Page 29 - BiTS_05_MAY_2022

After years of being told “You really need to get from behind that desk and become talent
yourself!” I finally listened and joined the actor’s union and started hustling gigs for myself.

My “hustle" led to me being the voice of the blues station on XM satellite radio. When SIRIUS
and XM merged the new Program Director, Bill Wax insisted on making me the voice of the
combined blues station.. which was to be called “BB Kings Bluesville”. After settling into my
new role as “The most heard voice in Blues Radio” (‘cause my voice was on all day & night in
some form or fashion on the station), I asked Bill’s advice on an idea I had for recording a blues
album. He and Bobby Rush gave me some great advice which I implemented and dang it…that
album won a Blues Music Award “Best New Artist” in 2013.

LL: Let’s talk about you latest release Bigman. You collaborated on production and
songwriting with Keith Stewart. How did you two come together and what was your
concept and vision for this album?

BLJ: Keith and I met when he came to my talent agency seeking representation. Over the years
we kept up with one another and became friends. I’d known about his history as a vocalist in a
well-known Chicago R’n’B group from the 70’s and 80’s and asked him to be my vocal
producer on my first album “They Call Me BIGLLOU”.

We’d also had success with our first project we co-produced called “The LongShot Sessions”.
The single from that release “Step Wit Chu” became
a Chicago steppers classic. We’d discussed doing
another project after that, but unfortunately I
couldn’t find the time to make it happen.

Luckily though Keith, a songwriter in his own right,
had penned several different tunes over time and
when we found the collective time to do a new
project he had several really great ideas that
meshed together well with my vision, and we were
able to collaborate as though we’d been working
together for years. The song “BigMan” and if
memory serves, “Lightnin’ Strike” had been written
during the hiatus and we’d actually done a few
versions in Chicago in his studio, so there was a
blueprint more or less in place.

LL: Can you tells us a bit about all the other musicians and collaborators on the album?

BLJ: Being a sought-after master of ceremonies for some of the top events in blues provides
me access to some pretty talented performers, all really strong musicians who have become
good friends. Just to name a few, on this project we were able to enlist the talents of blues
greats Ellis Hall, Anne Harris, Victor Wainwright, Joe Louis Walker and Russ Green who was
the producer of my first CD.

Additionally, the rhythm section and arrangements were coordinated by a group of great
Memphis musicians led by lead by Terrence ‘Sweet T’ Grayson & Michael Raiford who also
called on musicians to help out. His recommendation of horn arrangers Mark Earley & Doug
Woolverton was spot on but the list of luminaries is too long to mention. We had over 40
talented professionals working on this project, and I’d love to name them all, but I might leave
someone out and I don’t want to disrespect.