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nUkiEmOLe bi0-sKetch #13 / 14 Nov 2021 Blues Project—members, music, History–w my intRigue

nUkiEmOLe bi0-sKetch #13 / 14 Nov 2021

Blues Project—members, music, History–w my intRigue   


I attended ‘fouR-yeaRs college’, followed by 4-moRe-yeaRs UniveRsity. I had staRted a swimming-class, as instRuctoR w SSI backgRound, to teach instRuction on ‘how to swim’. While into the second week, my ole man saw I had a letteR fRom U.C. beRkeley. He foRced me into accepting tuition theRe, and not oNLY suggested, but sent that funding to Student Affairs Office, on campus. I knew what I had set my couRse-diRectives upon, as I, finally, staRted to drink coffee. I was 20-years old by then, but, theRe were two-Reasons I was, at last glad—a choice had been made. One theRe was a listening aRea in Student Union Building, and 44,300 students did not attend summeR-Sessions, so we weRe fReeR to adapt to ouR choices not-so-ouR-whimsies. I had an affiRmed love of “swimming” and on knowing how, because the ocean and the lakes and each high-school had to have a pool. That theRe was a social-movement on-going known as “the fRee-speech Movement”. This was a boomeR-geneRation, the chosen beseechment on, Existentialism wRit laRge.


One of my goals was to asceRtain, how much integRation of Races was ongoing, while the otheR goal was to asceRtain what a choice in woman would be for my fidelus on physicality as-well-as bRains. The otheR-Fact was most immense, so the fiRst ensconcement plagued my stRidency most, was “asceRtain how many of us” would tRust “peace thRu tReaties” on NSDU-238 (uR-238 ubiquity) as well as theRmo-NucleaRs, the full measuRe of hyped-PoweR in bouRgeois-TempeRaments. Mostly. I wanted a gal aRound who had bReasts, who was definitely not ‘flat-chested’. In otheR woRds what did this mean in the deRmus of “fuckable” as well as what did I know of female-physiognamy, that I knew as much as, what was theRe to be known. Not much, not enough, keep tRukken onwaRd w Ecology, maybe that will help me knowing Feminism? Then theRe was maRgaRet (Mig) and Eileen who was from Walnut cReek—neaRby. All these omissions in-my-Life weRe acceleRating my socio-polity on empiRicism and on Ecology.


Back in the good ol’ days, adjectives such as “unique”, “genuine”, “influential”, “innovative”, “exciting”, “dynamic”, “incandescent,” and “trail-blazing”, were often used by peers and music critics to describe the sounds of the Blues Project, arguably the greatest relatively unsung American rock band of the swinging 60s.


In the fall of 1965, The Blues Project played alongside the likes of Big Joe Williams, Son House, Bukka White, Skip James, John Lee Hooker, Muddy Waters and Otis Spann, to name a few. It was these legendary sold-out performances at the famed Cafe Au Go Go in Greenwich Village that eventually led to the release of their phenomenal debut album, Live at the Cafe Au Go Go. The Blues Project made a musical revolution, turning many people on to the American blues heritage.


The blues, however was only their starting point…


In 1966, after their leader Danny Kalb declared that “we’re not reviving the blues, we’re looking to interpret what’s happening today,” the Blues Project moved beyond the blues and recorded their studio masterpiece, Projections, an album that defies description, ranging from folk-rock to soul, from rock ‘n’ roll and blues to jazz, all blended together to produce a tremendously wide spectrum of music. With that album they advertised that there was no type of music they could not play, always managing to give each their own special sound – a bit of rock ‘n’ roll, a touch of rhythm ‘n’ blues, some soul, a dash of jazz, and you still have only a portion of their style.


Straight out of New York, the Blues Project soon toured all over North America. Back then, California, was the place to be, with San Francisco and Los Angeles as the two epicenters of the new age of rock and roll. The five New Yorkers played there and conquered the West.


In Los Angeles, MGM gave them the red carpet treatment They were put up at the Beverly Hilton Hotel, given a tour of the Hollywood film studios, and were even rewarded with a private showing of the new David Lean film, Doctor Zhivago.


