My Story

I am convinced I came out of my mother's womb singing the blues.

Born and raised in Chicago, the birthplace of electric blues, music was not simply something I learned—it was the environment in which I grew up. My mother was a singer-songwriter who wrote songs for legendary blues artists, including B.B. King. Our home was a gathering place for musicians, and it was not uncommon to find blues greats such as Lightning Hopkins, Hubert Sumlin, Little Walter, and many other Chicago bluesmen sitting in our living room, sharing stories, music, and wisdom.

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As a young boy struggling to master the guitar, these musicians took the time to teach me. As my abilities developed, I became a dedicated student of my uncle, Hubert Sumlin, the legendary guitarist for Howlin' Wolf. I was fortunate to learn not only from Hubert but also from Howlin' Wolf himself and many members of Wolf's band throughout the years. They taught me that the blues was more than music—it was a living history, a culture, and a responsibility.

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While attending school, I formed a lifelong friendship with Buddy Scott and his sons, Jerome and Kenneth "Hollywood" Scott. Hollywood introduced me to chord charts and helped expand my understanding of music theory. Years later, we would record together in Chicago, working on songs that reflected our shared musical roots.

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Growing up in Chicago provided a unique education. I had the privilege of studying and learning from many of the artists who shaped modern blues and soul music, including Tyrone Davis, L.V. Johnson, Luther Allison, Jimmy Dawkins, Curtis Mayfield, and Carey Bell. Their electrifying performances and commitment to their craft left an indelible impression on me.

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As a teenager, alongside my late brother Matthew, Michael Henderson, Vince Wilburn Jr., Fred Nelson III, and Hassan Khan, I fronted bands that performed throughout Chicago. We competed in talent showcases at the famed Regal Theater against groups such as the 5 Stairsteps and the Jackson 5. Because of my extensive performance schedule, I was required to join Chicago's historic Black Musicians Union, Local 208, while still underage. Before I was old enough to play in local clubs, I was already performing in union halls alongside seasoned professional musicians.

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Working closely with Vince Wilburn and Michael Danzy also provided opportunities to receive critiques and guidance from some of the most respected figures in jazz. Miles Davis, Philip Upchurch, and Roscoe Mitchell would occasionally observe our performances and offer their thoughts. One moment I have never forgotten was Miles Davis telling me that I would become "a man of all seasons" because of the many styles of music I was studying. Miles was a paradox—quiet, intimidating, uncompromising, and unquestionably a genius.

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My musical journey was temporarily interrupted when I joined the United States military. I served honorably and was discharged with distinction. During that period, I was forced to decline opportunities that included working with Gil Scott-Heron, often referred to as the Godfather of Rap, and participating in projects connected to the motion picture Mahogany.

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Following my military service, I relocated to Detroit, where I worked briefly with Motown musicians and performed as a session player in local recording studios. Soon afterward, I crossed the border into Canada and settled in London, Ontario, a vibrant music community that welcomed me with open arms.

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In London, I formed the band Affirmation, performed with the London Symphony Orchestra, filled in with the Dixie Flyers, and even turned down an opportunity to work with Ronnie Hawkins. My reputation as a versatile performer eventually led me to Toronto, where I was recruited as bandleader for Something Extra, one of Canada's premier show bands. The group performed at major venues throughout Toronto, including special engagements at the Masonic Temple and the Canadian National Exhibition (CNE). The band later earned a Juno Award nomination, further cementing its place in Canadian music history.

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Over more than six decades in music, I have had the privilege of performing across North America, Europe, and Japan, sharing stages with extraordinary musicians and learning from some of the greatest artists of our time. Yet the most important lesson I received came from the bluesmen who raised and mentored me.

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They taught me that the blues is not simply a style of music. It is a cultural inheritance. It is a record of perseverance, resilience, joy, pain, and triumph. It is our history told through song.  Their teachings instilled in me a lifelong commitment: to preserve, protect, and pass on the blues to future generations. Every performance, lecture, workshop, and mentorship opportunity is part of that mission.

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The blues is our culture, and preserving it is my life's work.