R. L. Boyce, Cam Kimbrough, Joyce Jones and the Rising Star Fife and Drum Band at the Memphis Music and Heritage Festival


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.








Preserving Endangered Traditions at Day 1 of the Otha Turner Picnic

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
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

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.


















Al Kapone & Frayser Boy Live at 901 Fest

First Annual 901 Fest / Google Photos

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.

Showcasing Memphis’ Music Talent at On Location: Memphis

043 Jason Da Hater044 Jason da Hater045 One Word Band046 One Word Band047 One Word Band048 One Word Band050 One World Band051 One World Band052 One World Band053 One World Band054 One World Band055 Tori WhoDat056 Tori WhoDat057 Tori WhoDat058 Tori WhoDat059 Tori WhoDat061 Tori WhoDat062 Tori WhoDat063 Tori WhoDat066 TRDON067 Preauxx069 Otis Logan074 4 Soul Band075 4 Soul Band076 Otis Logan077 Tonya Dyson078 Otis Logan080 4 Soul Band081 4 Soul Band1815 Jason Da Hater1817 One Word Band1816 One Word Band1820 Tori WhoDat1823 Preauxx1824 Preauxx1826 Otis Logan1825 Otis Logan1827 4 Soul Band
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.









Checking Out Memphis’ All-New Soul Band @TheObjekt12 at Memphis’ All-New Red Zone Sports Bar in Binghampton

028 Red Zone Midtown029 Objekt 12030 Objekt 12031 Objekt 12032 Objekt 12033 Objekt 12035 Objekt 12036 Objekt 12
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
(901) 324-3102

Keep up with Objekt 12:
https://www.facebook.com/pages/Objekt-12/347356182116173


http://www.objekt12.net

Cool Runnings With The Slackers and Chinese Connection Dub Embassy at the Hi-Tone

001 CCDE002 CCDE003 CCDE004 CCDE005 CCDE006 Donnon Johnson007 Slackers with CCDE008 Hi-Tone009 CCDE010 CCDE011 CCDE012 CCDE013 CCDE014 CCDE015 CCDE016 CCDE017 CCDE018 CCDE019 CCDE020 CCDE021 CCDE022 CCDE023 CCDE024 The Slackers025 The Slackers026 The Slackers027 The Slackers028 The Slackers029 The Slackers030 The Slackers031 The Slackers032 The Slackers033 The Slackers

Reggae and other Jamaican music styles are not particularly common in Memphis, so when there are occasions to see reggae bands, I usually jump at the opportunity, such as last Thursday’s concert at the Hi-Tone in Crosstown. Of course, I was already familiar with our superb local dub band the Chinese Connection Dub Embassy, but the other band on the bill, The Slackers, was a complete unknown to me. The CCDE usually perform mostly dub, but somewhat surprised me during their set on this particular night by doing two songs from the rock steady/early reggae era, Toots Hibbert’s “54-46 Was My Number”, and Desmond Dekker’s “Shanty Town”. The Slackers are based in New York City, and proved to be an excellent ska band with live horns. They have released numerous albums since 2000, and the songs they performed were almost strictly originals taken from across their discography. The one exception was the Skatalites cover “Christine keeler”, whose title references a 1962 go-go girl who figured prominently in a British political scandal. When the band tried to end their set, the crowd demanded more, and the Slackers obliged with not one, but about four songs, and it was nearly 1 AM when things broke up.














Keep up with Chinese Connection Dub Embassy:
https://www.facebook.com/TheCCDE
https://ccde.bandcamp.com


https://instagram.com/ccdevibes/

Keep up with The Slackers:
http://www.theslackers.com
https://www.facebook.com/theslackers
https://myspace.com/theslackers


https://itunes.apple.com/us/artist/the-slackers/id28428017

Keep up with The Hi-Tone Memphis:
http://www.hitonememphis.com
https://www.facebook.com/hitonememphis

