hebrew (i.e. not what we tend to hear on

the street!), she explained several aspects of Yemenite Jewish society: she pointed out that the musical repertoires of men and women were quite different.

She offered two very moving examples of the songs by Rabbi Shabazi, the

most famous of Yemenite composer-poets, and contrasted them with the

sensitive work of Sara Lev-Tanai, justly loved for her introduction into the world of mainstream Israeli musical arts many old, traditional Yemenite melodies. In some cases, Ms. Avraham sang a tune in its time-honored manner, as it would have been sung in Yemen for generations, and then demonstrated Lev-Tanai's skill in adapting the piece with Hebrew lyrics. The only accompaniment used was a darbouka, which Ms. Abraham played with considerable verve and subtlety. Indeed, nothing more was necessary.

.

Ahavat Hadassa – album cover

As part of her commentary on the songs she sang, we were also treated to interesting and sometimes humorous tidbits from Ms. Avraham's mother's life in Yemen. As the artist herself arrived in Israel at the age of two, she has the ability to see these matters from two perspectives: from that of someone fully involved in the Yemenite community here and yet of someone who grew up as an Israeli.

I looked around the room and saw only enraptured faces. What better way to

spend an evening in these troubled times, than on just such a journey filled with expressiveness and beauty.

For those who are interested to hear Leah Abraham's singing, her CD is available through Beit HaTfutzot in Ramat Aviv. Highly recommended!

oocities.com/jill_rogoff/

Condolences to Ora Paltiel and family on the loss of her mother, Freda.

Happy Birthday to: Larry Brandt, Jonesy Clarfield, Sara Einstein, Shula Fuchs, Gayla Goodman, Ariela Orion, Amiel Schotz, Inbal Wesley, Daphna Whetstone

**The New Country Klezmers -- a foot-stompin' good time -- 2-5 musicians for your simchah. Call David Baron (054) 955-997 or Bruce Brill (051) 565-479.

**CAPA (Computer Assisted Production and Arranging) -- from your musical masterpiece to demo, playback, finished CD? Call

David Baron (054) 955-997.

DISCLAIMER: FolkNotes is the official publication of the Israel FolkStuff Society. Views are those of the writers, not necessarily those of IFS. FolkNotes and all of the articles, photographs and material contained therein are, unless otherwise noted, copyrighted by IFS 2002.

The disclaimer is so thpeople do not "steal your article." In every case that people turn to FolkNotes for permission, we refer them directly to the author of the article. Advertisement tariffs for FolkNotes are available on request.

FolkNotes Staff: Sherry Whetstone, Larry Gamliel, Carol Fuchs, and Cecile Panzer

At the Jerusalem Biblical Zoo Auditorium. Admission NS 25/20. For information call Larry (053) 801-202 or Carol (053) 850-098. Artists contact: Marc Gittelson (053) 962-600.

Wednesday, May 28^th, 9 pm. KIBBUTZ TZORA FOLK CLUB. For information call Judi & Lynn Lewis (02) 990-8382 or (051) 348-061 or email them at judilynn@tzora.co.il. Also see their website: www.oocities.org/tzorafolk

May 2^nd-3^rd Nof Ginossar – Jacob’s Ladder Folk Festival! Information, prices, etc. (04) 696-2231 or (050) 770-491 or email at: ns_jaclad@bezeqint.net

Try to get your information to us for the Calendar, as early as possible, so we can meet publication deadlines (15^th of each month). Contact Larry Gamliel at (053) 801-202, or by email carolf@savion.huji.ac.il To receive the (more or less) twice-weekly email updates, write Carol carolf@savion.huji.ac.il