Klezmatics let out emotions

The Klezmatics were one of the important ensembles fueling the klezmer revival that began in the ‘70s. Since their arrival in the mid-’80s, their music has become a defining example of the creatively eclectic nature of American klezmer -- an artistic expression reaching well beyond the European wedding music roots of the genre.

On Sunday, the Klezmatics introduced a new concert series, “Klezmer to Klassics: the Nimoy Concert Series,” at Temple Israel of Hollywood before a full house of hand-clapping enthusiasts. Much of their program traced to their most recent album, “The Well,” as well as the whimsically titled mid-’90s CD, “Jews With Horns” and the upcoming “Rise Up.”

Characteristically, the program ranged across the musical spectrum from traditional songs to sounds resembling avant-garde jazz. But, perhaps because of the setting, the Klezmatics chose to emphasize older music. And many of the numbers departed from the traditional instrumental nature of klezmer to feature ensemble vocals, often showcasing the extraordinary, high, emotionally engaging tenor voice of Lorin Sklamberg.

Among the other highlights of the vocal aspects of the set was a send-up of the Purim story that could probably only have been done by the Klezmatics. Fascinating, as well, in a vastly different sense, was the ensemble’s intensely focused rendering of Holly Near’s anthem-like “I Ain’t Afraid.”

In contrast, the program’s instrumental passages roved far and wide. Violinist Lisa Gutkin has extensive experience in Celtic music, and there were many segments in which the lively rhythms of the hora seemed to resonate with the energies of reels and jigs. At other times, trumpeter Frank London used a Harmon mute to produce sounds distinctly reminiscent of Miles Davis, and woodwind specialist Matt Darriau either whipped off avant-garde saxophone riffs or added atmospheric sounds via his Middle Eastern flute.

The Klezmatics will be followed in the Klezmer to Klassics series with programs featuring the Viklarbo chamber ensemble (March 23) and the strings of the L.A. Jewish Symphony (June 8).