"I would walk my grandmother around the corner to the church on Thursday evenings for prayer meeting. I would wait outside and hear the elder women of the church singing prayers and praises. The context was religious, but the sound was deep blues."
"I have always been amazed by and grateful for the generosity of these masters of traditional blues. They welcomed me and shared freely of their knowledge and abilities."
"I would like to extend my sincere gratitude to Dr. Bernice Johnson Reagan for her acceptance of a skinny high school boy with a gigantic Afro and raggedy blue jeans as a performer with Flora Molten at the Smithsonian Folklife Festival many years ago. It was this acceptance that opened the door for me to all the many opportunities I have been able to take advantage of since then in my life's pursuit as a lover of traditional acoustic blues. Dr. Reagan, I thank you with all my heart."
Phil Wiggins' Biography
Phil Wiggins was born on the 8th of May, 1954 in Washington, D.C. His parents had moved to Washington from Titusville, Alabama in 1941. "The closer the time came for 'going home', the stronger my mother's southern brogue got. Whenever my mother used the word 'home' she was talking about Titusville." Phil spent many of his childhood summers in Titusville and cites the time he spent there as one of the main reasons for his strong connection with blues. "I would walk my grandmother around the corner to the church on Thursday evenings for prayer meeting. I would wait outside and hear the elder women of the church singing prayers and praises. The context was religious, but the sound was deep blues."
During the early years of his development as a musician, Phil was constantly playing with and learning from some of the most notable acoustic blues musicians that made their homes in the Washington area: Flora Molten, Mother Ester Mae Scott, Wilbur "Chief" Ellis, John Jackson, Archie Edwards, John Cephas, and others.
Phil performed with Flora Molten at the Smithsonian Folklife Festival in Washington, D.C. every summer from 1972-1976. It was there in 1976 that he met and joined with Chief Ellis on piano, John Cephas on guitar, and James Bellamy on bass, forming the group Chief Ellis and the Barrelhouse Rockers. The group performed at several venues and festivals in the D. C. area until Chief retired and moved back home, coincidentally to Titusville, Alabama. Soon after returning home, Chief suffered a heart attack and passed on.
Not long after Chief's passing Phil and John Cephas formed the duo Cephas and Wiggins. This duo performed together for over 30 years, becoming America's premier blues duo. As ambassadors of the Piedmont blues, Cephas and Wiggins took their music all over America as well as all over the world. "John and I have performed on every continent except Antarctica." Some venues of note include Carnegie Hall, Sydney Opera House, Royal Albert Hall, and the White House.
John Cephas passed on March 4, 2009. Phil Wiggins is determined to carry on with his music, his harp playing, his singing, his songwriting, his teaching….. "staying rooted in my past, thriving in the present, and constantly reaching toward the future".
Highlights of Phil's Career
Films
Matewan
A feature length film about the coal mining wars in West Virginia, written and directed by John Sayles. Phil appears in the film and contributed music to the soundtrack.
Blues House Party
A documentary film produced by Eleanor Ellis that captures a wonderful celebration of music and culture that takes place at the home of John Jackson. Phil appears in the film and supplies the voiceover narration.
Portland Mojo: How Stumptown Got the Blues
Written and produced by Bob Lietch, a documentary film about the blues scene in Portland, Oregon, narrated by Phil.
Letters from Mound Bayou
A documentary film about the establishment of a community health center for the rural community of Mound Bayou, Mississippi. Produced by an activist group in Washington, D.C. called Video Action, Phil wrote and performed the music for the soundtrack.
Other Points of Interest
Polk County
The first professional production of this play, written by Zora Neale Hurston. It ran from March 29-May 12, 2002. It won the Charles McArthur Award for Outstanding New Musical. Phil had a role as a harmonica player in the production and was also the band leader.
National Council for Traditional Arts
The NCTA and its former executive director, Joe Wilson, have done more to advance the career of Cephas and Wiggins than any other person or organization. “The amazing thing is there are many, many other traditional musicians that can make the exact same statement.” Phil now sits on the board of NCTA.
Teaching
Everyday Theatre
An alternative theatre company in Washington, D.C. that was contracted by the D.C. government to work with “youth at risk”. Phil worked with the youth on everything from singing and songwriting to methods for collecting oral histories. Phil was also musical director for several theatrical productions by the company.
Art and Drama Therapy Institute
An amazing facility for adults with intellectual disabilities. The clients at this facility spend their days immersed in music, art, and theatre. Phil taught the clients how to play harmonica, taught them songs, and led them in songwriting workshops. Phil also led the clients in several blues performances for the facility and the Washington community at large.
Augusta Heritage Workshop, Blues Week
A weeklong celebration of blues music that takes place on the campus of Davis and Elkins College in Elkins, West Virginia. Phil has taught all levels of harmonica there every summer for almost 30 years.
Centrum Blues Week
Centrum provides participants with a unique opportunity to spend a week immersed in the music and culture of the acoustic pre-war blues by providing a staff of musicians that are excellent teachers as well as old masters and tradition bearers. Phil has taught all levels of blues harmonica at Centrum for over 15 years and was Artistic Director for 5 of those years. “Being Artistic Director at Centrum has been one of the most rewarding experiences of my career as a musician.”
Lorton Penitentiary Youth Facility
For two years Phil taught harmonica and songwriting to the young men incarcerated at Lorton Youth Center. “This was another rewarding endeavor. We were making great progress until the administration noticed me and booted me out. I guess they couldn't stand to see anything good happen there.”