There wasn't any musical generation gap between young Chicago guitarist Specter and his much older front man Barkin' Bill Smith. Specter's love for the electrified 1950s styles of Magic Sam, T-Bone Walker, and B.B. King blended well with Smith's deep, almost crooning baritone pipes on what was the debut album for both men. Lots of breezy swing informs the retro-styled set.

Guitarist Ronnie Earl continues his string of all instrumental albums with this stunning follow-up to 1997's critically acclaimed The Colour of Love. With sturdy yet subtle assistance from Anthony Geraci on keyboards, Mark Greenberg or Don Williams on drums, Michael "Mudcat" Ward on bass, and, for two tracks, special guest Jimmy McGriff handling the Hammond B-3 in his inimitable fashion, Earl peels off sweet and spicy jazz-blues-gospel licks with the touch of a musician whose heart and soul is intimately infused in his music.
Earl's love of Muddy Waters shines on a sizzling cover of "Catfish Blues" where his guitar alternately screams and moans through the stop-start rhythm of the song as if it's singing the lyrics. But this is primarily a jazz album with a heavy blues influence, and Earl's Kenny Burrell and Grant Green roots are pervasive throughout…

This CD is a fine showcase for guitarist Ronnie Earl, who is teamed with three members of the Legendary Blues Band (pianist Pinetop Perkins, bassist Calvin Jones and drummer Willie "Big Eyes" Smith), plus organist Bruce Katz. Although pianist Perkins takes vocals on most of the songs and bassist Jones sings on two of the numbers, nearly each selection has plenty of solo space for Earl and Perkins. Sticking exclusively to the blues at a variety of tempos, the fine program (which has superior instrumental playing that overshadows the personable vocals) should be of strong interest to both blues and jazz collectors.

Although Joe Beard is a country-based bluesman and fellow guitarist Ronnie Earl (who brought along his Broadcasters for this set) is strictly city, they work together quite well. The emphasis is often on Beard's expressive vocals (which sometimes look toward John Lee Hooker and Lightnin' Hopkins but display their own personality). Beard and Earl contribute contrasting guitar solos, pianist-organist Bruce Katz fuels a grooving rhythm section, tenor saxophonist David "Fathead" Newman has a couple of cameos and the harmonica of Joe Dubuc is a strong asset on three songs. Even with its nods toward the past, this release is a fine example of blues in the mid-'90s.

This CD was recorded live in 1993 in Bremen, Germany. Live in Europe is Earl's tribute to his major influences, and Ronnie plays his favorite guitar throughout: a 1962 red Strat. The fast, driving "San-Ho-Zay" and "Blues for the West Side" go out to Magic Sam; "The Stumble" to Freddie King; "Thank You Mr. T-Bone" to T-Bone Walker and Duke Robillard (who inspired Earl to learn T-Bone). "Thank You Mr. T-Bone" features some cool call-and-response between Earl and Bruce Katz on the Hammond B-3. It segues nicely into "Akos," where you'll find more great B-3 (check out the improvised "Summertime" riff). An all-instrumental offering, Live in Europe includes a handful of tunes found on its predecessor, Still River, including "Szeren," "Rego Park Blues," and the aforementioned "Blues for the West Side." "Contrition," a slow, soulful tune penned by Katz, has some jaw-dropping runs by Earl. One can only imagine what it must have been like to be one of the lucky souls at this show.

The continuing musical saga of bluesman Ronnie Earl ventures further into jazz territory with this, his first release on the Verve imprint. As always, Earl is ably and tightly backed by the Broadcasters, featuring solid and empathetic playing from drummer Per Hanson, bassist Rod Carey, and keyboardist and co-collaborator Bruce Katz. It's Katz's "Hippology" that opens the album with a swinging bang, sporting guest appearances on alto sax from Hank Crawford and Allman Brothers alumni Jaimoe on drums. Crawford also shows up again on "Anne's Dream," while Jaimoe joins Marc Quinones for a two-drummer rhythm section guest turn on "Bonnie's Theme" and "Mother Angel." Gregg Allman plays Hammond B-3 organ and contributes the album's only vocal on "Everyday Kinda Man"…

