I just received the newest release, Spaghetti Juke Joint from Fabrizio Poggi & Chicken Mambo and it's a blast! Opening with Sonny Boy Williamson's Bye Bye Bird, Poggi on harp and lead vocals has the joint hopping already. Guitar riff master Enrico Polverari really drives the boogie and with reckless abandon... Boogie! Up next is Slim Harpo's King Bee with a New Orleans feel set up by the drum march styling of Gino Carravieri. Claudio Noseda lays down a really nice piano base and guitar slide king Sonny Landreth trades terrific riffs with Poggi. Excellent! Another boogie track, Little Milton's The Blues Is Alright is a special track being one of the best versions of this track that I have heard. Featuring the smooth guitar flair of Ronnie Earl, driving bass lines of Tino Cappelletti and strong back beat of Caravieri this track is cool! Original track, Devil At The Cross Road, has a real nice gait and stinging guitar riffs from Polverari. Excellent! On Junior Parker's Mystery Train, Noseda lays down some soft organ work and Poggi really lays on the harp. This is Chicago blues as it was when it was. Polverari shows he really knows how to grind the fretboard. Very cool! Tom Waits' Way Down In The Hole has a bit of a Latin feel and nice backing vocals. Poggi squeezes the harp with a seasoned hand, making it cry the blues. Again Polverari steps up and blows the doors open with his hot guitar riffs. Smooth. Sonny Boy's Checkin' Up On My Baby is a straight up 12 bar with a nice groove. Polverari takes full command with great blues riff prowess. Poggi lays back in the groove and rides the wave. Excellent! Blind Lemon Jefferson's One Kind Favor takes a Tex/Latin rhythm with strong blues overtones. Poggi handles vocals nicely and trades really slick riffs with Polverari making this one of the coolest tracks on the release. Bob Margolin feeds a hungry slide guitar on Mojo, a funky blues track backed by Noseda on organ. With excellent riffs from Margolin, Polverari and Poggi's classic harp styling, this track rocks! Even BB King's Rock Me Baby gets a taste of Latin. Noseda adds some New Orleans flavor with accordion and does a really nice job with a funky piano solo as well. Poggi and Polverari both take their turn on solo and never waste a note. Very nice! Nobody takes a very basic blues feel and builds it with rolling harp riffs from Poggi and additional lead vocals from Sara Cappelletti who really adds some spice. Polverari is hot on the frets with stinging lead guitar work and Tino C has the bass hopping. Another excellent track! I Want My Baby has strong New Orleans style rhythms reinforced by Stefano Spina on percussion and Claudio Bazzari on slide guitar. It needs to be pointed out that there is quite a bit of nice slide work on this release by a number of different players. Carravieri gets a chance to open up his drum kit for a tight solo... love it! Wrapping the release is Big Joe William's Baby Please Don't Go, in fairly traditional style but with back beat drumming by Carravieri. Poggi leads the way out on harp.
This is quite an excellent release and one that I highly recommend.
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”
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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
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
Showing posts with label Ronnie Earl. Show all posts
Showing posts with label Ronnie Earl. Show all posts
Wednesday, December 31, 2014
Tuesday, July 22, 2014
Playin' in the the Sand with Ronnie Earl & the Broadcasters
During
a recent sand sculpture competition on Revere Beach north of Boston, one
contestant tied together his love of Ronnie Earl and the Broadcasters with his
sand sculpture building skills. Check out this work by Prince Edward Island
artist Abe Waterman. Sure beats my work with a little bucket!
Labels:
Abe Waterman,
Boston,
Massachusetts,
Revere Beach,
Ronnie Earl
Wednesday, June 18, 2014
Ilana Katz Katz - I've Got Something To Tell You - New release review
I just received the newest release, I've Got Something To Tell You, from Ilana Katz Katz, and it's quite good. I'll preface this review with a note that this release is strongly bluegrass/ rural feel and has a unique open look at the blues. Opening with Marilyn's Blues Ronnie Earl and Katz trade riffs (guitar and violin) over a solid blues bass line by Jesse Williams. Very nice. On John Lee Hooker's She's Long She's Tall, a strong sense of Hooker and boogie underlies this updated version of a classic blues track. Katz is on lead vocal and violin and Earl provides percussive guitar rhythm. On traditional track Cruel Willie Blues, Katz really takes the lead on what I'd call a traditional fiddle tune, joined by Marylou Ferrante on guitar for a simple country instrumental. Robert Lockwood Jr.'s Take A Little Walk With Me features Diane Blue on lead vocal and she does a really sweet job. Ronnie Earl is back on lead guitar, this track falling square in his wheel house. Really nice. Another traditional tune, Old Medeira Waltz pairs Katz with Dotty Moore for a very sweet fiddle duet. Shove the Pig's Foot A Little Further In The Fire is a continuation of the duet but with a fun, country/Irish reel feel. If you like simple country /bluegrass style tunes, this is really well done. PB Cracker Blues again pairs Ronnie Earl with Katz on a 12 bar blues jam. Earl takes the lead and Katz stays with him on the melody but when it comes to the solo, Earl and Katz each step up their game and make strong statements. Conan's Farewell was written in memory of Katz's deceased cat. A playful tune with only fiddle and rhythm guitar by Ferrante it is relaxing and nicely articulated. Runnin' in Peace is written in response to the bombing at the Boston Marathon and the writers personal experience being there. This is my favorite track on the release with super deep roots guitar riffs from Earl and wailing vocals by Diane Blue. Excellent! Another traditional bluegrass track, Johnny Don't Get Drunk pairs Katz with Ferrante on banjo. This track is a lot of fun and well executed. Memphis Minnie's Ain't Nothin' In Ramblin'/Frisco Town finds Ferrante on vocal and guitar with Katz on fiddle. Delivered with a lot of feeling but maintaining the rural country feel these tracks stand out on their own. Wrapping the release with a traditional fiddle tune, Piney Ridge, Katz goes it alone showing pure mastery of country / bluegrass fiddling. This is a different kind of blues release but one that I find quite entertaining. Want something different with a country blues feel. This is it!
