This is the second year of the Kimbrough Cotton Patch Blues Festival, which celebrates the legacy of Junior Kimbrough and his sons David, Robert and Kinney, and this year’s festival, held on Mothers’ Day, was hot weather-wise, and musically as well. Rather than being held inside The Hut in Holly Springs, where the Friday night jams had taken place, the Sunday afternoon line-up was held on a large stage outside, where a crowd enjoyed a number of familiar and not-so-familiar blues artists, including the Hoodoo Men from Nashville (I had not heard of them, but was pleasantly impressed), Cameron Kimbrough, Joyce Jones, R. L. Boyce, juke joint dancer Sherena Boyce, Eric Deaton, Lucious Spiller, and of course the Kimbrough Brothers. Also of interest was a new beer called Kimbrough Cotton Patch Kolsch, named in honor of the Kimbrough family, and released by the 1817 Brewery out of Okolona, Mississippi. These folks also have something called “Hill Country IPA,” and are one of a number of new microbreweries springing up in Mississippi and elsewhere in the South. Since I had to work the next day, I was not able to stay until the end of the festival, which I was told came about midnight or so, but year 2 of the Kimbrough Festival was a rousing success.
For the second year, fans of Mississippi blues came to Holly Springs to celebrate the legacy of Junior Kimbrough and his sons David, Robert and Kinney at the Kimbrough Cotton Patch Blues Festival. Held over a three-day period, the festival was primarily centered around a former VFW hut known simply as The Hut, which suitably has the ambiance of an old Mississippi juke joint. Set in a hollow down from a higher street, it sits behind some trees which hide a spooky old Masonic lodge which has been abandoned, but inside on Friday night, the atmosphere was bright and cheerful, despite the failing air conditioner and the incredible heat. The great David Kimbrough Jr was on stage, with his brother Robert on bass and his brother Kinney on drums, and a small crowd was listening attentively in the chairs out in front of the stage. As the night progressed, the event turned into a jam session, with other artists and students from the earlier workshops joining in, and an even larger crowd milling around outside where it was cooler. Among the other cool things was that an Okolona beer company, 1817 Brewery had introduced a new variety of beer called Kimbrough Cotton Patch Kolsch in honor of the Kimbrough family, and it was being sold at the event.
Spring is the festival season in North Mississippi, and each small town has some sort of spring festival with games, vendors and live music. Senatobia, Mississippi, in Tate County, has long been nicknamed the Five Star City (I haven’t the slightest idea why), so, not surprisingly, its spring festival is called Five Star City Fest. Como blues musician R. L. Boyce was scheduled to perform on the main stage on the Friday night, May 11, but I decided to head to the festival early to see if any other blues performers were scheduled. After all, Tate County is one of only two counties where Black fife and drum music still goes on, and it has a long and storied history of blues and Black gospel music. Unfortunately, I soon learned that almost everyone booked for the festival other than Boyce were country artists. There was a barbecue festival going on in the park along the railroad tracks, but the main festival was going on along Front Street north of Main. The street had been blocked off, and a number of vendors and food trucks had set up in the area, including the local Bliss Ice Cream Company from Senatobia. With the weather so hot, I really wanted some, but they were not set up to take debit cards, so I ended up walking down Main Street to the Sayle Oil Company store, and bought an ice cream Twix bar instead. Nearly a hundred people were running or walking in the 5K run, which had begun around 6 PM, and which started and ended near the main stage. Close to the stage also was the site of the new Delta Steakhouse restaurant, and while it is not open yet, I could see through the windows that the tables and booths and chairs were already in place within the restaurant space, and that the place should be open relatively soon, perhaps in June. R. L. Boyce came on stage at 7 PM, with Steve Toney on drums and the young guitarist Kody Harrell, and with Boyce’s daughter Sherena playing the tambourine and dancing. A small crowd of Boyce fans were in the audience cheering him on as he performed most of his standard compositions and tunes. I had considered staying on after his performance to see who would come on stage next, but I soon found that it was another country band, and I had no desire to see that, so I debated heading to Holly Springs for the first night of the Kimbrough Cotton Patch Music Festival, but I ultimately decided to head back to Memphis.
