Lafayette’s Music Room is a reincarnation of one of Memphis’ best-beloved music venues of the 1970’s, but the latter-day version has something of a New Orleans tinge, both with the cuisine and often with the music as well. This past Wednesday, both featured bands presented different aspects of the musical traditions of the Crescent City. Multi-reedist Breeze Cayolle, a distant relative of jazz great Sidney Bechet, has a group called New Orleans, whose musicians are ironically some of Memphis’ best-known jazz musicians, including Tony Thomas on piano, Tim Goodwin on bass and Tom Lonardo on drums. They play traditional New Orleans jazz, occasionally venturing into the world of jazz standards as well, and have developed a following at the weekly brunch at Owen Brennan’s in East Memphis. Some of that same crowd was in evidence Wednesday night, sitting at the tables nearest the stage and even getting up periodically to dance. Cayolle is a first-rate saxophonist and clarinetist, and he sings with a husky tone that exudes the flavor of New Orleans.
The Mighty Souls Brass Band on the other hand is something rather different, although they share Tom Lonardo with Breeze Cayolle’s group. The Mighty Souls take their cue from the brass band revivalism that started with the Dirty Dozen and the Rebirth in New Orleans, with the main difference being the occasional covers of Memphis soul tunes, such as Rufus Thomas’ “Memphis Train” or Willie Mitchell’s “20-75.” Like some New Orleans brass bands these days (notably the Stooges), the Mighty Souls replace the separate snare and bass drummer with a set drummer, and add a guitar, at least indoors, but there is a tuba and plenty of horns, and if they lack the hardcore street edge of the younger, Blacker bands in New Orleans, they compensate with consummate musicianship and plenty of good spirits. Although Memphis does not have a modern brass band tradition by any means (W. C. Handy notwithstanding), the MSBB has developed a very loyal following, and have released a debut CD called Lift Up Your Mighty Souls on the University of Memphis-related Blue Barrel label.
Those who know me know that I love New Orleans brass band music. Given the fairly short distance between Memphis and New Orleans, it seems odd that we so rarely have an opportunity to hear authentic brass bands in our area, but on the rare occasions that they do come up here, I try to be there. The Rebirth Brass Band is really the band that picked up where the original Fairview Brass Band left off, and made sure that the photo-revival of brass band music in the 1970’s would be permanent and not merely a footnote of history. Their performance at the Main Stage at Helena’s King Biscuit Blues Festival was absolutely perfect. The breezy, warm night was a perfect setting for an outdoor show, and brass band music is intended for outdoor settings. The crowd was literally standing room only. And Rebirth played all of the hits for which they are famous. Before it ended, people were standing up and dancing in the aisles.
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.
My homeboy Darren Towns plays bass drum for the TBC Brass Band, which in my opinion is New Orleans’ greatest brass band. They don’t play a lot of gigs in night clubs these days, but they get called for a lot of birthday parties, wedding receptions, funerals, and second-lines, so when I heard that they were playing over in the 9th Ward, I couldn’t wait to get out there to see them. Any TBC performance is an experience, and in the Crescent City, even a birthday party is a really big deal.
Second-lines are not generally associated with Memphis, and neither is sledding, but both were highlighted in December at the Levitt Shell during Winter Wonderland, an event to give kids a taste of winter magic while unveiling the future construction and improvements under way at the Shell. Unfortunately, the weather was anything but seasonal, and the artificial snow barely stayed on the ground long enough for kids to sled, but the excellent Memphorleans Street Symphony Band led the way from the Memphis College of Art into the Shell area, supplemented by students from the Chickasaw Middle School Band, and additional music was provided by the Dantones and the Mighty Souls Brass Band. If it didn’t exactly feel like winter, it was still a lot of fun.
Monday morning was still overcast and rainy, but at least the rain had breaks in it. My homeboy Darren and I went and picked up Bunny, the tuba player from the TBC Brass Band, and we all headed over to my favorite breakfast place, the Who Dat Coffee Cafe on Burgundy in the Marigny neighborhood. Afterwards, we headed over to the Treme neighborhood, where there was a new mural in honor of the late Travis “Trumpet Black” Hill, the musician who died suddenly in Japan earlier in the year due to complications from a dental procedure. Although the rain was starting back up, we managed to take some pictures there, and then I was trying to pick up a TBC Brass Band t-shirt, but we could not get in touch with the band member who had the shirts. So I dropped Darren and Bunny back off, headed Uptown to a new coffee bar called French Truck Coffee, which was really good, and then hit the road back toward Memphis.
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On the Sunday after Grambling homecoming, I drove down from Monroe to New Orleans for a second-line sponsored by a social aid and pleasure club known as the Men of Class. The event was supposed to start from a bar on North Broad Street in Mid-City called the Chocolate Bar, directly across from the Orleans Parish Prison. Unfortunately, the event did not start on time, for a very bizarre reason. Although there was a crowd of fans and second-liners present, and the members of Da Truth Brass Band, nobody from the club that was to parade was present. By the time some of the club members arrived (about two hours late), the band did not seem to want to parade. Somehow, however, this was all worked out, and we began our journey across the overpass into Uptown. No sooner had we reached the other end than we were assaulted by a virtual blizzard of annoying little white insects of some sort. They were everywhere, and nearly everyone around me was involved in waving their hands and arms in front of their face to drive them away. We came to our first route stop on Louisiana Avenue two doors down from Big Man’s Lounge, and when we resumed the parade from there, Da Truth Brass Band broke out with the traditional brass band anthem “Why You Worried About Me.” Ultimately, the route was cut short due to the late start, but we had fun anyway.