Ronald Earl Horvarth
b. March 10th, 1953 in New York (New York)
SMOKING
Black Top
DEEP BLUES
Black Top
Hep Cat
February - August 1982
Passionné de musique, il commence à apprendre la guitare en 1973. Après diverses expériences à Chicago, à la Nouvelle Orléans et au Texas, Ronnie devient le guitariste de Roomful of Blues en 1979. Il reste avec ce groupe jusqu'en 1988. En parrallèle, il démarre une carrière en leader se concentrant uniquement sur la guitare (le chant est partagé entre Kim Wilson et Sugar Ray Norcia). Son jeu clair et virtuose est plein de feeling. Derrière Ronnie, un groupe remarquable l'épaule : Michael "Mudcat" Ward, Greg Piccolo, Mark "Kaz" Kazanoff, Anthony Geraci, John Rossi. Une tracklist sympathique essentiellement composée de reprises (bien que le slow blues "Baby doll blues" soit une composition personnelle). Co-produit par Ronnie Earl et Hammond Scott.
Passionate about music, he began to learn the guitar in 1973. After various experiences in Chicago, New Orleans and Texas, Ronnie became the guitarist of Roomful of Blues in 1979. He stayed with this group until 1988. At the same time, he started a career as a leader focusing only on guitar (vocals are shared between Kim Wilson and Sugar Ray Norcia). His clear and virtuoso guitar playing is full of feeling. Behind Ronnie, a remarkable backing band help him : Michael "Mudcat" Ward, Greg Piccolo, Mark "Kaz" Kazanoff, Anthony Geraci, John Rossi. A nice tracklist essentially composed of covers (although the slow blues "Baby doll blues" is a personal composition). Co-produced by Ronnie Earl and Hammond Scott.
THEY CALL ME MR EARL
Black Top
DEEP BLUES
Black Top
Hep Cat
September 1984
Pour ce second album pour Bullseye, Ronnie Earl s'est choisi un répertoire plus personnel, composé en partie par lui-même et Sugar Ray Norcia (qui chante aussi). On trouve de bons moments comme "Follow your heart", "Narcolepsy", "Some day some way". Cette fois, l'album est co-produit par Hammond Scott et George Lewis. Son jeu de guitare - influencé par Otis Rush et Magic Sam - cinglant et précis impressionne par sa clarté.
For this second album for Bullseye, Ronnie Earl has chosen a more personal repertoire, composed in part by himself and Sugar Ray Norcia (who also sings). There are good moments like "Follow your heart", "Narcolepsy", "Some day some way". This time, the album is co-produced by Hammond Scott and George Lewis. His scorching and precise guitar playing - influenced by Otis Rush and Magic Sam - impresses with its clarity.
I LIKE IT WHEN IT RAINS
Antone's
1986
Cette fois, Ronnie Earl grave ce disque pour le label texan Antone's. Un programme assez varié - mi-électrique, mi-acoustique - avec des bons moments comme "Midnite clothes", "I like it when it rains", "Walkin' and cryin'", "Down on Guadalupe", "Blues for Jimmie and Jesse". Participations de Ron Levy, Curtis Salgado et Jerry Portnoy. Cet album est co-produit par Ronnie Earl et George Lewis.
This time, Ronnie Earl cut this disc for the Texas-based label Antone's. A fairly varied program - half-electric, half-acoustic - with good moments like "Midnite clothes", "I like it when it rains", "Walkin' and cryin'", "Down on Guadalupe", "Blues for Jimmie and Jesse". Participations of Ron Levy, Curtis Salgado and Jerry Portnoy. This album is co-produced by Ronnie Earl and George Lewis.
SOUL SEARCHING
Black Top
Hep Cat
May 1988
Pour ce troisième album chez Black Top, Ronnie Earl est co-producteur avec Hammond Scott. Ronnie est comme d'habitude parfaitement en forme à la guitare et l'harmoniciste Jerry Portnoy toujours percutant et inventif. Malheureusement, Darrell Nulisch assure le chant sans vraiment convaincre. Les deux morceaux avec Duke Robillard semblent être les meilleurs moments de ce programme inégal : le titre d'ouverture "Backstroke" et surtout l'excellent "Evening sun". On trouve un morceau supplémentaire dans la version CD.