Hi-Tone Memphis
412-414 N Cleveland
Memphis, TN 38104
(901) 278-8663

Honoring the Legacy of Ardent’s John Fry and John Hampton at the Levitt Shell

001 John Fry Beale Street Note Presentation002 Jody Stephens003 Jody Stephens004 Music Fans005 Music Fans006 Music Fans007 Levitt Shell008 Tora Tora009 Tora Tora010 Tora Tora011 Tora Tora012 Tora Tora013 Tora Tora014 Tora Tora015 Tora Tora016 Levitt Shell017 Levitt Shell018 Tora Tora019 Tora Tora020 Levitt Shell021 Music Fans022 Music Fans023 Tora Tora024 Gin Blossoms025 Gin Blossoms026 Gin Blossoms027 Gin Blossoms028 Gin Blossoms029 Gin Blossoms030 Gin Blossoms031 Gin Blossoms032 Gin Blossoms033 Gin Blossoms034 Gin Blossoms035 Gin Blossoms036 Gin Blossoms037 Gin Blossoms038 Gin Blossoms039 Gin Blossoms040 Gin Blossoms041 Gin Blossoms042 Gin Blossoms043 Gin Blossoms044 Gin Blossoms045 Gin Blossoms046 Gin Blossoms047 Gin Blossoms048 Gin Blossoms049 Big Star050 Big Star051 Big Star052 Big Star053 Big Star054 Big Star055 Big Star056 Big Star057 Big Star058 Big Star059 Big Star060 Big Star061 Big Star062 Big Star063 Big Star064 Big Star065 Big Star066 Big Star067 Big Star068 Big Star069 Big Star070 Big Star071 Big Star072 Big Star073 Big Star074 Big Star075 Big Star076 Big Star

Although the Levitt Shell season doesn’t start until May, there is usually an earlier special music event or two during the warm weather in April, and this year, the occasion was a tribute to the late John Fry and John Hampton of Ardent Studios, two Memphis music figures who dies within a week of each other. As Ardent has been the most important studio in Memphis since the late 1960’s, their impact on the city and the local music industry was considerable, and so three popular Memphis bands associated with Ardent came out to perform.
First up was the hard rock band Tora Tora, which I had never been much of a fan of, but I found to my surprise that some of their songs had a recognizable Memphis influence. Behind them came the Gin Blossoms, who were produced by John Hampton and had recorded at Ardent. What I didn’t know, however, was that the band was originally from Arizona and chose to record at Ardent because of their admiration for Big Star.
The final band of the evening was the current incarnation of Big Star, featuring founding member Jody Stephens on drums, Jon Auer and Ken Stringfellow of the Posies, and Steve Selvidge on guitar. They played a number of familiar and not so familiar Big Star songs, as well as a reading of Chris Bell’s “I Am The Cosmos”. A few of the songs featured vocals from the singers of the Gin Blossoms and Tora Tora. The evening ended with the performers standing together and taking a bow in front of the several hundred people who attended. John Fry was also posthumously awarded a note on Beale Street.













Keep up with Tora Tora:
https://www.facebook.com/ToraToraBand

Keep up with the Gin Blossoms:
http://www.ginblossoms.net
https://www.facebook.com/pages/Gin-Blossoms/10194655949

https://myspace.com/ginblossoms
https://itunes.apple.com/us/artist/gin-blossoms/id94763

Keep up with Big Star:
https://www.facebook.com/BigStar
http://www.bigstarstory.com
http://bigstarthird.com

https://itunes.apple.com/us/artist/big-star/id2351764

Keep up with Ardent Studios & Records:
http://www.ardentstudios.com
https://www.facebook.com/ardentstudios