Blues veteran Hezekiah Early is associated with Natchez, Mississippi, and with the towns on the other side of the river, like St. Joseph and Ferriday, Louisiana. Folklorist David Evans was involved with a couple of albums made by Early’s band Hezekiah and the Houserockers, but his earliest roots were in Black fife and drum music, a genre that we usually associate with parts of Mississippi further to the north. Nevertheless, the influence of the fife and drum style can be clearly heard in much of Hezekiah’s drumset work. Since the 1990’s, Early has been working in duos with musicians such as Elmo Williams and Fayette, Mississippi-based Robert “Poochie” Watson, with whom he cut the Broke-and-Hungry Records release Natchez Burning. This latter duo was the one that appeared this year at the Juke Joint Festival, performing at a new venue called Our Grandma’s Sports Bar, which was a small but cozy venue that set a most appropriate atmosphere for the music. Early and Watson’s style is a soulful, rhythm & blues-influenced one that owes much to New Orleans and other parts of Louisiana. Although the venue was not particularly crowded when they began playing, it soon filled up to capacity. Their performance was one of the highlights of this year’s festival.
Natchez bluesman Y. Z. Ealey is 81-years old this May, and is a brother of the much better-known Southern Soul artist Theodis Ealey, of “Stand Up In It” fame. Y. Z., Theodis and their brother Melwyn were all blues musicians from the town of Sibley, Mississippi, just outside of Natchez, but Y. Z. has largely been a factory worker who plays music more as an avocation. Given the extent to which we have been losing our elder statesmen of blues over the last several years, I was determined to catch Ealey’s performance in Clarksdale at this year’s Juke Joint Festival. So I made my way to the Coahoma Collective , which had formerly been Ms. Del’s General Store, where Ealey performed in the courtyard with his band. His style is a swamp-pop infused style which demonstrates the fact that Louisiana is merely across the river from Natchez, and his current band features some younger musicians, and on this occasion, a clarinetist. But Ealey is still in fine form and voice, and his performance was definitely a high point of this year’s festival.
Although we tended to stay close to the Cat Head Stage during Juke Join Festival, so as to not miss the stellar line-up of blues artists there, we did venture out to some of the other stages, as well as the local and regional artists and other vendors who set up under the tents along every major street in downtown Clarksdale. Many of these vendors sold fine works of art, the majority of them with a blues theme, as well as beautifully hand-crafted cigar box guitars. A few of the tents were promotional efforts by local or regional businesses, one of them a hotel corporation that is openly a four-star luxury hotel in Cleveland, Mississippi, and which plans to take over two budget motels in Clarksdale and upgrade them to luxury status. Another new hotel, the Travelers’ Hotel, is under construction in an old historic building in downtown Clarksdale. Some of the artists appearing on other stages included Joyce Jones from Potts Camp, with her son Cameron Kimbrough on drums and Little Willie Farmer from Duck Hill, Mississippi. Those looking to recharge their phones or get some shelter from the occasional rain ended up at Meraki Coffee Roasters on Sunflower Avenue, where they could enjoy light baked goods and fine pour-over or French press coffees, at least until the rain and wind knocked out power to most of the downtown area.
Juke Joint Fest weekend in Clarksdale is generally rain-free, but the last couple of years have been an exception. 2017 was a complete wash-out, and this year was harassed by rain, but not quite as bad as the year before. With a day of free music on five-or-so stages, not including informal pop-up performances around downtown, the festival is a surfeit of great blues and roots music, and the only real dilemma is choosing between equally great bands on different stages at the same time. The one stage that consistently features the best in Mississippi blues is the stage in front of Roger Stolle’s landmark Cat Head Delta Blues and Folk Art on Delta Avenue. Stolle is the big mover and shaker behind the Juke Joint Festival, as he is with all things blues in Clarksdale, and his store is a mandatory first stop for the first-time blues tourist in the Mississippi Delta, offering books, magazines, DVD’s, vinyl records, compact discs, posters and homemade folk art, including priceless works by Super Chikan himself. The stage in front of the store started early this year with Little Joe Ayers from Holly Springs, and as the day progressed featured such Hill Country artists as Kent Burnside, David Kimbrough, Andre Evans and the Sons of Otha fife and drum band, R. L. Boyce, Robert Kimbrough Sr and Duwayne Burnside. The rain ended about noon, but then heavy winds blasted through downtown Clarksdale, and soon the whole downtown area was without power. But the musicians in front of Cat Head managed to salvage something from the afternoon, with an informal jam session featuring Duwayne, R. L. Boyce, David Kimbrough and others. Kesha Burton, a young woman from Brownsville, Tennessee that Boyce and Willie Hurt have been mentoring got an opportunity to play the bass drum with Otha Evans, and the drum set during the acoustic jam session during the power outage. Despite difficulties, it was a satisfying day of blues indeed.
