If Memphis rap were a nation, Al Kapone would be the unanimous choice for an ambassador’s position. One of the earliest Memphis rappers, he has in more recent years become a Memphis icon, popular with constituencies that don’t necessarily get enthused by rap music on a daily basis.
For the same reason, Kapone fits neatly onto the kind of Midtown shows where other rap artists might be awkward. For example, this pre-holiday lineup at the amazing Railgarten venue was kicked off by the nostalgic Memphis soul band The City Champs featuring Joe Restivo, whose fan base probably doesn’t listen to a lot of rap. But everyone knows Al Kapone. Anyone who has ever been to a Grizzlies game or watched the movie Hustle and Flow knows him.
By the time the band launched into their third song, there were at least a hundred people in the club, with more arriving all the time. After they finished their nearly hour-long set, they were followed by up-and-coming Memphis rapper Tune C. performing his song “Naturally” and R & B singer Kameron Whalum performing his new single. After Uriah Mitchell performed a couple of songs, Al Kapone came on stage, performing a number of his more recent hits with a live band. On occasions, he introduced local rappers onto the stage to perform specific songs, including Muck Sticky and Lil Wyte, who also recently released a new album.
Despite the dismal weather outside, the standing room only crowd was full of holiday cheer, and a good time was had by all.
Clayborn Temple is one of Memphis’ most historic locations. Built in the late 19th century as Second Presbyterian Church, it became known as Clayborn Temple African Methodist Episcopal Church after the Presbyterian ccongregation moved far to the east of Midtown. The building became an important focal point of the Civil Rights Movement in Memphis, particularly the Sanitation Workers Strike of 1968 which resulted in the death of Dr. Martin Luther King Jr. Unfortunately, at some point, the Clayborn Temple congregation died, and the building fell into disrepair. At one point, the City of Memphis put fencing around it to protect against falling bricks, and it seemed likely that the building would have to be demolished. Fortunately, against all odds, Clayborn Temple was resurrected in 2017 as a performing arts venue, and on November 3, 2018, Blue Tom Records, the student-run record label of the University of Memphis, sponsored its annual This Is Memphis concert in the historic structure.
Unfortunately, I learned upon entering Clayborn Temple, that the building’s success story may be somewhat premature. There is still significant roof damage and a considerable amount of work remains to be done. However, it is good to see that a plan for renovation is in place, and funding is being raised. Because This Is Memphis is a celebration of the young musical talent of one of America’s most musical cities, the building was an inspired choice of location for the concert, and indeed, a very impressive soul-jazz band called Back Pockets was soundchecking on stage when I entered.
The Back Pockets proved to be the first band on stage of the evening, and is a large collective with a sizable brass section and a female vocalist. They filled the large room with sound, and were fairly impressive, alternating between neo-soul vocal tunes, and jazz instrumentals. Unfortunately, the videos I took of them proved to be out-of-focus and unusable. Hopefully I will catch them performing elsewhere.
After a performance from a local singer/songwriter named Sienna, a new band called Estes came on stage. Estes is the latest project of Andrew Isbell, formerly of The Band CAMINO, and it proved to be a melodic, tuneful band reminiscent of The Southern Sea or The Autumn Defense. The songs were well-written and immediately attractive, at once sunny but with a hint of nostalgia.
Estes was followed by a very soulful singer-songwriter named Phillip Bond who is a senior at the University of Memphis. Unlike a lot of neo-soul artists today, Bond’s original compositions are lyrically daring and more poetic than pop. On this particular night, he performed the first song he ever wrote, “Fool For You” and became somewhat emotional about it, as the song undoubtedly has significant meaning for him. He was also backed by a first-rate band of young musicians.
Memphis has produced a number of great singer-songwriters in recent years including Amy Lavere and Valerie June, and Bailey Bigger can hold her own with the best of them. A talented singer with a beautiful voice, Bigger is also a consummate songwriter, as evidenced by her original compositions, including “Green Eyes” with which she launched her This Is Memphis performance. With only her guitar, and occasionally one other musician, she managed to captivate the audience in the large venue. Bailey’s album Closer to Home is currently out on iTunes, and she is now signed to Blue Tom Records, working on an upcoming release.
Another singer/songwriter/activist Jordan Dodson, known as JD, seeks to use her music to promote empowerment for women and African-Americans. Her performance at This Is Memphis included her brief put powerful song “Don’t Shoot,” a reference to the numerous police shootings of young Black men in America.
