I got an invitation on Facebook a week or so ago from a musician friend, trombonist Victor Sawyer, to come to the debut performance of a new Memphis brass band called the Lucky 7 Brass Band, which was being held at Growlers, the former location of the Hi-Tone on Poplar Avenue across from Overton Park. Memphis has had a couple of other brass bands, the Mighty Souls Brass Band and the Memphorleans Street Symphony. But, because we are not a city that has Mardi Gras (or even the Cotton Carnival any more) and because there is no real second-line culture here, our brass bands are more concert ensembles, and none has the separate snare and bass drums that characterize the average New Orleans brass band, and they may include indoor instruments like a drumset, a keyboard or even an electric guitar or bass. In that regard, the Lucky 7 Brass Band was true to form, including an electric bass rather than a tuba, and a drumset rather than the traditional separate snare and bass drummers. But what it did bring to the table was more of the street edge that the Crescent City bands have, and a tight and clean ensemble sound. For their debut performance, which was all too short at just under an hour, they played cover tunes exclusively, but these ran the gamut from New Orleans standards to contemporary hip-hop, and a good-sized crowd came out (with the threat of bad winter weather hanging over Memphis) to cheer them on. The Lucky 7 Brass Band is one we will likely be hearing a lot more about in the future.
Sometime before New Year’s Eve, a lady friend had shared a link with me on social media about a young musician named Akeem Kemp who was performing in Conway, Arkansas on January 13. I had not heard any music of this young man, although the name seemed vaguely familiar, as if I had heard somebody mention him in the past. At any rate, I googled him, and soon found that he would playing a little closer to home (and sooner) at the White Water Tavern in Little Rock on January 6, so we made plans to go.
The weather proved to be cold and quite wet, but we encountered a large crowd at the White Water, which is the best venue in Arkansas to enjoy live blues, as Akeem Kemp is from right up the road in Morrilton, Arkansas, and thus is considered a hometown hero. At only 20 years of age, and sporting dreadlocks, Kemp might look like a rap artist to those who didn’t know better, but his youthfulness belies a serious mastery of the electric guitar, and an uncanny ability to handle the kind of deep, soulful blues that other young artists avoid, tunes such as “As The Years Go Passing By” or “The Sky Is Crying.” Of course, like any young star of the guitar, Kemp knows his Hendrix, Prince, and even a bit of R & B/Southern soul, as in his hit original “Are You Doubting My Love.” But Akeem Kemp has internalized the language of the blues, and his decision to embrace the genre is thrilling, because only as young musicians become involved in blues will we succeed in preserving this endangered art-form. The future of the music is truly riding on his shoulders.
After leaving Alligator, we ended up heading down to Drew, and taking Highway 49W through Ruleville, Doddsville and Sunflower into Indianola, to one of my very favorite restaurants in the world, The Blue Biscuit. The Biscuit is owned by renowned chef Trish Berry, who had been the executive chef at Bill Luckett and Morgan Freeman’s ill-fated Madidi Restaurant in Clarksdale. While Madidi was expensive fine-dining, the Blue Biscuit is something altogether different, sort of a cross between a diner and a juke joint. While the restaurant menu is diverse and varied, in my opinion, the pulled-pork barbecue is the star of the show. A few years ago, it was possible to order something called “Biscuits and Barbecue”, which was exactly that, four freshly-baked buttermilk biscuits that were halved, with pulled pork placed between the halves. This was literally one of the most delicious things I have ever eaten. Unfortunately, we noticed on this visit that the menu has changed, and that biscuits and barbecue is no longer available, but the pulled pork is still on the menu, and just as good as I remember it from previous visits.
An added treat on this visit was live music from a Cleveland, Mississippi band called Jake and the Pearl Street Jumpers, whose repertoire consists of blues, soul and funk. Somehow, I had not encountered them before, but they are an accomplished and versatile band, and they kept the crowd mesmerized all evening. This was my first time seeing a live music gig at the Blue Biscuit, and I found the location and atmosphere perfectly suited to the music, and everything quite enjoyable.
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.
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.
