If you ever get the chance to hang out with D.K. Harrell and his band, make sure it’s over the breakfast table. The conversation flows fast and thick like our biscuits and gravy and the subject matter ranges from everything family and friends, good times, hard times and all things music. The entire band is well-versed in the latter and all speak fluent blues, jazz, soul, R&B and roots dialects. Not only young and talented, they openly display a shared enthusiasm and serious commitment to the music they love. You see it clearly when they acknowledge influences or when praising those who paved the way, but it grabs you by the throat when they step on stage and you witness it up close and personal with every note they play.

D.K. let’s start with early life; you’re originally from the Peach Capital of Louisiana… “Ruston, Louisiana is my hometown, I was born there on April 24th, 1998. I was there because I marked it on the calendar.” He grins. “And it is the Peach Capital of Louisiana. I spent a lot of my childhood listening to blues music with my grandfather, C. H. Jackson from Spearsville, Louisiana which was 36 minutes North of Ruston, way up in the country. My mother, Christal Jackson was also my inspiration when it came to blues because my grandfather kept blues not only around me, but around the whole family. He was a blues fanatic and he loved old school R&B from the 50s and 60s because during that time in his life he was in his late teens and early 20s. A college kid at HBCU listening to Otis Redding, B.B. King and Bobby ‘Blue’ Bland and it stayed with him throughout his life…and he hipped his grandson to it. His other grandchildren and my cousins were more into Hip-hop, that’s what they liked. But there was something about the blues and R&B music that just stuck with me and I loved being around my grandfather. We actually counted how many vinyl albums he had and it amounted to 322 vinyl records in his home. And it was a vast variety of music; blues, gospel, R&B, soul and he liked Elvis. Which kind of blew my mind…but he told me Elvis had come to the Monroe Civic Center which is just 30 minutes away from Ruston and B.B. King had played there, Albert King had played there, and Johnny Cash because back then it was considered the chitlin’ circuit. And my grandfather actually housed Bobby ‘Blue’ Bland and his band at his home in 1977 when they were traveling from Jackson, Mississippi to Dallas and instead of staying in a hotel in Monroe they came across my grandfather, who was an educator and he said, ‘you know what, I’ll save you guys some money you can stay at my home.’ If you know about Bobby ‘Blue’ Bland at that time, there were about 8 or 10 people in the band. And we’re talking about a three bedroom, two bath room home; he said he had so many pallets lying out through his house…” (laughing)

Is it true some of your first words were singing along to B.B.’s ‘The Thrill is Gone?’ “I was about 18 months old and I didn’t make much noise as a baby. I rarely cried or didn’t babble or say momma or dada and it worried my family to the point they almost had me tested for vocal cord issues. My grandfather said, ‘Maybe he just doesn’t have anything to say, right now.'” (laughing) “One day my mother and I were going to Shreveport and my grandfather gave her a copy of B.B.’s ‘Deuces Wild’ to listen to and she heard a little voice in the background in a car seat singing ‘The Thrill is Gone.’ And that’s stamped as the day I started talking. But the way my mother puts it, ‘that’s how he started talking and since then I haven’t been able to get him to shut up.” (laughing)

“To play that guitar, I was done living right then, my life was done. Take me now, Lord!”
—D.K. Harrell on playing ‘Lucille’ B.B. King’s guitar.

You got to meet B.B. at a concert, didn’t you? “Russ Bryant, my musical director…” D.K. starts to shake his head. “…the way the universe works is strange. Russ runs PSS the Premier Production and Sound Services in Baton Rouge, Louisiana…Russ, you tell him.“

Russ Bryant: “My company PSS…we were doing all the sound production for B.B. King’s performance at the Baton Rouge River Center Theater and unbeknownst to me, I had never met D.K. but he was there, and Andrew Moss our bass player was there as well. We were all at this show before we met each other and eventually we all realized we had experienced B.B. King together and I still have the microphone that B.B. King sang on. And I think it was one of the last shows he did in Louisiana before he passed.”