http://ardentrecords.com/


http://ardentpresents.com
https://instagram.com/ardentstudios/

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

Record Store Day in Memphis

001 Goner Records Record Store Day002 Goner Records003 Record Store Day, Goner Records004 Goner Records005 Goner Records006 The BlackBerries007 The BlackBerries009 The BlackBerries010 The BlackBerries011 Shangri-La Records012 Shangri-La Records013 Shangri-La Records014 Beale Street015 Beale Street016 Beale Street017 Memphis Music019 Beale Street020 Memphis Music021 Artistik Approach022 Artistik Approach023 Beale Street024 Beale Street025 Beale Street026 Beale Street027 Beale Street028 Beale Street029 Beale Street
Record Store Day is a worldwide holiday held in April to call attention to an endangered species, the neighborhood record store. Record companies release all kinds of cool limited-edition vinyl LP’s and singles, and local stores often sponsor live performances on the day, and with vinyl sales picking up all the time, the future of independent stores doesn’t seem quite as bleak as it did a few years ago. In Memphis, three stores were official Record Store Day participants, and the first one I visited was Goner Records in the hip Cooper-Young neighborhood. Goner is a record label as well as a store, and not surprisingly they made a big deal of the day, with live bands such as the Blackberries out under the gazebo at Cooper and Young, and a store literally full of customers.
Things seemed more subdued at Shangri-La Records on Madison Avenue, although they had opened an hour earlier than Goner. They had decided to have their live music the next day on Sunday, when they were having Son of Mudboy play for an album release party for the reissue of Jim Dickinson’s legendary Beale Street Saturday Night compilation, but there were still a number of crate diggers enjoying their Saturday afternoon by browsing.
The third and final store participating in Record Store Day was Memphis Music, the blues-oriented record store on Beale Street, where the Memphis Music Commission had decided to sponsor live performances. Unfortunately, things were quite hectic on Beale, with a Corvette competition, and the annual Africa In April festival at Church Park, but small crowds gathered to enjoy Memphis singer-songwriter Michael Joyner and the a cappella vocal group Artistik Approach. It needs to also be pointed out that Memphis Music has greatly increased its vinyl selection over the last year or so, and is not just a store for tourists, but is worth a visit from local music lovers as well. It’s selection of import CD”s, particularly those with a Memphis connection, is also worth browsing.

Goner Records
2152 Young Av
Memphis, TN 38104
(901) 722-0095
https://www.goner-records.com
https://www.facebook.com/pages/Goner-Records/73295355242


http://goner-records.tumblr.com
https://www.youtube.com/user/GonerRecords

Shangri-La Records
1916 Madison Av
Memphis, TN 38104
(901) 274-1916
http://shangri.com
https://www.facebook.com/ShangriLaRecords
http://www.shangrilaprojects.com

Memphis Music
149 Beale St
Memphis, TN 38103
(901) 526-5047
http://memphismusicstore.com