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”
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 9, 2014
Stony Plain artist: Ronnie Earl and the Broadcasters - Good News - New Release Review
I just received the newest release (June 17, 2014), Good News, from Ronnie Earl and it's really strong! Opening with I Met Her On That Train, an instrumental country finger pickin' infused track Earl is pushed down the track by relentless chugging by Lorne Entress on drums. Very Cool. Sam Cooke's Change Is Gonna Come featuring Diane Blue on lead vocal. I remember early in my music blog writing that I was questioned, then applauded for featuring this same track by Mr Mike Farris, one of today's absolutely top vocalists. The challenge was this being such a perfect track and how anyone else could actually do it justice (and he certainly does). Well, Blue really nails it and between her excellent phrasing and Earl's beautiful guitar work backed hardily by Entress, Dave Limina on keys and Jim Mouradian on bass, this track not only belongs, it stands up really well as not a cover but a hair raising excellent interpretation capable of carrying an entire release. Excellent! Time To Remember is a soothing jazzy blues instrumental with rich chord work, cool bass runs from Mouradian and a nice B3 interlude from Limina. Buddy Guy and Junior Wells' In The Wee Hours is up next, again featuring Blue on vocals. Such a sensuous tender blues guitar interlude isn't recorded very often. Earl is an absolutely excellent guitarist and has a brilliant sense of blues expression. Complimented on this track by Zach Zunis also on lead guitar, this band lays down some of most record worthy modern blues I have heard this year. Weighing in at over 10 short minutes, this track is over in moments. Title track Good News is a gospel revival type track spearheaded by Limina on B3. Celebrating 50 years since Sam Cooke's Ain't That Good News release, Entress plays march strong and Earl punches the track with quick bursts of biting guitar riffs. Debbie Blanchard and Earl write another beautiful melody for Six String Blessing, really reminding me melodically a lot of a Roy Buchanan composition. This is a really sweet track with lead vocals by Blue and generous soloing on B3 by Limina and spacious solos from Earl. Ronnie has a feel for blues delivery that I rarely see in his contemporaries. Rarely a grand stander, Earl just sits back and lets the blues roll from his fingers like rain from the sky... yes...again 9 minutes just floats by. Beautiful! Marje's Melody, another beautiful instrumental guitar ballad played with such feeling and patience. Earl continues to set new bars and defy expectations. I really don't know how he continues to bring forth such rare feeling. I am typically enriched to hear one track of this quality in a month. This release is packed! Blues For Henry has a bit more of a traditional blues sound but retains Earl's signature sound. Limina plays a very soulful solo on this track constantly urging Earl on to the next level. Earl busts it loose on this track reminiscent of Bloomfield breaking from a quiet blues moment to a super crescendo. The blues are deep here! This release is relentlessly great! Puddin' Pie gets a super loping swing groove going and Earl plays with the syncopation at his back making it an absolutely perfect foot stomper. Ilana Katz and Earl composed the final track, Runnin' In Peace, which has the flavor of John Lee Hooker. This is deep primitive (by design) blues with a simple beauty. Blue is highlighted on vocal on this track and along with a round bass lead from Mouradian and cool B3 work from Limina, Earl tears the floor up again with flame thrower like heat and accuracy making this a spectacular choice for the conclusion of one of the best releases of the year.... without a doubt.
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”
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”
Labels:
Good News,
Ronnie Earl,
Stony Plain Records
Monday, May 19, 2014
Western Maryland Blues Fest in Hagerstown, MD
|
Thursday, May 15, 2014
Ronnie Earl Hears Some "Good News" in Memphis at the Blues Music Awards; New CD for Stony Plain Records Set for Release on June 17
Ronnie Earl
Hears Some Good News in Memphis at the Blues Music Awards;
New CD for
Stony Plain Records Set for Release on June 17
EDMONTON, AB – Ronnie Earl, “The Stratocaster Master,” got
some great news in Memphis last week when he was named as Best Guitarist at the
35th annual Blues Music Awards, and then proceeded to put a prominent
exclamation point on that accolade with an absolutely mesmerizing live
performance that saw him joined by Kim Wilson, Bob Margolin and Dave Keller,
resulting in a standing ovation. Now, the multiple Blues Music Award-winner has
some more Good News to share with his legion of fans around the
world via the June 17 release by Stony Plain Records of his latest tour de force
CD.