DK: “It was January 19th 2013. It was a late Christmas present and my mother had a manila envelope and I opened it and it was two tickets to see B.B. King in the Orchestra section; it was beautiful. At the end of the show I kind of pushed my way through the audience to the front of the stage and everybody is yelling, ‘BB, sign my hat. Sign my shirt,’ and I’m like, Mr. King, Mr. King and he looked dead at me and I swear my legs turned to jelly and he goes, ‘Hey young man.’ And I said I want to be just like you, I got my haircut just like you from the 50s. And he goes ‘Yeah, I remember when I had hair like that, but I don’t have hair like that anymore.’ And he gave me one of his picks and he shook my hand and said, ‘Young man, you can be whatever you want to be, and if you want to be like this old man you gotta’ work hard.’ And as soon as I got out the door of the theater, I busted out in tears and haven’t been to another concert since. It was a very magic moment. My grandfather came to Baton Rouge with us and picked us up after the show and said, ‘Did you get a chance to shake his hand?’ I said, yes sir. He said, ‘Well, maybe B.B. put some good mojo on you.’ And look, ten years later, this is what you got.” (laughing)

I don’t think many people realize you didn’t start on guitar, but on the harp. “Yes. Not harp like classical music, but harp as in harmonica… the Louisiana saxophone. My cousin, Jamari Harris is older than me and around 2009 or 2010 said there’s a movie called ‘Cadillac Records’ and it’s got blues and stuff in it, so you’ll like it. I watched the film and it had music from Little Walter, who is actually from Marksville, Louisiana and I said man, I want a harmonica. I asked momma, can I please have some harmonicas and she said okay as long as you actually play them. She got me three in the key of A, C and D and I blew the reeds out of them in two days.” (laughing) “I shattered them all! I’m pretty sure over the course of two years I went through like fifty harmonicas.“

You’ve mentioned Guitar Slim as another influence for you. “He did a song called ‘Think it over one more time’ and I was like, I really like this song. I like the way this guy’s playing because what I like about the old cats is they just had an ear for music and then of course however they played was just how they played. It was so interesting because he just had a different playing style and it almost sounded sloppy to me. When you listened to the guitar solo in ‘Think it Over’ it’s a weird solo when he starts it but it folds out better as he goes on. My grandfather and I would stay up till like two in the morning watching different artists on his computer like Big Joe Williams, Big Joe Turner, Sarah Vaughan, Slim Gaylord…what I liked about Slim was his humor, but in my opinion his was one of the most underrated jazz guitarists, Slim Gaylord was a very talented musician from piano to guitar he could play anything. That’s one thing I’ve tried to bring to my show from Slim Gaylord…is the humor in the stage presence and lyric wise with the vocals.

Another big influence when I first started playing guitar was Elmore James and Muddy Waters, but I’ve got stupid fingers. I can’t play slide to save my life.” (laughing) “…very stupid fingers. I also listened to Chuck Berry, but the Stones got him down and the Animals and all these guitar players have his sound down so I thought to myself, this was like 2012, who’s an artist that people try to get tone-wise and style-wise and try to have that same approach but just can’t get it? And it’s B.B. because if you think about it B.B.’s playing to me as a guitar virtuoso, is very similar to the approach of Miles Davis an how he handled trumpet because Miles took advantage of space just like B.B. took advantage of space. And that goes hand-in-hand on what my grandfather used to tell me, time waits for no one, so do what you can now. In other words you have to take advantage of time and space because once it’s gone you can’t get it back.“

Russ: “It’s not about how many notes you play or how much you can shred as a guitar player, but rather can you play the right note, at the right time and the right place. And that was B.B.’s style.“

Let’s talk a little about your songwriting, do you write with your guitar, do you have a process? “My process is usually, I sit down, not with my guitar but by myself in a room and sometimes I watch movies or TV or talk to random people and sometimes they’ll say something that just clicks and I’ll go…Oh there’s a song in there somewhere and I’ll write it down on my phone but I still believe in a pen and paper, but the phone is right there and I’ll take it out and make notes. And I’ll come back to it and then I’ll sit there and really focus on the lyrics. A lot of people like music specifically for the music; you know the sound of the instruments but I feel like a real artist is concerned for what the audience listens to on a lyrical basis. Because the lyrics are really what makes the audience connect with you. If you think about it, every poet, every painter has details in their speech and in their art and if there is one little thing missing or one word is missing it wouldn’t make sense. It’s the little things that matter and that’s what changes you. When I write songs, I try to be as personal as possible. Even if you haven’t been through it, you can understand it because I’m trying to describe it in detail…and that’s the process I try to use.“

