Swinging like jazz, but with a distinct “Old World” flavor, Spontaneous Oy, the 2002 Winter Term Klezmer Ensemble organized by Deborah Rifkin, played a mean mix of traditional Eastern European dance tunes, including Bulgars and Doinas among others, and more modern hits. Klezmer, the traditional secular music of Greek and Eastern European Jewish communities played at weddings and bar-mitzvahs dating as far back as the Middle Ages, was released on the eager crowds at the Cat in the Cream Tuesday to joyous results.
The klezmer music played by the Ensemble Tuesday night, which experienced a massive revival in this country in the 1970s, consists of fast-moving, rollicking Jewish soul music with an instrumentation similar to jazz minus the drummer and vocalist. This ancient folk music is also filled with improvisation, tempo and key changes, and as many solos as any jazz ensemble. More modern versions of klezmer like that performed by this ensemble, have been heavily influenced by rock, funk, hip-hop and especially jazz.
Most importantly, though, klezmer is meant to get people’s feet moving. Rifkin did a wonderful job of leading all those who were brave enough to participate to learn the fairly easy klezmer dance steps. The students learned the tradition of dancing while holding hands in one long line or two circles, one within the other, and moving continuously as one large group in time with the infectious music. It was quite a sight to see this whirly-gig of crossed feet moving in two large circles as the inspired klezmer musicians played on and on in a near trance. And considering how difficult much of the klezmer repertory is to perform, the group did a fantastic job of taking the energy of a traditional Jewish wedding and transplanting it directly into the hearts and minds of the Cat’s audience. The chops of sophomores Gabreil Cooper and Matthew Ozawa were especially impressive when they led the ensemble with one of their roller-coaster solos.

A particularly interesting moment was the group’s encore. Starting first with the theme from the film Lawrence of Arabia, the group’s tuba player suddenly switched to his guitar and ripped into Dick Dale and His Del-tones’ famous “Pumpkin and Honey Bunny” from Pulp Fiction to the immediate delight of the crowd. At that moment it was easy to see how multi-faceted and receptive the klezmer tradition really is, as it was able to incorporate both traditional Jewish dance and more modern hits with the same vivacity and confidence. By the same token one saw just how talented and well-versed the musicians onstage were in the festive klezmer tradition.
The music, though, wasn’t the only thing worthy of attention. The ensemble’s choice of wardrobe helped a great deal in transmitting that festive klezmer energy onto the dance floor. The cellist was replete in a sparkling gold tuxedo, bright maroon hair and a matching gold top hat, and Kreiss-Tomkins, one of the clarinetists, loomed tall among his fellow musicians with his furry black and white Dr. Suess hat.
The eight musicians who performed at the Cat on Tuesday did more then play their instruments well, they also maintained great poise in front of their peers and seemed almost as comfortable as those dancing in front of them. But more importantly they showed that Klezmer music is a folk tradition whose appeal crosses ethnic and religious boundaries in its simple aim to have a ridiculously good time.
The entire group, except for Meredith, will be playing at Kosher Co-op tonight.