CLICK ON TITLE BELOW TO GO TO PURCHASE!!!! CD submissions accepted! Guest writers always welcome!!

I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


Please email me at Info@Bmansbluesreport.com

Tuesday, June 17, 2014

FMI Records artist: Dave Fields - All In - New Release Review

I just received the newest release (July 1, 2014), All In, from Dave Fields and it's quite strong. Opening with Changes In My Life, a blues shaped rocker, Fields,playing most all instruments lays out a pop blues rocker with a catchy feel and blues riffs blended with modern tapping techniques making for an interesting change of pace. Voodoo Eyes is up next with more of a ballad style but with a cool rhythm. Fields again steps up with some really nice guitar riffs and key work that nicely highlights the track. Let's Go Downtown has a really happy feel and pacing march rhythm not a lot unlike what you might expect from Wet Willie or Elvin Bishop. This is a cool track with strong blues guitar riffs. Yeah, he has a better voice than my pal Crabshaw, but I ain't holding that against him. Nice track. Dragon Fly takes a much more serious approach to the music with more of an orchestral arrangement, powerful bottom and soaring guitar. Cream's (Robert Johnson) Cross Road is up next with a totally different feel. The reason that I say Cream has more to do with it sounding like an interpretation of Cream's interpretation of Robert Johnson's Crossroad Blues. With a slower pace and a heavier attack, this track has new life and modern guitar pyrotechnics yet retains a bit of the rawness of Johnson's original. Wake Up Jasper is a straight up 12 bar number along the lines of Blind Willie McTell's Statesboro Blues. Fields has a nice voice that blends well with his musical style. Breaking into a R&B track midway through, this track is one of the coolest on the release with Jeff Beck like guitar sounds and a Wilson Pickett step. Excellent! A really cool twist is a funky take on Led Zep's Black Dog! Retaining a bit of Robert Plant's senseless groans and grunts might be the easiest tip off that it's the same track it's done so nicely, Led Zep fans will easily pick it out... but it is really a new track. Not retaining the flash and flair of Page's guitar work opting instead to do it "Texas Style" this is quite a cool track. Not Gonna Let You Get Away retains that southern blues funk with a pop edge. An "Eddie van Halen" like guitar solo breaks the funk but not in a bad way. This is a cool track which nicely blends not only musical styles but also guitar styles and nice vocal work. Got A Hold On Me slides into Ray Charles territory with a touch of Stevie Ray. A cool R&B rocker with modern guitar sounds really separates this track and Fields as a whole as someone who is trying to cut his own road. Nice job! That's All Right is a groove monster with a funky beat and killer guitar riffs. Again Fields is right on vocally making this one of the nicer tracks on the release. Wrapping the recording is Lover's Holiday, an easy, acoustic number primarily featuring Fields on acoustic guitar and vocals, light percussion and backing. This is a cool little track to complete what is certainly Fields finest outing to date.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

 