On Good News, Ronnie Earl is joined once again
by The Broadcasters (Lorne Entress – drums, Dave Limina – keyboards and Jim
Mouradian – bass), his band of over 25 years, to create a mostly instrumental CD
of spellbinding intensity and deep soul that will add to his growing collection
of landmark albums. Produced by Earl and recorded at Wellspring Sound in Acton
Mass., Good News also includes special guest Diane Blue, whose
captivatingly soulful vocals add further power to several of the tracks, as well
as guitarists Nicholas Tabarias and Zach Zunis.
Good News is Earl’s eighth album for Stony
Plain Records, and it clearly demonstrates, once again, the deep respect and
knowledge he has for his peers and mentors. Along with a majority of original
songs, Ronnie salutes several of his influences with loving interpretations of
Sam Cooke’s “Change Is Gonna Come;” “Blues for Henry,” a tune co-written with
the legendary Hubert Sumlin; and the Junior Wells composition, “In the Wee
Hours.” The album’s closer, “Runnin’ in Peace,” features lyrics written by Ilana
Katz Katz, who was near the finish line of the Boston Marathon when the first
bomb exploded on April 15, 2013.
The new album’s title celebrates Sam
Cooke's album, Ain't That Good News, released 50 years ago
in 1964. After having been
arrested down South in 1963 he was inspired to write the song, “Change is Gonna
Come,” which he recorded in 1964. He later appeared on The Tonight Show days
before the Beatles were on The Ed Sullivan Show. Cooke was shot and killed at
the end of 1964, and the song “Change is Gonna Come,” became a rallying cry for
the civil rights movement.
Ronnie
Earl has been part of the music scene for many years. Deeply inspired by Muddy
Waters, T-Bone Walker and Otis Rush, he started playing guitar in the mid-1970s.
He formed his own band The Broadcasters in 1988. Along the way, he went on to
tour the world with The Allman Brothers Band, Santana, and playing festivals
with Ray Charles, B.B. King and Etta James.
“My greatest love in
music is the blues; this is my ‘mother music,’” he says. “And I dig deep — I
have no choice; playing, for me, is a very emotional experience. I put every
particle of my soul into it. I’m just trying to get into peoples’ souls and
reach their humanity.”
Ronnie Earl and The Broadcasters are
booked exclusively world-wide by Ted Kurland Associates (www.tedkurland.com). For more information, visit
www.ronnieearl.com and www.stonyplainrecords.com.
Labels:
Good News,
Ronnie Earl,
Stony Plain Records
Wednesday, April 3, 2013
Stony Plain Records artist: Ronnie Earl and the Broadcasters - Just For Today - New Release Review
I have just received the newest release, Just For Today, from Ronnie Earl and The Broadcasters and it is crazy great! (actual release date April 9, 2013). I have been a Ronnie Earl fan for a long time and I have to say this may be his all time greatest effort. This release was recorded live at three different venues, The Regent Theatre, The Natick Center for the Arts and the Narrows Center for the Arts, all in Massachusetts where Earl resides. Opening with The Big Train, Earl sets a solid swing tempo and plays soulful guitar riffs showing why he is so highly regarded in the industry. Dave Limina plays a cool organ interlude on this track as well rounding out a great instrumental tune. Next up is Blues For Celie, a slow deep blues track and Earl digs deep inside bringing out outrageous feeling and fretboard dexterity. This song plays it low key right up until late in the game when Earl opens the barn door and just literally blows you off of your seat with intense ripping steam! Clocking in at over 9 minutes, Earl leaves you wanting more... and there's more to come! The melody of Miracle has the beautiful character of a Santana composition but not played Latin style or with any of Santana riffs. This is another absolutely terrific cut and Earl keeps you glues to your seat. Heart of Glass is another deep blues number and Earl continues to find fresh avenues to express himself. You would think that after 4 tracks without a spoken word a guy could run out of riffs. Think again. Earl plays beautiful arpeggiated chords and the band (Limina, Lorne Entress on drums and Jim Mouradian on bass) set a very clean table for Earl to show his extravagant wares. On Rush Hour, a 12 bar blues along the lines of Green Onions or Help Me, Limina paves the way for Earl who literally steps up and plays Texas style like he invented it! If you think that this release can't be this good...think about this... I can't even think of words to describe how good this is! On Vernice's Boogie, Limina takes the lead laying down a solid piano boogie. Yes, this is great too ... a real foot stomper! Earl steps up about midway through and turns this into Earl's Boogie. Smokin! Blues For Hubert Sumlin is another great deep blues track. One of the secrets of making a great deep blues track is to set a great groove and then just lay back and let it happen. The band does set great groundwork and Earl just eats this track up like a starving man. A little variation from what has come so far is John Coltrane's Equinox. Set with a light Latin rhythm, Earl plays a tight jazzy interpretation of this classic song. Limina steps up with some great organ work as well balancing the overall sound. Next up is Ain't Nobody's Business, opening with some great acoustic piano work in a jazz/gospel/blues sound. Very very nice. Earl takes the melody on guitar and with Limina on organ. Using his guitar as a vocal instrument, Earl plays some of the most soulful lines on record so far this year. This track, also clocking in over 9 minutes keeps you silent and in awe. By now you're saying, this can't be this good... oh yeah... it is! Crankin' up Robert Nighthawk Stomp, the band is back in swing mode and Earl and Limina trade riffs. Earl isn't holding back on this track and drives it home. You want a toe tapper...this is it! On Jukein', a great paced loping blues track, Earl sets the pace and then Limina takes his turn again on keys. Taking it down one more time Earl teams up with Diane Blue for the only vocal and absolutely terrific version of I'd Rather Go Blind. Blue knocks it out of the park on this track complimenting perfectly the band on this set of tracks. Last up is Pastorale, a very subtle melodic exploration of the guitar. This is a beautifully melodic and dynamic instrumental.
