"I hope the blues affects people similarly to the way it affects me - I hope it provides some relief from their day to day struggles, and fosters a sense of community - I hope it helps people see that we’re all in this together."

Rick Estrin: A Genius Blues Nightcat

Rick Estrin was born in San Francisco, California in 1949, and grew up fiercely independent. As a 10-year-old boy, he made his way to the tough Market Street area and befriended many of the neighborhood characters. When he was 12, his older sister gave him a copy of Ray Charles’ The Genius Sings The Blues, and he became infatuated with the music. Albums from Jimmy Reed, Champion Jack Dupree, Mose Allison, Nina Simone and others soon followed. By the time he was a teenager, Estrin had immersed himself in 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. He first jammed with blues master Lowell Fulson and immediately was hired to open five shows for R&B giant Z.Z. Hill. He worked five nights a week for almost a year with guitar legend Travis Phillips in a band fronted by famed pimp/bluesman Fillmore Slim (who was the centerpiece of the acclaimed Hughes Brothers documentary American Pimp). Slim introduced Estrin to singer Rodger Collins, the man who would become Rick’s first real musical mentor. Collins schooled Rick on the finer points of songwriting and show business.                                                     (Rick Estrin / Photo by Rachel Kumar)

At 19, Estrin relocated to Chicago and worked with some of the city’s best bluesmen. He met and jammed with the legendary Muddy Waters, who told Rick, “You outta sight, boy! You got that sound! You play like a man!” Muddy wanted Estrin to go on the road with him, but Estrin missed Muddy’s phone call and it never happened. Estrin eventually moved back to the Bay Area, met guitarist Charlie Baty and formed Little Charlie & The Nightcats. With Charlie’s retirement from touring in 2008, Rick brought in guitar virtuoso Kid Andersen and formed Rick Estrin & The Nightcats. Estrin cites Sonny Boy Williamson II, Percy Mayfield and Detroit bluesman Baby Boy Warren as his major songwriting influences. 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 innovative songs. And his sly and soulful vocals are the perfect vehicle for driving those songs home.

Interview by Michael Limnios       Archive: Rick Estrin, 2012 Interview @ blues.gr

Special Thanks: Rick Estrin & Marc Lipkin (Alligator Records)

How has the Blues music influenced your views of the world and the journeys you’ve taken?

The blues has given my life meaning, and enabled me to make my way through this life, so it naturally has influenced my view of the world and my thoughts on life in general.

Through playing the blues all over the world, and observing people and writing songs, I’ve learned that people are far more similar to each other than they are different. Regardless of looks, culture, language, or economic circumstances, all people share the same needs, desires and emotions.

Why do you think that Rick Estrin & The Nightcats continues to generate such a devoted following?

The band personnel has remained relatively stable, so in that respect we’re a proven commodity, but on the other hand, we’re also constantly evolving and growing musically. We keep generating fresh material and performing it with genuine passion and enthusiasm. Plus, we’re actually good friends. We love playing together and I believe the audience senses that. And in performance, we always give 100%.

"I’ve also learned the true dynamic of an artist’s relationship with the audience - I’ve learned that the audience doesn’t need any particular artist - They may need something to provide respite from their everyday struggles, but it doesn’t have to be the Nightcats. I try to always remember that fact and appreciate what a blessing it is to be able to make a living by bringing our music to the people." (Award-winning San Francisco Bay-area blues band, Rick Estrin & The Nightcats / Photo by Rachel Kumar)

What do you miss most nowadays from the blues of past? What are your hopes and fears for the future of?

I miss the people who are dead and gone. I’m lucky enough to have personally known and played with some of the legends and creators of this music. I was a little discouraged for awhile about the direction the music seemed to be going, but more recently, there’ve been some young, really talented artists coming up, who are really embracing the tradition, and doing their own thing with it.

What has been the hardest obstacle for you to overcome as a person and as artist and has this helped you become a better blues musician?

When I was younger, I was personally, internally more troubled - I was at odds with myself. Playing the blues, and the discipline required to grow as a musician and as an artist, has over time. led me to a place of acceptance and appreciation for the life I’ve been given.

What is the impact of Blues on the socio-cultural implications? How do you want the music to affect people?

I hope the blues affects people similarly to the way it affects me - I hope it provides some relief from their day to day struggles, and fosters a sense of community - I hope it helps people see that we’re all in this together.

Why do you think that Alligator Records continues to generate such a devoted following?

Alligator Records is an institution. It’s been a constant champion for quality blues, both modern and traditional, for over 52 years - No other label has come anywhere close to that degree and level of commitment and professionalism.

People who love blues, trust the label because of it’s long track record of being number one in the field, recording the best blues artists of our time as well as introducing people to the most exciting up and coming artists.

"The blues has given my life meaning, and enabled me to make my way through this life, so it naturally has influenced my view of the world and my thoughts on life in general. Through playing the blues all over the world, and observing people and writing songs, I’ve learned that people are far more similar to each other than they are different. Regardless of looks, culture, language, or economic circumstances, all people share the same needs, desires and emotions." (Rick Estrin, France 2022 / Photo by Serge Orlik)

What are some of the most important lessons you have learned from your experience in the music paths?

I think I’ve learned that change is inevitable and constant. I’ve learned to “roll with the punches”. I’ve also learned the true dynamic of an artist’s relationship with the audience - I’ve learned that the audience doesn’t need any particular artist - They may need something to provide respite from their everyday struggles, but it doesn’t have to be the Nightcats. I try to always remember that fact and appreciate what a blessing it is to be able to make a living by bringing our music to the people.

Why was the Blues never a part of the pop/popular music? What's the balance in music between technique and soul?

The popularity of the blues has always gone up and down, but the blues never goes away completely. It’s never been as popular as mainstream music, but in the 1950s and early’60s, Jimmy Reed sold millions of records. People like BB King and Bobby Blue Bland were big sellers and always on the road. Little Walter had #1 records, and was a major R&B star for several years. For decades, in the 20th century there were always blues hits in the mix on R&B radio. In the 1980s, Z.Z. Hill had a huge hit with Down Home Blues that ushered in a sort of blues renaissance and brought attention to a modern blues, and Southern Soul tradition that continues today. Blues has also always influenced popular music.

Many rock bands like The Rolling Stones, Led Zeppelin, Tom Petty, and others proudly displayed their blues influences. In the mid ‘60s, BB King, Muddy Waters, Paul Butterfield, Charlie Musselwhite and other blues artists were popular attractions on the mostly white, hippie ballroom scene. In the ‘80s Robert Cray, Stevie Ray Vaughn and the Fabulous Thunderbirds all had hit records on pop radio. The blues never goes away entirely. Like the the late, great Otis Spann once sang, “The Blues Never Die”.

Regarding your question about the balance in music between technique and soul, that balance will always vary from person to person - For me, as a listener, soul is easily the more essential component.

Rick Estrin & The Nightcats - Home

"The blues never goes away entirely. " (Rick Estrin, Marquette Michigan 2019 / Photo by Karyn Johnson)