The annual Juke Joint Festival in Clarksdale, Mississippi has grown into one of the largest music festivals in Mississippi, with four days of live performances, many of them free. Blues musicians from the Delta, the Hill Country, South Mississippi, other states and even other countries come to Clarksdale each April to perform, and hotel rooms are hard to come by.
This year we kicked off our Juke Joint Fest weekend by heading to Bluesberry Cafe on Friday night, where the Hill Country blues legend Duwayne Burnside was performing with his band. Burnside, son of the late R. L. Burnside, is one of the best blues guitarists in America today, and the little cafe with a stage was filled to overflowing with blues fans and fellow musicians. Burnside’s performance was followed by an appearance of R. L. Boyce from Como, Mississippi, sharing the stage with Colombian bluesman Carlos Elliot Jr, who has taken the Hill Country style of blues back to his home country in South America, and has even brought Hill Country musicians to Colombia. Although the weather outside was nasty indeed, inside Bluesberry was good times and good feelings. It was a great way to start Clarksdale’s biggest weekend of the year.
In my ongoing research on West Tennessee fife and drum music, I have focused a great deal on Fayette County, largely because of its demographics and similar features to Marshall County, Mississippi, its neighbor to the south, famous for Hill Country blues. Fife and drum bands are known to have existed in Fayette as late as 1980. Of course, I haven’t ever found any existing fife and drum bands in the county today, and wasn’t expecting to see any as I drove around Fayette County on Easter Sunday afternoon. But I did stumble on a number of old and historic schools, some of them on land that clearly had been donated by churches, which helps to further my theory that the churches were the first institutions of African-Americans during the early days of freedom and Reconstruction. It appears that the churches donated the land for schools to be build beside them, and then the burial societies and fraternal organizations were founded by church members and often met in the church buildings. Once I discovered that Google Maps was showing the location of many former schools in the county, I spent the warm, sunny afternoon driving around to many of them. Some of them were gone without a trace, but it was shocking how many times the location shown by the map was the location of a church. A couple, such as Braden-Sinai and Seymour Schools, have been converted into residences where people are living. Others like Glade Springs School, on the grounds of Pulliam Chapel MB Church, are abandoned and ruined, while at the site of the old Garrett School, nothing remained but the twisted superstructure of a swingset and piles of bricks. A couple of the school sites were in the backyards of private houses, making it impossible for me to visit them. But I did stumble onto another cool find, the Joyner’s Campground, a 125-year-old site near a creek where an old-fashioned camp meeting revival is held every summer. Although the roots of the event seem to be Methodist, all believers are welcome, and the site seems very beautiful and inviting, with plenty of woods and water. Although I saw much in the way of architecture and nature, what I saw very little of was people, which I considered strange compared to previous Easters when I had driven down into the Delta and seen people out in every little town, dressed in their Sunday best to see and be seen. Only the Gilliam place at Fredonia showed signs of a large party or get together, complete with a DJ, but it was clearly a private affair, for the family only, and anyway, no fifes or drums in sight. To end the day, I made my way to the Shelby County town of Eads, which nowadays is part of the city of Memphis, yet seems to have more in common with Fayette County in appearance and atmosphere. I took my last pictures there as the sun was fading. While my primary focus is ethnomusicology, I also think it is important to get photographs of the old Fayette County which is threatened by the onset of suburban tract subdivisions and regional shopping centers. One day, not long from now, Fayette County will look no different than Bartlett or Collierville.