Blues has always been considered a form of communication; do you consider yourself a storyteller? “Oh yeah, watch this…Once upon a time.” (laughing) “I do consider myself a storyteller but the words I use really matter and you know that saying, ‘words hurt.’ What’s the actual saying…the pen is mightier than the sword. That saying is true. If you tell hurtful things to some people, they can hurt themselves or other people just because of what you said. So storytelling is important you try to make it positive and even if it’s a negative subject the idea should be that you overcame whatever it was that was hurting you and that you continue moving forward. Either way, life is short, take it with a grain of sand and keep moving.“

Tell me about your album ‘The Right Man.’ “Jim Pugh is the president of the Little Village Foundation recording label and I owe a great deal of gratitude to this man. About two years ago we met at the International Blues Challenge in Memphis and I really owe my recording career to Jim Pugh and Michael Kinsman. ‘The Right Man’ was recorded in three days with Kid Andersen; we also had Tony Coleman who was B.B. King’s drummer for 35 years. We had Doc Kupka from Tower of Power do horns for us along with Neil Levonius, John Halbleib, Mike Rinta, Mike Peloquin and Aaron Lington. But a real highlight of the whole recording session is we had the original bass player on the recording of B.B.’s ‘The Thrill is Gone’ Mr. Jerry Jemmott.

Jerry is in his mid-70s now and we were recording ‘Leave it at the Door’ and I was sitting there playing my guitar part in the studio and Jerry was listening and said, ‘the red Gibson you’re playing’ it belonged to Kid Andersen and was like a ’66 or ’68, ‘it’s the very same style of guitar that B.B. had when he recorded ‘The Thrill is Gone.’ It wasn’t the exact one, not his, but it looks just like it. He told me recording on this session these past few days has brought back so many memories of recording with B.B. and it’s an honor to be on the record with you. And I wanted to cry; because I was thinking…I should be saying that to him.” (laughing) “But recording that session was like a match made in heaven and Jim Pugh…I love you and there’s nothing you can do about it.”

You had the unique opportunity to play B.B.’s guitar ‘Lucille’ at one time, didn’t you? “Yes! September 9th, 2019. I was 21 years old and my very first gig, my first show, was the B.B. King Symposium in Indianola, Mississippi near Itta Bena, B.B.’s home town. Lil’ Ray Neal is usually the guy that plays B.B.’s guitar, he’s part of Kenny Neal’s band and I think he’s his little brother; and Lil’ Ray pulls out ‘Lucille.’ There were several of them but this was the ‘Lucille’ that Gibson made for B.B. when they opened the museum in 2005. At that time only three people had played it; B.B. himself, Keb Mo and Lil’ Ray Neal. I said to Ray, Oh, are you going to play it? And he said, ‘No, today is your day!’ And the first song I played on that guitar was ‘Sweet Little Sixteen.’ To play that guitar, I was done living right then, my life was done. Take me now, Lord!“

Introduce your touring band? “Russ Bryant is our production manager, musical director and saxophone player. Andrew ‘Fingers’ Moss on bass, Orlando Henry on keys, Dan Isbell on trumpet who now goes by Doctor because he’s a professor of music at Penn State University. And the youngest member of the group is Justin ‘the Giant’ Brown on drums from Vicksburg, Mississippi. This band is my dream band. We like hanging out together and I really like how close everyone is. Having a relationship on stage is great but having a relationship offstage makes the energy on stage ten times better.“

Your music draws from so many musical influences; the grittier hill country blues, the Chicago city sound to a soulful R&B feel. Do you consider yourself a student of the music you play? “You know I became a fan of hill country blues after I discovered a film called ‘Black Snake Moan’ and I really see that film paying homage to R.L. Burnside. And that’s when I first heard hill country style music and fell in love with it. The song ‘Alice May’ was one of my favorites, and ‘Stagolee’ which is very vulgar and raw and much grittier than the original…that’s R.L. Burnside. I also get a lot of influence when it comes to guitar from jazz players, Grant Green, Django Reinhardt and even horn players like we mentioned earlier, Miles Davis. I heard some of the licks he does and apply them to what I do on stage. I like to do a mixture of morphed jazz and blues…“

