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.
This year’s On Location: Memphis International Film and Music Festival launched something new, a gala blues concert at Cooper-Walker Place in Memphis’ Cooper-Young neighborhood. Hosted by Memphis’ own blues diva Redd Velvet, the concert featured performances from Butch Mudbone, Cash McCall, Beverly Davis, Garry Burnside and Cedric Burnside, and drew a crowd of music lovers and film makers alike. Veteran Memphis drummer Terryl Saffold and bassist Cecil McDaniel anchored the rhythm section for the earlier acts, and it was quite an enjoyable event.
Although the Delta of Mississippi is known as “The Land Where Blues Began”, the area to the east known as the Hill Country produced a unique style of blues that has become famous around the world. This subgenre of blues was especially prevalent in Marshall and Benton Counties, so it’s not surprising that Holly Springs, the county seat of Marshall County, is a town that emphasizes its blues heritage. The county was home to Junior Kimbrough and R. L. Burnside, and each Thursday night during the summer, Holly Springs sponsors a weekly live music concert called Blues in the Alley, which is held directly on the courthouse square. On July 9, the featured artist was the Cassie Bonner Band, a group from Oxford that I was not familiar with. Cassie Bonner proved to be a keyboard player and a singer, and while the group’s style was more neb-soul than blues, I was quite impressed with them, particularly the young drummer. There were also food vendors and a DJ, and a crowd of several hundred people, as well as a number of motorcyclists, and a camera crew filming a documentary about Holly Springs and David Caldwell, the owner of Aikei Pro’s Record Shop. I also ran into Hill Country Blues legend Little Joe Ayers on the square as well.
Radio Memphis is a superb internet radio station that for the last four years has been supporting Memphis music and musicians. So for their fourth birthday, they threw a party at their studios with food and music, and broadcasted the music live on the air. The performers covered nearly all genres, from the folk of Mason Jar Fireflies, to the funky organic hip-hop of Tunica rapper Jay DaSkreet, who was backed by D-Squared, consisting of Donnon Johnson on drums and Devin Jordan on keyboards, to the country of Ciera Oulette, to the authentic blues of Zeke Johnson (who studied with the late Furry Lewis) and Sturgis and Mandy Nikides of Low Society. Rarely has so much great Memphis talent been in one building at the same time, and it led to some startling serendipities, as when Donnon Johnson got on the drums backing Mason Jar Fireflies as they played an instrumental riff as a warm-up. It was a great way to celebrate Radio Memphis and what it means to the local music community.
Back in 2011, the Stooges Brass Band were one of the more active street brass bands in New Orleans, with a regular residency at the Hi-Ho Lounge in the 9th Ward, which is where I first heard them. Over the last four years, like the Dirty Dozen before them, they have morphed into more of a touring entity, although they have a street version that still marches for certain second-lines during the year. The traveling version of the band is somewhat stripped down, with fewer horns, a set drummer instead of the traditional snare and bass drummers, and the addition of non-brass-band instruments like keyboards and electric guitar. Still the band generates a considerable amount of crowd participation as it runs through its combination of standard brass band repertoire and unique originals like “Wind It Up” and “Why They Had To Kill Him”, the latter a tribute to Joseph “Shotgun Joe” Williams, a trombonist shot to death by the New Orleans Police in the year before Hurricane Katrina. Memphis has a number of New Orleans expatriates, and even more local fans of New Orleans music, and so Lafayette’s Music Room was packed for the performance, which was rescheduled from an earlier date that had to be cancelled due to snow and ice.
Old Man Winter had other ideas when the Stooges Brass Band was supposed to play at Lafayette’s Music Room in Memphis a few weeks ago, but Memphis had another opportunity to enjoy some New Orleans music last Wednesday when the Dirty Dozen Brass Band performed at the same venue. The Dirty Dozen was one of the young bands that appeared in the early 1980’s as brass bands began a strange renaissance in New Orleans after near extinction in the early 1970’s, and for awhile the Dirty Dozen played the second-lines, funerals and weddings that are the mainstays for brass bands, but eventually they moved away from that to focus almost strictly on touring and club dates. Toward that end, while the bass lines are provided by a tuba, the Dirty Dozen employs a set drummer rather than the traditional rhythm section of bass drum, snare drum and cowbell, and adds an electric guitarist as well. Nor did traditional New Orleans songs make up much of the evening’s repertoire, although they did play a version of “Li’l Liza Jane”. Primarily, the sound of the Dirty Dozen these days is much more funk oriented, and much of the material had that feel and direction. For that style, a funky drummer is mandatory, and Julian Addison proved up to the task, providing a firm backing for the band, and a groove that soon filled the dance floor in front of the stage. Trumpeters Gregory Davis and Efrem Towns (the latter familiar to fans of the TV series Treme) took turns bantering with the crowd between songs and keeping a jovial and upbeat mood. Many of the songs were taken from the band’s most recent album Twenty Dozen, including a rousing reading of the song “Tomorrow.” At show’s end the crowd was still begging for more, and an encore featuring baritone saxophonist Roger Lewis closed out the show.
The building had once been a Pig N’ Whistle barbecue restaurant, and later a rough-around-the-edges club called Two For One, but Curtis Givens’ latest venture, In LOVE Memphis is possibly the hippest and most elegant new venue in the city. The building is unrecognizable compared to its former self, and the decor inside is upscale and cozy. But the reason I came was the reason I usually go anywhere, live music, which at LOVE takes place on Mondays and Thursdays. On this particular Thursday, the featured artists was a singer named Marcus Scott, with whom I wasn’t familiar, although I soon learned that I should have been. Scott is a consummate showman, with a fine voice, ably assisted by the Deep Soul Band, which contained some faces I recognized, including Marless Flowers on drums and the incomparable Jackie Clark on bass. The show consisted mostly of soul and R & B covers, but Scott performed one original, “Sow A Seed”, a clever prod to get the crowd feeding the tip bucket for the musicians. And amazingly, all of this great live music was available without a cover charge, at least on this particular night.
Every Monday night, musicians, singers and poets head down to a Latin club and restaurant in Memphis’ South Main Arts District for a weekly open mic event called The Word. Hosted by Memphis singer Tonya Dyson, The Word usually features a live band which backs up the singers, rappers and poets, and on the particular Monday night I was there, the band in question was Chinese Connection Dub Embassy, Memphis’ best local reggae and dub band. The main drummer for CCDE is Donnon Johnson, but on this particular night, he traded out with my homeboy Otis Logan on certain tunes, and Otis was featured on an amazing drum solo over a keyboard vamp. Several singers and poets performed, including Tonya Dyson herself, who had an incredible reading of the Jamaican festival classic “What A Bam Bam”.
My homeboy Otis Logan had told me about an event that Devin Steel of K-97 was sponsoring at the Hi-Tone called the Kickback. The party was to feature several DJ’s, back by Otis on drums, and Otis’ band 4 Soul was supposed to play as well, so I decided to go. The new Hi-Tone on Cleveland seems somewhat smaller than the old Hi-Tone, but it filled up quickly. For most of the evening, Otis was on drums behind several different DJ’s, soloing, adding fills and breakdowns and amplifying the grooves. Briefly, the whole 4 Soul Band played behind the DJ’s as well. The drum and DJ format is new to Memphis, but the crowd seemed to enjoy themselves.