Even though I love the blues, and even though I have been to Oxford so many times, somehow I had never been to Rooster’s Blues House. Despite the club’s name, they often book rock and roll rather than blues, but when Sherena Boyce told me that my favorite Hill Country guitarist Duwayne Burnside would be playing at Rooster’s on a Saturday night, I was eager to go. Duwayne’s show followed another big football weekend in Oxford, and Rooster’s was crowded, although not necessarily as crowded as I had expected, and the crowd was remarkably attentive and respectful. Garry Burnside was holding down the bass chair, and Sherena Boyce eventually joined Duwayne on stage to dance and play the tambourine. All too soon it was 12:30, and things came to a halt, but it was a great time with some great music.
Each year, the national Guitar Center chain sponsors a nationwide drum-off, searching for presumably the best drummer in the country. The winner wins cash, a lot of new drum equipment, and a considerable amount of fame and probably endorsements as well. With its legacy of soul, funk and gospel music, the city of Memphis has consistently produced some of the best drummers in the country. On Tuesday, September 20, 2016, several young Memphis drummers competed in the preliminary rounds of the local competition, seeking the right to represent Memphis at the Southeast regionals. I was particularly impressed with both Jonathan Chaffen and Desmond Harris this year, and enjoyed the competition even more since the rules were changed to ban octapads, triggers and loops, which had become intrusive in recent years. This year, drummers had to show their skill on the traditional acoustic drum set alone, and Memphis drummers definitely rose to the occasion.
Oxford was absolute pandemonium. The Crimson Tide of Alabama had come to town to play Ole Miss, and the result was the largest football crowd ever recorded in the history of Oxford as a town. Streets were gridlocked, and in the area around the courthouse square, streets were closed altogether. Parking was practically non-existent. So when my girlfriend said she wanted to go hear Cedric Burnside at Proud Larry’s, I envisioned a nightmare of no parking, and drunken, rowdy crowds that wouldn’t let us anywhere near the stage. Fortunately, I was wrong on both counts. We managed to find a parking place up on the hill by the Parks and Recreation office, and while Proud Larry’s was indeed crowded, it was not outrageously so, and many of those there were friends and relatives of Cedric Burnside. As for Cedric and his sidekick Trenton Ayers, they seemed to feed off the crowd’s energy, performing two rousing sets of Hill Country standards and originals before the closing hour of 12:30 AM. It was well worth the effort.
My girlfriend and I had planned on going to see Cameron Kimbrough, who we thought was playing in Helena, Arkansas, but it ultimately turned out that he was playing in Warren, Arkansas instead, which is a three-hour drive. There was no chance of making it there before he went on stage, so we had dinner at the Holiday Lodge on Sardis Lake at Harmontown and then headed to the Blues Shack for the second day of the R. L. Burnside Memorial Jam. Holly Springs bluesman Little Joe Ayers was on stage when we arrived, playing to a crowd that was somewhat larger than the one on Friday night. After Joe performed, then Duwayne Burnside and Kenny Brown got on stage and performed such Hill Country classics as “All Night Long” and “Meet Me in the City.” Although we were having a great time there, we ultimately cut it short because my girlfriend wanted to catch Cedric Burnside, who was playing at Proud Larry’s in Oxford, so we left out and headed down that way.
Duwayne Burnside, son of the late R. L. Burnside, is one of the best guitar players in the country, and in September each year, he sponsors the R. L. Burnside Memorial Jam at the Blues Shack, which is out in the middle of nowhere off of Highway 310 and Old Oxford Road near Waterford, Mississippi. Don’t be expecting a big formal festival like the Hill Country Picnic. Instead, you pay your $10 entry fee at a gate on a gravel driveway and come to a small wooden stage in front of a mobile home. The pleasant smell of barbecue smoke from an oil drum drifts through the air, and a small crowd is mesmerized by such musicians as Duwayne Burnside, Kenny Brown, Garry Burnside and Little Joe Ayers, in a more intimate setting where the line between performers and fans is non-existent. Duwayne might come down off the stage for a break and sit at your picnic table, or he might be behind the food stand pouring beers or fixing food plates. With plenty of children running around and having fun, it feels more like being invited to a house party than a festival. And that is an experience not to be missed.