Russ adds, “We try to pull from every area and all the masters, it helps you develop your own sound and your own style. Drawing from everybody helps you create your own vocabulary and rearrange it to what fits your heart.“

DK: “If you listen to ‘The Right Man’ record, in my opinion, of course its blues but to categorize it into a certain genre, it would be difficult because the record contains so much blues, jazz, pop and R&B influence it becomes a mixture of everything. So, sound-wise the record is very unique.“

A number of musicians I’ve spoken with throughout the years have told me that a bands’ energy comes directly from their audiences, does the D.K. Harrell band every experience that? Russ says, “At a show in Lucerne, Switzerland last year we played a special dinner show and D.K. went into the crowd and everybody got up and surrounded him and he was just singing his heart out and they wanted to be in the moment. It was special because we not only want to play for them, but to actually connect with them while we do it. Because if we don’t have the people to connect with, what’s the point? We might as well play in a vacuum, music is meant to be shared and experienced.”

The post D.K. Harrell – Rhythm and Roots in the Key of Blues appeared first on Traveling Archive.

When you grow up in a family where your father is known as Lil’ Howlin’ Wolf, the chances are pretty good that you may end up as a bluesman. If you come of age on Chicago’s Southside and your band is forced to practice in the basement laundry room of the projects, you may end up as a bluesman. But when childhood memories include your dad taking you by the hand into some of the Windy City’s most legendary bars and you witness B.B. King live for the first time at the Burning Spear on State Street, damn you have to be a bluesman!

That’s exactly what happened to Michael Stone; you and I know him better as Stoney B. The twist and turns of his musical road, including four years in Army khakis, have taken him from the streets and bars of Chicago through a maze of clubs and juke joints across the entire South. Over a decade of that period he honed his performance and entertainment skills around the Big Easy. Those years of dedication would pay off with an invite to the New Orleans Jazz Festival. It would take Hurricane Katrina to force him to leave and with a short stop in Texas, Stoney B would eventually find his way to the West Coast and San Diego. And that’s where we caught up with him.

Let’s start with your childhood, born in Chicago…when did you realize who your father was and what he did for a living? “First of all.” Stoney says. “My father was the friend of a guy named Earnest Stone and they were good friends. Earnest Stone was with my mother and they broke up. When Earnest left, my father and mother got to be friends and I was the first product of that. My father, Lil Howlin’ Wolf (Jessie Sanders) has five kids by my mother, and I’m the first one. My mother had four girls and when she met my father, I was my mother’s first son. My mother and father broke up when I was eleven years old. We were living in Chicago; in the projects on the Southside of Chicago.”

Did you ever have the chance to meet Howlin’ Wolf? “I didn’t know Chester Burnett, ‘the Howlin’ Wolf’ and it’s in question, whether or not my father was Howlin’ Wolf’s illegitimate son. When Howlin’ Wolf left Mississippi and went to Chicago, my father followed him and the word I got through family is that when my father went to Chicago, Howlin’ Wolf didn’t want him because Wolf had his family with him. You see my father sounded, vocally just like Howlin’ Wolf! Let me tell you, my dad and Howlin’ Wolf had the same kind of vocal chords and it wasn’t a put-on that was my dad’s natural voice. I don’t know if Chester Burnett is my biological grandfather, all I know is they were close. Back in Mississippi they went down to juke joints and my father would follow him when he could.”

“Jimmy Reed, Elmore James, B.B. King and Muddy Waters were my main influences. You even say their names and I lose my mind.” — Stoney B.

You said your mother and father broke up when you were young? “My father left when I was eleven and it was about two years later when I got into music because of my upstairs neighbor. We lived on the thirteenth floor and my friend Derek, lived on the fourteenth floor. His father was into gospel music and had bought him a bass guitar. I’m sitting at home and I hear this boom, boom, booma, boom coming through the walls and I go upstairs to find out what’s going on. Derek had a bass guitar and I was really infatuated with it. I was thirteen and said let me try it. It was the first musical instrument I had ever tried to play in my life. I would go up to his house everyday…let me play on that bass. After a couple of months, Derek’s dad said let me buy Derek a guitar and let Michael Stone play the bass and that’s what he did. One thing led to another and we learned to play by ear. Everything that Derek learned, I learned. We practiced it. The first song I learned to play was ‘Get Ready’ by the Temptations. You couldn’t tell me shit! I knew how to play that!” (laughing)

Any special memories stand out from that first band? “When Derek and I were learning about music, Derek on guitar and me on bass and my next door neighbor, Gregory Hunter turned out to be our drummer. We were called the 4947 Laundry Room Band. We were kids, 14 or 15 years old and our parents loved that we were interested in music but nobody wanted us in their house.” (laughing) “You all go on down to the laundry room in the middle of the building where the elevators were. And later on my brother, Larry started singing and he had a fine voice. We entered a music contest at the Regal Theater in Chicago and one of our competitors was the Jackson 5. Michael Jackson sang ‘Who’s Lovin’ You’ and boy the women just went crazy. Joe Jackson really pressured them, they had to dress, they had steps, they had the music lined up and they were professional. We were amateurs. I mean, they just came and blew everybody else away…three times in a row. During that time we were known as the Rayshons and we had these little purple and red outfits that Derek’s father had gotten for us. I remember one night when Jermaine Jackson showed up and something was wrong with his amp and he borrowed mine. At that time I had no idea that these guys out of Indiana would go on to be world famous.”

Did your father ever take you to meet some of his musical friends? “I remember the first time my dad took me to see B.B. King at the Burning Spear club on State Street in Chicago. He got me in because everyone knew he was Lil’ Howlin’ Wolf. He started taking me out to Silvio’s and Theresa’s and people got to know me before they knew I even played music.”

Your father lived a good portion of his life in Memphis? “He was still doing shows but he had touches of Alzheimer’s and my dad would talk to anybody, he was friendly like that and everybody knew him. At his funeral, all of the kids one-by-one would get up say something and thank people for coming. I loved my dad and that was the first time I admitted to myself that I wanted to be just like him. I never said that before, I’m looking at him in his casket; the music, the personality and the character, everything that he was…was inside of me.”

He played with Jimmy Reed, Little Junior Parker…“Koko Taylor, the list is endless. Billy Branch, Sugar Blue, everybody in Chicago.”

It’s little wonder why your sound is so diverse. You play Delta and Chicago style blues, but there are traces of R&B, Soul and even Gospel in your current sets. “It was fed into my ears and remember I’ve never had a music lesson in my life. Blues and Gospel music has a feeling to it. It’s an emotional real thing. You either feel it or you don’t. My favorite number one Gospel group is the Mighty Clouds of Joy. I used to go right across the street to the DuSable Auditorium when I was living in the projects; the DuSable High School was directly across the street. And on Sundays they had the Gospel show and at the time I think it was $1.25 to get in. And I would go listen to the Gospel music, sometimes they would have the Mighty Clouds of Joy, the Jackson Southernaires and all these groups traveling out of Memphis and Mississippi.”

Let’s talk about influences outside of the family. “Jimmy Reed, Elmore James, B.B. King and Muddy Waters were my main influences. You even say their names and I lose my mind. They got that beat and the music goes right along with it. You don’t even know your feet are moving. The blues will grab you.” (laughing) “The last two times B.B. came out to San Diego, I got to open for him at Humphrey’s main stage.”

Had you met him before? “When I was living in Atlanta, B.B. was playing somewhere downtown and I was playing at a blues club called Blind Willie’s in Virginia Highlands. I went to the show and when it was over and everybody was leaving, I walked up toward the stage and the security guy was there. I said look here my man can I go back and see B.B. and he said I can’t let anybody back. I went in my wallet and got one of my business cards and put a twenty dollar bill with it. Do me a favor and just tell B.B. Little Wolf’s son is here to see him. He said stay right there and he went in the back. In two minutes he came back and said follow me. I went in the dressing room and B.B. was in there with a couple of women and when I came in he said, ‘Who is your Daddy?’ I said Lil’ Howlin’ Wolf. He said, ‘Oh man!’ And another thing I was told to say hi to you from somebody in Leland, Mississippi. And when I said Leland, Mississippi B.B. sat straight up and asked, ‘Who said to say hi?’ I said, ‘Lil Bill.’ And he clapped his hands and smiled. (Alex ‘Lil’ Bill’ Wallace) taught B.B. how to play. Lil’ Bill was a used car salesman in Leland, Mississippi and when I was living in the Delta area I knew him; I got to play in the Mississippi Delta Blues Festival twice.”

