Maxwell

Ronnie Earl's Maxwell Street is named in honour of blues pianist and previous member of the Broadcasters David Maxwell and is a nod to Chicago's Maxwell Street where blues musicians gathered to play outside for the Sunday market crowds. It confirms Ronnie Earl's status as one of the most soulful blues/soul/jazz guitarists working today. Earl is a three-time Blues Award winner as Guitarist Of The Year working with his band of over 25 years. This album is dedicated to my big brother David Maxwell. We were born on the same day ten years apart. His playing was a deep as the ocean, as high as the sky and as bright as a quasar. When he passed I felt a huge loss as I still do.

Maxwell's solo debut has been a long time in coming, but it been worth the wait, as he neatly sidesteps the curse of the non-vocalist bandleader. Bringing in Darrell Nulisch for one vocal ("Heart Attack") only distracts from this fine instrumental showcase for David's prodigious abilities. Maxwell literally sparkles on the gospel-ish sanctified shout of "Sister Laura Lee," the New Orleans strut of "Breakdown On the Bayou," the boogie woogie classic "Honky Tonk Train" and "Manhattan Max," trading licks throughout with guest stars Ronnie Earl, Duke Levine and saxman supreme Mark "Kaz" Kazanoff, basically the cream of the New England blues mafia. This is more than just an impressive debut; this is a record of great playing and uncommon musical depth.

Award-winning blues pianist David Maxwell teams up with longtime friend, slidemaster Louisiana Red for an untamed session of original songs and stories that recalls back rooms, roadhouses, and the earliest days of Chicago blues. Red is at his spontaneous best, and Maxwell complements and solos with sensitivity, fire and originality. This is a long-overdue collaboration between two of the deepest bluesmen alive. David Maxwell and Louisiana Red met each other in the early 70s, when David was touring with Freddie King. Their paths would continue to cross in the decades that followed, and although they became good friends and often performed together, this is their first pure duo recording, and it summons the fire and spirit of the greatest days of Chicago blues.