[track note from LOC tape Mark Warshawsky’s “Der Fodim”] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)

An original song, which Berish Katz said he wrote, during our “taping” acquaintance. (song and fiddle tune). Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, had compiled. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song

[a fragment sung by Ruth Rubin, followed by the Russian version sung by Yehudis Wasilewsky]

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)

[a fragment sung by Ruth Rubin, followed by the Russian version sung by Yehudis Wasilewsky] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)

[Note on typewritten tape log in box:] This song he learned from his mother, who didn't know where it was from.

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.

From review on Klezmershack: "It has been a lot of years since we've heard a recording containing entirely new Klezmatics material—even more if you set aside special projects such as the Woody Guthrie Archive collaborations or their 25th anniversary party. From the opening swirls of "Der Geler Fink," followed by a slightly speeded up "Zol shoyn kumen di geulah" this is a celebration. The sound is occasionally dark; the words span life and love. The music vintage Klezmatics. It sounds good. In keeping the sometimes darker theme of the recording, we have Chava Alberstein's setting of Zishe Landau's "Ver firt di ale shifn" (who guides the ships?). The song sinks in, in waves, as the listener reflects on lost children in too many places around the globe. Elsewhere on the album, we encounter not just old and new poems set to new music, but older songs, including some gathered in the last century by folklorists Ruth Rubin and Moishe Beregovski. Fittingly, the album closes with a quiet version of an American Yiddish theatre tune, "Mazltov," with which we wish not only ourselves, but the Klezmatics good mazl." The song "Kemeshl in Ades" (Party in Odessa) on the album was collected by Ruth Rubin, and arranged by Matt Dariau, Frank London and Lorin Sklamberg.

[Spoken introduction by informant explaining that children learned this song in the Vilna ghetto and adults began to sing it in the ghetto, in German camps, and in every place where Jews were. Unidenitified whistler in background; probably Ruth Rubin. Informant identifies composer as Basye Rubin, from Vilna, who he says wrote it before World War Two and asked him to write a lyric, which he did.