Monday, June 16, 2014

Eller Soul Records artist: The Nighthawks - 444 - New Release review

I just received the newest release (June 17, 2014), 444, from the Nighthawks and it's a lot of fun. Opening with the Du Droppers' Walk That Walk, the Nighthawks are really swinging with really nicely blended vocal harmonies and super harp work from Mark Wenner. On Livin' the Blues, a traditional 12 bar with a casual lope to it, vocal harmonies are again a key part of the track. Wenner again lays down some nice harp riffs joined by Paul Bell on vocal and guitar, Johnny Castle on bass and vocal and Mark Stutso on drums and vocal. Title track 444 A.M. is a real rocker with flaming guitar riffs from Bell pulling out some really cool rockin solos. You're gone has a twist of country and a radio style arrangement. Honky Tonk Queen continues along with a country flavor and an even stronger radio presence. Got A Lot of Livin' has strong Rockabilly roots with cooking bass work by Castle and crisp riffs from Bell. Authentic roots style vocals punctuate the track. Crawfish has a swampy feel with a repetitive guitar chime and tom tom work. Wenner echo's the vocals nicely on harp. Price Of Love has a stomp to it with nice over driven slide work. The most straight forward blues rocker so far, gives Bell a lot of room to slide and Wenner plays back a nice compliment for each hot riff from Bell. High Snakes is possibly the coolest track on the release with a slow tex/mex rhythm and creative writing. Bell plays subtle but sensuous guitar riffs on this track and Wenner compliments him well. Very nice. Nothin' But The Blues gets into a solid blues groove. The lead vocals are really super on this track and Bell takes a really nice guitar ride on this track. Wenner also steps up with icing for a nice cake. No Secrets is a more prominent blues rocker with Stutso leading the way on drums. Bell cuts it loose again on slide and this track simmers on white hot sliding action. Wenner knows how to work the harp and does a really nice job on this track. On Morganfield's Louisiana Blues, the band is just a few steps from stripped down with fairly raw acoustic guitar and harp. Wrapping the release with Roadside Cross the band is joined by Akira Otsuka on mandolin. A quiet acoustic ballad this is a nice close to a nicely done release.  

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Could not find a clip from this release but this is the Nighthawks:




Friday, June 13, 2014

Sword & Cross Records artist: Stephen Anthony Gregory - Me, Myself & I - New release Review

I just received the newest release, Me, Myself and I from Stephen Anthony Gregory. This is certainly not a mainline blues release by any means but of course has blues influences. Opening With Red Light, White Light, Gregory who plays all instruments, plays intricate classically shaped guitar solos over a metal based rhythm. Tapping, bending and shredding are all present but quite tastefully done. On Old Avila, the backing is a little lighter in nature but use of bass the track still has a bit of a metal sound. Gregory weaves the drums, rhythm guitar and bass into a cool underlayment for wailing guitar melodies. Gregoria is a bit lighter yet with arpeggiated chords and solid twin lead guitar solo melodies making for a pleasant instrumental. Wrapping the release is The "Hip Do's" a hard driver with grinding rhythm guitar and high overdrive lead guitar melody. Rapid fire lead guitar work leading into anthem like melodic lines and soaring dives makes this an entertaining diversion from much of what I typically hear.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”
 

Thursday, June 12, 2014

Delmark Records artist: Steve Freund / Gloria Hardiman - Set Me Free - New Release Review

I just received the newest release, Set Me Free, from Steve Freund and Gloria Hardiman and it's quite entertaining. Earlier released on Razor Records in 1983 (LP) this release is now available on CD with a few unissued tracks. Opening with R&B style You Got Me (Where You Want Me) Hardiman shows her command of the genre and Freund plays some hot riffs really getting the release off to a good start. On Jimmy Rogers track, That's All Right, Hardiman brings it down a bit and shows some rich blues feeling. Freund is always standing ready with a loaded fretboard making most anything that he touches come to life. Accompanied by Sunnyland Slim on this track it's good to hear the master at work. Bob Stroger on bass and Fred Grady on drums keep it simple while Freund plays a frenzied guitar solo sitting you back in your chair. Jammin' With Sam, a hot swinging instrumental track features a great lead melody by Sam Burckhardt on tenor sax and again solo work from Sunnyland and Freund. Ike Turner's The Way You Love Me, gives Hardiman a great opportunity to showcase her vocal style and Freund rips a nice solo lead. Harlan Terson sits in on bass on this track and Eddie Turner handles the drums. Ken Saydak lays down a really nice spiritual style piano line on King Curtis' Let Me Down Easy, giving Hardiman the opportunity to perform some of the best vocal work on the release. Freund isn't far from the mark when she takes a breath and crisp guitar riffs flow like water. On Aretha Franklin's Dr Feelgood, both Hardiman and Freund hit a nice groove, Freund really getting some smoking riffs off. On Guitar Slim's, Well I Done Got Over It, Hardiman really belts out the lead and Freund is always ready to throw some fuel on the fire with the guitar. New Orleans Hop Scop Blues is a swinging boogie like track with a nice guitar intro by Freund. Saydak really kicks it on piano on this track and of course Freund's contributions and certainly noteworthy. Things That I Used To Do, another Guitar Slim number is hot as a poker with Freund smoking the strings. Freund also takes the lead on vocals with a pretty nice vocal impression of Slim. Sunnyland Slim is back on piano and his personal styling, especially on this track is spot on. Possibly the best track on the release. Cleanhead Vinson's Kidney Stew Blues, a hot swinging blues instrumental is up next with great work from Burckhardt on tenor sax, Saydak on piano and Freund on guitar. Excellent! Otis Rush's Homework, never before released maintains the 60's rock beat and features Ron Sorin on harp and excellent vocal backing by Diane Holmes, Gail Washington and Gloria Hardiman. Freund punches the track with quick jabs and Gary Heller adds guitar work as well. Brook Benton's free wheeling, Kiddio, another never before released track has super piano presence from Saydak and Sorin is back on harmonica making this a great inclusion. Shoppin' And Snackin' features Saydak on vocal and piano as well as Bob Levis on guitar for a cool swinging piano blues. Wrapping the track is a boogie instrumental version of Swanee River Boogie. Saydak really hammers it out for a great conclusion of a very cool release.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

