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.

This installment of THREE THINGS is courtesy of Sibylle Gerardi , Head of Corporate Communications Media Switzerland, America.

1. Question: What are some of the popular activities for the citizens of Lucerne?

Answer:

Swimming in the lake during lunch break or after work in the historic and centrally located “Seebad.”

Also very popular is to meet in the beach bar at Hotel Hermitage with family or friends, having a barbeque for dinner and watching the sunset.

2. Question: Name something about Lucerne that general public may not know.

Answer:

The Founder of the Rosengart Collection, Angela Rosengart, has been painted five times by Pablo Picasso. Angela’s father was a friend of Picasso. The pictures are to be seen in the Rosengart Collection. If you are lucky you can meet Angela and she tells you how it was to be Picasso’s model.

3. Question: Name something that Lucerne has contributed to the world.

Answer:

The World famous Victorinox army knife is from from Ibach, close to Lucerne. The wide range of Swiss Army Knives has been established since 1897 and continues to expand at a rapid pace all over the world.

Traveling Boy readers are invited to a short escape to Lucerne & Lucerne Lake Region on August 12. Sybille Gerardi, Head of Corporate Communications Media Switzerland, America will be our tour guide for 30 minutes.

The post Three Things We Didn’t Know About Lucerne appeared first on Traveling Archive.

Padre Pro’s last request was to be allowed to kneel and pray. When the firing squad’s shots failed to kill him, a soldier shot him at point-blank range. Pro had been falsely accused in the bombing attempt of former Mexican President Álvaro Obregón, and had become a wanted man. Betrayed to the authorities, he was sentenced to death without the benefit of any legal process. On the day of his execution, Pro forgave his executioners and refused a blindfold. He died proclaiming, Viva Cristo Rey! (Long live Christ the King!) On a recent trip to Mexico City, I was exploring the Roma Norte Neighborhood, courtesy of Visit Mexico City.  Located on the edge of the city’s bustling downtown and historical sites, my photographer, Deb Roskamp, and I were just about to take a break in one of Roma Norte’s idyllic tree-lined pocket parks, when a small building, adjacent to a parish church, caught our  attention.  Its sign read: Museo Padre Pro. The name sounded curiously familiar, so we went inside.

The museum was small, but felt spacious, allowing emotional space to reflect on this man Pro and his remarkable life story. At the entrance to the museum, books, posters and postcards were sold. All the information was in Spanish, but fortunately my photographer was Spanish-speaking wife, who translated Pro’s history to me. His story was of a  Catholic priest who defied the fiercely anti-clerical and anti-Catholic provisions of the 1917 Constitution, which were now vigorously enforced in 1926. This enforcement resulted in severe penalties for priests, including death, who criticized the government or wore clerical garb outside their churches. The articles also mandated secular education in schools, prohibiting the Church from participating in primary and secondary education, forbade public worship outside of church buildings and restricted religious organizations to own property. The final article revoked basic civil rights of clergy members, denying priests and religious workers the right to vote.

In 1926, the Jesuits sent Padre Pro to Mexico City just three days after Plutarco Elías Calles banned all public worship. Since he was not known as a priest, Pro went about clandestinely — sometimes in disguise of a variety of professions — celebrating Mass, distributing communion, baptizing children, hearing confessions, anointing the sick, and even celebrating weddings. He would often dress as a beggar to collect money for the poor. The whole time, he was risking his life because public worship was explicitly outlawed and priests would be arrested immediately. Details of Pro’s ministry in the Underground Church come from his many letters displayed in the museum. Soon under surveillance by the Calles regime, a failed attempt to assassinate Álvaro Obregón, provided the state with a pretext for arresting Pro.  A man confessed his part in the plot, testifying that Pro was not involved, but this was ignored.

In prison, unsure of his fate, Pro spent his time praying for the others in confinement and for the salvation of humankind. On the morning of November 23, a guard appeared at the cell door and called for Padre Pro. He turned to the other prisoners and exclaimed, Good-bye, brothers, till we meet in Heaven!