Earl is absolutely on fire in this set and if you love guitar and you love blues... this is a must have. This may be the best release I've heard in a long time.
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”
Earl is absolutely on fire in this set and if you love guitar and you love blues... this is a must have. This may be the best release I've heard in a long time.
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”
Labels:
New York,
Ronnie Earl,
Stony Plain Records
Stony Plain Records artist: Ronnie Earl and the Broadcasters - Just For Today - New Release Review
I have just received the newest release, Just For Today, from Ronnie Earl and The Broadcasters and it is crazy great! (actual release date April 9, 2013). I have been a Ronnie Earl fan for a long time and I have to say this may be his all time greatest effort. This release was recorded live at three different venues, The Regent Theatre, The Natick Center for the Arts and the Narrows Center for the Arts, all in Massachusetts where Earl resides. Opening with The Big Train, Earl sets a solid swing tempo and plays soulful guitar riffs showing why he is so highly regarded in the industry. Dave Limina plays a cool organ interlude on this track as well rounding out a great instrumental tune. Next up is Blues For Celie, a slow deep blues track and Earl digs deep inside bringing out outrageous feeling and fretboard dexterity. This song plays it low key right up until late in the game when Earl opens the barn door and just literally blows you off of your seat with intense ripping steam! Clocking in at over 9 minutes, Earl leaves you wanting more... and there's more to come! The melody of Miracle has the beautiful character of a Santana composition but not played Latin style or with any of Santana riffs. This is another absolutely terrific cut and Earl keeps you glues to your seat. Heart of Glass is another deep blues number and Earl continues to find fresh avenues to express himself. You would think that after 4 tracks without a spoken word a guy could run out of riffs. Think again. Earl plays beautiful arpeggiated chords and the band (Limina, Lorne Entress on drums and Jim Mouradian on bass) set a very clean table for Earl to show his extravagant wares. On Rush Hour, a 12 bar blues along the lines of Green Onions or Help Me, Limina paves the way for Earl who literally steps up and plays Texas style like he invented it! If you think that this release can't be this good...think about this... I can't even think of words to describe how good this is! On Vernice's Boogie, Limina takes the lead laying down a solid piano boogie. Yes, this is great too ... a real foot stomper! Earl steps up about midway through and turns this into Earl's Boogie. Smokin! Blues For Hubert Sumlin is another great deep blues track. One of the secrets of making a great deep blues track is to set a great groove and then just lay back and let it happen. The band does set great groundwork and Earl just eats this track up like a starving man. A little variation from what has come so far is John Coltrane's Equinox. Set with a light Latin rhythm, Earl plays a tight jazzy interpretation of this classic song. Limina steps up with some great organ work as well balancing the overall sound. Next up is Ain't Nobody's Business, opening with some great acoustic piano work in a jazz/gospel/blues sound. Very very nice. Earl takes the melody on guitar and with Limina on organ. Using his guitar as a vocal instrument, Earl plays some of the most soulful lines on record so far this year. This track, also clocking in over 9 minutes keeps you silent and in awe. By now you're saying, this can't be this good... oh yeah... it is! Crankin' up Robert Nighthawk Stomp, the band is back in swing mode and Earl and Limina trade riffs. Earl isn't holding back on this track and drives it home. You want a toe tapper...this is it! On Jukein', a great paced loping blues track, Earl sets the pace and then Limina takes his turn again on keys. Taking it down one more time Earl teams up with Diane Blue for the only vocal and absolutely terrific version of I'd Rather Go Blind. Blue knocks it out of the park on this track complimenting perfectly the band on this set of tracks. Last up is Pastorale, a very subtle melodic exploration of the guitar. This is a beautifully melodic and dynamic instrumental.
Earl is absolutely on fire in this set and if you love guitar and you love blues... this is a must have. This may be the best release I've heard in a long time.
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”
Earl is absolutely on fire in this set and if you love guitar and you love blues... this is a must have. This may be the best release I've heard in a long time.
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”
Labels:
New York,
Ronnie Earl,
Stony Plain Records
Sunday, March 10, 2013
Rush Hour - RONNIE EARL

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 favorite band!
Labels:
New York,
Ronnie Earl
Friday, January 25, 2013
Ronnie Earl & the Broadcasters Are Live on New CD, "Just for Today," Coming April 9 on Stony Plain Records
Ronnie Earl & the Broadcasters Are Live on
New CD, Just for Today, Coming April 9
From Stony Plain Records
EDMONTON, AB – Stony Plain records announces an April 9 release date for Just for Today,
the new CD from legendary guitarist Ronnie Earl & the Broadcasters,
recorded live at The Regent Theatre, The Natick Center for the Arts and
The Narrows Center for the Arts, venues all located in his home state
of Massachusetts. Acknowledged as one of the best guitarists on the
planet, Ronnie Earl celebrates the 25th year of the band with
long-time Broadcasters’ members Lorne Entress – drums, Dave Limina –
piano and Hammond B3 and Jim Mouradian – bass. Singer Diane Blue is a
special guest vocalist, and Nicholas Tabarias joins in on guitar for two
songs.
On Just for Today,
listeners get an up-close, front-row seat into what has made Ronnie
Earl one of the most intense and passionate guitarists of his
generation, as he squeezes every ounce of his soul into each string
bend, guitar phrase and note throughout the mostly-instrumental 13 songs
contained on the new CD. As always, Ronnie pays tribute to many of his
mentors and influences such as Otis Rush (“Rush Hour”), Hubert Sumlin
(“Blues for Hubert Sumlin”) and Robert Nighthawk (“Robert Nighthawk
Stomp”). Sprinkled in among the many original songs is a unique cover of
John Coltrane’s “Equinox,” as well as signature takes on the
aforementioned “Ain’t Nobody’s Business” and “I’d Rather Go Blind,”
(which also features Diane Blue on vocals). Guitarist Nicholas Tabarias
guests on “Rush Hour,” as well as the band original, “Jukein’.”
Just for Today is Ronnie Earl’s seventh album for Stony Plain and follows his acclaimed 2010 release, Spread the Love,
which drew universal praise for its power, soulfulness and
spirituality, traits which have become the hallmarks of all his
recordings.
“… an album of rare joy and soul from a master who has reached another pinnacle in his playing,” wrote Steve Morse of The Boston Globe. “With
the Broadcasters, Ronnie’s latest release shows him to be one of the
most soulful blues/soul/jazz guitarists working today,”
said j. Poet in his San Francisco Examiner review.
“The pacing, segues and production are masterfully done, and the
unbridled passion in his playing creates a joyous, uplifting vibe,”
added Jeff Johnson in the Chicago Sun-Times.
Born
in Queens, New York, in 1953, Ronnie Earl’s journey to become one of
the top guitar players in the world began quite late, since he didn’t
pick up his first guitar until age 20. Inspired by Muddy Waters, T-Bone
Walker, B.B. King, Freddie King, Otis Rush, Big Walter Horton and The
Fabulous Thunderbirds, Ronnie quickly developed his six-string skills,
playing with an intensity that continues to this day. He has played with
such greats as Carlos Santana, Eric Clapton, Earl King, Stevie Ray
Vaughan, and The Allman Brothers as well as several of the musicians
that inspired him early on.
From
1979 to 1988, Earl played with a number of groups before forming his
own band, The Broadcasters, named after the first Fender Telecaster
guitar called the Broadcaster. The current Broadcasters line-up have
played together for over 13 years and continue to tour, playing their
inspired sounds for grateful audiences everywhere, spreading Ronnie’s
gospel of love and healing through music.
As Ronnie Earl says in the liner notes for Just for Today, “Always carry hope and an open heart in your life. Don’t quit before the miracle happens.”
Ronnie Earl & the Broadcasters are booked by Ted Kurland Associates (matt@tedkurland.com). For more information, visit www.ronniearl.com.
Publicity (United States):
Mark Pucci, Mark Pucci Media
(770) 804-9555 / mpmedia@bellsouth.net
Publicity (Canada):
Richard Flohil, Richard Flohil & Associates
(416) 351-1323 / rflohil@sympatico.ca
Record Company:
Stony Plain, Box 861, Edmonton, Alberta T5J 2L8
(780) 468-6423 / info@stonyplainrecords.com
Website: www.stonyplainrecords.com
Labels:
Ronnie Earl,
Stony Plain Records
Tuesday, January 15, 2013
Long Gone Records artist: Cathy Ponton King - The Crux - New Release Review
I just received the new release, The Crux, by Cathy Ponton King. King has assembled a who's who of contemporary blues artists including Jimmy Thackery, Ronnie Earl, Butch Warren and Ron Holloway. The release features 10 new blues ballads covering the spectrum from the zydeco influenced I Want You To Be Happy to the jazz infused Little House In The Country. Opening with Sugarface, a horn filled track with cool guitar riffs from Thackery and nice key work from Bill Starks King sets the groundwork for the release. I'm Just A Woman has a bit of country blended into the blues again featuring Thackery on guitars. The riffs on this track are right out of Thackery's bag of country tricks. Cerulean Blues is a pure ballad featuring the beautiful guitar phrasing of Ronnie Earl. Blues Companion, again featuring Earl, is a standard 12 bar blues track. Tattoo On My Heart, a country folk style ballad, features some really nice acoustic guitar work from Jason Byrd. Holloway has a nice sax run on this track as well. Sweet Change To My Heart really has some exceptional guitar riffs by Earl. This is my favorite track on the release. With it's Bossa Nova beat, Little House In The Country touches on the light jazz fare and could easily make airplay. Earl and Starks each play some really sweet riffs on this track making it quite memorable. Bridges That You Burned has some really nice guitar work by Dave Hovey and Mike Lessin. Finishing up with funky track, I'm Suffering, CPK leads the band through another jazzy track featuring Thackery on guitar. Other musicians on the release include Chris Battistone on trumpet, John Jensen on trombone, Bruce Swaim on sax, Antoine Sanfuentes on drums, Jim Roberson on bass, John Priviti on bass, Tom Corradino on accordian, Butch Warren on Bass and Jeff King on Vocals. This is a smooth blues/jazz CD for a mainstream listener.