 

Wednesday, June 11, 2014

New music from Eden Brent and more

New Music from Eden Brent and more

Eden Brent picks up the pieces of her Jigsaw Heart with a soul-baring set of new songs
Take Eden Brent to a Nashville studio and you still hear the Mississippi Delta.
Recording in the historic RCA Studio A with producer/guitarist extraordinaire Colin Linden, the blues-piano powerhouse stretched her musical legs, ambling into soulful Americana territory. But by reaching back to Mississippi, recalling memories, old friends and all she learned from her piano mentor Boogaloo Ames, she combined an immensely satisfying array of American music styles — blues, gospel, soul, country and R&B — to forge her deepest, most reflective album yet.
CDs and downloads are available now! Get yours now »
"Crafting her own genre that mixes blues, roots and her own vision, this is an unflinchingly gorgeous album that never strikes a false note..."  –Midwest Record Recap
"It smoked a hole in our soul..."  –Blues Music Magazine

Final Recordings of Counterculture Legends Asylum Street Spankers Unearthed
Look: it’s embarrassing for such an acclaimed band as this
to have to admit that they honestly don’t remember where their final album came from. What becomes clear upon listening to these recordings is that none of these songs has ever been recorded by the Asylum Street Spankers before. What’s even clearer is this: the band is in their finest form ever here, living up to their firmly cemented reputation as an acoustic powerhouse. Who else can blend string-band virtuosity, multi-instrumental skills, tight vocal harmonies and counterculture wit like this?
CDs and downloads are available now! Get yours now »
"One of the most ribald and irreverent roots music acts of our time... they've got hearts of gold, even if they have blood of chemicals and minds of mirth."  –The Independent Weekly
"A roots-rock riddle, nestled in a satirical Vaudeville enigma, packaged in an old-timey radio-show puzzle and slathered with hippie-fried mystery sauce..."  –Tampa Weekly Planet

Independent Music Awards voting closes soon
Congratulations to The Claudettes and The Soul of John Black, who each recently took home honors in the 13th annual Independent Music Awards. Each were nominated in two categories, and The Claudettes won Instrumental Album of the year (Infernal Piano Plot...HATCHED!) while JB's song "Higher Power" won Soul Song of the year. Well done, boys!
The judges have spoken, but the general public is also invited to vote in each of these categories for the IMA’s "Vox Populi" award. Visit the links below to check out these songs, albums and videos... and vote!

