I had seen that Cameron Kimbrough, the grandson of Hill Country blues legend Junior Kimbrough, would be playing at The Dirty Crow Inn on Saturday night, but I had a gig of my own on the University of Memphis campus, so our decision to go to Cam’s gig was something of a spur-of-the-moment thing after my gig was over. Little did we know that we were in for an amazing blues experience in the little funky dive bar in South Memphis.
Of course, Cameron Kimbrough has been getting attention for several years as a powerful new voice in the blues, and his mother, Joyce Jones, who is an excellent blues singer, has been working on her debut album. But I was surprised to see the venue so packed with blues fans, particularly as it is a venue that doesn’t usually book blues, and it is in a somewhat out-of-the-way location.Cam was performing on drums when we arrived, joined by some local guitarists including Moses Crouch, a really-young harmonica player from North Memphis, and his mother Joyce Jones. They were set up on the enclosed deck, and there was hardly a table available, the crowd a combination of blues fans and basketball fans in town for the sweet sixteen tournament at the Fed Ex Forum. Unlike a lot of blues shows, much of Cam’s set was jamming, with songs being improvised extemporaneously on the spot, Joyce Jones adding vocal riffs that occasionally became something like song titles, perhaps.
When Moses Crouch came back on stage for the second set, the style was a little more orthodox, with familiar Hill Country tunes like “See My Jumper Hanging Out On The Line” and “Coal Black Mattie”, which Cam played on the guitar. But he also followed the traditional blues song with an original called “I’m Still Standing”, which highlights Cam’s unique ability to craft new material that still belongs firmly to the Hill Country tradition. As midnight approached, the crowd began to dwindle, but the music remained as strong as ever, powerful, relentless. We left, feeling that something of real importance had just happened in a hole-in-the-wall in South Memphis. It just might be possible that Cameron Kimbrough is the future of the Hill Country blues. (You can buy Cam’s debut EP Head For The Hillshere and can listen to Cam’s earlier recordings here).
Once in a while, a local music show gets announced which I just cannot miss, and the announcement of a Don Bryant show with soul revivalists The Bo-Keys was just such a show. Better yet, it was being held at Loflin Yard, one of my favorite Memphis venues.
Don Bryant is one of Memphis’ forgotten soul geniuses. Originally a member of Willie Mitchell’s group The Four Kings, he recorded a number of soul sides for Joe Coughi’s Hi label during the 1960’s, but ended up becoming better known as a staff writer for the label, with “I Can’t Stand The Rain”, recorded by Ann Peebles in 1973 becoming his biggest hit. Bryant married Peebles in 1974, and soon disappeared from popular music. There were rumors that both Bryant and Peebles had transitioned to gospel music, and a few gospel releases appeared under Bryant’s name. Peebles would occasionally return to blues and soul music, but Bryant did not, at least until embarking on the recording of a new album “Don’t Give Up On Love” for the Fat Possum label out of Oxford.
Friday night’s show at Loflin Yard was primarily a showcase of the new songs, backed by Scott Bomar’s Bo-Keys, the highlight of which was a funky gospel tune called “How Do I Get There?” which is the single from the forth-coming album. Despite the drizzly weather, the venue was fairly crowded, and Bryant, at 74 years of age, was still in great form and voice, a consummate performer. And thanks to the Bo-Keys ,featuring such Memphis legends as drummer Howard Grimes and keyboardist Archie Turner, the backing sound was authentic, with live horns and real instruments, and no modern anachronisms. It was a once-in-a-lifetime opportunity to hear authentic Memphis soul music as it was intended to be heard.
It’s not at all unusual for Sean “Bad” Apple and R. L. Boyce to perform in Clarksdale, but on the last Saturday in February, they performed in a rather unusual place. The Bin is a former grain elevator used as a music venue on the grounds of the Shacksdale Motel ,a motel of cottages across the road from the Shack Up Inn at Hopson, just outside of Clarksdale. The motel and inn are popular with out-of-town visitors on blues pilgrimages, so live blues performances on the grounds make a lot of sense. Unfortunately, it was quite cold on this particular afternoon, and the venue was somewhat open to the outside. But a good crowd was present, including singer Libby Rae Watson, who was scheduled to perform after Apple and Boyce, who were aided by Stud Ford on drums and Sherena Boyce on tambourine. The afternoon consisted primarily of Boyce’s unique compositions, as well as some Hill Country standards like “Poor Black Mattie” and “Rollin’ and Tumblin’.” The fun continued until 5 PM, and then Boyce had to leave for another show elsewhere in the Delta.
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.