In San Francisco, the birthplace of the hippie counterculture movement and of the psychedelic rock, they achieved the admiration of their local peers. The not-yet famous Grace Slick, for example, dreamed to be the band’s new female singer after sharing the bill with them at the Avalon Ballroom when she was still a member of the Great Society. Ed Denson, manager of Country Joe and the Fish, was another who became an instant fan after seeing them at the Matrix. “Their stage presence and their performance have an authority which comes from the secure knowledge that they are one of the best groups going,” he recalls. “For the three weeks that they were here they were indisputably the best band in the city.”


He was so right. Danny Kalb on lead guitar, Steve Katz on rhythm guitar and harmonica, Roy Blumenfeld on drums, Andy Kulberg on bass and flute, and Al Kooper on organ, all skillful musicians who mastered their instruments. They were so talented and versatile that they set a high standard for other performers of their generation.


In 1967, at the peak of their success and after the release of their third album, Live at Town Hall, the band appeared at one of their last gigs – the legendary Monterey International Pop Festival which featured Otis Redding, The Byrds, Jimi Hendrix and many more soon to be legends. The Blues Project then split up in two different directions, with Kooper and Katz forming Blood, Sweat & Tears, and Kulberg and Blumenfeld keeping the Blues Project name and carrying on for another year and for another album, Planned Obsolescence, before changing the name of the group to Seatrain.


At the dawn of the 70s, for the joy of their old fans, Danny Kalb and Roy Blumenfeld put together a new version of the Blues Project with which they released two new albums, Lazarus in 1971, and Blues Project in 1972. The good reception eventually led to what their fans really wanted and waited for for a long time, i.e. the reunion tour of the classic lineup which culminated with their widely acclaimed appearance at the 6th Annual Schaefer Music Festival in Central Park in June of 1973, and with the release of a live album, Reunion In Central Park.


After a few sporadic reunion concerts through the 80s and 90s, the “original” Blues Project disbanded for good, most of all because Al Kooper became too busy with his solo career, and the passing away of Andy Kulberg in 2008. Despite it all, even in the new millennium, the band maintained a die hard fan base of old and new fans, so it was mostly for them that at least Danny Kalb, Steve Katz, and Roy Blumenfeld, did a new reunion tour in 2012. The shows were well received and their fans asked for more so, in 2020, here we go again. The Blues Project is alive and well, with Katz and Blumenfeld leading a new powerful lineup that also includes three young and talented “pupils”: Mick Connolly on lead guitar, Jesse Williams on bass, and Ken Clark on keyboards and vocals.


The Blues Project was one of the first, and remains one of the finest, of the creative bands, Go and see them when they hit your hometown. Trust me, they’re like a fine wine. They get better with age, and the best is yet to come!  by Brunob Cerlotti (dec 2019)


All Music dotcom states:


“The Best of the Blues Project [Rhino] Review by William Ruhlmann

With the exception of a live version of “Flute Thing” from the Blues Project‘s 1973 reunion concert included only on the CD version, this compilation is culled entirely from the albums Live at the Cafe Au-Go-Go, Projections, and The Blues Project Live at Town Hall, all recorded and released in the period 1966-1967. Just as those individual albums do, it confirms the acclaim accorded the Blues Project at the time. The group’s sophistication and ability to create a hybrid of musical styles keeps the music from sounding dated. In fact, this music not only stands as among the best of its time, but it continues to appeal where much of the music made simultaneously fails to escape its era. (Not to be confused with Best of the Blues Project, Verve Forecast FTS 3077 [1969 07], which is an earlier compilation with a different selection of songs).”


The best measuRe of listening-Music, I asseRted depends on not shoRt and no anarchist, some Raucous like afRo-ameRican: jazz-Musicians I did not heaR having been intRoduced to Rock from blues such as “Bo Diddley and Chuck BeRRy”. The boomeRs at San Mateo H.S. not San MaRin H.S. wheRe I was invited to a dance by a gal fRom theiR township w live music 1963. I had alReady been intRoduced to steReo-Jazz of John coltRane, of Miles Davis 1965 by my aRtes sculptoR-instRuctoR, bRuce Colvin. Metal-sculptuRe was going to be haRdship foR me as I kept attempting to contRol oR consoRt ideas and thoughts, together. This was wheRe “funk-Metal aRtweRks” would start, foR me anyhow.