Andy T - Nick Nixon Band "Livin' It Up"


WEBSITE    STORE    CONTACT
image_header_600x300

Andy T - Nick Nixon Band - "Livin' It Up"

The blues has a history of great collaborations. Now it's time to add Andy T and James "Nick" Nixon to that venerable list thanks to the red clay covered roots of Nick's dynamic voice and Andy's bold, vibrant tones and equally rooted guitar style. Nick is one of those amazing artists that rarely surface today. This velvet voiced singer was born and raised in Nashville and was part of the thriving Jefferson Street blues scene of the '60s. Nick was a Chess Records recording artist in the '70s and is a key figure in today's reviving Nashville blues scene. "Andy T" Talamantez was born and raised in Southern California, and relocated to Nashville in 2008. His guitar style is influenced by T-Bone Walker, B.B. King, Magic Sam and Albert Collins among others, yet it remains his own. After meeting James "Nick" Nixon, and watching him perform, Andy knew they they would make an unstoppable combination. And they proved that with 2013's Drink Drank Drunk.
The album, produced by Texas blues legend Anson Funderburgh, has been embraced by hundreds of radio stations, reaching number two on Sirius/XM radio's million-subscriber "B.B. King's Bluesville" and climbing the Living Blues chart. Critics have praised their tasteful and authentic approach in the Nashville Tennessean, Elmore, Living Blues, Blues Bytes and a host of other mainstream and specialty publications. And - most important - the fans have fallen in love with their dynamic, rooted live performances, making Andy, Nick and their backing quintet of veteran musicians an in-demand act at festivals and clubs across the world. These include Arkansas' historic King Biscuit Festival and the Moulin Blues Festival in Oslo, Norway, and such prestigious venues as Phoenix's Rhythm Room, B.B. King's on Memphis' Beale Street, Biscuits & Blues in San Francisco and Knuckleheads in Kansas City, Missouri.
After storming the international blues scene in the year since their debut album on Delta Groove, the Andy T - Nick Nixon Band wasted no time in knockin' out another spirited and rousing effort with their sophomore release Livin' It Up, which once again falls under the guidance and direction of iconic Texas blues guitarist/producer Anson Funderburgh. Blending together the regional influences of Memphis soul, Texas blues and New Orleans R&B, Andy, Nick and the band dish out ten new original compositions, along with three choice covers selected from the songbooks of T-Bone Walker, Alvin Robinson and Delbert McClinton. Rounding out this offering are a pair of accomplished Dallas-based musicians making a return appearance from the previous album including Austrian born multi-instrumentalist Christian Dozzler on piano and harmonica and saxophonist Ron Jones.

Andy T - Nick Nixon Band - Livin' It Up

Click Here To Listen And Pre-Order


17th Annual Ribfest To Feature Howard & The White Boys

Chicago's Hardest-Working Blues Band " for over two decades is Howard and the White Boys.
They perform at the 17th Annual Ribfest in Ft. Wayne on Thursday, June 19.
17TH ANNUAL RIBFEST PRESENTS "CHICAGO'S HARDEST-WORKING BLUES BAND," HOWARD AND THE WHITE BOYS - THURSDAY, JUNE 19TH
    (FT. WAYNE, IN) - Howard and the White Boys, known near and far for over two decades as "Chicago's Hardest-Working Blues Band," will rock the blues at the 17th Annual Ribfest, Headwaters Park, 333 S. Clinton St., Thursday, June 19. 8 p.m. Free. Info: (260) 602-1831 or http://bbqribfest.com/.
  The longtime blues/rock ensemble recently recorded their long-awaited new album (and follow-up to the critically-acclaimed "Made In Chicago") at Rosas' Lounge in  Chicago, scheduled for a Summer 2014 release. Read more about it in this Examiner.com article: http://exm.nr/1nLgftH.
     Howard and the White Boys continue to perform through out the U.S., bringing audiences to their feet and out onto the dance floor - much as they have done for over twenty years. Longtime band member Rocco Calipari has also branched out with his successful side project Head Honchos' who have released a well-received debut CD and play regularly throughout the Midwest as well as the rest of the U.S. and Canada.   The members of Howard And the White Boys first met at Northern Illinois University in Dekalb in 1988 and began jamming together just for fun, but their fast-growing popularity soon convinced them they could make a career of it. After only a few months, they got their first big break by opening for Blues legend, B.B. King. The band soon made the move to Chicago and began performing with the biggest names in Blues: Koko Taylor, Albert King, Junior Wells, Lonnie Brooks, Luther Allison, Bo Diddley, and Chuck Berry (the latter whom they were the backing band for in a headlining capacity at the 2002 Long Beach Blues Festival in Long Beach, Calif.).
    Here's Howard and the White Boys killing it live on their song "Black Cat Bone," recorded at Rosa's Lounge in Chicago.




