1 	Skronky Tonk	5:05
2 	How High The Moon 	4:09
3 	Receita De Samba 	2:58
4 	Nuages 	5:27
5 	Pennies From Heaven 	6:30
6 	Gerontology	3:36
7 	Django 	5:50
8 	Swing To Bop 	4:15
9 	Broadway 	4:06
10 	Um A Zero 	2:37
11 	Cobalt Blues	4:04
12 	Misty 	6:30

Drums, Percussion – J. Hansen
Guitar, Producer – Little Charlie Baty
Organ, Bass – Lorenzo Farrell

The organist/guitarist combination was popularized by the legendary Jimmy Smith in 1957. Grant Green and Larry Young took it a step further in 1964, but Smith and Wes Montgomery on their 1966 "Dynamic Duo," album, arguably defined the format. Smith also catapulted the jazz organ trio into another dimension, and set the standard for that ensemble configuration; one of the most difficult, as it requires immense technical skills. Little Charlie and Organ Grinder Swing, is comprised of Little Charlie Baty on guitar, Lorenzo Farrell on Hammond organ, and drummer J. Hansen. Skronky Tonk, is a prodigious set of swing, blues, and gypsy jazz, performed in an genuine vintage organ trio setting.

Little Charlie Baty is best known as leader of The Nightcats, a solid blues band with an extended discography on Alligator records dating back to 1987. He recently recorded and toured with the Golden State Lone Star Blues Revue, to high acclaim. This organ trio venture is a lifelong personal ambition, which he finally realized. Farrell and Hansen are his former Nightcats bandmates, and so the personal and musical chemistry is present. What might appear as a radical departure for these three, upon further analysis, is just a deeper exploration to the core of American music.

The title track determines the direction of the record, and is an indicator that Baty and company have done their homework in the soul/jazz idiom. This is one of three originals, the swinging "Gerontology," and "Cobalt Blues," being the others. Some of the repertoire is composed of standards as "How High The Moon," "Pennies From Heaven," and "Misty," all given a gentle nudge into a jazzier atmosphere.

The jazz manouche of Django Reinhardt is evident on his "Nuages," and "Django," penned by John Lewis of Modern Jazz Quartet fame. Charlie Christian is credited as the first jazz guitarist, and his "Swing To Bop," is rejuvenated with ambitious vigor. The Brazilian tinge is covered on "Receita de Samba," and "Um a Zero," whereas "Broadway," drifts into the Caribbean; displaying versatility and ability to syncopate. They wrap it up with the Benny Goodman classic "Flyin' Home," a good natured jaunt into big band territory, reinvented within the organ trio format. Throughout the record, Baty as guitarist, and Farrell in his role of organist, do a magnificent job playing off of each other with disciplined anticipation. Keeping the arrangements lean, with no rushing or clutter, makes for ease of enjoyment.

Since these musicians are based out of California, Greaseland Studios in San Jose was chosen for recording the sessions; the sound being exemplary, as the clarity of the instruments shines through. Little Charlie elected to play this music as a matter of choice and taste; serving as an homage to those musicians who inspired and challenged his trajectory, his bandmates rising to the occasion. The organ trio is a tough turf to travel, and these guys do it in style. ---James Nadal, allaboutjazz.com

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01. Never Trust A Woman (5:08)
02. New Old Lady (3:48)
03. When Your Woman Is Gone (5:50)
04. You Got Your Hooks In Me (3:11)
05. Big and Fat (4:13)
06. You Don't Love Me That Way (3:20)
07. Walkin' In the Shadow Of the Blues (5:42)
08. Got It Good (3:20)
09. Dirty Dealin' Mama (4:24)
10. Percolatin' (4:19)
11. I Don't Drink Much (4:47)
12. Murmur Low (3:16)
13. You Got To Rock (4:22)

Rick Estrin (vocals, guitar, harmonica); 
Charlie Baty (guitar); 
Jimmy Pugh (piano, organ); 
Ronnie James Weber (bass);
June Core (drums, maracas, percussion).

Little Charlie & the Nightcats' seventh album for Alligator found the group at the top of its game, sharp songwriting combining with the expert playing of a group that has spent years on the road honing its craft. Rick Estrin's sleazy used-car-salesman-as-blues-singer persona comes shining through on his originals "Never Trust a Woman," "New Old Lady," and "Big and Fat," while Charlie Baty's guitar mastery is brought to the fore on the dazzling instrumental "Percolatin'." The title track is a great minor-key slow late-night piece, full of atmosphere and sporting great chromatic harp work from Estrin and a jazzy break from Baty. Down-home award-winner goes to the only cover on board, Arthur "Big Boy" Spires' "Murmur Low," which also features Estrin in the rare role of second guitarist. As always, the rhythm section of Ronnie James Weber on bass and June Core on drums provides swinging support throughout, and the addition on certain tracks of Jimmy Pugh on piano and organ is most welcome. The result is another solid album of modern-day blues served up by one of the genre's best working bands. ---Cub Koda, allmusic.com

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1. Keep Your Big Mouth Shut
2. Handle With Care
3. So Good
4. Got to Have a Job
5. Circling the Drain
6. Don't Cha Do Nothin'
7. Cool Johnny Twist
8. Tag (You're It)
9. Quittin' Time
10. Deep Pockets
11. Wall to Wall
12. Sugar Daddy Sweet
13. Slap Happy

Little Charlie & The Nightcats:
Rick Estrin - vocals, harp
J. Hansen - vocals, drums,percussion)
Little Charlie Baty - guitar
Lorenzo Farrell – bass

This is Little Charlie & the Nightcats' tenth album (counting a live one and a best-of) for Alligator Records, and it delivers nothing new or innovative, which is hardly surprising, since the group, particularly when harmonica man Rick Estrin is singing, has always essentially been a caricature in the first place, and caricatures, almost by definition, don't grow or change. The problem on Nine Lives isn't the playing, since guitarist Charlie Baty, Estrin on harmonica, and yet a new rhythm section of J. Hansen on drums and Lorenzo Farrell on bass are all solid, road-tested professionals, capable of delivering blisteringly heavy instrumentals like the one that closes this album ("Slap Happy" is easily the best track here). The problem is a general lack of fresh vision. Song after song features the same protagonist, a hard-working, hard-drinking simple man who has trouble with women, spends (or loses) all of his money, and seems generally amazed at it all. Ten albums of this same guy staring down the same old state of affairs means songs like this album's "Circling the Drain" simply don't resonate anymore, maybe because this guy's life has been circling the drain for some 20 years now. Everything here sounds fine, but it simply doesn't ignite a spark, and since the blues format is so familiar, without a spark it quickly goes flat. And that's the problem here, and no matter how well the band plays, Little Charlie & the Nightcats seem stuck in a deepening, unintentional, and almost comedic blues ennui. Time to put out the box set and move on to new territory. ---Steve Leggett, allmusic.com

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