On the first Saturday of the new year, a cold day indeed, my girlfriend and I headed down to Clarksdale to eat at Levon’s and enjoy some blues at Red’s Juke Joint. This was our first occasion trying Levon’s, and in my opinion, it is the fine dining restaurant that Clarksdale has been needing. R. L. Boyce was playing at Red’s, but when we arrived, some of his musicians had not shown up, and there wasn’t much of a crowd. But Arkansas bluesman Lucious Spiller has recently moved to Clarksdale from Little Rock, and he agreed to go get his guitar and amp to play with R. L., and soon there was at least a trio of two guitars and a drummer. On some tunes, R.L.’s daughter joined him on stage playing the tambourine and dancing, and toward the end of the evening, they were joined by a musician playing a bass made out of a plastic bucket, a mop handle and a string. By then the crowd had grown fairly large, despite the cold weather outside. It was a great way to start off 2017- with the blues.
Duwayne Burnside had played The Shelter on Van Buren in Oxford, Mississippi earlier in the fall, but I had not been able to attend, so when it was announced that he would be playing there again on New Years’ Eve, I was eager to be there. It would prove to be both my first, and sadly my last, visit to The Shelter.
The venue was a coffee bar and live music venue, which also served a very limited food menu, some desserts, and craft beer. The atmosphere was extremely laid back, with couches, benches, chairs and tables in a rather haphazard pattern near the stage. The night of Hill Country blues featured not only Duwayne Burnside but also Kenny Brown, and a few local Oxford musicians, including guitarist Kody Harrell. At first Duwayne’s drummer had not shown up, so he was playing a sort of “unplugged” acoustic set. After his drummer arrived, he picked up the pace and intensity level to an extent, and the moderate crowd in the seats loved every minute of it. Como bluesman R. L. Boyce then joined Duwayne on stage for a few songs, and some local musicians came up to sit end toward the show’s end. At 10 PM or so, Duwayne brought things to a halt, as he had another show at The Hut in Holly Springs starting at 11, and we all left in a happy frame of mind. Unfortunately, it would be the last time we got to visit The Shelter on Van Buren. A week into the new year, it abruptly closed for good.
Although Arkansas has a delta region as well, and although the state has produced lots of great blues and jazz musicians, Arkansas has few blues clubs. Little Rock’s venerable White Water Tavern is one of the few places in the state to consistently book great blues, as well as many other forms of roots music. I first became acquainted with the place in 2015 when the young retro-soul star Leon Bridges performed there, and I soon became aware that the Tavern has played host to such blues figures as Patrick Sweany, Cedell Davis and Lucious Spiller. So this dive bar was a perfect site for Lightnin Malcolm’s traveling caravan of Hill Country blues musicians, including R. L. Boyce, Leo “Bud” Welch and Robert “Bilbo” Walker. Every event I have ever attended at the White Water Tavern has been standing-room-only, and this one was no exception. There is a back patio, but because the weather was so cold and wet, nobody was going out there, and the room was very crowded indeed. But the crowd was treated to some of the very best in Hill Country music, starting with Leo Welch backed by Lightnin Malcolm on drums, and then Lightnin’s own solo set with guitar and drums as a one-man band, and R. L.’s daughter Sherena Boyce on tambourine and juke joint dancing. R. L. Boyce followed, doing a number of his traditional tunes, and then Robert “Bilbo” Walker followed, in a style that showed considerable Louisiana influence. Altogether, it was an amazing show in an amazing place.
The Clifton Gin was a large building that loomed over the West End neighborhood of Hernando, Mississippi where many blues musicians lived and played their trade in nearby jukes. The Rev. Robert Wilkins, Gus Cannon and Jim Jackson all lived in the area for a time, and Mississippi Joe Callicott was from nearby Nesbit, Mississippi. Now each year, the city of Hernando commemorates that musical legacy with an event called the Front Porch Jubilee, held on the grounds of the historic gin, as part of Hernando’s larger Water Tower Festival. This year’s jubilee honored the legacy of the late R. L. Burnside, and members of the Burnside family were presented with a plaque. Performers included Jack Rowell and Triple Threat, Desoto County native Kenny Brown, who was mentored by both Joe Callicott and R. L. Burnside, Duwayne Burnside, Lightning Malcolm, rockabilly legend Travis Wammack, and R. L. Burnside’s grandson Cedric, performing with Trenton Ayers as the Cedric Burnside Project. In addition to the great music, there was a considerable amount of great food too, including some excellent pulled pork and the homemade ice cream from Senatobia-based Bliss. A warm afternoon turned to a chilly evening, but a stalwart crowd of about a hundred stayed to the end of Cedric’s last set. It was a great day of blues in Hernando.
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.
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.