This year’s concert was closed out by Dylan Amore, the only rapper currently signed to Blue Tom Records, and one with a growing following in Memphis, Tennessee. He is hard at work on his EP for the label, and also has several previous releases and mixtapes.
Altogether, it was a fitting tribute to young and upcoming Memphis artists in a beautiful setting, as well as an opportunity for University of Memphis students to learn the business of concert promotion and operation….in short, a win-win for performers, attendees and students alike.
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.
New Orleans’beloved Jazz Fest celebrates the wide diversity of New Orleans music, but the Memphis equivalent, the Beale Street Music Festival generally does not feature Memphis’ musical culture or history, despite the occasional appearance of a big Memphis or Mid-South act, such as Yo Gotti or the North Mississippi All-Stars. So people who want to delve deeply into the musical culture of Memphis and the surrounding area must look elsewhere, and fortunately, there is a festival geared particularly to the indigenous music cultures of the Mid-South, the Memphis Music and Heritage Festival. Founded in 1982 by a non-profit called the Center for Southern Folklore, the festival is a free event across two days and six downtown Memphis stages (four of them outdoors) where the best in local soul, blues, jazz, gospel, bluegrass, indie rock, fife-and-drum music, majorettes and drumlines are presented. The line-up is always surprising and enjoyable, but this year’s Saturday schedule involved a number of artists from the Mississippi Hill Country, including veteran Como bluesman R. L. Boyce, who recently released his third album Roll & Tumble on the Waxploitation label out of California, who was joined by guitarist Luther Dickinson at the Center for Southern Folklore stage. The highlight was a song that Boyce improvised on the spot for the victims of the flooding in Houston, entitled “We Can’t Drink This Water.” Young up-and-comer Cameron Kimbrough, a grandson of the late Junior Kimbrough, performed on the same stage with drummer Timotheus Scruggs and some assistance on tambourines from his mother Joyce Jones and R. L. Boyce’s daughter Sherena. Jones, affectionately known as “She-Wolf”, was herself featured with her band on the Gayoso Stage later in the day, performing several of her original songs, including “Poor Black Man” and “Juke Joint Party”, and Sharde Thomas, granddaughter of the late Otha Turner, performed with her Rising Star Fife and Drum Band on the large Peabody Place stage to a decent-sized crowd. These were just a handful of the hundred or so artists that performed each day on the various stages, and while the donation cans were passed around frequently, there were no VIP areas, no fenced-in areas, and no stages requiring tickets or wristbands. A day spent at the Memphis Music and Heritage Festival will immerse you in the diverse cultures of the people of Memphis and the Mid-South.
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.
In previous posts here at The Frontline, I have discussed the importance of Black fife-and-drum music, both as an African cultural survival among Blacks in America, and also as a form of pre-Blues music, part of the building blocks that came to make up the music we call blues. Despite growing publicity and efforts at preservation, the Black fife-and-drum tradition is remarkably fragile, existing primarily today only in two rural Mississippi counties, Tate and Panola. For those with an interest in this music, the primary event where it can be witnessed (for it is as much a visual spectacle as a musical form) is the annual Otha Turner Picnic, held in the remote community of Gravel Springs east of Senatobia, Mississippi. Usually held on Labor Day weekend, or occasionally the weekend before it, the Otha Turner Picnic began as a small family gathering at Otha’s house on the O. B. McClinton Road. Otha and other fife-and-drum musicians such as Napoleon Strickland, Sid Hemphill and R. L. Boyce were frequent participants, and some line-up of these men appeared at the first New Orleans Jazz and Heritage Festival in 1970, billed as the “Como Fife and Drum Band”. Over the years the picnic grew, and now run by Otha’s granddaughter Sharde Thomas, has become a two-day festival of blues (and occasionally rock) musicians, and a $5 admission is now charged. But there is still barbecued goat, unexpected appearances from musicians like Luther Dickinson of the North Mississippi All-stars, and of course, plenty of fife-and-drum music as the Rising Star Fife and Drum Band parades through the crowd between stage acts.This year’s first night featured such performers as Memphis blues/folk singer Moses Crouch, Hill Country blues/rock band the Eric Deaton Trio from Water Valley, Luther Dickinson from the North Mississippi All-Stars (whose drummer is Sharde Thomas), and Dr. David Evans, the eminent musicologist who is also a first-rate blues performer in the archaic styles of the 1920’s and 1930’s country blues. But it is the powerful, hypnotic drumming that sets the Otha Turner Picnic apart from other blues festivals, even those in the Hill Country of Mississippi. On such hallowed ground, the snare and bass drum patterns invoke trance, and the fife calls to remembrance an African past. Sharde Thomas amplifies the connection between Mississippi and Africa when she exchanges the fife for a djembe drum, which she plays with her drum squad. As the night gets later, dancers fill up the space near the drummers, some them exhorting the young men on the drums to “beat that thing”, and whooping with delight. Although the music is more raw and basic, the scene is reminiscent of a New Orleans second-line.