New England blues guitarist Ronnie Earl has spent his recording career, which began in 1979 when he replaced Duke Robillard in Roomful of Blues, flirting with his own hybrid brand of blues/jazz/R&B, and his elegant solos on guitar always seem on the edge of breaking out into a whole new category, although they never quite do, and he remains an excellent guitar player who suggests possibilities more than he actually reaches them. This isn't necessarily a bad thing, as this collection of tracks drawn from his solo work at the Black Top, Bullseye, Telarc, and Stony Plain labels clearly shows. Spanning 1983 to 2005, The Best of Ronnie Earl brims with joyful guitar leads that remind us that the blues is really more about freedom, deliverance, and breaking loose from problems of constraint than it is about moaning and groaning and waking up in the morning with trouble in mind…

This particular version of the Broadcasters was unarguably magical, and this recording reveals why. Recorded four years after Earl dealt with his demons (alcohol, drugs, nervous collapse), it is the first of a string of all-instrumental albums by Earl, and it drips with class and soul. It's not just the exceptional skill of the players, however, that makes it so special; it was recorded on one of a handful of audiophile labels (AudioQuest), and therefore features state-of-the-art production. From the ringing opening chords of Magic Sam's "Blues for the West Side" to the beautiful acoustic guitar/piano duet of "Derek's Peace," Still River is thoroughly enjoyable. "Kansas City Monarch" is slow and sweet, featuring Bruce Katz tearing up the low notes, a nice sax solo by Anders Gaardmand, and some great double-string work by Earl. There is a moody version of John Coltrane's "Equinox" and a bog-dwelling rouser written by the entire band called "Chili Ba Hugh." You'll also like the greasy Hammond B3 organ on "Soul Serenade".

Ronnie Earl recorded Surrounded by Love with a new version of the Broadcasters. The most notable factor of the new lineup is the reappearance of Sugar Ray Norcia, the finest vocalist/harpist Earl ever recorded with. The band sounds tight and energetic, especially on the three tracks they cut with Robert Lockwood. Jr.. Parts of the album are a little slow, but the album is very entertaining, even with its minor flaws. [Hepcat's 2008 reissue included two bonus selections.]

Although not released until 1995, this CD was recorded live in 1993 in Bremen, Germany. Live in Europe is Earl's tribute to his major influences, and Ronnie plays his favorite guitar throughout: a 1962 red Strat. The fast, driving "San-Ho-Zay" and "Blues for the West Side" go out to Magic Sam; "The Stumble" to Freddie King; "Thank You Mr. T-Bone" to T-Bone Walker and Duke Robillard (who inspired Earl to learn T-Bone). "Thank You Mr. T-Bone" features some cool call-and-response between Earl and Bruce Katz on the Hammond B-3. It segues nicely into "Akos," where you'll find more great B-3 (check out the improvised "Summertime" riff). An all-instrumental offering, Live in Europe includes a handful of tunes found on its predecessor, Still River, including "Szeren," "Rego Park Blues," and the aforementioned "Blues for the West Side." "Contrition," a slow, soulful tune penned by Katz, has some jaw-dropping runs by Earl. One can only imagine what it must have been like to be one of the lucky souls at this show. The only fault to be found on this album is the mislabeling of several tunes on the cover. (For example, "The Stumble" is listed as "Not Now Kovitch.") Still, it's this reviewer's all-time favorite album – thank you, Mr. Earl.

People tasked with having to describe Ronnie Earl invariably note his passion. It's worth repeating because it's true. For his 40-year career as a blues musician, Ronnie has transfixed audiences with his distinct brand of emotion-laden blues. Still today, each time he performs he gives his audiences his all and shoots for the moon. Ronnie Earl is a four-time Blues Music Award winner as ''Guitar Player of the Year,'' and a world-renowned composer and musician. Most of his 26 albums have included chart-toppers and best-sellers and he continues to be a crowd favorite at music festivals to this day.

Ronnie Earl's first album after suffering from a bout with manic depression that sidelined him from live work for a few years, is a surprisingly modest, unassuming affair. The titular friends include Fabulous Thunderbirds founder/harpist/vocalist Kim Wilson who splits the album's vocal duties with Luther "Guitar Junior" Johnson. James Cotton, Band drummer Levon Helm, keyboardist David Maxwell, and New Orleans legend Irma Thomas (who contributes her distinctive vocals to only two stunning tunes) round out the ad hoc band.