Healing Time

1	Churchin' 7:12
2	Catfish Blues 4:49
3	Idle Moments 8:28
4	Thembi 5:37
5	Blues for Shawn 6:28
6	Glimpses of Serenity 6:13
7	Lunch at R&M's 4:12
8	Song for a Brother 3:42
9	Belladonna 5:36
10	Blues on a Sunday 9:49
11	Amazing Grace 2:13

Barnes & Noble

Guitarist Ronnie Earl moves into the soul-jazz of the '60s on the opening cut of his Healing Time CD, organist Jimmy McGriff's presence on "Churchin'" adding a touch of authenticity from the era when the B-3 was the centerpiece of the genre. Earl, whose '80s work with the big horn ensemble Roomful of Blues brought him into the blues mainstream, has mellowed his own guitar sound to fit right into the soul groove, but he then slides easily into the early days of electric blues on Muddy Waters's "Catfish Blues" before settling into light-jazz versions of "Idle Hours" and "Thembi." The guitarist finds his true place is still in the blues, and "Blues for Shawn," "Lunch at R&M's," and "Blues on Sunday," which again features McGriff, are --along with the opener -- the stand out cuts. Though the album's title suggests a more laid-back approach to music, cuts like these prove it's not the fluffy stuff that reveals the heart of Earl's playing. Roberta Penn

All Music Guide

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. His tensile tone ranges from tender and sensitive to biting and majestic, with touches of Carlos Santana's unique phrasing thrown in. Whether digging deep into the achingly soulful slow groove of "Blues for Shawn" or closing out the album with a rapturous "Amazing Grace," Ronnie Earl proves himself to be a master of moods. Healing Time effectively moves him into the realm of the guitar greats he idolizes. Hal Horowitz

Southwest Blues

He creates a soothing jazz/blues experience. If there were music in our peaceful dreams this is what it would sound like.