Blues veteran Hezekiah Early is associated with Natchez, Mississippi, and with the towns on the other side of the river, like St. Joseph and Ferriday, Louisiana. Folklorist David Evans was involved with a couple of albums made by Early’s band Hezekiah and the Houserockers, but his earliest roots were in Black fife and drum music, a genre that we usually associate with parts of Mississippi further to the north. Nevertheless, the influence of the fife and drum style can be clearly heard in much of Hezekiah’s drumset work. Since the 1990’s, Early has been working in duos with musicians such as Elmo Williams and Fayette, Mississippi-based Robert “Poochie” Watson, with whom he cut the Broke-and-Hungry Records release Natchez Burning. This latter duo was the one that appeared this year at the Juke Joint Festival, performing at a new venue called Our Grandma’s Sports Bar, which was a small but cozy venue that set a most appropriate atmosphere for the music. Early and Watson’s style is a soulful, rhythm & blues-influenced one that owes much to New Orleans and other parts of Louisiana. Although the venue was not particularly crowded when they began playing, it soon filled up to capacity. Their performance was one of the highlights of this year’s festival.
Juke Joint Fest weekend in Clarksdale is generally rain-free, but the last couple of years have been an exception. 2017 was a complete wash-out, and this year was harassed by rain, but not quite as bad as the year before. With a day of free music on five-or-so stages, not including informal pop-up performances around downtown, the festival is a surfeit of great blues and roots music, and the only real dilemma is choosing between equally great bands on different stages at the same time. The one stage that consistently features the best in Mississippi blues is the stage in front of Roger Stolle’s landmark Cat Head Delta Blues and Folk Art on Delta Avenue. Stolle is the big mover and shaker behind the Juke Joint Festival, as he is with all things blues in Clarksdale, and his store is a mandatory first stop for the first-time blues tourist in the Mississippi Delta, offering books, magazines, DVD’s, vinyl records, compact discs, posters and homemade folk art, including priceless works by Super Chikan himself. The stage in front of the store started early this year with Little Joe Ayers from Holly Springs, and as the day progressed featured such Hill Country artists as Kent Burnside, David Kimbrough, Andre Evans and the Sons of Otha fife and drum band, R. L. Boyce, Robert Kimbrough Sr and Duwayne Burnside. The rain ended about noon, but then heavy winds blasted through downtown Clarksdale, and soon the whole downtown area was without power. But the musicians in front of Cat Head managed to salvage something from the afternoon, with an informal jam session featuring Duwayne, R. L. Boyce, David Kimbrough and others. Kesha Burton, a young woman from Brownsville, Tennessee that Boyce and Willie Hurt have been mentoring got an opportunity to play the bass drum with Otha Evans, and the drum set during the acoustic jam session during the power outage. Despite difficulties, it was a satisfying day of blues indeed.
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.
Lafayette’s Music Room is a reincarnation of one of Memphis’ best-beloved music venues of the 1970’s, but the latter-day version has something of a New Orleans tinge, both with the cuisine and often with the music as well. This past Wednesday, both featured bands presented different aspects of the musical traditions of the Crescent City. Multi-reedist Breeze Cayolle, a distant relative of jazz great Sidney Bechet, has a group called New Orleans, whose musicians are ironically some of Memphis’ best-known jazz musicians, including Tony Thomas on piano, Tim Goodwin on bass and Tom Lonardo on drums. They play traditional New Orleans jazz, occasionally venturing into the world of jazz standards as well, and have developed a following at the weekly brunch at Owen Brennan’s in East Memphis. Some of that same crowd was in evidence Wednesday night, sitting at the tables nearest the stage and even getting up periodically to dance. Cayolle is a first-rate saxophonist and clarinetist, and he sings with a husky tone that exudes the flavor of New Orleans.
The Mighty Souls Brass Band on the other hand is something rather different, although they share Tom Lonardo with Breeze Cayolle’s group. The Mighty Souls take their cue from the brass band revivalism that started with the Dirty Dozen and the Rebirth in New Orleans, with the main difference being the occasional covers of Memphis soul tunes, such as Rufus Thomas’ “Memphis Train” or Willie Mitchell’s “20-75.” Like some New Orleans brass bands these days (notably the Stooges), the Mighty Souls replace the separate snare and bass drummer with a set drummer, and add a guitar, at least indoors, but there is a tuba and plenty of horns, and if they lack the hardcore street edge of the younger, Blacker bands in New Orleans, they compensate with consummate musicianship and plenty of good spirits. Although Memphis does not have a modern brass band tradition by any means (W. C. Handy notwithstanding), the MSBB has developed a very loyal following, and have released a debut CD called Lift Up Your Mighty Souls on the University of Memphis-related Blue Barrel label.
