Late Night Blues and Fun at Wild Bill’s in North Memphis

My friend Sherena Boyce was not ready to go home after the Beale Street Caravan Blowout event came to an end, so I suggested that we go up to Wild Bill’s in North Memphis. Even before Beale Street started charging an admission fee, Wild Bill’s juke joint was a great, authentic blues and soul alternative to the disappointing tourist-oriented entertainment district downtown. Of course, despite its history, Bill’s had been through a string of ownership changes, and a couple of closures, so I wasn’t exactly sure what we would find, as the place was under new management since the last time I had been.

When we arrived, I soon found that the parking lot was completely full, and we had to park on the street nearby. We were welcomed in, and found places at one of the long tables, but the place was nearly packed to overflowing. A good soul and blues band was on stage, with an especially-funky drummer as the rock-hard foundation. Several singers took turns getting up to sing with this band, including the Memphis female blues singer Joyce Henderson.

Although there was hardly room to dance, people got up and did so, including Sherena, who had brought her tambourine with her, and jammed onstage with the band. Unlike a few previous visits where there had been a lot of Midtown hipsters, the crowd on this night was mostly people from the neighborhood…old regulars, and long-time blues fans.

For those wanting to visit Wild Bill’s, you will be welcomed, but some awareness is needed…this is not a hipster bar. There is no beer on tap, and certainly no craft beers. They sell 40 ounces, and they have chicken wings to eat. You will have to sit at tables with people you don’t know. They allow smoking, as most juke joints do. But it is by far the best authentic music and the best authentic atmosphere that the Bluff City has to offer. Don’t miss it.

Wild Bill’s

1580 Vollentine Avenue

Memphis, TN 38107

(901) 409-0081

A Busy Night for Live Music in Como, Mississippi

Sherena Boyce, daughter of the great Hill Country bluesman R. L. Boyce had told me that Deandre Walker and his band the Mississippi Boys were going to play Saturday night at a club called Como Catfish Bar & Grill in Como, so I made plans to join her and go to check them out. This was, so far as I knew, the first time for the relatively new restaurant to book live music, and my friend and I had intended to eat dinner there while enjoying the show. We soon found that we could not, because every table had been occupied by people that were there to see the show, and who would not be leaving anytime soon. So we decided we would have to grab dinner across the street at Windy City Grill and then come back.

What we didn’t know was that Windy City had booked Sean “Bad” Apple, a noted bluesman from Clarksdale, and was fairly crowded as well. However, we were able to get a table, and Sherena got a chance to perform with Sean before we finished dinner and headed back across the street to where Deandre Walker was performing.

Deandre Walker is a child of the family that has the Walker Family Singers in Como, and is a gifted young soul singer. His band, the Mississippi Boys, are first-rate also, with an incredibly funky young drummer laying the foundations. Walker typically does cover songs of many popular soul and R & B songs, but on this particular evening he also did a couple of original tunes.

With him being from Como, the little bar and grill was full to standing room only with relatives, friends and fans, and everyone had a good time. The music and fun continued until around midnight, and then everyone headed home.

Together We Stand: Como, Mississippi Celebrates Its Vibrant Legacy

“Can’t One Make One” read the shirts with the iconic image of the Como water tower on the front, and the legend “Together We Stand” on the back. The shirts are popular in this town, another way of saying “It takes a village. We can’t build this up as individuals.” The message of struggle is an odd twist in the 150-year history of this North Mississippi town, once home to the largest concentration of millionaires in the state.

Glimpses of that past are still visible in the stately homes that face the railroad track on the east side, whose porches look across to Main Street. One of them belonged to relatives of Tallulah Bankhead, and the future actress spent summers in Como in her youth. The house later belonged to a local artist, and was briefly lived in by Jimbo Mathus of Squirrel Nut Zippers fame. His Delta Recording Service was briefly located on Main Street across the tracks. 

