Dave Specter, Speculatin’  Delmark
Ronnie Earl, Healing Time, Telarc



There is a dual commonality in the guitar styles offered by Specter & Earl. 
Those of you familiar with Dave Specter’s previous Delmark release “Bluebird
Blues” already know that there is a bond between these two fine guitarists, as
Ronnie assists on that outing.  After listening to the subject matters covered
here, it seemed natural to combine these albums into one review.  Neither Earl
nor Spectermake appearances on each other’s recording, but.........

Speculatin’,

From the intro of the first song, one would swear that it’sRonnie Earl
playing, check out Specter’s jazz chords and vibrato on the jazzy“At Whit’s
End”.  Specter’s “Blues A-LaKing” is a smooth swing blues with fine B-3
work from organist Rob Waters.  “Texas Top” also written by Specter
is stylistically right out of  the “Texas Cannonball”, Freddie King’s, King
Records sound, hence the name.  How about the late Charles Earland’s
aptly nick named, and song “The Mighty Burner” which is served up with
reverence, andit’s a straight burning jazz blowout.  Afine arrangement it is
for Dizzy Gillespie’s “Birks Works”.  As sax man Rich Parenti, B3’er Rob
Waters,and Specter really work hard at hitting all the right notes.  The
Meter’s “Look-Ka Py Py”, is as authenticas drinking a hurricane down on
Bourbon Street, and it’s as funky as allTabasco hell.  More Mr. Earl
likechording on Specter’s “Haleiwa Shuffle”. I have seen Ronnie Earl perform
Specter’s “Blues for Magic Sam” and it’sa fitting tribute to Mr. Samuel
Maghett. Nice changes throughout the jazzy “Hot Cha”, with great sax work
fromRich Parenti who seems to admire the legendary, David “Fathead” Newman. 
Rob Water’s “Jade’s Dance” has an old“Groove” Holmes/Prestige feel to
it. More early to mid 90’s Earl like guitar work from Specter, on his
own“Minor Side Down”.  The title trackwritten by Specter, is a soulful
choppy vamp, which picks up steam like a locomotive as the song progresses,
then slows its way down, as it seemingly pulls into the station.  The final
track is a down home dirty blues aptly titled by Specter called “Dark Hour
Blues”.

Healing Time

Nice idea Telarc, teaming up Jimmy McGriff with Ronnie. Asthe opening track
“Churchin” by Earl, swings into to gear with a fine McGriffsolo, great
drumming from Don Williams, and yeah Ronnie’s crystal clearprecision guitar.
Earl rattles off inventive trademarked changes with ease andstarts “Healing
Time” off in a very strong groove.  Next is Muddy Water’s “Catfish Blues”
and it’s an odd choice forthis collection of music.  Be certainthat this
Morganfield classic is by far the heaviest blues track contained onthis CD. 
“Idle Moments” is a pretty,but slow moving and very long track (8:25). Earl
has covered Coltrane in the past, and now takes on Trane’s partnerPharaoh
Sander’s “Thembi”.  Always oneof my favorite Pharaoh’s song, and from my
view the best track on this album.  Ronnie captures the spirit of the original
Sander’s version, and swings soulfully with some of the most beautiful guitar
work you will ever hear. “Blues for Shawn” is a very late night slow blues
with real nice piano work from Anthony Geraci.  It seemsapparent that Ronnie
has found inner peace with himself as his playing gainsmore color and beauty
on “Glimpses of Serenity” which is what the title says itis.  R & M’s must
be a greasyspoon/blues joint, because “Lunch at R & M’s” really rips &
rolls.  There definitely is more swing in Ronnie’sblues than ever before,
check out the T-Bone like chords near the end of thisluncheon tune.  “Song
for a Brother” isa pretty soulful composition with nice airy playing from
Earl.  The real life Donna in Earl’s “Bella Donna”must be a special lady,
listen to Ronnie’s heart felt acoustic guitar playing,very special indeed. 
What has nowbecome WBGO’s Walter Wade’s theme song every Sunday night, is
“Blues on aSunday”, and it brings Mr. McGriff in for a lengthy (9:48)
building blues.  McGriff gives a classic performance inheating up the pot
with a rising crescendo. Then Ronnie takes it back down only to raise the
temperature one moretime.  The traditional “Amazing Grace”closes the album
well here, with just Earl and Geraci, on guitar and piano.

Well there, you have it, two guitarists that have previously worked together,
advancing to their respective levels, with obvious influences on each other.
It’s unfair to say which album is better, because they are quite different. 
Ronnie’s “Healing Time” is a bit more scattered with varied genrestyles, but
some of the performances are very memorable and timeless.  Specter’s
“Speculatin” is a much more focused affair, and has a more consistent flow to
it.  Whichever, these are two very fine artist evolving, and sharingtheir
craft with you and I, the listener, all without any vocals.  You see, the
other common thread between Mr.Earl & Mr. Specter is they let their
instruments do the singing.  Stay tuned for the future for both RonnieEarl
and Dave Specter, and enjoy the present music offered in these equallyfine
instrumental CD’s.

Bob Putignano