When a young Lebanese man from Port Arthur, Texas named Clifford Antone got kicked out (or perhaps dropped out, depending on who you ask) of the University of Texas after a marijuana arrest in 1970, it seemed like an end to a promising career. The Antone family were prominent businessmen in Houston, owning an import firm and a chain of sandwich shops that specialized in po-boys. Other young men might have fallen into a depression, or started on a downward spiral into harder drugs and ruin, but Clifford Antone decided to open a night club. Yet when Antone’s opened in 1975 on a then-moribund East Sixth Street in downtown Austin, it was hardly the kind of club that people would have expected success from, for it was a blues club, and the blues revival had fizzled out by the end of the 1960’s. Nor was Austin well-known for blues, despite a Texas blues legacy that was primarily centered around Houston. But all of the best names in blues from around the country played at Antone’s, and by the time of Clifford Antone’s death in 2006, his empire had added a record store and a record label as well. The record store belongs to other owners now, and the record label was sold to Warner Brothers after a bankruptcy, but the club, despite occasional closures and numerous relocations, remains the absolute best blues club in Texas, and probably one of the best blues clubs in the world. So it was quite an honor for Hill Country bluesman R. L. Boyce to be invited to play there, along with Marshall County bluesman Lightnin’ Malcolm, who has increased in popularity over the last several years. The club was packed to overflowing, despite the cold, rainy weather, and the crowd enjoyed every minute of the proceedings. The drum chair was held by the late T-Model Ford’s grandson Stud Ford, and R. L.’s daughter Sherena provided the juke joint dancing and played the tambourine. Seen in the crowd was noted music journalist Matt Sonzala. It was a great night indeed.
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.
It may have been cold outside, but the new year got off to a hot start at Red’s Lounge in Clarksdale, Mississippi, with a live performance by Lightning Malcolm, one of the youngest generation of bluesmen who were mentored by R. L. Burnside and Junior Kimbrough and who help to preserve the unique Hill Country style of Mississippi blues. As for Red’s, it is really one of the last juke joints still functioning on a more-or-less regular basis, and one of the few places in the Delta where the state’s best blues artists appear frequently. The little lounge is routinely filled to the brim, as it was on this particular night as Malcolm treated the crowd to a mix of blues standards and material from his latest album Rough Out There. Not only was the club filled, but the dance floor as well.
I usually spend the Friday before Grambling Homecoming shopping, searching for Grambling memorabilia and ephemera, as well as records and books. But this year, rather than spending the day in antique malls in West Monroe, where in recent years the pickings have been slim, I decided to head over to Shreveport and Bossier City instead, which somewhat proved to be a mistake. I had eaten breakfast at a downtown Monroe restaurant called The Kitchen, and had assumed because it wasn’t raining in Monroe that it wouldn’t be raining in Shreveport. Instead, the rain started in rather heavy at Ruston, and got worse the further west I went. As it turned out, I was dealing with heavy downpours almost the entire day in Shreveport. I spent the day visiting several antique malls, book shops, the new Day Old Records store (which hadn’t existed the last time I was in Shreveport) and flea markets. But the rain made things difficult, and I failed to find anything really of interest. Worse, a lot of familiar landmarks that I knew and loved in Shreveport were long gone, including Murrell’s, Joe’s Diner, Garland’s Super Sounds and Lakeshore All Around Sounds. Don’s Steak and Seafood was abandoned and about to be torn down. However, when I learned that there was an exhibit at Artspace downtown that was honoring Stan Lewis, the owner of Stan’s Record Shops and the Jewel/Paula/Ronn family of record labels, I headed over there to check it out. Actually, a museum was a decent place to be on such a wet and rainy day, and I ended up purchasing a Jewel/Paula/Ronn T-shirt from the museum’s gift shop. As I headed down Texas Street, I came past the Louisiana State Fairgrounds, where the State Fair of Louisiana was going on despite the rain, and across the street at Fair Park High School, the marching band was marching around the school building performing, and traffic was temporarily stopped in all directions. I wasn’t sure if it was a special event due to the fair, or whether it was something that happens every Friday at the school. Unfortunately, the nearby Dunn’s Flea Market, where I often used to find Grambling memorabilia, was closed, presumably due to the rain.
One bright spot in an otherwise dull and depressing day was that the former Smith’s Cross Lake Inn had been reopened by new owners under a different name, Port-au-Prince. This had been my favorite restaurant in Shreveport for many years, before it closed abruptly and was boarded up. The new restaurant has a beautiful setting and decor, but the menu is a little more low-end than its predecessors. The emphasis is on catfish, and while a filet mignon remains on the menu, most of the small crowd that was there ordered the catfish, as I did. For the most part, I was pleased with the food. The catfish was excellent, and the strangely sweet french fries, while unusual, grew on me with time. What I didn’t particularly like was the restaurant’s policy of giving everyone hush puppies, bean soup, cole slaw and pickles, whether they want any of those things or not. Still, the overall experience was positive, and the view of the lake cannot be beat. My dinner there cheered me greatly.
Afterwards, I headed by a new place called Lakeshore Clothing and Music, which indeed had a decent selection of rap and blues compact discs as well as clothing, and then I made one last stop at Rhino Coffee, a cheerful coffee bar on Southfield Road that also did not exist the last time I was in Shreveport. The breve latte they made for me was delicious as I headed back east on I-20.
When I got to Grambling, the rain had stopped, at least temporarily, and I stopped at an outdoor stand and bought a couple of Grambling T-shirts and a Grambling jacket. I made a drive around the campus, where there was actually something of a crowd out and about, taking advantage of the lull in the rain. But there didn’t seem to be a whole lot going on, and I could not get in touch with my friend, Dr. Reginald Owens, so I headed on back to Monroe. The rain had started again, and I ended up going to the hotel room and to bed.
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:
Keep up with the Gin Blossoms:
Tweets by ginblossoms
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:
Keep Up With Sons of Mudboy here: