Memphis Soul Legend Don Bryant Performs With The Bo-Keys at Loflin Yard


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.

Throwing Down at the Home Place Near Como, Mississippi

New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos

The Home Place Plantation was founded near Como in 1869, just a few years after the end of the Civil War. From then until now, it has belonged to members of the Bartlett family, and was until recently a traditional farm raising cattle as well as cotton, soybeans and similar crops. But the youngest generation of the family has converted the Home Place from a plantation to Home Place Pastures, an organic, sustainable pig farm raising high-quality pork that is sold in regional farmer’s markets. As such they are on the cutting edge of a number of popular movements, including the locavore movement that seeks to source food from areas close to where one lives. The new vision for the Home Place also includes special events, including a live blues experience called the Home Place Throw Down, which this year was held on August 20. Because of periodic rain, the organizers decided to move the stage across the road from where it had been the previous year to a roofed pavilion on the opposite side, and moving the stage was easy, because it was a yellow school bus with its front wall cut away so as to make a stage, and it actually still runs. Despite the risk of rain, more than a hundred people turned out to hear such artists as the Rev. John Wilkins, the Home Place Blues Band (which seemed to be an alter-ego for the Como-tions), the legendary R. L. Boyce and Kenny Brown. In between acts, Sharde Thomas led her Rising Star Fife and Drum Band through the crowd, with Como musician R. L. Boyce on one of the snare drums. With a rather eerie moonlight in the east, the hypnotic drumming gathered a crowd of dancers in the twilight, reaching back before the blues to something more fundamental. Besides the great music, there was plenty of beer, as well as barbecued pork (Home Place pork of course) that was some of the best I’ve ever eaten, and although I was told that the barbecue sauce was a vinegar-based Carolina-style sauce, I surprisingly loved it, and found it to be just sweet enough for me to enjoy. After Kenny Brown’s final rousing set, Sharde Thomas and her drummers were back to lead the crowd out to the front gate to close out the evening’s festivities. It was a truly amazing blues experience in a perfect setting with great food, in a community known for its legacy of blues, Black gospel, and fife and drum music.









Kingfish and Terry “Big T” Williams Rock The Sunflower River Blues & Gospel Festival

Sunflower River Blues & Gospel Festival / Google Photos

Founded in 1988, the Sunflower River Blues and Gospel Festival is the older of Clarksdale’s two main annual blues festivals, but in recent years it has seemed to struggle as the Juke Joint Festival in April has grown in popularity. Nevertheless, it still attracts many people to Clarksdale each August, and after an ill-fated expansion effort in 2012, the festival has finally returned to its roots as a regional blues festival in downtown Clarksdale. This year, I was thrilled to see that the fencing around the festival grounds in previous years had been done away with, allowing free access to and from the festival to the surrounding streets and venues of downtown Clarksdale, and attendees again had access to the front of the stage, unlike 2012 when the whole area had been reserved for VIP’s who had donated large sums of money to the festival. Unfortunately, we were late in getting to Clarksdale this year, but when we arrived at the main stage, Christone “Kingfish” Ingram was on stage, amazing the crowd with his guitar skills, backed by Chris Black on drums and Paul Rogers on bass. He was followed by Terry “Big T” Williams, a perennial favorite in Clarksdale, whose Family Band includes the prominent Delta saxophonist Alphonso Sanders. The crowd seemed somewhat smaller than in previous years, but that may have been due to the threat of rain, which persisted all day Saturday.Nevertheless, the rain stayed away while we were there, and with the barricades gone, festival-goers swarmed around the downtown Clarksdale, visiting shops and restaurants, and several venues sponsored their own performances to coincide with the festival weekend.

Rev. John Wilkins at the All-New Loflin Yard

Rev. John Wilkins Live at Loflin Yard / Google Photos

I used to pass the old Loflin Safe & Lock Company on Carolina Avenue in Memphis for years, and never thought much about it, but unexpectedly a few months ago, the place was transformed into a hot new Memphis bar and grill called Loflin Yard, with a primarily-outdoor focus that resembles Austin, Texas a lot more than it does Memphis. While there are a few tables and a bar indoors, and a few more tables on a deck outside, the central emphasis is on a huge backyard, filled with plenty of chairs and fire pits, an outdoor stage and bar,a waterfall and the only visible portion of historic Gayoso Bayou, most of which has been paved over elsewhere in Memphis. The effect is something like an urban equivalent to Mississippi’s Foxfire Ranch, and the booking policies are somewhat similar as well, with Loflin Yard featuring a lot of roots music groups, from blues to bluegrass. On the day we went, the featured artist was the Rev. John Wilkins, an artist whose dad was a blues legend in the 1920’s, and whose music bridges the gap between Hill Country blues and gospel music. On a somewhat cool and pleasant day, we found the place packed to overflowing, and we could barely find outdoor seats. Wilkins, backed by two and later three female singers, performed his dad Robert Wilkin’s signature tune “Prodigal Son” AKA “That’s No Way To Get Along”, which was made famous by the Rolling Stones, and he performed many of his best-known tunes as well, including “You Can’t Hurry God.” We had to wait until after Wilkins’ performance to find table space in order to eat. Food, by the way, is ordered from an outdoor window and then picked up to eat at one of the tables, and the menu is extremely limited. There is no traditional bar food here, only beef brisket, pork tenderloin and salads, although there has been some talk that the menu might eventually be expanded. With such an emphasis on barbecue, there is plenty of wood stacked near the kitchen, and the smell of roasting meat pervades the whole place, but we found that the food was primarily little plates, a currently popular trend, and the prices seemed steep for the quantity of the food. Altogether it was a great afternoon and evening for me and my friend, although we personally enjoyed the atmosphere and music more than the food.

Loflin Yard
7 W. Carolina Avenue
Memphis, TN 38103
901.249.3046
info@loflinyard.com
Mon – Tues: Closed
Wed – Thurs: 4:00 pm – 10:00 pm
Fri: 11:30 am – 12:00 am
Saturday: 12:00 pm – 12:00 am
Sunday: 12:00 pm – 9:00 pm



Celebrating Jim Dickinson’s Beale Street Saturday Night With Sons Of Mudboy at Shangri-La Records

001 Son of Mudboy002 Son of Mudboy003 Son of Mudboy004 Son of Mudboy005 Son of Mudboy006 Son of Mudboy007 Son of Mudboy008 Shangri-La Records009 Son of Mudboy010 Son of Mudboy011 Sharde Thomas012 Cody Dickinson and Sharde Thomas013 Son of Mudboy fans014 Son of Mudboy015 Son of Mudboy016 Son of Mudboy017 Son of Mudboy018 Son of Mudboy019 Son of Mudboy fans020 Son of Mudboy021 Son of Mudboy and Sharde Thomas022 Sharde Thomas
The late Jim Dickinson was passionate about Memphis’ Beale Street. He carried on a running feud in song with the Memphis Housing Authority and Memphis’ city government over its rough treatment of Beale Street during so-called “urban renewal”, and it was almost certainly at Dickinson’s suggestion that Alex Chilton’s early working title for Big Star’s third album was “Beale Street Green”, a reference to the green fields that surrounded the entertainment district once the surrounding neighborhoods had been destroyed (the poetic title would later resurface as a movement of instrumental music on one of Dickinson’s Delta Experimental Projects). So when the Orpheum Theatre commissioned Dickinson to put together an album as a fund-raiser, he responded with a recorded paean to his beloved street, now endangered by civic ineptitude, an album called Beale Street Saturday Night. The album was somewhat bizarre, consisting of two unbanded sides that played continuously. Songs and interview clips faded seamlessly into one another, more like a radio documentary than an album. For years, the album was a highly-sought collector’s item, but it has now been lovingly reissued by the Omnivore label, and to celebrate that fact, Shangri-La Records in Midtown sponsored a performance of Sons of Mudboy, that most elusive group of Memphis musicians and folklorists, centered around Cody and Luther Dickinson and Steve Selvidge, along with Jimmy Crosthwaite of Mudboy and the Neutrons, the supergroup that started it all. Hearing a Sons of Mudboy concert is like taking a crash musicology course in Memphis music. First, there are no genre barriers, as the group works seamlessly from blues, to rock, to bluegrass, folk or gospel. Some of the songs are originals, or at least songs that were original to Jim Dickinson, Sid Selvedge or Lee Baker of Mudboy and the Neutrons, while many others are covers, which range from Furry Lewis to Sleepy John Estes to Mississippi Fred McDowell. This performance was somewhat unusual in that it opened with Jim Dickinson’s “Power To The People” which is usually a closer, and so it closed with the Hill Country blues standard “When I Lay My Burden Down”, where they were joined by the great Sharde Thomas on the cane fife. A crowd of about 100 people enjoyed the unexpected sunny weather (storms had been predicted) and pleasant temperatures, the perfect setting for a great afternoon of Memphis music.








Buy Jim Dickinson’s Beale Street Saturday Night here if your local store doesn’t stock it:
http://omnivorerecordings.com/music/beale-street-saturday-night/

Keep Up With Sons of Mudboy here:
https://www.facebook.com/SonsOfMudboy

Arkansas' Best Drummers Highlighted at the @RevRoomLR #TheDrummerIsInTheHouse

001 The Drummer Is In The House002 The Drummer Is In The House003 Revolution Roon004 Revolution Room005 Rod Pleasants006 The Drummer Is In The House007 The Drummer Is In The House009 The DJ011 The Drummer Is In The House012 Revolution Room013 The Drummer Is In The House015 Yvette Preyer and Band016 Yvette Preyer017 Yvette Preyer's Band018 Yvette Preyer's Band019 Yvette Preyer020 Yvette Preyer Band022 Yvette Preyer024 The Drummer Is In The House025 The Drummer Is In The House026 The Drummer Is In The House027 Yvette Preyer028 The Drummer Is In The House029 Yvette Preyer and her student030 Yvette Preyer031 Rod Pleasants032 Rod Pleasants034 Rod Pleasants035 Rod Pleasants036 Rod Pleasants' Bass Player037 Rod Pleasants038 Steve Bailey039 Steve Bailey040 Steve Bailey042 Jamaal Lee's Bass Player043 Jamaal Lee's Guitar Player046 Jonathan JJ Burks047 Jonathan JJ Burks048 Jonathan Burks049 Jonathan Burks051 Jonathan JJ Burks052 Jonathan JJ Burks053 Jonathan JJ Burks054 Jonathan JJ Burks055 Jonathan JJ Burks056 Revolution Room057 Jonathan JJ Burks058 Jonathan JJ Burks059 Jonathan JJ Burks060 Jonathan JJ Burks063 Charles Anthony Thompson064 Charles Anthony Thompson065 Charles Anthony Thompson's Bassist066 Charles Anthony Thompson's Guitarist067 Charles Anthony Thompson068 Charles Anthony Thompson069 Revolution Room070 The Roundabout073 The Roundabout074 Aerion Jamaal Lee076 Jamaal Lee & JJ Burks077 JJ Burks and Steve Bailey078 Jamaal Lee & JJ Burks079 JJ Burks & Steve Bailey080 The Roundabout081 JJ Burks082 Steve Bailey083 Jamaal Lee084 Jonathan JJ Burks & Steve Bailey085 Drummer Is In The House086 Jonathan JJ Burks & Steve Bailey087 Jamaal Lee & JJ Burks088 Jonathan JJ Burks089 Jamaal Lee & JJ Burks090 Steve Bailey091 Steve Bailey092 Jonathan JJ Burks093 Jamaal Lee094 Jamaal Lee & Band095 Jonathan JJ Burks & Steve Bailey096 Jamaal Lee & A Singer097 Jonathan JJ Burks & Steve Bailey098 RevRoom Sculpture100 Downtown Little Rock101 Revolution Room102 The Rev Room103 Cache
In the field of Black music worldwide, no other musical instrument is as important as the drums. Not only is percussion the musical foundation for much Black music and dance, but the instrument looms large in the cultural memory of people throughout the African diaspora. So it was only fitting for Arkansas’ best drummers to be honored at an event called The Drummer Is In The House, which was held at the Revolution Room on President Clinton Avenue in the River Market area of Little Rock on Thursday July 10. The event, sponsored by Clifford Drummaboy Aaron, featured performances by current and former Little Rock drummers Yvette Preyer, Rod Pleasants, Steve Bailey, Aerion Jamaal Lee, Jonathan “JJ” Burks and Charles Anthony Thompson. Rather than just a lot of extended solos, most of the drummers played with their individual bands, and even some singers, performing songs from the neo-soul, jazz and gospel traditions. But there were great solos too, including one from Jamaal Lee full of afro-caribbean rhythms and patterns, and one from Charles Anthony Thompson exhibiting extended sticking and tone techniques including pitch bends, and plenty of jazz influence. The final highlight of the evening was an event called the Roundabout, at which drummers moved across the stage from the first drum set, to the second, to the third, while Yvette Preyer kept a basic conga pattern for them on an octapad. As one drummer would exit the stage, another would come on from the left, enabling all the drummers to have an opportunity to shed three at a time, and to play each of the three drum sets. The Drummer Is In The House was truly a major event that highlighted some really great drummers, and a lot of other great horn players, guitarists, bassists, keyboardists and singers. I am told that future events will be held at the Revolution Room to highlight the other instrument families, and I am looking forward to it.










Bama’s Record Shop, Jackson MS


Bama’s Record Shop on Bailey Avenue in Jackson, Mississippi has been the premiere place to buy blues, soul, gospel and rap music in Jackson for well over 20 years. Formerly a location of James Bennett’s BIP Records, the store still features a considerable amount of vinyl, and a good selection of both new and used discs, including some that are hard-to-find discontinued items. The selection of oldie rap is especially good. Bama’s is located just north of the Virden Addition neighborhood at 2618 Bailey Avenue Extended and can be reached the old-fashioned way at (601) 983-2040.