As, music was appoRtioned foR momentousness, discussions, socio-Polity was on the peRifaRy, because “The Blues pRoject” was intRoduced, as backgRound in leaRning-sessions-on-Philosophy by Jim White and otheRs. I was motivated by whatever we could discuss and wanted to add which I did how do we-Males discuss “fucking” w or w.o. the woRd-teRm used. Weld, Jim bRought coRky Mathews, and lateR afteR she was studying ‘cyRillic’ language, Susan Thelen. I wanted to bRing Eileen maRtin, beauZ! Eben Moulton, bRought Vikki Gitts, as we had to constRue, not mistReat him, that she was his sex-mate. HoweveR, she as many of us-BoomeRs, was on scholaRship oR had not found any enticement otheR than “Mount Pikes Peak” as the case foR a small, pRivate, libeRal aRts, College, was. Somehow, the extended gRoup, names of local people into Philosophy, as well as this group did, maybe, help me find the oldeR woman and height of 5’8” that I had sojouRned expediently to find.


Eventfully, not one gal wanted the new-Open: me, as I posted myself at the flagpole each thuRsday as the oNLY anti-nucleaRist, while all otheRs weRe, meRely, anti-V-C-L (what my discussing in questionable-doubts prognosticated. Soon, though, I found Jeanne HowaRd, as she was my epiphany—only I could not get her to quit “canceR-sticks”. I often saw that as a weakness in otheRs, as an “definite-InsecuRity” et al-ski! So, we listened to my steReo in my shaRed: doRm-Room, but I Reneged to have sEx w her, becauZ—I was in love w heR? Philosophy-RendeRed as disposition, partly, dispossessing me from my self-Self—somehow. Music and love oR boomeR-geneRation, as sexual-Revolution social-Change? No. Ecology is air-land-water and moleculaR-stRuctuRe I chose “anti-nucleaRism and became a philosopheR of: geomoRphics-Philosophy (1969)” i.e. not Righteousness, w indignations, allowed.


Who Do You Love? (Live At The Cafe Au Go Go / 1965 / Edit)

1,106 views 21 Jun 2018


Provided to YouTube by Universal Music Group; Who Do You Love? (Live At The Cafe Au Go Go / 1965 / Edit) · The Blues Project; Live At The Cafe Au Go Go ℗ A Verve Label Group Release; ℗ 1966 UMG Recordings, Inc. Released on: 1966-05-07 Producer: Jerry Schoenbaum Composer  Lyricist: Bo Diddley


all known albums:

The Blues Project is a band from the Greenwich Village neighborhood of New York City that was formed in 1965 and originally split up in 1967.[1] While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world’s first jam bands, along with the Grateful Dead. Albums discography: Live at The Cafe Au Go Go (1966); Projections (1966);  Live at Town Hall (1967); Planned Obsolescence (1968); Lazarus (1971); Blues Project (1972);  Reunion in Central Park (1973); Compilations: Best of The Blues Project (1989), and Chronicles (1996) [1]


1- Tommy Flanders – vocals (born circa 1944) (1965-1966, 1972-1973, -present);

2- Danny Kalb – guitar (born September 19, 1942, Brooklyn, New York) (1965-1967, 1969–present);

3- Steve Katz – guitar, harmonica, vocals (born May 9, 1945, New York City) (1965-1967, 1973–present);

4- Al Kooper – keyboards, vocals (born February 5, 1944, Brooklyn, New York) (1965-1967, 1973–present);

5- Andy Kulberg – bass guitar, flute (April 30, 1944, Buffalo, New York – January 28, 2002, California) (1965-1967, 1973-2002);

6- Roy Blumenfeld – drums (born May 11, 1944, Bronx, New York) (1965-1967, 1969-?)…


Bio-sketch (2-27-16)…

I started into believing that I would be able to show my data and my photogRapHics in 1996. By 1998 I was learning computers would gain ascendant methods thru technics of programming for a future connected to data and information. That was nuclear-Molecular finding(s) to share and my personal-Activism w first account specifics and engendering(s).

As cameras went 'digital-Tech' I fond that editing was also to follow in 2004. Then, in 2005 my first digital camera had replaced usage(s) of s.l.r. 35 mm's. I have no mercy nor pity for the thieves who have stolen my hard werk, as anxiety of what I allowed was mid-stReam--anyway! Those asshole-Pukes have cost me $1,000's on a fixed income and I remain single, sole-Survivor of two-Families w.o. offspring!

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