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”
Sunday, September 9, 2012
That Ain't It / Down Yonder - Walter Horton with Ronnie Earl

Walter Horton, better known as Big Walter Horton or Walter "Shakey" Horton, (April 6, 1917 – December 8, 1981) was an American blues harmonica player. A quiet, unassuming and essentially shy man, Horton is remembered as one of the premier harmonica players in the history of blues. Willie Dixon once called Horton "the best harmonica player I ever heard.
Born Walter Horton in Horn Lake, Mississippi, he was playing a harmonica by the time he was five years old. In his early teens, he lived in Memphis, Tennessee and claimed that his earliest recordings were done there in the late 1920s with the Memphis Jug Band, although there is no documentation of it, and some blues researchers have stated that this story was most likely fabricated by Horton. (He also claimed to have taught some harmonica to Little Walter and the original Sonny Boy Williamson, although these claims are unsubstantiated, and in the case of the older Williamson, somewhat suspect).
As with many of his peers, he spent much of his career existing on a meager income and living with constant discrimination in a segregated United States of America. In the 1930s he played with various blues performers across the Mississippi delta region. It is generally accepted that his first recordings were made in Memphis backing guitarist Little Buddy Doyle on Doyle's recordings for the Okeh and Vocalion labels in 1939. These recordings were in the acoustic duo format popularized by Sleepy John Estes with his harmonicist Hammie Nixon, among others. On these recordings, Horton's style is not yet fully realized, but there are clear hints of what is to come. He eventually stopped playing the harp for a living due to poor health, and worked mainly outside of the music industry in the 1940s. By the early 1950s, he was playing music again, and was among the first to record for Sam Phillips at Sun Records in Memphis, who would later record Elvis Presley, Carl Perkins, and Johnny Cash. The early Big Walter recordings from Sun include performances from a young Phineas Newborn, Jr. on piano, who later gained fame as a jazz pianist. His instrumental track recorded around this time, "Easy", was based on Ivory Joe Hunter's "I Almost Lost My Mind".
During the early 1950s he first appeared on the Chicago blues scene, where he frequently played with fellow Memphis and Delta musicians who had also moved north, including guitarists Eddie Taylor and Johnny Shines. When Junior Wells left the Muddy Waters band at the end of 1952, Horton replaced him for long enough to play on one session with Waters in January 1953. Horton's style had by then fully matured, and he was playing in the heavily amplified style that became one of the trademarks of the Chicago blues sound. He also made great use of techniques such as tongue-blocking. He made an outstanding single as a leader for States in 1954. Horton's solo on Jimmy Rogers' 1956 Chess recording "Walking By Myself" is considered by many to be one of the high points of his career, and of Chicago Blues of the 1950s.
Also known as "Mumbles", and "Shakey" because of his head motion while playing the harmonica, Horton was active on the Chicago blues scene during the 1960s as blues music gained popularity with white audiences. From the early 1960s onward, he recorded and appeared frequently as a sideman with Eddie Taylor, Johnny Shines, Johnny Young, Sunnyland Slim, Willie Dixon and many others. He toured extensively, usually as a backing musician, and in the 1970s he performed at blues and folk music festivals in the U.S. and Europe, frequently with Willie Dixon's Chicago Blues All-Stars. He has also appeared as a guest on recordings by blues and rock stars such as Fleetwood Mac and Johnny Winter.
In October 1968, while touring the United Kingdom, he recorded the album Southern Comfort with the former Savoy Brown and future Mighty Baby guitarist Martin Stone. In the late 1970s he toured the U.S. with Homesick James Williamson, Guido Sinclair, Eddie Taylor, Richard Molina, Bradley Pierce Smith and Paul Nebenzahl, and appeared on National Public Radio broadcasts. Two of the best compilation albums of his own work are Mouth-Harp Maestro and Fine Cuts. Also notable is the Big Walter Horton and Carey Bell album, released by Alligator Records in 1972.
He became a mainstay on the festival circuit, and often played at the open-air market on Chicago's Maxwell Street. In 1977, he joined Johnny Winter and Muddy Waters on Winter's album I'm Ready, and during the same period recorded some material for Blind Pig Records. Horton appeared in the Maxwell Street scene in the 1980 film The Blues Brothers, accompanying John Lee Hooker. His final recordings were made in 1980.
Horton died from heart failure in Chicago in 1981 at the age of 64, and was buried in Restvale Cemetery in Alsip, Illinois.
