Little Charlie And The Nightcats Disturbing The Peace (1988){alcd 4761}

This 1988 outing is another seamless part of the thread that is this eclectic West Coast band, brimming with equal parts good humor and sensational playing. Charlie Baty tears into his guitar on the opener, "That's My Girl," and keeps the heat up throughout this set, turning in jazzy work on "My Money's Green," rockabilly licks galore on "She's Talking," and getting quite bluesy on the slow one, "V-8 Ford." Rick Estrin contributes explosive harp work on "Nervous," "I Ain't Lyin'," and "Don't Boss Me," plus vocals full of sly charm on every track along the line. If you like these guys, add this one to the shopping cart if you haven't already.

Sacramento-based blues, swing and jump masters Little Charlie & The Nightcats have much in common with their feline counterparts. They take great (musical) leaps and always land on their feet, they're constantly on the prowl (gigging all over the world), and, with all of the various styles of music they play, they seem to have many lives. Their new CD, NINE LIVES, is the ninth album of their remarkable career. As on their previous recordings, they combine unsurpassed musicianship and inventive lyrical vision with their deep understanding of blues and jazz traditions to produce music that is both technically brilliant and soulfully streetwise. "Endlessly impressive," raves the Associated Press. "Marvelously entertaining and brilliantly played," agrees the San Francisco Examiner.

This is the fifth compilation sampling the blues roster of Alligator Records as it existed in its earliest incarnation.
Koko Taylor, Elvin Bishop, William Clarke, Bob Margolin, Lonnie Brooks, Charlie Musselwhite and others.

Severn Records announces a September 18 release date for Too Far from the Bar, the new album from Sugar Ray and the Bluetones, featuring Little Charlie Baty. Produced by Duke Robillard, who also adds his tasty guitar licks to four tracks on the new disc, Too Far from the Bar was recorded at Severn Sound Studio in Annapolis, Maryland, and boasts a value-packed 15 tracks, including a number of original songs penned by the band’s members, showcasing their songwriting abilities as one of the group’s many strengths. The core band for the recording sessions was comprised of Sugar Ray Norcia - vocals and harmonica; Charlie Baty – guitar; Anthony Geraci – piano; Michael Mudcat Ward – acoustic bass; and Neil Gouvin – drums.

A direct descendant from the traveling bundled artist packages of the '60s right down to its retro "hatch show"-styled cover art, Tommy Castro and his band play host to a relatively diverse assortment of high-energy blues and soul acts. The concept originated on the yearly Legendary Rhythm & Blues Cruise where such musical collaborations are typical. Castro's concept was to take that concept on the road, resulting in this dozen-track live album cherrypicked from various tour stops. It's a rollicking, very plugged-in affair, perhaps not surprisingly geared toward some of Castro's current crop of Alligator labelmates such as Janiva Magness, guitarist Michael Burks, and ex-Little Charlie & the Nightcats frontman-gone-solo Rick Estrin…

The SOULFIRE LIVE! Blu-ray video edition will include Little Steven and the Disciples of Soul’s complete Cavern Club concert alongside video performances of each song on the 3CD set, exclusive interviews, and behind-the-scenes footage. In addition, the Blu-ray edition will feature a special documentary about the Cavern Club…

The first of at least four meetings on record between the great Brazilian-styled guitarists Laurindo Almeida and Charlie Byrd, this very logical matchup (in a quartet with bassist Bob Magnusson and percussionist Milt Holland) is quite succesful. The music is tightly arranged with very little improvisation but the beauty of the two guitarist's distinctive tones and the colorful melodies makes this a rewarding set. From "Carioca" and Jobim's "Stone Flower" to several Brazilian classical pieces and even "Don't Cry For Me Argentina," everything works.

The first of at least four meetings on record between the great Brazilian-styled guitarists Laurindo Almeida and Charlie Byrd, this very logical matchup (in a quartet with bassist Bob Magnusson and percussionist Milt Holland) is quite succesful. The music is tightly arranged with very little improvisation but the beauty of the two guitarist's distinctive tones and the colorful melodies makes this a rewarding set. From "Carioca" and Jobim's "Stone Flower" to several Brazilian classical pieces and even "Don't Cry For Me Argentina," everything works.