Aaron Alexander has appeared on so many traditional and new klezmer music recordings, it may be surprising to note this is first traditional klezmer CD as a leader. He has also release two original jazz recordings and a klezmer fusion recording as a leader, but never a traditional klezmer CD. Having appeared with most of the major contemporary klezmer artists in one venue or another, and having become a teacher for over a decade at the most influential training grounds for klezmer music (Klez Kamp, Klez Kanada and others), Alexander now presents a CD with two of the finest young klezmorim (klezmer musicians), of the younger generation, stars in their own right - Michael Winograd on clarinet, and Patrick Farrell on accordion. The three musicians have a rapport, built over years playing together in various combinations, such as the groups of Frank London, Alicia Svigals, Klez Kamp & Klez Kanada faculty groups, Winograd's own group, weddings, bar mitzvahs, and other occasions. The recording was done in one day, with no rehearsal, and only a few, often one take per tune. As such, there is a spontaneity, a loose/tight feeling which is entirely natural, and with a few, but very few, overdubs. On two tracks Alexander plays some violin overdubs, for supplemental enhancement and variety. The tracks are drawn from various sources and together form a bit of a tour through several klezmer sub-genres. Workmen's Circle Shers - Russian shers - are dance tunes, so standard hardly anyone plays them, much less records them. Here they are given new life and a fresh retelling. Sadegurer Khosidl is an old Abe Schwartz Orchestra tune, which has become a standard. Khosen Kallah Haskalah is an original by Alexander, recorded in an entirely different feel by Alexander on his Midrash Mish Mosh recording of 2004. This time it's done in a Moldovan Sirba feel which feels more natural to the composer. Nikolaev Bulgar is a Dave Tarras tune which has become a staple of the American klezmer repertoire. Alexander had recorded it with the group Klezmerfest in the past. Shaffer's Nign is from the Meron tradition in Eretz Yisroel, brought to Alexander's attention by the great Moussa Berlin, with whom he taught at Klez Kanada and the Jewish Culture Festival in Krakow. Hora Lui Nemteanu was learned from a CD by Constantin Lupu which has become one of my favorite Romanian fiddle recordings. Moldovan Zhok - sometimes known as Hora Fetalor - womens dance, is a popular Romanian tune which has become a klezmer standard in our circles. I think I first heard it from German Goldenshteyn and played it also with Frank London's Klezmer Brass All-Stars. It's become popular at the NY Klezmer Series workshop as well. Beregovski - Bugichi medley combines a Beregovski Sher that I first learned from Patty Farrell, who I think learned it from Michael Winograd! And it's followed by a Bughici tune that we recorded with Frank London's Klezmer Brass All-Stars, who I believe learned it from Merlin Shepherd, who I think learned it from Josh Horowitz. Seems like everything eventually comes back to Josh Horowitz, one of the primary researchers and players in this genre and a major influence. Thanks, Josh! Sirba Tsiganeasca - another Bughici tune, a fast one. Tarras Tish Nign Happy People - Beresh Katz Medley - Danny Rubinsteins tune and Beresh Katz have the same first two bars and we put them together as a medley. bonus track - Tokn Balkn Tune is a tune in a balkan 11/8 rhythm that I wrote a long time ago and wanted to include. It's out of place on this otherwise all klezmer recording, but I liked it and so included it as a bonus track. There you have it. Hope you enjoy the music.