Outside the gate, another festival is in progress, a sort of Gravel Springs block party, full of young people, custom cars, motorcycles and rap music. If the atmosphere inside the gates is old-school, that outside is like a rural version of Freaknik. Although there are never any major problems, the young people’s festival makes coming and going to and from the picnic somewhat difficult. All the same, the Otha Turner Picnic is a must-see event for anyone interested in Black music and folklore.
Memphians reacted with understandable sadness to the news last year that Memphis in May was eliminating the Sunset Symphony, which had been one of the highlights of the annual monthlong festival. For many of us, nothing short of a reversal of the decision would do, but eventually, Memphis in May softened the blow by replacing it with something called 901 Fest, an inaugural day-long event of local Memphis musicians in Tom Lee Park. One of the annoyances of the Beale Street Music Festival, at least to me, is the lack of local artists scheduled, when compared to Jazz Fest in New Orleans for example, so the 901 Fest concept was decidedly exciting.
Across three stages, a number of Memphis artists from all genres performed on a bright blue Saturday afternoon on the Memorial Day weekend, with perhaps the biggest headliners being veteran Memphis rappers Al Kapone and Frayser Boy, and Cody and Luther Dickinson’s North Mississippi Allstars. Boats were out on the river, people sitting on blankets enjoying music, plenty of local food trucks, and to cap off the evening, fireworks over the river. All in all it was a satisfying day.
When I heard that Luther Dickinson would be having a performance and album release party at Shangri-La Records on February 13, I naively had assumed it would be indoors, completely forgetting that there is no place indoors in the record shop where such a show could be held. As such, the event was held outside, and with it being February, the weather was extremely chilly indeed. But a decent crowd braved the elements to hear Luther perform songs from his new album “Blues and Ballads: A Folksinger’s Songbook, duly aided and abetted by the lovely Sharde Thomas on drums, while the good folks at Beale Street Caravan recorded the day’s proceedings. All in all, a chilly day for a worthwhile reason.
While the annual Memphis Music and Heritage Festival was going on downtown, the On Location: Memphis Film and Music Festival was also taking place in Overton Square and in the Cooper-Young neighborhood. The music showcases were held in the basement of Cooper-Walker Place, and featured great Memphis musicians from all genres. Memphis hip-hop star Jason da Hater was on stage when I arrived, followed by a new local rock band called One Word. Then Tori WhoDat performed, along with Preauxx and other members of the TRDON camp. Perhaps the highlight of the afternoon showcase was 4 Soul’s performance, with Otis Logan on drums, and extraordinary Memphis vocalist Tonya Dyson fronting Memphis’ premiere neo-soul band. Over at Studio on the Square, a large crowd was watching a preview screening of an upcoming movie called The Man in 3B, with the filmmaker present. Altogether it was a great year for On Location: Memphis on its first Labor Day weekend.
I had read on the Memphis Flyer‘s website that a soul band called Objekt 12 would be playing at the new Red Zone Cigar and Sports Bar in the Broad Avenue Arts District, so when I left Havana Mix downtown, I headed that way, and could hardly find a place to park. The new Red Zone is a branch of the one on Winchester in Hickory Hill which has been open for several years. I have never been inside that location, but the new one (which is somewhat misleadingly called Red Zone Midtown) is quite elegant and comfortable inside. The live music was outside however, on a patio which was packed with people despite the heat and humidity. The band, Objekt 12, was not exactly what I was expecting in the way of a “soul band”, but might be better described as a “soulful” indie rock band. They were talented musicians however, and did some originals as well as covers. It’s always good to discover new Memphis musicians, and I suspect we’ll be hearing a lot more from Objekt 12 in the future.
Red Zone Cigar and Sports Bar
2583 Broad Ave
Memphis, TN 38112
Keep up with Objekt 12: