Funk band The Black Honkeys have been entertaining the Tampa Bay Area for almost 20 years, so you’ve probably seen the nine-piece funk outfit at a festival, or somewhere. They play everywhere — weddings, clubs, you name it. In that time, they’ve found local fame and won some Best of Bay awards, to boot. CL talked with the band’s founder and frontman Phil Esposito aka Brother Phil-about the line-up changes, the name and uniting crowds over music.
Other than their website, their online presence is minimal you can watch some videos on YouTube, but only one song — “Let Me Into Your Party” — is on Spotify, or other streaming sites. Generally, not much coverage just a large amount of shows, past and upcoming which includes a celebration of their recent work and video release with Cyril Neville at the Capitol Theatre, Jan. 5.
And what’s with that name? A name so controversial that early on some venues made them use an alternate, The Soul Power Review.
Growing up in the 1970s just south of Clearwater, between Lakeview and Bellair Roads, Esposito says he was dubbed the “Black Honkey” by his African-American friends. “The word…was in high fashion in those times,” he said.
Later in life, when he decided he wanted to start a funk, rock and soul the nickname was pulled out of retirement.
“Guitarist Joe Sanders and I wanted to put together a project that was reminiscent of early Rolling Stones, J. Geils, The Black Crowes, funk and Motown,” he explained.
So in September of 2000, The Black Honkeys was born; Sanders brought in bassist Will “Da Thrill” Harris, a friend he was already jamming with.
“It was kinda unique at the time because no one was really doing what we were trying to do, and a multi-ethnic band doing the songs we were doing was kind of in the vein of Mother’s Finest.”
With some drums, saxophone and keys added The Black Honkeys played their first gig on New Year’s Eve, at Clearwater’s now-defunct Club More.
After working as a four-piece for a while, they soon got the sound they were looking for with the addition of keyboardist Tommy Thompson.
“I credit (him) with validating what we were doing,” Esposito said.
“He was a 62-year-old black guy, who had played in the Air Force band, toured the country with national artists, and had seen both the good and bad of the musician's life.“
Around the same time Tampa area music legend Ronnie Dee, was added to the lineup and soon the corporate gigs started rolling in.
“We attracted the interest of entertainment guru Dennis Bailey of DBM Entertainment…We were the darlings of the Blue Martini circuit for about 4 years,” he said, “I still credit Dennis Bailey for teaching me the true value of what we do, and how to get paid by acting and looking professional, which was a stretch for a dirty roadhouse band like we were.”
Eventually, Dee left the band but soon thereafter a female vocalist and some more horns were added.
“Now we were the 8-piece funk, soul and rock ‘n roll band that I had always dreamed of. We were really having good times,” he said.
Through the years, changes were consistent, including the tragic passing of keyboardist Thompson on the way to a show.
“He was 72 years old. We were stunned to say the least.”
These days, vocalist Nicole Simone Davids joins Esposito on stage as well as a more stable lineup with Harris continuing on bass, Steven C. Tanner on drums, Greg Czinke on guitar, Terry Clark on Trumpet, Scott Myers on Trombone, and John Dash Dixon on keyboards. Luxury Mane’s Billy Summer joins in when available-as he has done since the band's incarnation. Recently, the percussion section got a little more extra with the addition of jazz percussionist Gumbi Ortiz.
“Somehow, someway, international percussionist and guitar maestro Al Di Meola’s right-hand man for 30 years…morphed into being our full-time percussionist. Talk about validation.”
It was Ortiz that led them to work with Cyril Neville.
“We were looking for something to spice up our song ‘Pumpin'’ and were considering an old school rapper, but it didn't pan out.”
So Ortiz, who was working with Neville on another project, played him the song.
“Crazy thing was we actually recorded a Cyril Neville song on our last CD. Never imagined in our wildest dreams we would get to collaborate with him to appear and perform in the video and do a live performance.”
Nowadays, between festivals, corporate events, club gigs and private shows the Honkeys play about 10 to 15 gigs a month. They change their setlist according to their audience, the ratio of covers and original songs changes with the venue-the results are usually sweaty, happy, dancing people. Esposito thinks it’s what keeps them in business.
“Doing the variable ratio of covers to originals is what has kept us working all these years. I love playing cover songs. It is my humble opinion, that, it's a way to inspire yourself. So many of my favorite bands had their biggest hits doing covers. It's show business and people like to hear familiar music. It's the best way to make friends and fans to open their ears up to your own music.”
Their popularity has led them to play events that may not seem like a fit for such a diverse group, specifically the Daytona 500. A Nascar event brings visions of Maga hat-wearing, country-music loving, conservative folk but that doesn’t bother them.
“We do the Daytona 500 for an event the last couple of years, and the Trump flags are flying high. We show up with long hair and our multicultural lineup and no one ever bothers us. We put smiles on everyone’s faces and it's just a big dance party. We try and stay neutral and keep our opinions personal.”
That might be the secret to their success. They just work on what they are good at making people happy, no matter who the crowd consists of.
Esposito still hopes for the big break, that will get them worldwide attention. “I still dream of writing a song that blows up. Our ‘Macarena’ so to speak.”
They’ll be having fun working those crowds until then, with grand aspirations while doing so.
“I truly believe in the magic of this business,” Esposito added, “You just have to be ready for when the magic happens.”
Follow @cl_music on Twitter to get the most up-to-date music news, concert announcements and local tunes. Subscribe to our newsletter, too.
This article appears in Jan 2-8, 2020.