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Violin - Jacob Ventura
Accordion - Victor Chistol
Photo : Recordables Photography
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Klezmer (Yiddish: קלעזמער‎) is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. The musical genre incorporated elements of many other musical genres including Ottoman (especially Greek and Romanian) music, Baroque music, German and Slavic folk dances, and religious Jewish music. As the music arrived in the United States, it lost some of its traditional ritual elements and adopted elements of American big band and popular music. Among the European-born klezmers who popularized the genre in the United States in the 1910s and 1920s were Dave Tarras and Naftule Brandwein; they were followed by American-born musicians such as Max Epstein, Sid Beckerman and Ray Musiker.

After the destruction of Jewish life in Eastern Europe during the Holocaust, and a general fall in the popularity of klezmer music in the United States, the music began to be popularized again in the late 1970s in the so-called Klezmer Revival. During the 1980s and onwards, musicians experimented with traditional and experimental forms of the genre, releasing fusion albums combining the genre with Jazz, Punk, and other styles.

The term klezmer, as used in the Yiddish language, has a Hebrew etymology: klei, meaning "tools, utensils or instruments of" and zemer, "melody"; leading to k'lei zemer כְּלֵי זֶמֶר‎, meaning "musical instruments". This expression would have been familiar to literate Jews across the diaspora, not only Ashkenazi Jews in Eastern Europe. Over time the usage of "klezmer" in a Yiddish context evolved to describe musicians instead of their instruments, first in Bohemia in the second half of the sixteenth century and then in Poland, possibly as a response to the new status of the musicians who were at that time forming professional guilds. Previously the musician may have been referred to as a lets (לץ) or other terms. After the term klezmer became the preferred term for these professional musicians in Yiddish-speaking Eastern Europe, other types of musicians were more commonly known as muziker or muzikant.

It was not until the late 20th century that the word "Klezmer" became a commonly known English language term. During that time, through Metonymy it came to refer not only to the musician but to the musical genre they played, a meaning which it had not had in Yiddish. Early 20th century recording industry materials and other writings had referred to it as Hebrew, Jewish, or Yiddish dance music, or sometimes using the Yiddish term Freilech music ("Cheerful music").

Twentieth century Russian scholars sometimes used the term Klezmer; Ivan Lipaev did not use it, but Moisei Beregovsky did when publishing in Yiddish or Ukrainian. The first postwar recordings to use the term "klezmer" to refer to the music were The Klezmorim's East Side Wedding and Streets of Gold in 1977/78, followed by Andy Statman and Zev Feldman's Jewish Klezmer Music in 1979.
The traditional style of playing Klezmer music, including tone, typical cadences, and ornamentation sets it apart from other genres.Although Klezmer music emerged out of a larger Eastern European Jewish musical culture that included Cantorial music, Hasidic Nigns, and Yiddish theatre music, it also borrowed from the surrounding folk musics of Central and Eastern Europe and from cosmopolitan European musical forms.Therefore it evolved into an overall style which has recognizable elements from all of those other genres.

Klezmer musicians apply the overall style to available specific techniques on each melodic instrument. They incorporate and elaborate the vocal melodies of Jewish religious practice, including khazones, davenen, and paraliturgical song, extending the range of human voice into the musical expression possible on instruments. Among those stylistic elements that are considered typically "Jewish" in Klezmer music are those which are shared with cantorial or Hasidic vocal ornaments, including a "tear in the voice" and imitations of sighing or laughing ("laughter through tears").[20] Various Yiddish terms were used for these vocal-like ornaments such as קרעכץ (Krekhts, "groan" or "moan"), קנײטש (kneytsh, "wrinkle" or "fold"), and קװעטש (kvetsh, "pressure" or "stress"). Other ornaments such as trills, grace notes, appoggiaturas, pedal notes, mordents, slides and typical Klezmer cadences are also important to the style. In particular, the cadences which draw on religious Jewish music identify a piece more strongly as a Klezmer tune, even if its broader structure was borrowed from a non-Jewish source. .

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