He was posthumously inducted into the Blues Hall of Fame in 1982
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Friday, June 8, 2012
Spider in My Web - Ronnie Earl with Diane Blue, Seth Holzman, and Gil Correia

Boston's DIANE BLUE has the “whole package” – she is a strong vocalist, skillful harmonica player and a crowd pleasing entertainer. Voted Outstanding Female Singer in The Blues Audience 2011 Readers’ Poll, Ms. Blue is a soulful and sassy performer with a strong, confident attack and energetic delivery, serving up her own spin on soul, blues and R&B.
Ms. Blue won the 2010 Massachusetts Blues Challenge, earning the honor of competing at the 2011 International Blues Challenge in Memphis, Tennessee. She was nominated for "Best Female Singer" in the 2010 Blues Audience Readers Poll, "Best Blues/R&B Act" and "Best Female Vocalist in 2007 by the Providence Phoenix and also nominated "Best Local Blues Act" by Motif Magazine in 2007.
Ms. Diane Blue has played harmonica and/or sung with guitarist extraordinaire, Ronnie Earl, as well as international performers Luther Guitar Jr. Johnson (former sideman for Muddy Waters), Big Jack Johnson (of Clarksdale, Mississippi) and Irma Thomas (the Soul Queen of New Orleans). Juke joint legend Big Jack Johnson dubbed Ms. Blue “A Monster” on the harp after she performed as his guest star at Red's Lounge in Clarksdale, Mississippi.
Ms. Blue continues to tour internationally as well as performing in the USA.
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Massachusetts,
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Seth Holzman
Saturday, March 10, 2012
Instrumental - RONNIE EARL The Broadcasters

Ronnie Earl (born Ronald Horvath, March 10, 1953, Queens, New York, United States) is an American blues guitarist and music instructor.
In 1988 Earl formed his own band that he called The Broadcasters, named after the first Fender guitar which originally had been labeled The Broadcaster and was distributed in 1950. The first group of Broadcasters included Darrell Nulisch (vocalist), Jerry Portnoy (harmonica), Steve Gomes (bass), and Per Hanson (drums). In 1988 they released their first album, Soul Searchin, followed by Peace of Mind in 1990. Their album Language of the Soul was released in 1994. The lineup for the Broadcasters for that album was Bruce Katz (keyboards), Per Hanson (drums) and "Rocket" Rod Carey (bass). The next album The Colour of Love, featured Marc Quinones (percusion) and Gregg Allman (keyboards). The association lead to Ronnie Earl and the Broadcasters opening for the Allman Brothers Band at Great Woods, and Warren Haynes (guitar for the Allman Brothers Band) sitting in with Ronnie Earl and the Broadcasters at Johnnie D's in Somerville. Later Katz joining the Gregg Allman Band.
In 2000, Earl was diagnosed with several medical ailments, and scaled back his touring, as well as re-evaluating his career plans. The current group of Broadcasters, Jimmy Mouradian (bass), Dave Limina (organ), and Lorne Entress (drums), began playing together prior to the 2003 release of I Feel Like Going On and, in 2009, released Living in the Light, their fifth release from Stony Plain Records. In 2008, Ronnie Earl and the Broadcasters celebrated twenty years as a band, and by August, 2010, Ronnie Earl and the Broadcasters released Spread the Love.
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Sunday, June 12, 2011
Blues For the West Side - Ronnie Earl & the Broadcasters
Ronnie Earl (born Ronald Horvath, March 10, 1953, Queens, New York, is an American blues guitarist and music instructor.
Earl collected blues, jazz, rock and soul records while growing up. He studied American History at C.W. Post College on Long Island for a year and a half, then moved to Boston to pursue a Bachelor's Degree in Special Education and Education at Boston University where he would graduate in 1975. He spent a short time teaching handicapped children. It was during his college years that he attended a Muddy Waters concert at the Jazz Workshop in Boston. After seeing Waters perform in a close setting, Earl took a serious interest in the guitar, which he had first picked up in 1973. His first job was as a rhythm guitarist at The Speakeasy, a blues club in Cambridge, MA. In addition to playing in the Boston blues scene, Earl traveled twice by Greyhound Bus to Chicago, where he was introduced to the Chicago blues scene by Koko Taylor. Later he would travel down South to New Orleans and Austin Texas, where he would spend time with Kim Wilson, Jimmy Vaughan and The Fabulous Thunderbirds. In 1979 he joined The Roomful of Blues as lead guitarist for the band. It was also around this time that he adopted the last name of "Earl". As he put it, "Muddy Waters would invite me onstage, but he could never say my last name. So because I liked Earl Hooker, I took the last name of "Earl".[citation needed]
During his eight year tenure with The Roomful of Blues, Earl continued to refine his own style and the result was a jazzy, soulful blues style, as well as his slow burn style which fans found both mesmerizing and exhilarating. He began performing solo in 1986, in addition to playing with Roomful of Blues, and he released his first solo album on the Black Top Records label with a quartet that focused on blues instrumentals. After leaving Roomful of Blues, he began collaborations with contemporaries Ron Levy and Jerry Portnoy, Earl King, Jimmy Rogers, and Jimmy Witherspoon. It was also around this time that Earl got treatment for a substance addiction problem.