In 1958, record store owner Joe Coughi of Poplar Tunes in Memphis decided to start a record label, and he named it Hi Records, with the name taken from the last two letters of his name. Purchasing the Royal Theater on South Lauderdale, he converted it into a recording studio (Jim Stewart would do the same thing a year later with the nearby Capitol Theater on McLemore Avenue in forming Stax Records), and began recording country and rockabilly records. When Ruben Cherry and Celia Hodge’s Home of the Blues family of labels collapsed in 1962, producer Willie Mitchell was briefly without a musical home, but he soon ended up producing for Coughi at the Royal Studios, which he eventually purchased. Hi Records soon moved from recording rockabilly and country to recording blues, soul and gospel, particularly the work of such greats as Al Green, O.V. Wright, Don Bryant, Ann Peebles, Otis Clay and Syl Johnson. The Hi label was eventually sold to Al Bennett in California, but the Royal Studios continued under Willie Mitchell. As Stax collapsed and the Memphis recording industry with it, Royal continued on, and today, under Willie Mitchell’s son Boo, has become a world-famous institution. So it was only fitting that Royal Sound Studios should celebrate with a block party for the surrounding South Memphis neighborhood on the street now called Willie Mitchell Boulevard, and all the more so as Boo Mitchell announces to the world the launch of Royal Records, a label based out of the venerable Memphis studios. The first act for the fledgling label is a rap duo called Lil Riah and Key Money, both of whom are members of the Mitchell family, and who were the featured performers at the block party. But attendees also enjoyed performances by Memphis veterans Al Kapone and Frayser Boy as well as the Royal Studio Band, and there was plenty of good food from local food trucks, including hand-crafted ice cream pops from the good folks at Mempops. Even Memphis Mayor Jim Strickland came to pay his respects.
The Levitt Foundation is a non-profit organization dedicated to supporting live music opportunities in America, especially outdoor performances. Well-known to Memphians as the organization that helped save the Overton Park Shell, the foundation runs shells and other outdoor stages in a number of American cities, and sets up summer concert series in many more. This year, the Levitt Foundation announced a Summer Music Series in New Albany, Mississippi, taking advantage of the city’s recently renovated Park Along The River (the river in question being the Tallahatchie). On July 2, the series brought the Hill Country blues to New Albany with performances by Oxford-based Cadillac Funk, and then the Cedric Burnside Project, featuring Trenton Ayers (son of Little Joe Ayers) on guitar. A fairly large crowd showed up for the two-hours-worth of funk and blues, with dancers filling up the space in front of the stage. As is his custom, Cedric started his set out with several acoustic guitar songs before moving to the drums and inviting Trenton Ayers to join him. In its more hardcore, electric form, the Cedric Burnside Project performs a large repertoire, from originals that feature a Hill Country edge, to many of the songs made famous by Junior Kimbrough and Cedric’s grandfather, the late R. L. Burnside, such as “Firemen Ring The Bell” and “Goin’ Down South.” All too soon, the show was over, and the crowd was left asking for more.
My homeboy Otis Logan is one of Memphis’ best young drummers, so when he told me he would be playing for a singer named Bigg Smith at The African Place, I was intrigued, as I didn’t know the singer or the venue, but I made plans to attend. As it turned out, The African Place is the former Cafe 581 which had an extremely brief run about four years ago, and it is not usually a music venue, but rather more of a shop/gallery for imported African goods. All the same, the place was packed to overflowing, with a very small space for the band. The show opened with a few songs from an R & B singer named Lamar, but Bigg Smith proved to be an amazingly talented singer, with a warm voice that exudes confidence, and the backing band was first-rate as well. Smith’s repertoire included some originals, as well as covers ranging from Aretha Franklin to Jeffrey Osborne. All too soon it was over, but it was a Friday evening well-spent.
This year’s Juke Joint Fest culminated with a late Saturday evening show at the Delta Theatre featuring Cedric Burnside and Trenton Ayers. Both these young men come from families with a long history of involvement in the Hill Country blues. Cedric is a grandson of the late R. L. Burnside, and son of drummer Calvin Jackson, who played in the Sound Machine Band, and Trenton Ayers is the son of Holly Springs bluesman Little Joe Ayers. Their performance on this occasion was outstanding, culminating in a near-perfect reading of the late Junior Kimbrough’s “Meet Me In The City.” It was a great way to close out this year’s festival.