Notre-Dame-de-Bonsecours Chapel – Leonard Cohen’s Montréal

Montréal is a city of cathedrals, and for my first trip to the city my plan was to walk from one church to the next, never knowing what experience awaited me around each corner. While wandering on the edge of Old Montréal’s cobbledstoned streets, I stumbled upon Notre-Dame-de-Bonsecours Chapel, known as The Sailor’s Church due to its proximity to the Old Port. I was quite moved by the statue of a woman atop its dome, who seemed to reach out to the St. Lawrence River. Upon closer inspection I realized that the statue was Our Lady of the Harbour, made famous by Leonard Cohen in his song, Suzanne. As a fan of Cohen, it was an important discovery in which I will never forget. The church also features an observation tower with remarkable views of Old Montréal and the St. Lawrence, and a museum, which includes artifacts pre-dating the arrival of the New France colonists in 1642. Admission to the chapel is free.

The Dying Lion Monument of Lucerne – Swiss Guard

The Dying Lion of Lucerne is a powerful memorial that pays homage to the selfless Swiss Guard who died defending the royal palace in Versailles during the French Revolution. When angry French masses stormed  the palace on August 10, 1792, the 1,000  Swiss Guardsmen stood up as the last defenders of the French monarchy — but in vain. (History has not been kind to Louis XVI, but we forget that he underwrote the Continental Army during the American Revolution). The Guard, renowned for their bravery and unconditional loyalty, never surrender, even at the point of death. A Swiss Guardsman had to be an unmarried Swiss Catholic male between 19 and 30 years of age who had completed basic training with the Swiss Armed Forces. The Dying Lion of Lucerne  monument was initiated by Karl Pfyffer von Altishofen, a junior lieutenant with the Swiss Guard, and was hewn out of stone after rallying Lucerne’s artistic community. It was described by Mark Twain as “The most mournful and moving piece of stone in the world.”

Today, the Swiss Guard’s esteemed stature remains as defenders of the Pope in the Vatican. Since the assassination attempt on John Paul II of 13 May 1981, a much stronger emphasis has been placed on the Guard’s non-ceremonial roles. The Swiss Guard has developed into a modern guard corps equipped with advanced small arms, and members in plain clothes now accompany the Pope on his travels abroad for his protection. I recall with frustration while standing in line at  Saint Peter’s Basilica in Vatican City where a group of American tourists were mocking a  Swiss Guard’s historic mode of dress. I tried to explain to them that they were among the world’s greatest defenders. I was met with further laughter: “In those little outfits!” I thought, yes; but far more appropriate than the American tourists’ baseball caps, sweat strewn tee shits with logos, and frayed baggy shorts.

The Magical Mystery Tour – The Beatles in Liverpool

The Magical Mystery Tour of Liverpool is the ultimate Beatle experience for the ultimate Beatle fanatic, and if you fit that description, it is well worth the journey. The tour introduces you to over thirty places directly associated with the Beatles and those people who were close to them.

Tickets are purchased at the  Beatles Story Museum at the renovated Albert Dock, on the River Mersey. If you have the time, the museum offers a good Beatles primer before you get on the bus. Full of memorabilia, rare photographs and interactive exhibits, it covers the lads’ beginnings to their rise to stardom and eventual departure from Liverpool.

Participants board one of the company’s fleet of three yellow psychedelic Magical Mystery Tour coaches identical to the bus used in the 1967 BBC film “Magical Mystery Tour.” A team of professional tour guides who are all expert Beatle historians conduct the two and a half-hour journey. And each of them seems to have their own personal story and relationship with John, Paul, George and Ringo.

Selected Highlights:

The Jacaranda club where the lads would hang out during their student days

The Liverpool College of Art where John met Stuart Sutcliffe, later a temporary Beatle,  and Cynthia Powell, who became his first wife.

Penny Lane and Strawberry Field/s.

The childhood homes of John, Paul, George and Ringo.

St. Peter’s Church Hall, where Paul first met John while he was performing with his Quarry Men skiffle group.

And, of course, the reconstructed Cavern Club.

Yes, these are places that I will always remember.

The real story of ‘Yellow matter custard, Dripping from a dead dog’s eye’ in “I am the Walrus.” John Lennon heard that a Liverpudlian school teacher was teaching  courses about the meaning in Beatle songs. The lyric is a Liverpudlian school boy taunt. Lennon though the kids would get a kick out of it, so he put it into the song.

The post Pilgrimages: Places I Remember, Part 6 appeared first on Traveling Archive.