For this third album on Black Top, Ronnie Earl is co-producer with Hammond Scott. Ronnie is as usual perfectly fit on guitar and harmonica player Jerry Portnoy still hard-hitting and inventive. Unfortunately, Darrell Nulisch provides the vocals without really convincing. The two tracks with Duke Robillard seem to be the best moments of this uneven program : the opening title "Backstroke" and above all the excellent "Evening sun". There is an additional track on the CD version.
PEACE OF MIND
Black Top
Hep Cat
January 1990
Avec cet album, Ronnie franchit une marche importante dans sa carrière. En effet, il délivre un opus rempli d'excellentes compositions personnelles (généralement écrites par Ronnie Earl, Steve Gomes ou Darrell Nulisch) dans un style original et produit par Hammond Scott. Une tracklist équilibrée qui contient de superbes moments comme "I want to shout about it", "I wish you could see me now", des instrumentaux impeccables ("Wayne's blues", "Bonehead too") et une reprise magnifique du classique "T-Bone boogie" de T-Bone Walker. On trouve deux morceaux live inédits dans la réédition CD Hepcat.
With this album, Ronnie takes an important step in his career. Indeed, he delivers an opus filled with excellent personal compositions (generally written by Ronnie Earl, Steve Gomes or Darrell Nulisch) in an original style and produced by Hammond Scott. A balanced tracklist that contains great moments like "I want to shout about it", "I wish you could see me now", impeccable instrumentals ("Wayne's blues", "Bonehead too") and a magnificent cover of the classic "T-Bone boogie" by T-Bone Walker. There are two previously unreleased live tracks on the Hepcat CD reissue.
SURROUNDED BY LOVE
Black Top
Hep Cat
May 1991
Pour cet album, Ronnie Earl a rappelé le chanteur-harmoniciste "Sugar" Ray Norcia. On note aussi l'apparition sur trois titres de Robert Lockwood Jr (une de ses influences majeures). On retient dans ce programme qui prévilégie les tempos lents le délicat instrumental jazzy "Akos", "That's when my soul comes down" que Ronnie écrit avec sa femme Kathy ou encore "Kathy's theme". Deux titres supplémentaires dans la version CD Hepcat.
For this album, Ronnie Earl brought back vocalist-harmonicist "Sugar" Ray Norcia. We also note the appearance on three titles of Robert Lockwood Jr (one of his major influences). We can point out in this program which favors slow tempos the delicate jazzy instrumental "Akos", "That's when my soul comes down" that Ronnie wrote with his wife Kathy or even "Kathy's theme". Two additional titles in the Hepcat CD version.
JIMMY ROGERS WITH RONNIE EARL
Bullseye
June 1991
Ce concert fut capté sur une scène allemande lors d'un festival. Pour l'occasion, Ronnie Earl et son groupe accueille Jimmy Rogers à ses côtés. Jimmy se contente de chanter et utilise assez peu sa guitare. C'est donc finalement beaucoup plus un album de Ronnie Earl et de son groupe qu'un véritable opus de Jimmy Rogers.
This concert was captured on a german stage during a festival. For the occasion, Ronnie Earl and his group welcome Jimmy Rogers by his side. Jimmy is content with singing and uses his guitar very little. It is therefore ultimately much more an album by Ronnie Earl and his group than a real opus by Jimmy Rogers.
STILL RIVER
Audioquest
February 1993
Après une longue collaboration avec Black Top, on trouve Ronnie Earl chez Audioquest pour un album tout instrumental (ce qui deviendra une marque de fabrique). Toute la place est laissée à la guitare et à ses interactions avec les claviers de Bruce Katz dans un style entre Blues et Jazz. "Blues for the west side", "Szeren", "Chili Ba Hugh", "Eyes that smile", "Rego Park blues" figurent parmi les meilleurs moments de cet excellent opus. On retient également des reprises originales du "Soul serenade" de King Curtis et de "Equinox" de John Coltrane.
After a long collaboration with Black Top, we find Ronnie Earl at Audioquest for an all-instrumental album (which will become a trademark). All the space is left to the guitar and his interactions with the keyboards of Bruce Katz in a style between Blues and Jazz. "Blues for the west side", "Szeren", "Chili Ba Hugh", "Eyes that smile", "Rego Park blues" are among the best moments of this excellent opus. There are also original covers of "Soul serenade" by King Curtis and "Equinox" by John Coltrane.