But cotton, cattle and agriculture are no longer king, and Como today is a predominantly-Black town, and a singificantly poorer one than the Como of the last century. What it lacks in financial riches it more than makes up for in cultural riches, however. Como was home to legendary blues musician Mississippi Fred McDowell, and fife-and-drum musicians like Napolian Strickland. Gospel musicians like the Rev. John Wilkins (son of blues great Robert Wilkins) and the Como Mamas live here, as does the living Hill Country bluesman R. L. Boyce.  Downtown Como too has seen something of a renaissance in recent years, with great restaurants like the Windy City Grill and Como Steakhouse opening on Main Street, even a Thai restaurant. A new catfish place opened just a few weeks ago. 

Like many predominantly-Black towns, Como has a special day to celebrate its legacy, Como Day, which is held every year in October. The phenomenon is not unique to Como, but is found throughout the Delta in towns like Crenshaw and Tutwiler. A few of the events are called something else, like I’m So Greenwood in Greenwood, or Founder’s Day in Mound Bayou, but the vast majority are simply named for the town, as in Crenshaw Day or Como Day. The latter celebration is truly huge, with a day full of live music, Corvette cars and local vendors selling clothes, food and snacks. Music had started at noon, but when I arrived a band called the Southern Soul Band was on stage. They were quite good, but there was not a particularly large crowd in the park yet, as the weather was far colder than usual this year. At 5 PM, hometown favorite R. L. Boyce appeared on stage with Steve Toney on drums and Lightnin Malcolm backing him up. Boyce, who began as a drummer in fife and drum bands, is also an accomplished drummer in his own right, having played behind Jessie Mae Hemphill on a couple of her albums, and is also a self-taught guitarist, with some influence from Fred McDowell and R. L. Burnside. Compared to other Hill Country players, Boyce is largely unique, setting up a pattern of recurring, trance-like riffs over which he often improvises lyrics, based on people he sees in the crowd, or recent events. Hermetic and idiosyncratic, Boyce’s music is largely unaffected by music outside his own special system. 

Fife and drum music has a large history in Como. In fact, the first well-known fife and drum band in the modern era was dubbed the Como Fife and Drum Band when it played at the inaugural New Orleans Jazz and Heritage Festival in Congo Square in 1970. Napolian Strickland was the driving force behind this band, with the drummers often being John Tytus and Otha Turner. Otha’s granddaughter, Sharde Thomas, has continued the tradition with her grandfather’s Rising Star Fife and Drum Band, whose appearance hyped the crowd considerably Saturday evening.  Despite the ancient nature of this music, which pre-dates blues, there were plenty of people in the crowd ready to dance to it, even some young people. Fife and drum music on a moonlit night in North Mississippi seems like a right thing, something that is supposed to happen. It feels like a connection to a sacred past, a summoning of the ancestors. 

Behind the fife and drum band came Duwayne Burnside, joined by his nephew Kent Burnside who had come down from the Midwest for a Burnside reunion which was being held in Byhalia. Duwayne, son of the late R. L. “Rural” Burnside is continuing the legacy of his father. He is an amazing electric guitarist, who has managed to combine the Hill Country tradition with other influences, such as the electric guitar styles of Albert King, B. B. King and Stevie Ray Vaughan. Duwayne typically fronts a fairly large band, and is as comfortable singing Tyrone Davis or Bobby Womack tunes as he is Hill Country classics. He had likely been singing all day at the family reunion, and when he moved aside to take a break, Kent came up to perform a couple of tunes, including the iconic “Going Away Baby” AKA “Four Women” which was so beloved by his grandfather. 

Como Day is always anchored by a headliner, and this year it was Omar Cunningham, a southern soul star from Alabama. Unfortunately, the weather, which had been warmer during the late afternoon, turned bitterly cold in the space of about an hour, and also, Windy City Grill has curtailed their kitchen hours, ending food service at 10 PM. So, although I would have liked to have caught Omar’s set, I walked back over to Main Street instead to order a deep dish pizza at Windy City Grill, which was jampacked with football fans and others who had come over from Como Day. It was a satisfying ending to a great day celebrating a great town. 

