Ronnie Earl & the Broadcasters Rise Up

Ronnie Earl & the Broadcasters
Rise Up
Stony Plain

Ronnie Earl returns with a new album, the majority of which were recorded in "Living Room Sessions" at his house in March 2020, and several from a set at a "Daryl's House Club" show in 2019. Earl was recovering from back surgery at the time of these sessions. Recorded shortly before Covid-19 pandemic shut down most live music, "Rise Up" features the guitarist's band of Dave Limina on keys, Diane Blue on vocals, Paul Kochanski on bass, and Forrest Padgett on drums. Guitarist Peter Ward is also present on some of these recordings and contributed the liner notes. The album is his 13th for Stony Plain and 27th of his 45-year-old career.

Earl is one of the most distinctive and interesting guitarists in the blues. A nuanced player, Earl, is a master of tonal dynamics, phrasing, and solo construction. Earl builds solos like smoldering coals in a charcoal grill that bursts into flames when fat drips down. Furthermore, his accompaniments here cradle Ms. Blue's soulful vocals, while the band displays the cohesiveness and strong interplay of years together.

Ronnie Earl & the Broadcasters seem incapable of playing poorly, and like his prior albums, one would be hard-pressed to find a weak chorus, much less track. There is a solo rendition of the traditional "I Shall Not Be Moved," opening this recording followed by Earl's original "Higher Love" with one of Blue's sterling vocals. Among her other memorable vocals are the performances of Fenton Robinson's "You Don't Know What Love Is," Little Johnny Jones' "Big Town Playboy," and the gospel-tinged interpretation of Bob Dylan's "Lord Protect My Child." Then there is the stone-cold topical blues with perhaps Diana Blue's most intense vocal, "Black Lives Matter." This song is an original from her and Earl, and Earl adds a spoken part where he celebrates Dave Maxwell and others who have passed on.

There are, of course, several superlative instrumentals, including the slow, brooding "Blues For George Floyd," where his playing drips with emotion. In addition to a tribute to Lucky Peterson, another slow mesmerizing instrumental is "Talking to Mr. Bromberg." Limina is a first-rate organist who is featured on piano on the old Ray Charles instrumental "Mess Around."

Peter Ward joins in on "Navajo Blues" that showcases both guitar stylists. It is the closing track on yet another exceptional Ronnie Earl recording.

I received my review copy from a publicist. Here is a relatively recent performance by Ronnie Earl & the Broadcasters.

Ronnie Earl and the Broadcasters Beyond the Blue Door

Ronnie Earl and the Broadcasters
Beyond the Blue Door
Stony Plain Records

Ronnie Earl and the Broadcasters have returned with this latest recording. Earl, one of the premier blues guitarists, is joined by his Broadcasters: The core group of Broadcasters – Dave Limina, Hammond B3 and piano; Diane Blue, vocals; Paul Kochanski, bass and Forrest Padgett, drums. Also joining them Anthony Geraci, piano; Peter Ward, guitar; Mario Perrett, tenor sax; Scott Shetler, Baritone Sax, Larry Luisgnan, guitar; Michael Rush, bass and Scott MacDougal, guitar. Also appearing are special guests David Bromberg, acoustic guitar and vocals; Kim Wilson, harmonica and vocals; and Greg Piccolo, tenor sax. Bromberg also provides notes on each of the 15 songs.

I have enjoyed Diana Blue on prior Earl recordings, but her cover of "Brand New Me" surprising me with her stunning singing. With Earl's subtle guitar and horns in the background, she delivers an impressive cover of an Aretha classic. Diana Blue also is heard on a medium-tempo shuffle, "The Sweetest Man," with Limina stretching out while Earl is excellent  behind Blue's splendid singing. She also puts her own stamp on Timmie Thomas' "Why Can't We Live Together," and she is superb on the revival of "A Soul That's Been Abused," with Earl dazzling, and Limina greasy. This song first recorded on a Hubert Sumlin Black Top album with Mighty Sam McClain singing and Ronnie playing the second guitar. Then there is the superb slow blues Earl wrote with Steve Gomes, "Peace of Mind." The Broadcasters create an after midnight ambiance behind Blue's vocal while Earl's playing is sublime. There is a terrific updating of the Gamble Huff Philadelphia soul classic "Drowning In a Sea of Love," with Earl spectacular as he pulls out all the stops.

Kim Wilson, Anthony Geraci, and Peter Ward join on a remarkably fresh interpretation of Howlin' Wolf's "Baby How Long." The tempo is slowed down into making this a relaxed shuffle with the marvelous interplay between Wilson's harp and Earl's skittering guitar with Geraci on piano and Peter Ward in rhythm guitar. Earl adds some scintillating obligatos behind Wilson's vocal. Wilson also takes a terrific harmonica solo, and there is some excellent, nuanced guitar by Earl and Ward. Wilson is also heard on Little Walter's "Blues With a Feeling." This is taken at a slower tempo than the original. Special kudos to bassist Kochanski and drummer Padgett for maintaining this slow drag tempo. Earl's backing again is exquisite behind Wilson's vocal and harmonica. Wilson and Geraci also join in on Earl's take from a phrase in "Smokestack Lightning."

"Drown In My Own Tears" displays Earl's impeccable phrasing and nuanced use of dynamics, and only the late Earl Hooker showed such an ability to convey such feeling with similarly small tone variations. Greg Piccolo contributes a strong chorus on tenor sax as well. A duet between Earl and Piccolo, "Alexis' Song," has Earl chording behind Piccolo's probing sax. "T-Bone Stomp" is a T-Bone Walker-inspired relaxed shuffle with Limina also featured. The closing track is a moving "Blues For Charlottesville," with Earl's guitar conveying as much feeling as any lyric might.

The least memorable track was the duet between Earl on his Stratocaster and Bromberg on acoustic guitar, a cover of Bob Dylan's "It Takes A Lot To Laugh, It Takes a Train To Cry," that is a bit too loosely played. It is a minor blemish on another marvelous Ronnie Earl recording.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a short video animation clip for "The Sweetest Man."

 

Ronnie Earl - Father's Day

Ronnie Earl has becoming somewhat prolific the past few years on the recording front and his latest album with his band, The Broadcasters, "Father's Day" is on Stony Plain. He is backed by Lorne Entess on drums, Dave Limina on keys and Jim Mouradian on bass with vocalists Diana Blue and Michael Ledbetter enlivening a number of tracks. Blue has been on recent recordings by Earl, while Ledbetter (a distant relative of Leadbelly) is best known for his role with Nick Moss' excellent band. This group is augmented by saxophones and guitar.

The title refers in part to Ronnie's reconciliation with his own father, but also indirectly relates to his rendition of a number of songs associated with a couple of his deep musical influences, Otis Rush and Magic Sam. Ledbetter handles many of the vocals here including a couple of covers of Rush numbers, "It Takes Time" and "Right Place Wrong Time," both of which are in the vein of Rush's recordings. Earl's original, "Higher Love" is a strong shuffle with horns adding to its flavor, a first-rate vocal duet between Ledbetter and Diane Blue, while Earl comes across as a cross between Rush and Kenny Burrell here.

Blue provides a nice vocal on Magic Sam's "What Have I Done Wrong" and if Earl's chording evokes Sam's original, his playing is more like Rush interpreting Sam. There is spectacular string-bending on this. Similar comments could directed on the rendition of "Every Night About This Time," a Magic Sam adaptation of Fats Domino's song with Ledbetter forcefully delivering the lyrics. Earl and Ledbetter co-authored the title track with its lyrics of making peace and forgiveness. Ledbetter's vocal and Earl's biting guitar make for a most moving performance. A brooding version of Brook Benton's "I'll Take Care of You" features more stunning guitar as well as Diane Blue's soulful vocal.

Bobby Timmons' "Moanin'" is a tip to Earl's jazz interests, followed by Ledbetter's vocal on "All Your Love," before closing as Diane Blue takes to church on Georgia Tom Dorsey's classic "Precious Lord." Earl is stunning, oft spectacular and the Broadcasters are typically in excellent form as they provide the apt, never rushed or frantic, backing. Limina's keyboards are especially worth saluting with a few choice organ solos, while guitarist Nicholas Tabarias solos on two of the 13 songs. In contrast to most his recent recordings which have been instrumentally focused, "Father's Day," showcases Earl accompanying two excellent vocalists for a wonderful recording for fans of various blues flavors.

I received my review copy from a publicist. This review appeared in slightly different form in the September-October 2015 Jazz & Blues Report (Issue 362). Here Ronnie Earl & The Broadcasters perform "Blues For Otis Rush."

Ronnie Earl Brings Good News

Ronnie Earl’s latest album, Good News (Stony Plain), certainly will be good news to the guitarist’s many fans. 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. Also appearing is vocalist Diane Blue and guitarists Nicholas Tabarias and Zach Zunis. 

As great a guitarist as Earl is, the presence of Blue’s vocals on several tracks certainly adds to the pleasures heard here. The Disc opens with the Memphis music inspired I Met Her on That Train, with some rockabilly tinged playing (a bit of Scotty Moore mixed with Floyd Murphy). Ms. Blue is on hand to sing Sam Cooke’s A Change Is Gonna Come, with Earls’ thoughtful playing and attention to tone very evident. His facility on the fretboard is matched by the clarity and restraint of his playing. Few can convey such deep feeling, as even evident on the jazzy Time To Remember, with Limina’s organ playing standing out. 
 

Junior Wells is the source for In the Wee Wee Hours with another fine Diane Blue vocal and some playing from Earl that might suggest Buddy Guy (but with greater restraint than Guy would display today). Zach Zunis takes the first guitar solo here. It is followed by the infectious gospel-laced title track. Blues For Henry is a low-down instrumental tribute to the late Hubert Sumlin with Limina getting greasy on the organ.  

The closing track, Running in Peace, has lyrics written by Ilana Katz, who was near the finish line of the Boston Marathon when the first bomb exploded on April 15, 2013, which Diane Blue movingly delivers with Earl and the Broadcasters providing a sober background as Earl really gets down and pulls out all the stops on the solo here. It is a moving end to another excellent recording by one of the leading guitarists in the blues.

I received my copy from the label (and/or publicist). This review appeared in the July-August Jazz & Blues Report (Issue 355) and may be downloaded as a pdf file at jazz-blues.com. Ronnie Earl will be performing at the Pennsylvania Blues Festival at Blue Mountain Ski Resort on Saturday July 26. Here is my preview of the Festival, http://inabluemood.blogspot.com/2014/03/pennsylvania-blues-festival-celebates.html. Here is a video to give a taste of Ronnie Earl performing.

 

Ronnie Earl and the Broadcasters - Just For Today

Ronnie Earl’s new Stony Plain album, Just For Today was recorded at three different performances with his band that includes Dave Limina on keyboards, Jim Mouradian on bass and Lorne Entress on drums. Nicholas Tabarias guest on guitar on two selections and Diane Blues sings on the rendition of I'd Rather Go Blind. Most of the songs heard here are by Ronnie and members of the band although their is the afore-mentioned song that Etta James made famous, John Coltrane’s Equinox, and the blues standard Ain’t Nobody’s Business.

Earl’s reputation is among the finest living guitarists in the blues. That is because of his phrasing, control of tone and crafting of his solos that is constantly displayed throughout the 13 tracks, whether the opening The Big Train, a Bill Doggett type shuffle with Earl’s guitar coming across like a cross between Billy Butler and Chicago legend Jody Williams, Blues For Celie, which opens with a bar or two that conjures up Robert Lockwood, Jr. (whom Earl recorded with) before Earl takes us on through fresh twists and turns. The tone poem, Miracle, is an Earl original while Rush Hour, one of the tracks on which Tabarias guests, is a shuffle with strong organ from Limina before Earl channels the great Otis Rush, one of the biggest influences on Earl (and who Earl calls his mentor).

Vernice’s Boogie, a rollicking, boogie woogie, showcases Limina, while the group give a low-key tinge to the John Coltrane blues Equinox, with Limina laying a rich base for Earl’s deft and precise single note runs. A lengthy Ain’t Nobody’s Business opens with Limina’s down in the alley piano before Earl sings the lyrics on his guitar with shifting to organ. This is followed by the concise, rocking Robert Nighthawk Stomp, which evokes the Delta and Chicago blues legend with some electrifying guitar runs and a rollicking piano break. 

Diane Blue gives a first-rate rendition of the Etta James classic as Earl sympathetically backs her strong singing and taking a short solo with his use of tone standing out. As good as Earl is, an album of blues guitar instrumentals can sometimes be (no matter how good the music is) difficult to listen to in one sitting (I cite as examples, Albert Collins first few albums as well as an Earl Hooker label for Blue Thumb), so that a few more guest vocals may have remedied this. Not to say there is any fault with any of the tracks on this and the CD’s programming does try to provide variety in material. Ronnie Earl is a brilliant guitarist who plays with so much imagination, soul and fire. Just For Today is the latest addition to Earl’s very distinguished body of recordings.

I received my review copy from a publicist. Here is Ronnie Earl and the Broadcasters performing The Big Train.