BLUES AND FORGIVENESS
Crosscut
BLUES GUITAR VIRTUOSO : LIVE IN EUROPE
Bullseye
1993
Cet album live s'inscrit dans la continuité de "Still river" c'est à dire un répertoire entre Blues et Jazz joué entièrement instrumental. Sur cette scène allemande, Ronnie se montre créatif et brillant à la guitare tout comme ses remarquables musiciens (Bruce Katz, Rod Carey, Per Hanson). La tracklist est composée de compositions personnelles lumineuses comme "Akos", "Rego Park blues" ou "Szeren" et de reprises travaillées comme "San-Ho-Zay" ou "Moanin'".
This live album is a continuation of "Still river" i.e. a repertoire between Blues and Jazz played entirely instrumental. On this german scene, Ronnie is creative and brilliant on guitar just like his remarkable musicians (Bruce Katz, Rod Carey, Per Hanson). The tracklist is composed of bright personal compositions like "Akos", "Rego Park blues" or "Szeren" and worked covers like "San-Ho-Zay" or "Moanin'".
LANGUAGE OF THE SOUL
Bullseye
1994
Cet album tout instrumental est fortement axé sur le Jazz et peu sur le Blues. La guitare de Ronnie Earl est brillante et omniprésente dans ces sympathiques compositions qui ne sont pas aussi abouties que sur "Still river". Il est bien épaulé par son groupe habituel : Bruce Katz, Rod Carey, Per Hanson.
This all-instrumental album is strongly focused on Jazz and little on Blues. Ronnie Earl's guitar is brilliant and omnipresent in these nice compositions which are not as achieved as on "Still river". He is well supported by his usual backing band : Bruce Katz, Rod Carey, Per Hanson.
GRATEFUL HEART : BLUES & BALLADS
Bullseye
June 1995
Cet album est produit par Neal Ward pour Bullseye. Pour l'occasion, Ronnie enrichit son groupe avec l'arrivée du saxophoniste David "Fathead" Newman. Une musique instrumentale avec un peu de Blues et beaucoup de Jazz qui comporte de bons moments comme la reprise de "Drown in my own tears" mais aussi "Welcome home" que Ronnie dédie aux vétérans du Viet-Nam, "Soundcheck", "Still soul searching".
This album is produced by Neal Ward for Bullseye. For the occasion, Ronnie enriches his group with the arrival of saxophonist David "Fathead" Newman. Instrumental music with a bit of Blues and a lot of Jazz which includes good moments like the cover of "Drown in my own tears" but also "Welcome home" which Ronnie dedicates to the Viet-Nam veterans, "Soundcheck", "Still soul searching".
EYE TO EYE
Audioquest
March 1996
Associé à Pinetop Perkins et Bruce Katz, Ronnie livre encore une fois un disque correct avec plusieurs moments particulièrement plaisants ("Country girl", "Tops boogie woogie", "I woke up this morning", "Ronnie's blues").
Associated with Pinetop Perkins and Bruce Katz, Ronnie once again delivers a decent record with several particularly pleasant moments ("Country girl", "Tops boogie woogie", "I woke up this morning", "Ronnie's blues").
THE COLOUR OF LOVE
Verve
February 1997
Passé chez Verve sous la supervision du producteur Tom Dowd, Ronnie Earl continue l'exploration de la musique instrumentale à dominante Jazz avec des compositions percutantes et inspirées comme "Hippology", "Bonnie's theme" ou "The colour of love". Le Blues est peu présent avec seulement deux titres "Everyday kinda man" et "I liked that thing you did".
Having moved to Verve under the supervision of producer Tom Dowd, Ronnie Earl continues to explore jazz-dominated instrumental music with powerful and inspired compositions such as "Hippology", "Bonnie's theme" or "The color of love". The Blues is not very present with only two titles "Everyday kinda man" and "I liked that thing you did".
HEALING TIME
Telarc
July - August 1999
Après Bullseye et Verve, Ronnie Earl travaille pour le label Telarc et le producteur Joe Harley. Pour cette occasion, son groupe est composé d'Anthony Geraci (claviers), Michael "Mudcat" Ward (basse) et Mark Greenberg (batterie). Ronnie invite aussi l'organiste de jazz Jimmy Mac Griff sur deux morceaux. Comme sur "The colour of love", le programme possède de superbes moments : "Churchin'", "Thembi", "Lunch at R&M's".
After Bullseye and Verve, Ronnie Earl worked for the Telarc label and producer Joe Harley. For this occasion, his backing band is composed of Anthony Geraci (keyboards), Michael "Mudcat" Ward (bass) and Mark Greenberg (drums). Ronnie also features jazz organist Jimmy Mac Griff on two tracks. As on "The color of love", the program has superb moments : "Churchin'", "Thembi", "Lunch at R&M's".
