Born and raised in Noe Valley, San Francisco, Connie Walkershaw comes from a musical family.By age 11, Connie was playing flute with her dad's band, providing backup music for belly dancers. She picked up saxophone at age 18 and formed Jungle Dinner with Jesse Walkershaw in 1982.

As a nice Jewish boy from New Jersey, Jesse Walkershaw grew up hearing the faint echos of immigrant Eastern European culture. His grandfather was a song writer, and his cousins were notable jazz musicians, as well as playing the Jewish wedding and party circuit. Jesse met Connie in the San Francisco Punk scene of the early 80's, and having found kindred souls in both the musical, as well as larger life sense, have skipped blithely down the road of life hand in hand. For the first 20 some odd years of their collaboration they concentrated solely n our own compositions (although we did cover "Misirlou," more in the tradition of Rabbi Abulafia than Dick Dale). They had always had an eclectic collection of music on our stereo, and Klezmer was never a stranger to our house.

The saga of Go Van Gogh circles back and finds Kelvin Burton once again playing drums with the band. His powerful rhythm provides the backbone that allows the rest of our musical spine to shiver.

Brad Bechtel plays lap steel guitar with the Faux Hawaiians and Go Van Gogh. He is the host of Brad's Page of Steel, the premier site for acoustic and electric steel guitarists worldwide. Previous performance groups have included the Dude Theater (background music for various performances), the San Francsico based band JelloHat, and Enigma recording artist Outer Circle.

Jesse Jackson in his own words " I am a strong guitar player, (lead and rhythm) but I also play lap steel /dobro (fairly well), and am a fair banjo and mandolin player.
I am comfortable in most American idioms including, blues, finger style rags, western swing, bluegrass, mountain music, etc. but also jazz, metal and surf. I have Experience playing eastern european folk music (klezmer/polkas, waltzes, etc) I played in a live band for a shadow puppet troupe, which featured, performing Russian/ gypsy and klezmer music, as well as surfed out interpretations of Mussirgsky and Rimsky Korsakov tunes.
I have experience performing in choirs and barbershop quartets.
I know all the words to "The Man On the Flying Trapeze." What more could anyone need to know?