A Living Legend

David "Honeyboy" Edwards talks about playing—and living—the blues.

By Dan Bowden
Berklee.edu Correspondent
October 31, 2007

	Honeyboy Edwards
	Photo by Phil Farnworth

The overcapacity audience at Berklee's David Friend Recital Hall this October was treated to an hour and a half of music and remembrances from David "Honeyboy" Edwards, one of the last links to Son House, Robert Johnson, and other original acoustic Delta blues musicians. Born June 28, 1915, in Shaw, Mississippi, Honeyboy is a living expression of America's musical and cultural heritage. Although his music emerged early in the 20th century, it still remains relevant today to blues aficionados and as the precursor to jazz, rock, r&b, funk, rap, and most other American styles.

Honeyboy was accompanied on harmonica for most of the event by his musical partner and manager since 1972, Michael Frank. He was also joined for two numbers by local harp legend James Montgomery.

There was a great appreciation of Honeyboy's guitar playing among Berklee student and faculty guitarists. He used the entire fret board, executing bass lines, piano-like chordal figures, and biting leads—at times simultaneously. His groove was relentless, driving the beat with his thumb pick striking the bass strings of his guitar.

Coming from a time when solo performers played with enough power to fill a dance floor, Honeyboy was a one-man rhythm section, punctuating his juke joint beats with stabbing lead lines, double-stops, and chord shots. His singing was a natural expression of the human experience, and seemed to communicate a lifetime of experience from a man that's gone through the harsh realities of an African American living in the deep South during severely repressive times as well as the joy of a beloved musician whose talent has taken him throughout the world.

Christina Fabi, a second-semester vocalist and Ohio native raised in Munich, Germany, said after the event, "He seemed to be completely engaged in the moment without any masks or ambitions to fulfill certain codes, making it a moment of sincere truth. He engaged the audience with trance-like rhythms and broke through to them with the raw sound of his voice and instrument."

During an extensive question-and-answer period, Honeyboy took the role of a teacher, advising that "blues is not meant to be played too fast . . . you got to put down a chord and let it soak!" He stressed the importance of the key choice for a tune, noting that E, A, D, and G are the best for his style of blues. He also said that no matter how long you've played the guitar, "you can always find something new on the neck."

When asked about Robert Johnson, he told a story about Johnson playing on a street corner in a town in Mississippi. Between songs, a woman approached Johnson and asked if he knew the song "Terraplane." When he explained "Terraplane" was his recording, she replied, "I don't give a damn who's song it is, just play it!"

Honeyboy was there the night Johnson was allegedly poisoned by a jealous store owner. He shared with the audience that the owner's wife was "a good woman, but she wasn't worth dying over!" He's among those who claim that Johnson was poisoned by the owner with a strychnine-laced bottle of whiskey. Honeyboy is often cited in the dispute over the true location of Johnson's gravesite. (There are three markers at different locations.)

When Honeyboy was asked what was his key to longevity, he simply replied "just living." He continues to perform internationally.

Student Alex Weed, a fourth-semester guitar principal from Anchorage, Alaska, said, "Honeyboy is literally the last of the originals, and it was a great moment for Berklee to have him here and to be in the same room with one of the legends of American music."

At 92, Honeyboy Edwards remains a musical and personal inspiration, and a true example of a life well lived.

Honeyboy Edwards and Michael Frank play for a packed room.  Photo by Phil Farnsworth

Dan Bowden is an associate professor in Berklee's Guitar Department.