Review: Danny Kalb at Caffe Lena, 1/28/07
Phoenix of the Blues
So what if he sang an occasional note flat, or too faintly? So what if now and then he muttered incoherently amid his often hilarious patter in between songs? So what if he played more than half of his material in the same key? This was a master guitarist here at Caffe Lena, spinning out spellbinding webs of blues, jazz, and even Celtic melody on his beat-up but magnificent-sounding vintage Gibson acoustic. This was a musician, who, had it not been for a fateful bad acid trip decades ago, would have risen from being a mid-1960s cult icon to the pantheon of guitar gods. This was the Blues Project’s Danny Kalb. For the two dozen or so listeners who turned out last Sunday night at Caffe Lena, his two sets were a feast for the ears.
Originally a guitar student of folksinger Dave Van Ronk, Kalb first
established himself as a solo performer in the legendary early 1960s New
York City folk-music scene, and then as a session guitarist for Phil
Ochs, Pete Seeger, Judy Collins and others. But then came the Beatles
and the British Invasion, which for many folkies meant plug in or
perish, so in 1965, Kalb, along with Dylan sideman Al Kooper, and Steve
Katz, Andy Kulberg, Roy Blumenfeld, and Tommy Flanders, launched the
Verve/Folkways recording group the Blues Project. In those days before
Eric Clapton and Jimi Hendrix became rock guitar’s twin titans, his
technically brilliant and passionate playing earned critical acclaim.
With the release of LP Projections, the Blues Project seemed
headed for superstardom.
But in 1967 Kooper left the band, and Kalb had a devastating LSD bummer that evidently derailed his career, as he did not record again until 1995 (disclosure: I spent an evening playing my original fingerstyle guitar pieces for him in his Manhattan apartment in the early 1970s, but we never met again after that until last Sunday). More CDs followed, and now he is gigging in quality venues again, his guitar playing as good as ever.
For this performance, Kalb was backed by Brooklynite Mark Ambrosino on drums and local electric bassist John Profeta. With only Ambrosino backing, Kalb, wearing a black shirt, tan slacks, and red, white and blue suspenders and playing seated, opened with a fingerstyle version of Muddy Waters’ “I Can’t Be Satisfied.” His baritone singing, while not robust, was relaxed and assured, and he played guitar with authority, his right-hand thumb thumping the bass strings while he picked tasty riffs in the treble with his fingers.
Two more blues in the same vein followed, and then Kalb offered a delicate, jazzy instrumental arrangement of “Over the Rainbow,” changing up the harmonies as he repeated the verse section. The first set also included Ray Charles’ gospel-tinged “Drown in My Own Tears,” and “Banks of the River” by Gary Davis, whom Kalb proclaimed “my favorite guitarist of all time.”
The second set was even better. He began with an uptempo blues, “Mean Old Southern,” which he had once played in a 1961 New York radio performance with Bob Dylan backing on harmonica. Next was Jack Johnson’s “I’m Going to Kansas City,” the song on which Jerry Leiber and Mike Stoller based their 1959 rock & roll hit “Kansas City.” He also played “Alberta,” a beautiful old 16-bar blues from New Orleans, a version of Blind Willie McTell’s “Statesboro Blues” arranged in the rarely heard open-C tuning, and Pete Seeger’s calypso-inspired guitar instrumental “Livin in the Country. The musical zenith of the night, though, was Jimmy Reed’s “Caress Me Baby.” For this, Kalb used a flatpick and switched to a single-note Chicago blues style, his fingers climbing the neck in breathtaking, perfectly phrased runs.
For the encore, he played a jazzy version of the Irish rebel song, “The Foggy Dew,” and an original ballad, “Visions of Flowers.”
If you’re a blueshound or an acoustic-guitar fan, don’t miss him next time he’s around—he’s one of the best you’ll ever see.
Index of Metroland
Articles by Glenn Weiser ©2007 by Glenn
Weiser. All rights reserved.
©2007 by Glenn Weiser. All rights reserved.
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