Music has been such a big part of your life, how did your military service affect that? “I played bass from the time I was thirteen until I was twenty and then I went into the Army. In the Army I bought a guitar. I took my second military pay check and bought a Fender Stratocaster guitar. I taught my little brother Lonnie how to play the bass. When I came out of the Army, Lonnie was better on the bass than I was. I sat on the edge of my bed trying to figure out what to do with them bottom two strings.” (laughing) “The bass has four strings and a guitar has six. No amplifier but I could hear it and put things together, little by little and when I got out of the Army after four years, I went back to Chicago with a guitar and they were laughing at me…until they started listening to me. All of the blues music my dad influenced me with coming up, stayed with me.”

“I’ve been on the stage since I was fifteen years old, but I didn’t actually start singing and fronting a band until after I came out of the Army. When I was a bass player in Chicago, I wasn’t singing I was just playing bass. That’s why they were laughing at me when I came out of the Army because I got a guitar and I’m singing. Then when people came out to see…just who the hell is Stoney B blues? One year after I got out of the Army, I formed the first Stoney B blues band. We played from 1979 to 1986. At the same time, I was playing behind so many musicians in Chicago, it wasn’t even funny. I could sing, open up the show, play guitar, and MC. I was with Queen Sylvia Embry. She was a bass player out of the church and she could sing like an angel. Johnny ‘Guitar’ Embry was her husband and they broke up and got back together, broke up and got back together. One of the bands was Johnny ‘Guitar’ Embry and the Blues Kings and Sylvia saw me playing with him one time. Then when she found out I could play bass and guitar…AND sing, she pulled me aside. So, I was playing with Queen Sylvia and Johnny’s Blues Kings and some months I only had four days off. I was playing music every damn night. My own band played every Monday at Lee’s Unleaded Blues with Buddy Scott and the Rib Tips. He started me off at the club’s Blue Monday party.”

It would be a fan who recorded one of those ‘party nights’ that Stoney says, turned him around. “I did not like what I heard because I was drinkin’ and smokin’ weed. I thought I was feeling my own, like King Kong higher than a MF’er. My singing wasn’t clear, my guitar playing was sloppy. So, I quit! No drinking and performing.”

Did you play around Chicago with your dad? “I didn’t play with my dad much. All together, I maybe performed with my dad just three times. My dad had his own band and they were all seasoned musicians. Musically, my father was my biggest influence because he took me from the beginning until he passed away. I looked up to my dad and admired him.”

Some of those Chicago clubs are still considered legendary. “Kingston Mines, B.L.U.E.S. Yeah, I played at Wise Fools, Biddy Mulligan’s…” Did you play at Silvio’s? “No, but my dad did, my dad played Silvio’s a lot. And there was Theresa’s. Junior Wells gave me a harp one time. It was a C harp and I’ll never forget it. And I tried to play it and it made my lips sore and I never put another harmonica to my mouth again. And Junior Wells used to call me, ‘Lil’ MF’er!’ (laughing) “Junior would walk around saying, ‘Where’s that Lil’ MF’er at?’ (laughing) “I admired Junior Wells so much. First of all, he was one of the sharpest dressers and he’d always sit at the end of the bar, by himself. He got to liking me because I respected him. He was so much older than me. Junior Wells and Buddy Guy knew my dad very well.”

