Remember when music made us chair dance, when acoustic instruments wove together with adrenelized fun, when lyrics were accessible and open-hearted? Guitarist/songwriter Peter Calo and his crackerjack band saturated Pangea with high spirits last week presenting classic rock and soul as well as original material by Calo. Those of you familiar with the artist only from buoying accompaniment should be aware that Impressive guitar bonafides aside, the musician can write and sing.

A tandem “Tight Rope” (Leon Russell) and “Duncan” (Paul Simon) with terrific harmonica infectiously open the program. Calo makes contractions like lookin’ and feelin’ sound as if legitimized in Webster’s dictionary. There’s ease and authority to performance.

“I’d just started dating a lady, there was a full moon, I had a gig…” sets the scene for his own “Full Moon Tango.” Musically sharp moves with an accordion solo of which Django Reinhardt would’ve been enamored conjure dark-eyed seduction. As passion flares, instruments expand and pulse. Calo emits a round-edged howl at the moon. Scat and picking weave a dream catcher. Bobby McFerrin sounds duet with drums. Phrases roll around the vocalist’s mouth before exit. It’s a short film.

With an affectionate nod to frequent collaborator Carly Simon “’cause you guys deserve the best,” Calo approaches “Anticipation” like a ballad. The band comes in mellow and textured from bass to sticks to strings. No hard beat or insistence here. Interpretation is appealing but doesn’t hold. Music/volume unnecessarily swells, exemplifying of my only caveat for this evening. Every number is at the same vigorous level. We crave a few quieter songs.

Declaring Jimmy Webb (with whom he’s worked) a “national treasure,” Calo gives us “Wichita Lineman,” a song that “just never goes away.” Not too long ago James Taylor won best vocal for his rendition. Here’s the cottony tone we’ve been craving. Wistful, elongated, exhaled lyrics – “line” is four syllables – are heady. There’s no need for rousing denouement. Boogie piano, quick-fingered (head bobbing) bass, and muscular guitar support Sam Cooke’s “Bring It On Home.” Calo is organically soulful. The band’s mutual appreciation engages.

“Every Ordinary Day,” another Calo original, was written at the birth of his daughter: Every ordinary day has a miracle…he sings. It’s happy, grateful, welcoming, a little surprised and eminently appealing. Eddies of emotion ebb and flow. The sentiment is echoed with (his) “Tomorrow is a Gift”, an ebullient dancing, drinking song.

Emerging with a drum vamp, his “Do I Love You Too Much?” follows – referring to the baby or…?  A crosshatched arrangement features bass lead, drum beat, and guitar chords feeding in. “Now wait a minute,” Calo abruptly says, arms spread wide as if considering a second in silence. Vibrations shift- sticks, thrumming bass, the guitar evoking Algerian tones…he rocks the instrument’s neck back and forth as if to shake out music.

Two more by Calo include “You Can Blame Me” spotlighting superb, bluesy harmonica which climbs inside and stays, and “Please, Please Please,” which arrives like surfing a rock n’ roll wave and leaves to sounds of Brazilian Carnival, all hips, shoulders, and quick steps: My life is surely a mess/It serves to occupy my address/Ok I’ve lost the trajectory/But I’m in for the rise…We close with 1972’s iconic “Love Train” (Kenny Gamble/ Leon Huff), encouraged to clap and join its chorus.

Collective audience smile is wide.

Photos by Ian Herman

Peter Calo: Something for Everyone
Peter Calo- guitar/vocals
Gary Schreiner- keyboards/harmonica
Jeff Eyrich- bass
Chris Marshak- drums

Pangea  
178 Second Avenue at 11^th Street- a cozy well run club with good food

Peter Calo https://petercalo.com/contact

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