RE: [harp-l] Show report-Little Charlie and the Nightcats (longish)

["MLeFree" <mlefree@xxxxxxxxxxxxxxxxxxxxxx>]

Hello, harp-l'ers -

I had a real treat last night when I saw Little Charlie And The Nightcats.
I thought I'd tell y'all about it.

Having seen LCNC a couple times before, I was expecting a top-notch show,
and I was not the least bit disappointed.  Rick Estrin, Charlie Baty, Jay
Hansen (drums), and Lorenzo Farrell (upright and Fender precision bass) were
in peak form to kick off this year's tour and gave a stellar three-hour show
(two 90 minute sets).

Before I tell you about the performance, I'll tell you about Rick's gear.
He had a huge red Harp King amp into which he was running a chromed Shure
bullet mic through a "little digital reverb" (as Rick described it--I didn't
press him).  The bullet had a red screen (and a volume pot) and his second
cable (he broke his first mid-solo as I'll describe) was also red.  Nice
looking set up to go with Rick's dark suit and carefully coifed hair-do.  To
hold his harps he had a molded plastic tray (that I've seen offered
commercially but cannot remember where) mounted on a sturdy mic stand.
Curiously, he had the tray tipped away from him for reasons I can't figure
out.  The tray held what looked like 8-10 stock Marine Bands, two 14-hole
Hohner diatonics--either 365's or Steve Baker Specials, and two unidentified
chrome 16-hole chromatics, possibly Herings.  He played only one song on the
chrom, but it was a jaw-dropper.  He used the 14-holers at least 5-6 times,
and could really make 'em smoke.  The rest of the tunes he used 3-4 of the
Marine Bands.

As far as his mic grip goes, it was a pretty standard compression-cupped
bullet grip, holding the harp and mic in his left hand and cupping with the
right.  Tone?  Must we talk tone?  He had tone dripping out his very pores.
Early in the show during a lengthy solo, Rick began to have obvious trouble
with his mic cord.  The cable was separating from the 1/4" plug.  He
finished the solo holding the cord together with his right hand and cupping
the harp and mic with his left.  Still had tone to the bone cupping with one
hand!   We talked about it during the intermission and he grinned, pleased
that I noticed.  I don't think anyone else did because his one-hand cupped
tone, while diminished to the trained ear compared to his two-hand cup, was
still quite good.  He did one song playing acoustically, and I was very
happy he did.  I was interested in his unusual acoustic grip.  He held the
harp in his right hand--actually in the crook of his right index finger, low
holes to the left.  His hands didn't look that big, but he was able to hold
the harp in the crook of his index finger of his right alone--something I
cannot do.  Anyway, he used his left hand to create the other half of the
cup, to very good effect of course.  During this solo he played wah-wah
notes that sounded like someone talking, and got the crowd worked up into a
call-response sequence that everyone loved.  Then after a dozen or so
call-responses, he suddenly played a really complex series of wah-wah notes
that left the audience with their jaws dropped.  He waved them off and
chuckled and had the house following suit.  Great performer and front man,
Rick Estrin.  Great singer and songwriter, too.  Really makes me feel left
out in the cold seeing someone that talented.  Humph!  No, really it was a
pleasure to behold.

What can you say about Charlie Baty?  I read a review in which his playing
as described as that of Eric Clapton and Buddy Guy combined.  I don't now
about that, but I'll admit witnessing virtuosity of that order leaves me
pretty much without adequate adjectives to describe his playing.  Lightning
quick, able to switch into any style of playing with equal ease and
expertise, Charlie Baty has given me an eye-popping show each time I have
seen him.  Thing is, like many great groups, the Nightcat's recordings, as
good as they are, are simply an inadequate means to convey the musical
breadth and depth and excitement of their live performances.  Just to give
you an idea, Rick let the rest of the band have the stage at the beginning
and end of each set.  During these times, Charlie and the drummer and bass
player really lit the afterburners.  Each of these guys is a stellar
musician in their own right; literally some of the best I've seen at each
instrument.  And they get into that special kind of synergism when they play
together.  Anyway, during one of these three-man configurations, Charlie
rips into a medley of surfer guitar tunes you would not believe!  The crowd
went nuts, and I was right there with 'em.  Not the sort of thing you'd
expect from a California Jump blues band.  Or is it?  With Little Charlie
And The Nightcats, you can expect anything and everything, especially a
great show.  Catch 'em whenever you can.

One thing really irked me, though.  :)  None of 'em ever even worked up a
sweat!  A mile high and they were cool as cucumbers.  Estrin blew his brains
out and still had wind to spare and nary a bead of sweat was to be seen.
And he did it in a suit and tie.  Maybe there ~are~ some health benefits to
touring as actively as they do.  I'd say it was the all the heavy breathing
Rick does, but the rest of the guys were dry as bones, too.  I know I
wasn't--I got all worked up boogie'n right along with 'em.

Michelle