An All-Star Gala of Hill Country Blues at Leo Bud Welch’s Album Release Party

001 Jason Carter002 Jason Carter003 Jason Carter004 Jason Carter005 Jason Carter006 Jason Carter007 Leo Bud Welch & Duwayne Burnside008 Leo Bud Welch, Duwayne Burnside & Jimbo Mathus009 Leo Bud Welch, Duwayne Burnside & Jimbo Mathus010 Leo Bud Welch, Duwayne Burnside, Duwayne Jr & Jimbo Mathus011 Jason Carter012 Jason Carter013 Jason Carter014 Jason Carter015 Robert Bilbo Walker Limo016 Robert Bilbo Walker Limo017 Robert Bilbo Walker Limo018 Robert Bilbo Walker Limo019 Hill Country Blues Pavilion020 Hill Country Blues Pavilion021 Welcome to Foxfire Ranch022 Duwayne & Gary Burnside023 Duwayne & Gary Burnside024 Duwayne & Gary Burnside025 Hill Country Blues Pavilion026 Foxfire027 Cedric Burnside028 Cedric Burnside029 Cedric Burnside030 Duwayne Jr031 Passing The Tradition On032 Cedric Burnside Project033 Trenton Ayers034 Cedric Burnside035 Cedric Burnside Project036 Cedric Burnside037 Duwayne Jr038 Trenton Ayers039 Cedric Burnside040 Cedric Burnside Project041 Cedric Burnside Project042 Cedric Burnside Project043 Trenton Ayers044 Cedric Burnside Project045 Hill Country Blues Pavilion046 Duwayne Burnside & Son047 Leo Bud Welch On The Road048 Cedric Burnside Project049 Foxfire Ranch050 Hill Country Pavilion051 Dancing052 Cedric Burnside Project053 Dancing054 Dancing055 Jimbo Mathus056 Jimbo Mathus057 Jimbo Mathus058 Jimbo Mathus059 Jimbo Mathus060 Jimbo Mathus061 Jimbo Mathus062 Jimbo Mathus063 Jimbo Mathus064 Jimbo Mathus065 Jimbo Mathus066 Jimbo Mathus067 Jimbo Mathus068 Jimbo Mathus069 Robert Bilbo Walker070 Robert Bilbo Walker071 Robert Bilbo Walker072 Robert Bilbo Walker073 Robert Bilbo Walker074 Robert Bilbo Walker075 Robert Bilbo Walker076 Robert Bilbo Walker077 Robert Bilbo Walker078 Robert Bilbo Walker079 Dancing080 Sherena081 Robert Bilbo Walker082 Leo Bud Welch083 Leo Bud Welch084 Leo Bud Welch085 Leo Bud Welch086 Leo Bud Welch087 Leo Bud Welch088 Leo Bud Welch089 Leo Bud Welch090 Leo Bud Welch091 Leo Bud Welch092 Sherena093 Dancing094 Leo Bud Welch
Perhaps Easter doesn’t bring thoughts of blues to many people, but this Easter evening was the occasion for an amazing event at Foxfire Ranch celebrating the release of a new album by 84-year-old bluesman Leo “Bud” Welch. Welch’s story is amazing, for he is an authentic traditional bluesman who remained undiscovered until 2013 at the age of 82, when he began recording his first record. He signed with Fat Possum’s Big Legal Mess subsidiary the same year, and released his debut album Sabougla Voices, which was a gospel record. (“Sabougla” is a hamlet in Calhoun County, Mississippi where Welch is from). Gospel is Leo’s preferred music, but his young audiences love to hear him play blues, and he does so on his sophomore album, which is aptly entitled I Don’t Prefer No Blues. But to celebrate its release, rather than a typical release party, a full evening of live Hill Country blues was scheduled at the Hill Country Pavilion at Foxfire near Waterford, Mississippi. Although the sun was out, the day was chilly, but a decent crowd showed up at 5 PM for the opening act, Jason Carter, who performed acoustically with another guitar player. Right behind him came Cedric Burnside and Trenton Ayres, collectively known as the Cedric Burnside Project, who got things crunk with the heavy, rock-inflected brand of blues they play, including one of Cedric’s trademark extended drum solos. Several members of the legendary Burnside family were in the audience, including Duwayne and Garry Burnside. The next act up was something a little different. Jimbo Mathus and the Tri-State Coalition are also on the Fat Possum label, and are more of a strange but winsome amalgam of indie rock, traditional country, blues and funk, which Jimbo whimsically calls “catfish music”. Although he maintains a different sound than Hill Country blues, the influence of blues can be heard through much of his work. Robert “Bilbo” Walker is 76 years old nowadays, and is a former Mississippi bluesman who currently lives in California. Although he is originally from Mississippi, his music has considerable Louisiana and swamp influences, which came to the forefront in his reading of the classic blues/soul song “Staggerlee”. Finally, at the end of the night, Leo “Bud” Welch came up with his three-piece band and performed a collection of songs from the new album, which he had available for sale there at the pavilion. When things finally came to an end around 10 PM, there was still a decent crowd.













Keep Up With Jason Carter & The Healers:
https://www.facebook.com/jasoncarterandthehealers/info?tab=page_info

Keep Up With Cedric Burnside:
http://cedricburnside.com
https://www.facebook.com/cedric.burnside.5

Keep up with Jimbo Mathus:
http://jimbomathus.com
https://www.facebook.com/jimbomathus
https://www.youtube.com/user/jimbomathusvideo

https://myspace.com/jimbomathus

Keep up with Robert “Bilbo” Walker:
https://www.facebook.com/pages/Robert-Bilbo-Walker/144881378903373

Keep up with Leo “Bud” Welch:
http://www.leobudwelch.com
https://www.facebook.com/leobud.welch

Keep up with Foxfire Ranch:
http://www.foxfireranch.com
https://www.facebook.com/foxfireranch2008

Keep up with Fat Possum Records & Big Legal Mess Music:

Home


https://www.facebook.com/FatPossumRecords



https://fatpossumrecords.bandcamp.com
http://biglegalmessrecords.com
https://www.facebook.com/pages/Big-Legal-Mess-Records/134672929932373