Statesmen Of The Real Folk Blues

This acoustic trio is comprised of three elder New Yorkers who have become statesmen of the real Folk Blues. Stefan Grossman studied with Reverend Gary Davis and in 1964 formed the Even Dozen Jug Band, which included Maria Muldaur and John Sebastian, among others. Danny Kalb was a founding member of The Blues Project along with Steve Katz. Katz went on to help form Blood, Sweat and Tears with Al Kooper, and later was a member of American Flyer. These three have been associated together in the past (Danny Kalb and Stefan Grossman recorded Crosscurrents in 1969) and therefore this album is like a reunion.

Opening is Steve Katz playing harmonica and singing on "Played A Little Fiddle." Stefan Grossman and Danny Kalb trade licks on this infectious tune. Guitar instrumentals included are "Old Country Rock," "Shuffle Rag," "Candyman Fantasia," and Pete Seeger's "Living In The Country." Grossman is usually fingerpicking while Kalb is handling the bass line and building his lead. On the instrumental "Mississippi Blues" Steve Katz is added again on harp. On "Katz Rag" Katz is playing the washboard; this medley evolves into Katz's vocal on Mississippi John Hurts' "My Creole Belle." On "Rising of The Midnight Sun," another instrumental, Grossman plays slide guitar. The combination of acoustic guitars creates moods ranging from the more traditional to John Fahey-like eclectic sojourns. This is great late-night music for relaxation.

Kalb sings lead on Muddy Waters' "Long Distance Call." Kalb's guitar is wicked as he takes a wild solo. Katz's harmonica playing has never sounded better. Kalb sings again on Big Bill Broonzy's "Southbound Train." Grossman sings lead on "Richland Woman Blues" and on Jelly Roll Morton's "Buddy Bolden Blues." Katz also sings on "Green Green Rocky Road," and again on his own song about the 1960s, "Kettle of Fish," and on Billy Hill's "Glory of Love."

Not only is it great to hear Steve Katz sing again, but this album also reminds us of how beautiful the combined styles of acoustic guitar can be when played by masters of the instrument. Their camaraderie is reflected in their playing, which can only be described as exuberant.

Richard Ludmerer is a contributing editor at FolkWax

Review from Blues In Britain Magazine:

Stefan Grossman has been at the forefront of acoustic blues in a career spanning five decades – and I can well remember, eagerly picking up albums on his Kicking Mule label back in the 60s and his collaboration with Rory Block on “How To Play Blues Guitar” in 1966.

Grossman’s latest imprint is Stefan Grossman’s Guitar Workshop – the two CDs under consideration here being superb examples of his, and his musical collaborators, mastery of acoustic blues.

“Played A Little Fiddle” reunites Grossman Danny Kalb and Steve Katz, who between them have played with / formed such seminal bands as the Even Dozen Jug Band, Blues Project, The Fugs and Blood, Sweat and Tears. Grossman and Katz both studied under the Rev Gary Davis whilst Kalb was a protégé of Dave Van Ronk, and cut his musical teeth as a session player with the likes of Phil Ochs, Judy Collins and Pete Seeger.

All of the above influences permeate the wide range of acoustic blues that make up this set which opens with the title track, a wonderful performance replete with melancholy vocals, haunting harp and “enchanting” mesmerising guitar picking. Unfortunately the CD booklet gives no indication of who is playing which instruments on which tracks – and although I have my own thoughts, the three artists meld together so naturally it is difficult at times to be sure.

“Old Country Rock” is a lilting instrumental featuring washboard, percussive harp and clear ringing guitar tones – Mississippi John Hurt’s “Richland Woman Blues” is a lilting piedmont blues with beautiful harp and guitar picking – whilst Muddy’s “Long Distance Call” evokes a brooding simplicity enhanced by the seamless interweaving of guitar and harp. Hurt’s influence is also evident on the lilting “Living In The Country” and ethereal beauty of “Candyman Fantasia” which also highlights the importance of Davis’s mentoring.

“Shuffle Rag” is a jaunty instrumental that raises the spectres of Rev Davis and Mississippi Fred McDowell – “Green Rocky Road”, which features beautifully understated slide, is permeated with shades of country gospel, Appalachian mountain and Celtic influences – whilst “Kettle Of Fish” has a folksy Dylanesque feel.

Add in a moody and pleading rendition of Broonzy’s “Southbound Train”, an exuberantly infectious “Glory Of Love” - and “Rising Of the Midnight Sun” with it’s haunting slide and harp – and you have a set that can only come highly recommended.

“Bermuda Triangle Exit” is an all instrumental set featuring Grossman with Japanese guitar maestro Tokio Uchida – a man described by Bob Brozman as “having the smoothest sense of rhythm” he had encountered. Uchida met and studied under Grossman in the 80s – having his first lessons with him when on honeymoon in the USA. The friendship developed as Uchida was transformed into what Grossman described as “a guitar monster” – culminating in Grossman visiting Uchida in Tokyo in 2006 to perform a series of lauded concerts.

The set comprises a varied mixture of Grossman and Uchida originals combined with some well chosen covers spanning a wide range of acoustic blues styles – opening with “Bermuda Triangle Exit” an exemplary demonstration of the two men’s styles that is as evocative as the image the title conjures up.

Grossman’s own “F Rag”, “Struttin’ Rag” and “Dance Of The Man Who Ate Raw Chicken” are all jaunty pieces that are reflected in their titles (I will leave you to draw your own conclusions with regard to the latter title) – whilst “Tribute To Lonnie Johnson” is quite simply a master-class in the great man’s style.

Uchida contributes “Blues For Clifford” and “Kawazu” – the former loping along with an innate fluidity that confirms Brozman’s earlier comment, whilst the latter is permeated with intriguing Latino influences.

“Black Eye Blues” is a mellifluous piece featuring haunting slide – “Special Rider Blues” has a haunting quality that would delight Skip James – “My Creole Belle” (which also appears on “Fiddle” is permeated with an Hawaiian feel – whilst Charley Jordan’s “Keep It Clean” is the perfect description of the wonderful guitar picking on show.

Add in rollicking renditions of Broonzy’s “Pig Meat Strut and Elizabeth Cotton’s “Freight Train”, and the almost melancholy exuberance of “Jesse James” and you have another treasure trove of acoustic blues that can’t fail to delight.

Rating 10/10
Mick Rainsford
Blues in Britain Magazine