RONNIE EARL AND FRIENDS
Telarc
October - November 2000
I FEEL LIKE GOIN' ON
Stony Plain
2003
En 2003, Ronnie Earl entame une longue et fructueuse collaboration avec le label canadien Stony Plain. Il revient avec cet album au Blues après plusieurs années à explorer le Jazz. Il rend ici hommage à ses maitres (Otis Rush et beaucoup d'autres) de manière assez originale : c'est à dire sans reprendre leurs titres mais en réinterprétant leurs styles propres. Un programme intense tout instrumental avec d'excellents moments : "Blues for Otis Rush", "Little Johnny Lee", "Wolf dance", "Howlin' for my darlin'", "Travelin' heavy". A noter aussi un beau gospel "Mary won't you weep".
In 2003, Ronnie Earl began a long and fruitful collaboration with the canadian label Stony Plain. He returns to Blues with this album after several years exploring Jazz. He makes here tribute to his masters (Otis Rush and many others) in a rather original way : that is to say without covering their titles but by reinterpreting their own styles. An intense all-instrumental program with great moments : "Blues for Otis Rush", "Little Johnny Lee", "Wolf dance", "Howlin' for my darlin'", "Travelin' heavy". Also note a beautiful gospel "Mary won't you weep".
NOW MY SOUL
Stony Plain
2004
THE DUKE MEETS THE EARL
Stony Plain
Dixiefrog
2005
Rencontre de deux guitaristes virtuoses : Duke Robillard et Ronnie Earl (les deux hommes se connaissent depuis l'époque de Roomful of Blues). Un programme inspiré mais un peu long où les deux hommes brillent à tour de rôle à la guitare. Autour d'eux, il y a notamment le chanteur "Mighty" Sam Mac Clain et les excellents organistes Dave Limina et Jimmy Mac Griff. On apprécie particulièrement "My tears", "What have I done wrong" et "A soul that's been abused".
Meeting of two virtuoso guitarists : Duke Robillard and Ronnie Earl (the two men have known each other since Roomful of Blues era). An inspired but somewhat long program where the two men take turns shining on guitar. Around them, there is notably the singer "Mighty" Sam Mac Clain and the excellent organists Dave Limina and Jimmy Mac Griff. We particularly appreciate "My tears", "What have I done wrong" and "A soul that's been abused".
HOPE RADIO
Stony Plain
April 2007
Album live où brille une fois encore la guitare sensible de Ronnie Earl. Bien épaulé par un groupe attentif (Dave Limina, Jim Mouradian, Lorne Entress), il délivre un set varié et créatif - parfois un peu long - avec de bons moments comme "Eddie's gospel groove", l'acoustique "Katrina blues", "Blues for the West Side".
Live album where Ronnie Earl's sensitive guitar shines once again. Well supported by an attentive backing band (Dave Limina, Jim Mouradian, Lorne Entress), he delivers a varied and creative set - sometimes a little long - with nice moments like "Eddie's gospel groove", the acoustic "Katrina blues", "Blues for the West Side".
LIVING IN THE LIGHT
Stony Plain
2009
SPREAD THE LOVE
Stony Plain
January - March 2010
Dans cet album, Ronnie Earl remercie toutes les personnes qui l'ont aidé quand il combattait sa toxicomanie ou sa dépression. Il est toujours aussi brillant à la guitare, capable de faire passer diverses émotions. Comme d'habitude, tout est instrumental. Un programme un peu dans lequel on apprécie en particulier "Blues for Dr Donna", "Happy", "Miracle", "Blues for Slim".
In this album, Ronnie Earl thanks all the people who helped him when he was fighting his drug addiction or his depression. He is still brilliant on the guitar, able to pass various emotions. As usual, everything is instrumental. A program in which we particularly appreciate "Blues for Dr Donna", "Happy", "Miracle", "Blues for Slim".
JUST FOR TODAY
Stony Plain
2013
Comme d'habitude, la tracklist s'avère un peu longue (presque 80 minutes) mais Ronnie Earl reste créatif et expressif à la guitare sur cet album tout instrumental (sauf un titre). La finesse de son jeu entre Blues et Jazz peut s'apprécier sur "Miracle", "Heart of glass", "Blues for Hubert Sumlin" ou la nouvelle reprise du "Equinox" de John Coltrane. Mais, dans ce programme varié, il y a aussi une belle démonstration au piano de Dave Limina sur "Vernice's boogie" et le chant de Diane Blue sur la reprise de "I'd rather go blind".