              
 
                           www.howardandthewhiteboys.net

Tuesday, June 10, 2014

Walter Trout Appears On-Camera For The First Time Since His Transplant Surgery

Many of you have supported Walter Trout over the past several years while I have been working with him (and of course prior). For that reason, I wanted to share this first on-camera appearance from WT post-surgery.  

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

 

Ramsgate Kent Music artist: Nigel Egg - The Blues Is Personal - New Release review

I just received the newest release (July 1, 2014), The Blues Is Personal, from Nigel Egg. This is going to be a fairly different review that you are typically used to sweeing from me because it is quite frankly different than much of what I review. First I want to comment on the record art. The cover, which is presented here is very artsy,attention grabbing and thought provoking. A photo of Egg on the reverse shows Egg as a colorful fun loving guy. Opening with Back To The Blues the track Egg (vocal, harp and guitar) is joined by Bob Exstrand on guitar, Tom Lewis on bass, Greg Schutte on drums, Tony Balluff on clarinet, Steve Sandberg on trombone, Zack Lozier on trumpet, David Stenshoel on violin and Dale Peterson on piano. An easy going track is nicely complimented by a full accompaniment of Dixieland style instrumentation. On the Blues Is Personal, there is a light guitar solo which compliments an other wise simple pop track. On Imagining You Naked, a simple pleasant track is transformed to a vamp with the addition of a nod to The Stripper song (boom da da boom). The Truth of You And Me has simple folk characteristics and blues rudiments including some easy laid finger picking. occupy The Blues Museum has a real straight forward blues set up with a nice walking country blues guitar set up. I've Never Missed You More develops more into full pop track with keys and some cool harp. Hoo My My My! is a catchy track that could get good audience participation just based upon the playfulness of it's execution. My favorite track, Music Man, has strong ties to country blues and a particular similarity to work by Elizabeth Cotten. You Can't Have a Fan On digs a little deeper into the blues with a slower number with tasty guitar riffs and harp to boot. The release closes with Jam Til The Day I Die lays a pop track over a blues vamp. It is really an appropriate close to a different kind of release.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

 

