giddy. September 23. ”66

SCARLET AND BLACK

 

Real Live People Interviewed

5 By NEIL FISCHER

Generally speaking, the Blues
Project hit the Grinnell campus
last Saturday much like the Des
Moines Project hit it last
year. . . .

The two "projects," of
course, were radically differ-
ent phenomena — the only
thing, in fact, that should
juxtapose them in the popular
mind is the similarity of title.
But the projects do share one
pharacteristic: we heard a lot
from both of them, and we
heard a lot about both of
theln. But we seldom got to
know anything about the
people involved.

Audiences have a nasty habit
oi forgetting that entertainers
are real people. Well, fans, I've

ot a breeze from the east for

ou # the Blues Project con-
lsts of people. They are ilesh
and blood and genuine hair —

o Beetle wigs. And they like

he sarcastic and honest al-

ternatively, as much as you do.

Steve Katz is the hirsute
{cling man who alternated be-

ween guitar and harmonica
during the concert. He really
exists of! stage. He was even a
tudent once at Long Island
niversity, where he read all of
R. R. Palmer.
Steve's View or the Blue]

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Project is really the most in-
dicative of the spirit of his
group. -

“The Blues Project," mused
Steve, “is a synthesis of ins
dividual overlapping musical
tastes and Improvisation com-
bining every aspect of Ameri-
can music of today and (or
marrow. Plus a mild deter-
gentl"

Individual taste and talent is
the keynote tor the “Project."
For example, when asked “Why
do you use an organ as a major
instrument in the group?” (our
of the members simultaneously
resoundedz “Because A1 Joined
us!"

DANNY KOLI

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Al Kooper is the quiet, wild-
Iooking guy who previously
worked with Bob Dylan, He
plays the organ on all at Dy-
lan’s albums — “just the organ,
nothing but the organ." l-lis
view ol the Blues Project is
poetic:

Leaves of Iowa weather
Decrease towards evening
And here we are —

Crisp tones of twisted airplane

distortion
And San Francisco exhaustion
Have fallen on your ears
And you must decide it you

are pleased.

Danny Kolb is balding, quick
with his hands (on the guitar),
and also rather poetic.

“The Blues Project,” he
avows, “is an avocado in the
walertall or reality. As such.
it is generally regarded.”
Andy Kulberg is the man with

the flute — in fact, he's one of
the few men around with an
electric tlule. Andy attended the
University of Wisconsin lot a
time, but decided that ”neo-
classic folk-rock in the Chicago-
Butterlield tradition" was more
his style than beer blasts at
Madison.

“A direct link between all
different musics" —- that's
what Andy wants the Project
to be, and his style on the
note sure helpsl

Roy Blumfield is the drum-
mer, and drums very well in-
deed Within the basic ar-
rangements or the group, Roy
tries to “expand and change
and eventually form complete
images.” Roy has to move
those slicks pretty fast; he
has to breathe pretty hard.
“Like our music," he says,
“it breathes too."

When you sit down and talk
to the Blues Project, they blend
into a human and warm and
pleasingly s a r c a s t i c and
straithorward whole. Mostly
they're interested in music, and
they seldom are wont to men-
tion their popularity relative to
the popularity oi Christianity
“We Strive to make our sounds
bridge the gap between what is
bad and what is God," affirmed
Danny, “God, of course, being
the Beatles.” Groups of Drdi»
nary, loud melon-rollers are
condemned by the group as
merely "the most sophisticated

form of muzak to reach the
Western world."

“If our projections have
crossed your interest. we are
pleased,” AI Kooper — the
‘poet’ —— concluded, “although

Page Three

we will continue with ‘lluto
thing' in D minor.”

Well, muslu lovers, the
projections crossed me. And I
like. I like the music. i like
the people,

The Blues Project Vibrales

By SUZANNE GELBER

Plugged in and turned on un-
derstates the sound of The
Blues Project in concert. Tile
trembling walls or Darby nearly
tumbled down during Saturday
night’s pertormance oi the liver
man folk rock group.

The reverberatlng quintet
ranged trom the lyrical Pete
Seeger song “Alberta" to the
s e xual “Sportin‘ Life” 0i
Brownie McGhee. But more
specifics later. First I want to
deal with the sound of the group
which calls the Greenwich Vil-
lags Cale All Go Go “home."

Undoubtedly, the volume of
sound produced by the ﬁve
musicians is emotionally and
physically overwhelming —
deliberately so. Inlense, un-
inhibited rhythm and volume
emphasize the sensual innuen-
do of the numbers. in a man.
ner highly reminiscent of Chis
cago Blues. Don’t complain
that your ears rang: folk rock

®__,

as played by The Blues Pro]-
eet is not for weaklingsl
Guitar, organ, vibes. tamboln

. BLUES PROJECT—
(Continued on Page 0)

Al. KOOPER

SWEDE'S

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we SPECIALIZE lN

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