The Tennessee Delta V: Fayette County

On a Friday evening, after meeting a friend for dinner in Memphis, with nothing in particular to do, I headed out Poplar Avenue through Collierville and into Fayette County, which is the Tennessee county that most resembles the Mississippi Hill Country. Mississippi Fred McDowell was from Fayette County (Rossville to be exact), and if there is any fife and drum activity left in Tennessee (and there does not seem to be), it would likely be in that county. So I often venture out there to ride the backroads, take photographs, and see if I come upon any events, or flyers announcing events on the various stores along the roads. People in Fayette tend to be old-school and don’t use social media much to promote blues or gospel events. 

One of the reasons that this has taken on such urgency with me is that the western portion of Fayette County is undergoing a process of suburbanization, as people move away from Memphis into the country. The resulting growth and subdividing has the net effect of destroying historic locations and buildings, so I want to photograph what is still around while I can. 

Posters on the outside of stores in Rossville and Moscow announced a barbecue festival in Rossville and a car show in Somerville, as well as a Jubilee Hummingbirds concert at a church south of Moscow in Slayden, Mississippi. There was a also a poster announcing some kind of rap show at Saine’s, which is ordinarily a blues club. Signs along Highway 57 also announced that Terry Saine, the club’s owner, was running for the state legislature. 

Out on the Cowan Loop between Moscow and LaGrange, I came to an old and somewhat historic-looking church called Anderson Grove. The place, set far back off the road in a grove, looked almost abandoned, but the area was fairly peaceful. Further west along the same road was another church, obviously abandoned, with no sign to indicate what its name might have been. Not far away, back on Highway 57 was an abandoned grocery store that must have at one time been a bustling place indeed. But I found no evidence of juke joints, ball fields or picnic spots.

North of Moscow, along Highway 76, I came to Saine’s Blues Club, and stopped there, in the hopes of perhaps catching up with Terry Saine. Saine was a civil rights activist in the 1960’s, and in my belief likely old enough to have been aware of Black fife and drum bands in Fayette County during his youth, and perhaps also able to fill in some gaps about the Fayette County blues musician Lattie Murrell. But Saine was not there, perhaps out campaigning for office, so I headed on into Somerville. 

There, around the square, young people were setting up stages, booths and barricades, getting ready for the Cotton Festival, which was to be held the next day. Nothing was going on at the moment however, so I headed over to Betty’s After Dark blues club, but found it fairly quiet, although open. They were having a large T. K. Soul show the next night, after the Southern Heritage Classic game in Memphis. Nearby, however, was a restaurant with outdoor tables and colorful lights, that seemed to be packed with people. It  looked like something transported from Destin or Orange Beach to Somerville, and proved to be a new seafood restaurant called Big Fish that I realized will deserve a future visit. 

On out Highway 59, Fayette-Ware High School was clearly playing a football game at their stadium, but I wasn’t particularly interested in that, and I headed on to Brewer Road where I knew there was a club. But all I found was a group of young people at the end of the road on four-wheelers just hanging out, and if there was anything going on at the club, it was obviously a hip-hop event geared to youth.

Likewise at Mason, the Log Cabin and Blue Room had large crowds, but just DJ’s as best I could tell, and by now I was thoroughly tired. So I gave up looking for anything to get into and began driving back toward Bartlett on Highway 70, as lightning and rain began to develop. 

Joyce She-Wolf Jones’ Authentic Hill Country Blues Picnic at Potts Camp

Joyce She-Wolf Jones is the mother of up-and-coming blues guitarist and drummer Cameron Kimbrough, but she is also a talented vocalist and song-writer in her own right, and each August, she puts on a traditional Hill Country blues picnic in the front yard of her home near Bethlehem, Mississippi, a wide spot in the road south of the Marshall County town of Potts Camp. 

August is typically a hot month, and there had been strong thunderstorms at Holly Springs when I came through, but the weather was quite pleasant when I arrive at Joyce’s modest home along the rural highway. The smell of barbecue was in the air, and former Soul Blues Boy Little Joe Ayers was on stage. Everybody was having a good time, despite the ominous flashes of lightning to the north. Joe soon launched into a skillful version of Willie Cobbs’ classic “You Don’t Love Me,” a standard blues that doesn’t get heard all that often in the Hill Country. The crowd was loving it. 

As the night progressed, we got to hear Cameron on drums, Lightnin Malcolm, Duwayne Burnside and R. L. Boyce, as well as Cam’s cousin Kelly Payson on vocals, and of course, our hostess Joyce She-Wolf Jones herself, who sang a couple of her original songs.

With good food, plenty to drink, great music, and the rain staying away, it was a perfect evening in Mississippi’s Hill Country. 

Natchez Blues Great Y. Z. Ealey Live at Clarksdale’s Juke Joint Festival


Natchez bluesman Y. Z. Ealey is 81-years old this May, and is a brother of the much better-known Southern Soul artist Theodis Ealey, of “Stand Up In It” fame. Y. Z., Theodis and their brother Melwyn were all blues musicians from the town of Sibley, Mississippi, just outside of Natchez, but Y. Z. has largely been a factory worker who plays music more as an avocation. Given the extent to which we have been losing our elder statesmen of blues over the last several years, I was determined to catch Ealey’s performance in Clarksdale at this year’s Juke Joint Festival. So I made my way to the Coahoma Collective , which had formerly been Ms. Del’s General Store, where Ealey performed in the courtyard with his band. His style is a swamp-pop infused style which demonstrates the fact that Louisiana is merely across the river from Natchez, and his current band features some younger musicians, and on this occasion, a clarinetist. But Ealey is still in fine form and voice, and his performance was definitely a high point of this year’s festival.

Robert Kimbrough Brings His Soul Blues to Oxford’s Rooster’s Blues House


Robert Kimbrough Sr. is one of three musician sons of the legendary bluesman Junior Kimbrough, and in recent years he has been the most prolific and ambitious of the three, releasing several albums, performing frequently with his band the Blues Connection, and helping to organize an annual Kimbrough Cotton Patch Soul Blues Festival each May in Holly Springs, Mississippi. Recently, on a Friday evening, he brought out his new band to Rooster’s Blues House on the square in Oxford, Mississippi, for a night of what he terms “cotton patch soul blues.” Although Kimbrough can play his father’s hits, and usually obliges the crowd’s desire for the seminal “All Night Long”, much of his shows are given to his original compositions, which straddle the fence between the style that many musicologists call “hill country blues” and a more modern southern soul. Songs such as “Battlefield” are typical, with a strong driving beat provided by drummer J. J. Wilburn, formerly of the band Old Grey Mule. The club was filled to the rafters, despite the chilly and foggy weather outside, and the sizable crowd enjoyed themselves immensely, until the early closing time, that apparently was precipitated by it being spring break week. On the other hand, the utter desolation of the square after the clubs closed was remarkable and unexpected. We were told it was due to the students being out of school for the break.
httpv://www.youtube.com/watch?v=GzK-uvHfDoU

Akeem Kemp: The Future of the Blues


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.

Keep up with Akeem Kemp:
http://www.akeemkempmusic.com
https://www.facebook.com/akeemkempmusic/
https://soundcloud.com/akeemkemp
https://www.reverbnation.com/akeemkemp4
https://open.spotify.com/artist/6VxbbgvnCc22UXkof8ivMc
https://twitter.com/iakeemkemp?lang=en



Celebrating the Hill Country Tradition at Como’s Annual Day


Each October, the City of Como, Mississippi sponsors a large, daylong festival and picnic called Como Day, featuring vendors, food trucks, custom cars and excellent live music. Como Day is one of a number of “town days” that are held in predominantly-Black Mississippi towns. These are held throughout the year, generally bear the name of the town, feature live music, and often become an excuse for those who moved away to return home for a day or a weekend. Although most small towns have some sort of festival, these town days are unique, functioning almost like a homecoming for these communities, many of which no longer have high schools due to consolidations, and which have lost many residents to bigger cities. Como’s massive day is one of the largest, and also serves as something of an annual end to the blues festival season, as the last big blues event of the year. Uniquely situated at the place where the Hill Country meets the Delta, Como has a long blues tradition, and its local gospel, blues, soul and funk are highlighted at Como Day each year.
This year’s Como Day featured a crowd of well over a thousand people, coming out to enjoy barbecue, live gospel music, Sharde Thomas and the Rising Star Fife and Drum Band, the Duwayne Burnside Band featuring Garry Burnside and J. J. Wilburn, Deandre Walker and his band, and the headliner Terry Wright from Memphis, whose single “I Done Lost My Good Thing” has been popular in the Mid-South for more than a year. I was particularly impressed by Deandre Walker, a former gospel singer, who delivered a very soulful reading of a country song “Tennessee Whiskey”, which he then blended seamlessly into Etta James’ timeless “I Would Rather Go Blind.” Such epiphanies are the rule rather than the exception at Como Days, as are the elderly townspeople who suddenly feel young enough again to get low to the ground as the bands or the drummers are playing. Perhaps the whole day was best summed up by the slogan on the back of many of the T-shirts: “Together We Stand.”









Bikes and Blues On Historic Ground near Como


On the last weekend of September, Memphis-based blues and southern soul singer Gerod Rayborn asked me if I would play keyboards with his band for a blues show taking place at Como, Mississippi. The show turned out to be the Bikers’ Rally and Blues Show at LP’s Ballfield on the Hunters Chapel Road, east of Como, a location which has a rich history in regards to the Hill Country blues.
In the late 1960’s and early 1970’s, LP’s was a place where Black fife and drum bands came together to perform at picnics or in friendly competitions, and there are historic photographs of Otha Turner, R.L. Boyce and other Hill Country musicians that were taken at the ball park.
Unfortunately, the venue was inherited by a son of the original owner, who has redirected it away from the traditional Hill Country music in favor of rap and hip-hop, car shows and southern soul.
Although fans of southern soul often refer to themselves as “blues fans”, and the terms “blues” and “southern soul” are used interchangeably, there is a vast difference between Hill Country blues and the kind of music that is performed at a southern soul performance, such as the one I was playing at. Southern soul could best be described as a modern genre that seeks to continue a vein of Black music that was largely abandoned elsewhere with the coming of disco, funk and ultimately rap. Lyrically naughty, and often concerned with cheating, southern soul is rural music for rural Black folks. Of course, through migration and family relationships, the genre has a following in larger cities as well, even in the north, but references to things like “trail rides” clearly establish the country frame of reference.
Working for Select-O-Hits Music Distribution for 20 years, I knew a lot about southern soul, but I didn’t expect the absolutely tremendous crowd that showed up for the event on this particular Saturday afternoon. Bikes were everywhere, and a lot of the new bike/car hybrids known as Slingshots. The warm weather was perfect for the event, and lots of people had come down from Memphis, particularly to see the headliner, Big Pokey Bear, whose song “My Sidepiece” was currently the hottest thing going. In addition to bikes and near-bikes, there were classic Corvettes and large RV’s, where some people had made themselves at home, watching college football in between the acts on stage.
Bev Johnson of Memphis radio station WDIA was the master of ceremonies for the event, and she soon brought up the first act, a band called the Smooth Groove Experience from Memphis, which featured a female singer. They were quite good, but as we were the next band up, I had to start getting ready to go up on stage.
After our performance, I hung around the event for awhile, as I had intended to check out all of the various performers. But my girl was in Hernando at the Front Porch Jubilee, and when she called and told me she was missing me, I decided to leave and meet her at the other event, which I did. She and I ended the evening at the Brick Oven Pizza Company in Hernando, after which I headed back home to Memphis, thoroughly tired but with a sense of satisfaction.