Grace Potter and the Nocturnals - Kate Voss Guest Contributer



For Grace Potter, and her band the Nocturnals, reaching the level of success and fame they have now has been a slow, steady race since their creation in 2002. Now, hot off the heels of their most successful album release ever, the band is set to change the face (and sound) of modern music. But, how did this unlikely group of musicians from Vermont become one of the hottest alternative music acts out there?
        Well for starters, Grace Potter and the Nocturnals have stood out from the pack thanks to their refusal to confine themselves to any one genre. They’re a little bit country, with some definite old school rock n’ roll thrown in, and a fantastic bluesy quality that has become their signature. They’re able to transcend genres and appeal to listeners far and wide with their foot stomping beats and Grace’s soaring raspy vocals. Potter explained the diverse sound of the band to Pop Matters back in 2010, saying “We’re really dynamic. This band does not do one thing—we do a lot of things. Some people may walk in and hear a song and think, ‘Oh God, I hate this song,’ and the next song that they hear can be their favorite song and change their life forever. It’s really interesting how much we change from song to song. That comes from our band [being] new and still honing our musical sound together. But also there’s a stream-of-consciousness thing with our concerts, I don’t like to stop very much, I don’t like empty space at all. I’m very much into the flow of a show. A show needs to feel like something that doesn’t stop.”
    That honing of their sound started when Grace Potter first met Matthew Burr in a coffee shop on the St. Lawrence University campus in 2002. Matthew approached her after being thoroughly impressed by her set. The two started a duo based on their mutual admiration for each other’s sound and were soon joined by Scott Tournet, thus creating Grace Potter and the Nocturnals. In 2005 the group recorded and released their first album, Nothing But the Water. The album gathered enough attention on Vermont radio that Hollywood Records signed them and re-released the album in 2006.
    The group soon released their sophomore album in 2007, This Is Somewhere, featuring the singles “Apologies” and “Falling or Flying”. To promote their album, the band started making the rounds on the talk show circuit, which helped to introduce them to the American public. They scored a coup in 2010 when they were picked to be featured on the soundtrack to Tim Burton’s Alice in Wonderland covering “White Rabbit” by Jefferson Airplane. Later in 2010, the group released their third studio album, Grace Potter and the Nocturnals which featured their biggest hit, “Paris (Ooh La La)”. Hot off the heels of that release, they were asked to write and record the credits soundtrack for the Disney film Tangled, which was released in late 2010. The contribution to Tangled increased the band’s visibility tremendously, as it performed well in the box-office, is a popular streaming option on some websites, and it’s also sold well in the home viewing market.
    Their latest album, The Lion the Beast the Beat proved to be their most successful to date. They kicked off their promotional tour with an appearance on the cult favorite Direct TV’s Guitar Center Sessions in December. The album hit #17 on the US album charts and #2 on the US Taste charts – both new highs for them. Their second single off the album, “Stars” also proved to be their first single to chart in both the US and Canada.
    What makes Grace herself such a likeable figure is both her perseverance (she’s legally blind, unbeknownst to many) and her ability to stay in touch with her roots despite her success. She explained to The Boot her affection for her home state of Vermont: “Those people are my home and every time I come home, it reminds me that there’s something to be said for being in the spotlight but it can never be a whole part of me. So much of myself is consumed with earning my way, doing it myself and never feeling like things are being handed to you. Growing up that way was humbling.“
It just goes to show, that no matter how much fame or how many awards she may win, Grace Potter will always be a small town girl at heart.

Monday, June 9, 2014

Rick Estrin & The Nightcats Release "You Asked For It--Live!" On July 8



“These are serious musicians out to have a hotter than hot good time. It’s tough to stay in your seat when Estrin and his musical cohorts get cooking.” –Chicago Sun-Times

“Fabulous, remarkable original material” –Billboard

http://mailman.305spin.com/users/alligator/images/4962_1425px.jpg
Alligator Records has set a July 8 street date for You Asked For It--Live!, the first live album from blues masters Rick Estrin & The Nightcats. Harmonica giant, songwriter, vocalist and Blues Music Award winner Rick Estrin, along with The Nightcats— jaw-dropping guitarist Chris “Kid” Andersen, singing drummer J. Hansen and dynamic multi-instrumentalist Lorenzo Farrell (electric and acoustic bass, organ and Moog synthesizer)—serve up innovative, rollicking contemporary blues. The songs are all injected with a solid dose of gritty roadhouse rock ‘n’ roll and Estrin’s trademark philosophical wiseguy humor. Since the release of their celebrated Alligator Records albums Twisted in 2009 and One Wrong Turn in 2012, the band has toured non-stop, sharpening their musical skills to a razor’s edge. The band is known as one of the most dynamic and exciting live acts in the blues today. Their sound, while steeped in the blues tradition, continues to push the genre into new territory.

You Asked For It...Live! was recorded on October 5, 2013, (Estrin's birthday) at San Francisco’s Biscuits & Blues. According to Estrin, “Cutting loose and stretching out in an intimate, nightclub-type setting is the natural environment for the Nightcats to kick maximum ass. The fact that it was my birthday, in the town where I was born and raised, only added more fuel to the fire.”