In 1988 Earl formed his own band that he called The Broadcasters, named after the first Fender guitar which originally had been labeled The Broadcaster and was distributed in 1950. The first group of Broadcasters included Darrell Nulisch (vocalist), Jerry Portnoy (harmonica), Steve Gomes (bass), and Per Hanson (drums). In 1988 they released their first album, Soul Searchin, followed by Peace of Mind in 1990. Perhaps the high point of the first run of the Broadcasters was the album "Language of the Soul" released in 1994. The lineup for the Broadcasters for that album was Bruce Katz (keyboards) Pers Hanson (drums) and "Rocket" Rod Carey (Bass). The live shows from 1994 towards the millimium were characterized as becoming more jam orienated as certain songs often were played for 20 minutes or longer. The influences of the Allman Brothers album "Live at the Fillmore" and the Grateful Dead album "Live Dead" which Earl has mentioned was the first albums to get him on the track of playing the blues, were apparent. The next album "The Colour of Love" featured Marc Quinones (percusion) and Gregg Allman (keyboards) of the Allman Brothers Band. The association lead to first Ronnie Earl and the Broadcasters opening up for the Allman Brothers Band at Great Woods, and Warren Haynes (guitar for the Allman Brothers Band) sitting in with Ronnie Earl and the Broadcasters at Johnnie D's in Somerville; and later Bruce Katz joining the Gregg Allman Band. Circa 2000, Ronnie Earl was diagnosed with several medical ailments and scaled back his touring, as well as re-evaluating his career plans. Ronnie Earl in the new millinium has gotten back to a sound that is less slick, (slickness being his complaint of the Verve Albums) and shorter songs. The current group of Broadcasters, Jimmy Mouradian (bass), Dave Limina (organ), and Lorne Entress (drums), began playing together prior to the 2003 release of I Feel Like Going On and in 2009 released Living in the Light, their fifth release from Stony Plain Records[4] and Earl's twenty third album. In 2008, Ronnie Earl and the Broadcasters celebrated 20 years as a band. In August, 2010, Ronnie Earl and the Broadcasters released the album "Spread the Love" to wide critical acclaim.
Earl is a two-time W. C. Handy Blues Music Award winner as Guitar Player of the Year. For five years he was an Associate Professor of Guitar at Berklee College of Music and in 1995 he released Ronnie Earl: Blues Guitar with Soul, an instructional VHS tape that was then re-released in DVD format in 2005. Earl was also the blues instructor at the 'National Guitar Summer Workshop'. His albums primarily consist of strong instrumental compositions and traditional covers.
In early 2004, Earl's "Hey Jose" won in The 3rd Annual Independent Music Awards for Best Blues/R&B Song
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Monday, May 23, 2011
Gold Tailed Bird - Jimmy Rogers - Ronnie Earl
Jimmy Rogers (June 3, 1924 – December 19, 1997) was a blues singer, guitarist and harmonica player, best known for his work as a member of Muddy Waters' band of the 1950s.
Jimmy Rogers was born James A. Lane in Ruleville, Mississippi, on June 3, 1924, and was raised in Atlanta, Georgia and Memphis, Tennessee. He adapted the professional surname 'Rogers' from his stepfather's last name. Rogers learned the harmonica alongside his childhood friend Snooky Pryor, and as a teenager took up the guitar and played professionally in East St. Louis, Illinois (where he played with Robert Lockwood, Jr., among others), before moving to Chicago in the mid 1940s.[citation needed] By 1946 he had recorded his first record as a harmonica player and singer for the Harlem record label, run by J. Mayo Williams. Rogers' name did not appear on the record, which was mislabeled as the work of "Memphis Slim and his Houserockers."
In 1947, Rogers, Muddy Waters and Little Walter began playing together as Muddy Waters' first band in Chicago (sometimes referred to as "The Headcutters" or "The Headhunters" due to their practice of stealing jobs from other local bands), while the band members each recorded and released music credited to each of them as solo artists. The first Muddy Waters band defined the sound of the nascent "Chicago Blues" style (more specifically "South Side" Chicago Blues). Rogers made several more sides of his own with small labels in Chicago, but none were released at the time. He began to enjoy success as a solo artist with Chess Records in 1950, scoring a hit with "That's All Right", but he stayed with Waters until 1954. In the mid 1950s he had several successful releases on the Chess label, most featuring either Little Walter Jacobs or Big Walter Horton on harmonica, most notably "Walking By Myself", but as the 1950s drew to a close and interest in the blues waned, he gradually withdrew from the music industry. In the early 1960s he briefly worked as a member of Howling Wolf's band, before quitting the music business altogether for almost a decade. He worked as a taxicab driver and owned a clothing store that burned down in the Chicago riots that followed the assassination of Dr. Martin Luther King, Jr. in 1968. He gradually began performing in public again, and in 1971 when fashions made him a reasonable draw in Europe, Rogers began occasionally touring and recording, including a 1977 reunion session with his old bandleader Waters. By 1982, Rogers was again a full-time solo artist.
In 1995 Rogers was inducted into the Blues Hall of Fame.
He continued touring and recording albums until his death from colon cancer in Chicago in 1997. He was survived by his son, James D. Lane, who is also a guitarist and a record producer and recording engineer for Blue Heaven Studios and the APO Records label.
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Labels:
Jimmy Rogers,
Ronnie Earl
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