You had a chance to work with Son Thomas and Roosevelt ‘Booba’ Barnes? “Son Thomas I met and played with and I had the chance to talk with him a little bit, but Son Thomas was one of the older guys. And another guy named T-Model Ford…and Roosevelt ‘Booba’ Barnes. When I left Chicago in 1986, I went to Greenville, Mississippi. I was living in a little motel right outside of town and a cab driver told me, I see you’ve got a guitar. You know they play the blues down on Nelson Street. I waited till Friday night and the cabbie took me down to Nelson Street to Roosevelt ‘Booba’ Barnes’ Playboy Club. I walked in carrying a guitar and Booba had a bass player, a drummer and some other guy who could play guitar a little bit and Booba said, ‘I’m gonna’ get you to come up and play a couple of songs.’ You know, to see if I was worth a damn. So I got up and played and people liked it. Booba asked me, ‘what’s your story?’ I said look man, I just got in town I’m stayin’ in a hotel out by the highway and I’ve got no place to stay, no money and no job. He said, ‘Well man, I could use you in my band.’ He was living in the back of the club, so I was sleeping on the pool table!” (laughing) “I was playing with Booba for a couple of months and sleeping on the pool table and I’d help him at night when the club closed, cleaning up and emptying the trash, mopping the floor. Right down the street was a place called the ‘Flowing Fountain’ and that was Little Milton’s hangout. The guy who owned the ‘Flowing Fountain’ was named Perry Payton and he was a mortician, he had his own funeral home business.”

Your music and most blues is based on storytelling…are you a storyteller? “When my dad was singing and playing the blues in the house, he’d be singing and playing like it was real. Even though it was nothing but a song, I was young and impressionable and I’m learning and you can have me believing anything if you know how to do it. And the blues, every song that I sing, when I sing it, I put myself into that song. I’m going to try and make you believe. Whatever I sing, I want you to believe me. You can feel me better if you believe me and I like that connection. That’s why I love playing for the senior citizens over at St. Paul’s…they’re not drinking, they’re not dancing, they’re sitting there listening. They tell me, ‘Oh, I was so into what you were doing, I listened to every syllable that came out of your mouth; I listened to you!’ No distractions. You know that meant a lot to me.”

The early 90s you find your way to New Orleans and you meet a blues guy by the name of Bryan Lee. “Bryan Lee! That’s my boy! Blind Bryan Lee, man he was playing the Old Absinthe House on Bourbon Street. One of the first nights I got there, I was walking down the street and I heard the blues and I walked up and looked in this place and Bryan Lee was up there playing. I didn’t know at the time he was blind. About six or seven month later I was opening up for Bryan Lee at the Old Absinthe Bar. When I first got to New Orleans I was a street musician. I’d been ripped off and didn’t have a guitar, but someone gave me one but it didn’t have any strings. I took that guitar and right off of Jackson Square on St. Peters Street, I got up on the wall and with no strings on this guitar I put my tip box out and told people I can play any song you name. How can they tell if I’m right or wrong, I didn’t have any strings on the damn thing? It was like I was a comedy act out there.”

Stoney demonstrates and sings ‘My baby left me’ and strums an invisible guitar without strings. ‘I got the blues, pretty baby.’ “And people just stopped they’d never seen anything like that before. Even other musicians were wondering what the hell is going on? Here’s this black man down there with a guitar and no strings on it and there’s a damn crowd around him and a half a box of money. What is the world coming to?” (laughing)

After establishing yourself in New Orleans what were some of the clubs you played in? “The first club I performed in on Bourbon Street was called, The Funky Pirate. I also played the Famous Door, the R&B Club, Tropical Isle…”

I’m amazed at the number of clubs and bars you’ve played all over the South, From Blind Willie’s in Atlanta to the Mean Woman’s Grill in Lubbock. “Man, I done played so many of them Chitlin’ Circuit juke joints and I’m talking about the real juke joints, down in Mississippi, I played Clancy’s in South Carolina, Spartanburg and people were comin’ up in there, man. People were comin’ from other clubs to come to Clancy’s to see this black guy playing the blues. It was full on the inside and people lined up outside with people looking in the windows.”

You also played the Jazz Fest in 2008. “Yeah, I can’t remember the year but me and Grandpa played there.”

Talk a little about Grandpa Elliott (Elliott Small). “Grandpa was the leader of an a cappella group in New Orleans and every now and then would pass me when I was playing in Jackson Square. I had Chili Groove on the tub bass, you know the No.#2 foot tub? He had a string in the middle of it and connected to a pole. He would hit that string and pull on it and change the tone. When we started playing together Grandpa and I were with each other almost every day for 12 years and we never once practiced or rehearsed…and every year we played at the Washington Parish fair, we were small stage specialists. There was never a better harmonica player; he was the best in town, period. There was no harmonica player in New Orleans better than Grandpa. Smoky Greenwell was No. #2. The first time Grandpa and I played together all I had to do was tell Grandpa what key the song was in. And he would know which harp to get. When we started playing, I had perfect vision and Grandpa had perfect vision. Slowly, glaucoma took his vision away and Grandpa went blind. Now here I am with glaucoma…man, I went through nine months of depression.”