You Asked For It...Live! has the immediacy, feel and fun of a true Rick Estrin & The Nightcats performance. “No matter how much fun we have and how relaxed we can be in the studio, there’s still nothing like being in front of, and interacting with, our live audience,” Estrin says. The album features some of Rick Estrin’s best-loved and most-requested songs, dating back to his days as lead singer, songwriter and harmonica player of Little Charlie & The Nightcats (featuring Little Charlie Baty on guitar). The album is an up-to-the-minute and totally accessible slice of original, wry and witty blues with a simmering, funky rock edge fueled by Andersen’s blazing genre-hopping guitar and Farrell’s and Hansen’s dazzling keyboard and rhythm work. One listen makes it clear that this is a group comprised of four world-class musicians, who together form one of the tightest and most original bands in any genre.

Rick Estrin, who holds the 2013 Blues Music Award for Best Instrumentalist–Harmonica, is, according to the San Francisco Chronicle, “an amazing harmonica player, a soulful lead vocalist and a brilliant songwriter.” He ranks among the very best harp players, singers and songwriters in the blues world. His work on the reeds is deep in the tradition of harmonica masters Sonny Boy Williamson II and Little Walter Jacobs, while at the same time pushing that tradition forward with his unforgettable original songs. And his hipster, street-smart vocals are the perfect vehicle for driving those songs home. Blues Revue says, “Estrin has created some of the finest blues songs of any artist on the planet. His carefully wrought lyrics penetrate human weakness with the precision of a boxer, though more often than not, he chooses to leave you laughing after the blow’s been struck.”

Born in San Francisco, California in 1949, Estrin grew up following his own path. He discovered an entirely new world when, as a 10-year-old boy, he made his way to the tough Market Street area and befriended many of the neighborhood characters. He had another revelation when his older sister gave him a copy of Ray Charles’ The Genius Sings The Blues when he was 12. Albums from Jimmy Reed, Champion Jack Dupree, Mose Allison, Nina Simone and others soon followed. By the time he was a teenager, Estrin had completely identified with the urban, African-American culture surrounding him. He got his first harmonica at age 15, and by age 18 was proficient enough to begin sitting in at black clubs around the city. Estrin moved to Chicago when he was 19 and worked with South Side bluesmen Johnny Young, Eddie Taylor, Sam Lay and Johnny Littlejohn before meeting and jamming with Muddy Waters, who told Rick, “You outta sight, boy! You got that sound, boy! You play like a man, boy!” Muddy wanted Estrin to go on the road with him, but due to nothing more than a missed phone call, it never happened. Rick eventually moved back to the Bay Area, met Charlie Baty and formed Little Charlie & The Nightcats.

For more than 30 years and nine albums, Rick fronted the band, featuring Baty’s one-of-a-kind guitar acrobatics. The band won international acclaim and toured the world repeatedly. They were nominated four times for the prestigious Blues Music Award for Band Of The Year. With Charlie’s retirement from touring in 2008, Rick rededicated himself to his craft. Hansen and Farrell wanted to keep the band going. Estrin knew the only way to replace Baty’s crazed and unique guitar style was to find someone with an equally insane and individual approach, and he knew that would be a tall order to fill.

As luck would have it, Kid Andersen, who had been working with another harp legend, Charlie Musselwhite, became available. “Kid’s a fearless nut on the guitar,” says Estrin. “He’s really the only guy who could fit in with us.” With an unpredictable, no-holds-barred style that perfectly meshed with Estrin’s wildly imaginative original songs, the new band charged out of the gate with Twisted in 2009 and One Wrong Turn in 2012. Blues Revue raved, “Rick Estrin & The Nightcats are one of modern blues’ most versatile and original bands.”

As a testament to their talent, audiences at their consistently ask to go home with a CD that reflects what they just witnessed. Now, with You Asked For It...Live!, Rick Estrin & The Nightcats can satisfy their fans’ demands. Estrin recalls, “After shows, people are always asking, ’Are any of these CDs live? Which of your CDs is most like what you did tonight?’ Now, I can tell them, ‘This one right here. Thank you. We’ll be happy to sign it.’”