REVIEWS - Contemporary
by Richard Ludmerer
For over thirty years Rick Estrin was the front man for Little Charlie & The Nightcats. During the time with them he won two Blues Music Awards; Song of The Year and Best Instrumentalist – Harmonica. When Charlie Baty retired from touring in 2008 Estrin re-formed the band as Rick Estrin & The Nightcats. Since then Estrin has been the recipient of twenty-six BMA nominations. In 2018 alone Estrin received seven nods and won the trifecta; his second award for Song of The Year, Traditional Blues Male Artist of The Year, and most importantly took home the coveted award for Band of The Year.
This is the bands fifth album for Alligator and fourth studio recording. The current lineup includes Estrin, harp and vocals; Kid Andersen, guitar, upright bass and various other instruments; Lorenzo Farrell, organ and piano; and their newest member Derrick “D’Mar” Martin, drums. Other participants include Alex Pettersen, drums; Quantae Johnson, bass; and special guest Jim Pugh. The background vocalists are Lisa Leuschner Andersen and The Sons of The Soul Revivers; James Walter and Dwayne Morgan. The album is co-produced by Andersen and Estrin; and recorded and mixed at Andersen’s Greaseland Studio in Santa Cruz. All of the songs are written by Estrin unless noted otherwise.
This year Estrin received another nomination in the category of Contemporary Blues Male Artist. Perhaps it inspired him to write the title track with Martin and Andersen. Estrin pokes fun at established artists and their vain attempts to capture new and younger audiences as the band explores funk and rap. What sounds like a horn section is Andersen on a Synthesizer.
Two songs are humorous takes on mortality. On “I’m Running” the aging Estrin sings “father time is on my trail. I feel him breathing down my neck, good god he’s right up on my tail”; still no COPD yet as Estrin blows harp like there’s no tomorrow, Andersen plays both guitar and bass, Farrell is on organ, as Pettersen hammers away on his drums. “The Main Event” is about Estrin’s exit strategy.
Estrin won his first BMA in 1994 for his song “My Next Ex-Wife” and it remains one of his most requested. Fans love when he sings about the battle between the sexes. On “Resentment File” Estrin sings “be careful what you do, be careful what you say” as the background singers chime “be careful, resentment file”, the women they never forget; the band gets into a groove with the rhythm section of D’Mar and Johnson. “She Nuts Up” is about living with an explosive female; Andersen plays rhythm guitar and upright bass. On these Estrin is guaranteed to make you smile.
“New Shape (Remembering Junior Parker)” is a narrative inspired by the late Memphis based bluesman that passed in 1971. “House of Grease” is a funky instrumental courtesy of Andersen; Farrell plays piano while Pugh sits in on organ.
“Root of All Evil” features Estrin’s sweet harp before Farrell takes a devilish piano solo “money can’t buy happiness but it’s a pretty good place to start”. “Cupcakin’” is a jazzy instrumental from Farrell featuring the band. “Don’t Like Christmas, crazy ‘bout New Year’s Eve” should receive a lot of airplay that time of the year “it’s a brand new change in me, goodbye 19, 2020 come on in”.
“Nothing But Love”, the only cover, was written by John Pickens Jenkins a.k.a. Bobo who recorded the song on Boxer Records in 1959. The closer “Bo Dee’s Bounce” is a harp instrumental inspired perhaps by Bo Diddley’s 1962 instrumental “Bo’s Bounce”.
Repeated listening will confirm that this is the most musically adventurous recording in Estrin’s illustrious career. Although recognized as a great songwriter he has also become a great bandleader. On “Contemporary” the band stretches the limits of their genre displaying both their creativity and collective musicianship. You can actually hear them inspire one another. This is another award winning effort.
by Juan Marquez Leon
Now considered one of the best harmonica players in the industry, it's been 50 years since Rick Estrin offers us, with freshness and humor, the joy of singing and blowing. After his first tests with people like John Littlejohn, Eddie Taylor or Johnny Young, he had been part of the Little Charlie & The Nightcats training for 30 years, singing and chromatic harmonica. The little Charlie left, the Cats of the Night rank behind the new boss, Estrin. Since 2008, the new guitarist is Kid Andersen. The other guys are the faithful Lorenzo Farrell (keyboards), Alex Pettersen (drums), who now seems to leave his sticks to Derrick D'Mar Martin, which joins the bassist Quantae Johnson. And damn, all this little world is doing damn well; Listen to the exchange in the instrumental 'Cupcakin' ', it's really breathtaking. Different styles of blues are tackled with talent during this recording, but what is especially striking is the production of Kid Andersen, clear, modern and 'colorful'. For example, titles like 'Resentment File' or 'Contemporary' glide gently to more current sounds, see hip hop or metal! On October 5th, Rick Estrin will be 70 years old, wish him a happy birthday and hope for other albums of this level. Pure pleasure.