As usual, the tracklist turns out to be a bit long (almost 80 minutes) but Ronnie Earl remains creative and expressive on the guitar on this all-instrumental album (except for one title). The finesse of his playing between Blues and Jazz can be appreciated on "Miracle", "Heart of glass", "Blues for Hubert Sumlin" or the new cover of John Coltrane's "Equinox". But, in this varied program, there is also a beautiful piano demonstration by Dave Limina on "Vernice's boogie" and nice vocals by Diane Blue on the cover of "I'd rather go blind".
GOOD NEWS
Stony Plain
2014
Pour cet album - toujours pour le label canadien Stony Plain - Ronnie fait la part belle aux tempos lents ce qui peut engendrer une certaine monotonie par moments. La chanteuse Diane Blue apparait sur de belles reprises de "Change is gonna come" et "In the wee hours". La guitare de Ronnie est parfaitement expressive sur "Time to remember" et "Six string blessing". Apparition également du guitariste Zach Zunis.
For this album - still for the canadian label Stony Plain - Ronnie gives pride of place to slow tempos which can lead to a certain monotony at times. Singer Diane Blue appears on beautiful covers of "Change is gonna come" and "In the wee hours". Ronnie's guitar is perfectly expressive on "Time to remember" and "Six string blessing". Also appearance of guitarist Zach Zunis.
FATHER'S DAY
Stony Plain
2015
Ici, Ronnie Earl propose un album un peu moins instrumental que d'habitude puisqu'il a convié deux excellents chanteurs Diane Blue et Michael Ledbetter. La tracklist est dominée par des reprises souvent inspirées ("Right place wrong time", "What have I done wrong") et compositions personnelles abouties en particulier l'autobiographique "Father's day" dédié à son père décédé en 2014. Un programme encore plus varié que sur ses précédents opus.
Here, Ronnie Earl offers an album a little less instrumental than usual since he has invited two excellent singers Diane Blue and Michael Ledbetter. The tracklist is dominated by covers often inspired ("Right place wrong time", "What have I done wrong") and accomplished personal compositions in particular the autobiographical "Father's day" dedicated to his father who died in 2014. A program even more varied than on his previous opuses.
MAXWELL STREET
Stony Plain
2016
Encore une fois, la majorité de tempos lents peut lasser l'auditeur occasionnel. Ronnie est accompagné de son groupe régulier ainsi que la bonne chanteuse Diane Blue. Celle-ci chante parfaitement sur "Kismet" ou "As the years go passing by". On apprécie aussi ce bel hommage au pianiste David Maxwell sur le titre du même nom ("Blues for David Maxwell").
Again, the majority of slow tempos can bore the casual listener. Ronnie is accompanied by his regular backing band as well as the good singer Diane Blue. She sings perfectly on "Kismet" or "As the years go passing by". We also appreciate this beautiful tribute to the pianist David Maxwell on the title of the same name ("Blues for David Maxwell").
THE LUCKIEST MAN
Stony Plain
2017
Ronnie dédie cet album à son bassiste Jim Mouradian décédé en janvier 2017. Le disque est partagé entre titres chantés par Diane Blue ("Ain't that loving you", "Death don't have no mercy", "Never gonna break my faith"), compositions personnelles ("Southside stomp", "Blues for Magic Sam") et reprises ("So many roads").
Ronnie dedicates this album to his bassist Jim Mouradian who died in january 2017. The disc is divided between titles sung by Diane Blue ("Ain't that loving you", "Death don't have no mercy", "Never gonna break my faith"), personal compositions ("Southside stomp", "Blues for Magic Sam") and covers ("So many roads").
BEYOND THE BLUE DOOR
Stony Plain
2019
RISE UP
Stony Plain
January 2019 / March 2020
Encore une fois, l'album s'avère un peu long (78 minutes) mais il recèle de bons moments entre Jazz et Blues avec les commentaires socio-politiques "Blues for George Floyd" et "Black lives matter". La chanteuse Diane Blue chante sur les sympathiques "You don't know what love is" et "Big town playboy".
Once again, the album turns out to be a bit long (78 minutes) but it contains good moments between Jazz and Blues with the socio-political comments "Blues for George Floyd" and "Black lives matter". Singer Diane Blue sings on the nice "You don't know what love is" and "Big town playboy".
MERCY ME
Stony Plain
June 2021