Jewish a cappella. When people ask me for my opinion on the history of this genre – and if I’m being honest, even when they don’t ask me for my opinion – I tell them where I think modern Jewish a cappella got its start. I actually don’t think it’s a question and so I’m going to try to do this without sounding like a gushing fan.

Three brothers. Two words: Kol Achai.

Before there were Jewish a cappella groups (which I am defining as those artists that performed music using no instrumentation) – before Beat’achon (1993) or Lev Tahor (2001), or anyone else – there was Kol Achai. What the three Goldshmid brothers did with their voices was not only unique for a cappella but for Jewish music as a whole. Yitzchak, Yossi and Boaz – just three men and a microphone – no tricks or digital effects – creating perfect harmony while infusing a feeling of warmth and brotherhood into every song. Whether live or recorded, there was no other singer or group that did it quite like the way they did.

There was that special chemistry that came across in every performance, one that can probably be attributed to the fact that they had been singing together their entire lives. They had an innate ability to command any stage or venue…. or Major League ballpark! You didn’t quite sense this when they walked out onto the stage – three lanky men, introducing themselves as “youngest, oldest and baldest”… they were all in all quite unassuming, really.

But from the moment they began their opening number, you knew that you were hearing something you had never heard before. It was harmony at its finest. Each voice in sync with the other, generating intricate chords with all the intrinsic subtleties and nuances of a full-fledged choir, but by just three mild-mannered Jerusalemites.

In 1990, this Israeli trio produced their debut album entitled Hallelu featuring their unique blend of soothing a cappella harmonies and Yitzchak’s original compositions. On each of their four albums, there is at least one song that was sung completely without musical accompaniment. On this album, it was not an original Goldshmid composition that received the full a cappella treatment.

Na’ar Hayisi was composed by Rebbetzin Peshy Stulberger and was a song that D’veykus had introduced to the world on their Volume 3, V’lirushalayim Ircha, ten years prior. Without a doubt, this tune has since become recognized as an all-time classic in the Jewish music world. {The latest rendition on Benny Friedman’s Whispers of the Heart 2 (featuring Rivie Schwebel!) will definitely leave you with that same indescribable feeling all over again – guaranteed.}

However – and here’s the personal opinion alert – if not for Kol Achai, I feel that this tune may not have reached as many hearts as it has over the years. They showed us the true musical and vocal potential of this melody and thereby made it accessible for everyone. Every choir, every kumzitz, every a cappella gig, every NCSY gathering – always the crowd-pleaser – everywhere it is sung. And while not exclusively a Shabbos song, Na’ar Hayisi is one of those songs best served in a group setting, letting the warm harmonies rise to the surface… and when better than around the Shabbos table with your family and Shabbos guests.

In keeping with our established Sefira theme, the Goldshmids certainly showed us that when we unite as brothers, we can create beautiful harmony as well.

Wishing you a harmonious Shabbos!