Most would consider Rick Estrin a true believer, playing harmonica in his native San Francisco, California at fifteen years old, coming up in the Bay Area Blues scene, playing five nights a week backing infamous Bluesman/pimp Fillmore Slim. He formed Little Charlie and the Nightcats with Charlie Baty in 1973, and fronted the band when Charlie retired from touring in 2008, adding guitarist Kid Andersen to the existing line-up and staying on the road as Rick Estrin & The Nightcats. With multiple Blues Awards for the singer and the band, Rick is the true believer poster boy, and yet on the recent release from Rick Estrin & The Nightcats, the choice is made to go Contemporary.
Happily, the mood passes quickly and the song “Contemporary” is tongue-in-cheek, the track featuring speaker-freezing bass bumps, compressed vocals, and a resume-boasting bridge. The remaining cuts of Contemporary puts the songs on the same level as Rick Estrin & The Nightcats, solid vehicles of the Blues and all its many rhythms and forms. The beat is the wake-up call that snaps album opener “I’m Running” into a Blue-noir dawn while Blue Funk tinges “New Shape (for Junior Parker)” and a rhythmic ricochet sashays across “Root of All Evil”. Rick Estrin & The Nightcats become a machine on the instrumental cuts, the sound playful in “House of Grease” and frenetic in “Cupcakin’” as Contemporary locks into a Vintage Rock’n’Roll Blues groove for “Bo Dee’s Bounce”. Contemporary claims “New Years Eve” as its favorite holiday and slows the Blues to a simmer for “The Main Event” as Rick Estrin & The Nightcats share the sad story of a lover with a few loose screws in “She Nuts Up” as they read “Resentment File” on a pop and click groove.
by Eric Schuurmans
“ Rick Estrin's some new spin amazes and confirms his mastership… “
Rick Estrin grew up in San Francisco as a teenager, where he got to know the "other" world on the street with his own characteristic figures. He was 12 when his older sister gave him Ray Charles ’album‘ The Genius Sings The Blues ’. Then he also discovered Jimmy Reed, Champion Jack Dupree, Mose Allison and Nina Simone.
At the age of 15, Rick gets his 1st harmonica and at the age of 18 he already performs in local clubs. He jammed for the first time with blues master / guitarist Lowell Fulson (1921-1999) and then played with R&B giant Z.Z. Hill and with guitar legend Travis Phillips (in a band with frontman Fillmore Slim), who introduced him to Rodger Collins, who became his 1st real mentor.
Estrin moved to Chicago at the age of 19, where he meets Muddy Waters. Estrin was advised by Muddy: “You outta sight, boy! You got that sound, boy! You play like a man, boy! ... ”. Due to a missed phone, a planned Estrin tour with Muddy (stupidly) was canceled ...
Estrin moved back to the SF Bay Area where he founded, together with guitarist Charlie Baty, Little Charlie (Baty) & The Nightcats. Estrin was their front man for over 30 years and recorded 9 albums with them. The line-up consisted of Rick Estrin (vocals, harmonica), Charlie Baty (guitar), Jay Hansen (drums) & Lorenzo Farrell (keys). When Baty retires (almost) in 2008, Estrin, Hansen and Farrell continue with guitarist Kid Andersen (Charlie Musselwhite) as Rick Estrin & the Nightcats. The "new" band Rick Estrin & the Nightcats debuted with Alligator Records in 2009 with "Twisted". As a successor to "One Wrong Turn" , "Groovin" In Greaseland " will follow in 2017.
The 4th Alligator album was named "Contemporary". It is an album with 12 new Estrin songs that he recorded in producer Kid Andersen's Greaseland Studio in Santa Cruz, CA. He did this together with Andersen, Lorenzo Farrell (keys) & Derrick "D’Mar" Martin (drums). The foursome again provides an intense mix (including some instrumentals) of electric blues and swinging West Coast blues. We soon hear how this all sounds in the opener "I'm Running" in which Farrell plays all his skills on organ, Kid Andersen on bass, Alex Pettersen (here) on drums (instead of D'Mar) and of course Estrin on harmonica . In “Resentment File” it is Andersen who can play on guitar and it is D’Mar's percussion that mainly determines the groove. It then becomes a bit of a swing on the title song “Contemporary”, which becomes a mix of several, sometimes exotic ingredients and D’Mar that raps, which is certainly getting used to. "She Nuts Up" is catching up with the women and "New Shape (Remembering Junior Parker)" is still somewhat exotic. The funky "House of Grease", with Jim Pugh behind the organ, is the first instrumental, "Root of All Evil" reminds me of his colleague, the artist with the 3 lives, Al Basile and in the quiet "The Mean Event ”, Estrin uses his chromatic harp. "Cupcakin" is another instrumental, "Nothing but Love" a drowsy song about how beautiful love is and "Bo Dee's Bounce", the last up-tempo instrumental song with which he already hops after 51 minutes.