Stoney B and Grandpa Elliott

You were evacuated out of New Orleans after Hurricane Katrina and eventually made your way out to San Diego. You put together your own blues festival; tell us how the Blues Summit came to be? “The Blues Summit was a gathering of blues musicians, performers and blues lovers. If you like the blues, this was your event. First of all, I wanted it to be free and I wanted it to feature all the blues musicians in this area. The origins are from when I used to run the blues jam at a place called, Hennessey’s Speakeasy at Fourth and Market. And on Monday’s blues musicians had a place to come out and play.”

You’ve been very active with a number of charitable events in Southern California. “My wife is involved with the Blues Society and the Blues in the Schools programs along with the Blues Summer Camps. I got to play in the Blues in the Schools program with Michele Lundeen and Fuzzy Rankins. We’d do presentations explaining to the students what the blues were about and where they came from and how they originated. I was proud to be a part of that because I fit right in. I could speak the language they could understand.”

You’ve also worked with the Doors of Change, a program designed around homeless kids in Southern California. “In Ocean Beach there was a church organization that had us teaching homeless kids how to play music. I was teaching blues to the kids and after they came, I think it was six times, that would gift the kids a guitar. I loved that, man. And I worked with Rachelle Danto. Just a few weeks back I ran into a young person who said, ‘you don’t remember me, but you showed me the Jimmy Reed style.’ When he said the Jimmy Reed style…I knew that was at the church!”

You’re playing a lot, who’s playing with the Stoney B Blues band now? “Paul Carlomagno is my drummer and Joe Torres plays guitar. We have Pat Kelley on keyboards and Karl Dring on harmonica, guitar and bass.”

What’s next for Stoney B Blues? “I’m going in to the woodshed and I might have to disconnect from everything for a few weeks until I get through writing and putting together my next CD. There’s a lot of music that’s original…that’s still in my head. I’ve promoted everything I’ve ever done. I’ve never had a manager or agent; you see growing up in Chicago you couldn’t trust the damn booking agents and managers because they had a bad reputation for ripping people off. I just do it myself.”

You’ve lived a lifetime of blues, do you have a ‘most memorable’ moment or experience? “I was coming off the stage after a performance and a lady about 70ish, came and stood right in front of me. I stopped and put down my guitar and amplifier and she reached out and grabbed my hand and said, ‘I want to tell you something.’ She said, ‘You are my B.B. King!’ I looked at her and didn’t really understand. She said, ‘I don’t have much money, and when B.B. King comes to town I can’t afford to go see him. But I’ve seen you a number of times and I can get that same feeling.’ She said, ‘B.B. is my number one to listen to, and that I was the next best thing.’ The whole time she was holding my hand and she said she just want to tell me that. Then she just turned around and walked away. And for the first time somebody said something to me that I didn’t have an immediate response to. She said it with all sincerity, from the heart. I didn’t have a response; it was like my vocal chords couldn’t hook up, and so I just watched her walk away. And that meant so much to me. I wish I could find that lady and speak with her; it was such an intimate thing.”

Any last calls, any other stories that led you to where you are now? “Do you know I was the first attendee at Muddy Waters funeral? When Muddy had his funeral in Chicago on South Park, its called King Drive now, I only lived a block and a half from the funeral home. When they opened the door at the funeral home I was standing there, by myself. When they pulled the door open and I went in, Muddy’s casket was already open and in the front. I walked up to it and looked down on Muddy. You know how he used to have his hair processed, they had Muddy looking good. I stood there and said, ‘Muddy, one thing for sure I’m going to keep on playing the blues until I join you.’ And when I was walking out there was a line of people walking in…”

Stoney B is a man of his word. He and his band play regularly in and around Southern California so get out and enjoy the show. Check out his website, StoneyBBlues.com for dates and times near you.

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