For more than 20 years, the annual Southern Heritage Classic football game has been the largest African-American event in Memphis, attracting thousands of people from many different states, many of whom have no interest in football. In fact, the overwhelming majority of attendees come to enjoy the festive party atmosphere at Tiger Lane outside of the Liberty Bowl stadium, with plenty of good food, live music, DJ’s, dancing and vendors. Tents are sponsored by large Memphis companies, such as FedEx or K-97 Radio, by city government, by Dallas Cowboys and Pittsburgh Steelers fan clubs, by local fraternities such as Alpha Phi Alpha, and many other organizations and individuals. Although Memphis is a large city, and the tailgating grounds are quite crowded, it’s easy to run into people you know at the Southern Heritage Classic tailgate, and it’s always a lot of fun.
Drums have played an important role in all Black musical cultures, and Memphis is no exception. Although Blacks were forbidden to have drums prior to the Civil War in almost all Southern states other than Louisiana, they quickly became an important part of Black musical life during Reconstruction, being used in the brass bands and fife-and-drum bands that accompanied fraternal organization parades or picnics, political rallies and funerals. Many of these organizations had been founded by Black troops that had fought in the Civil War on the side of the Union after the Emancipation Proclamation, and undoubtedly some of these men had been drummers. The all-Black colleges and schools that began to form during and after Reconstruction also had marching bands with percussion sections as well, and this tradition had an influence on Black communities in the South. By the waning years of the Civil Rights Movement, a new interest in Black culture and its African roots may have led to the formation of the majorette and drummer phenomenon in Memphis which emerged around 1969 or so. Although Black high schools and colleges had always had majorettes and drummers as part of their bands, the phenomenon where majorettes performed competitive routines accompanied only by the drummers was new, and perhaps unique to Memphis. As the years progressed, the drummers added some innovations, like the use of marching toms and eventually roto-toms, to add different layers of pitch to the percussive musical landscape, and the addition of hi-hat cymbals, so as to approximate the sound of a drum set. The accompaniments were often influenced by funk or Latin music, but aside from occasional melodies played on the glockenspiel, the musical backing for these routines was strictly drums, and the drummers were judged as well as the majorettes. This musical and cultural phenomenon was so much a part of my teenage years in the 1980’s that it was unthinkable that it could ever disappear, and yet nowadays the majorette jamboree as it existed then is largely a thing of the past, the drummers having been replaced by recorded CD’s of popular songs played by a DJ. There are lots of theories as to why the majorette drumming phenomenon has died in Memphis, but some of them point out the lack of instruments and high expense of drums, the discouraging of the tradition by school principals and band directors, the lack of available drum instructors, the banning of majorettes and drummers from local community centers (apparently due to the noise involved with their practices), and the negative influence of the streets and gang activity causing lack of interest on the part of young men. For whatever reason, the Black drumming tradition in Memphis is certainly endangered, but at least one organization, the Baby Blues Drumline, has worked over the last few years to try to preserve this culture. Often appearing at the Juke Joint Fest in Clarksdale, Africa in April on Beale Street or the Memphis Music and Heritage Festival, they frequently draw a crowd of onlookers. At this year’s Memphis Music and Heritage Festival, they were a featured act, appearing briefly at the Gayoso Street Stage on Sunday afternoon before a small but appreciative crowd.
The annual Memphis Music and Heritage Festival, held each Labor Day weekend along Main Street in downtown Memphis, is the city’s premiere music festival featuring the styles of music indigenous to Memphis and its surrounding region. The totally-free festival features multiple stages across two days, filled with gospel, blues, soul, rock, bluegrass and country, as well as local drill teams, majorettes and drumlines, cooking demonstrations and visual art. One of the highlights of this year’s festival was the Sunday afternoon meeting of Hill Country blues veteran R. L. Boyce with Hill Country youngblood Cameron Kimbrough, grandson of the legendary Junior Kimbrough. The early tunes featured R. L. Boyce on guitar and Cameron Kimbrough on the drums, and then, about halfway through the performance, they switched, with Boyce setting up a fife-and-drum-inspired groove on the drum set, and Cameron playing his original blues tunes on the guitar. It was a truly magic collaboration from the start, and one that I hope finds further opportunity in the future.