Again Rick Estrin with his Nightcats on ‘Contemporary’ reaches the high musical level that we are used to. He will certainly please the countless fans he has here again.
Paris Move (translated by Google)
by Patrick Dallongeville
When, after more than three decades of blues-free complicity between Buddy Guy at Junior Wells, Sonny Terry at Brownie McGhee, and Sam Myers at Anson Funderburgh, Charlie Baty decided to leave the band at which he lent (besides his guitar) his name, everyone deduced the death knell of one of the major groups of San Francisco. But while the rich works of Little Charlie & The Nightcats were already in the archives, their other co-leader did not hear him that way. It is under the translucent term of Rick Estrin & the Nightcats that he undertook in 2009 to continue the adventure. The bet was daring, even if this brave Rick remained in full possession of his vast abilities. Frontman and vocalist at the play scene as facetious as unifying, the guy also doubles as a lyricist with irrepressible fluency, and devastating humor. But he is above all one of the most talented, cultivated and inventive geniuses that the contemporary blues has born. However, who could have put on the lacquered shoes of the late Charlie, to the vacant position of extraordinary guitarist? Against all odds, Estrin's insight proved a hit when he set his sights on Telemark (Norway) Kid Christoffer Andersen. As his name indicates in part, this younger was attracted by the sirens when he heard the sound of guitar slingers such as Johnny Guitar Watson, Junior Watson and other Kings. After having accompanied American lads on European tours at a young age, he played the Atlantic leap, joining four-year-old harmonica giant Charlie Musselwhite. Fifteen years later, he already accuses ten of service with Estrin, with whom he has recorded three studio albums and a live anthology. As a satirical commentator on contemporary society, Rick is particularly worried about this new delivery of our pathological addiction to social networks (see his jacket). Introduced by the alert brooms of Christoffer's own brother (Alex), and chased by Andersen's bass and Lorenzo Farrell's organ, "I'm Running" is exactly what its title suggests: the pursuit of a Estrin panicked by the frantic race of time. There is a first chromatic solo to pick the most jaded sellers of Kärchers: probably what the blues has produced closer to Tex Avery! From "Resentment File", the guitar of Kid Andersen takes the reins, and it is the new drummer, Derrick Martin, which officiates a sort of funk lousianais as the Meters of the brothers Neville liked them. The titular beach begins unsurprisingly as a new Little Walter, at least until a vocoder and a break beat striped heavy guitar and synths do not give the impression to surprise Funkadelic rap pastiche. Do not imagine that it dissuades so far Estrin to make it roar its slats, between two semi-spoken mincing Zappa. Another notorious Rick obsession is Rice Miller (aka Sonny Boy Williamson II) casting the shadow of her legendary bowler hat on "She Nuts Up". "New Shape" returns to funky territory, while "House Of Grease" (from the name of the studio that manages the Kid in Santa Cruz, where these sessions were of course captured) is an instrumental in the spirit of Junior Walker, where the tenor sax of the boss was replaced by the guitar. In short, it sounds like the beginnings of Freddie King (before it reveals what exceptional singer it was doubling), and it's irresistible. "Root Of All Evil" is one of those pochades that Rick holds the secret, on one of his favorite themes (money). The chorus (worthy of Coasters) states: "if money is the root of all evils, why do you treat me broke?" Estrin spit all! Swept by the chromatic wind, "The Main Event" revives the ghost of Walter Jacobs, while Andersen eyeing the West Side haunted Magic Sam and Otis Rush masterful end to end. "Cupcakin '" is another instrumental (this time signed Farrell), where Andersen's guitar teases the tenacious memory of Earl Hooker and Pee Wee Crayton, while Farrell's organ does the same with Jimmy McGriff's and Brother Jack McDuff. "New Year's Eve" ("I do not like Christmas, I much prefer the New Year") is a new excuse to groove the boogaloo, and "Nothing But Love" sports the silly hussy Howlin 'Wolf had done a specialty. As a signature at the bottom of this new act, Rick disseminates on the instrumental "Bo Dee's Bounce" (ugly word play) a good deal of the plans he has gleaned over the years at Big Walter Horton, Frank Frost and Little Walter, as well as many of their followers. Estrin is the exact opposite of a museum of the blues, it is its memory in motion. And besides, he's funny.