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 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.
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:
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.”
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.
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.
If you travel due north from Holly Springs in Marshall County, Mississippi, you will come to Fayette County, Tennessee, a rather similar county in many respects. Both counties once were extensively cotton-growing regions, both have rugged, hilly terrain, and both have overwhelming Black majorities. But while Marshall County, Mississippi is known for the Hill Country blues, Fayette County, Tennessee has remained little known for music. Bengt Olsson spent some time there in the 1970’s, recording obscure musicians like Lattie Murrell. One afternoon of recording at a bootlegger’s house near Somerville yielded an incredible album that has recently seen release on the Sutro Park label out of San Francisco, which owns all of Olsson’s field recordings. The Tennessee State Archives found fife-and-drum musicians in Fayette County in 1980, recording Ed Harris, Emanuel Dupree and James Tatum both in Fayette County and at the Chickasaw State Park Folk Festival. But aside from Mississippi Fred McDowell, whom most people associate with the town of Como, Mississippi, few blues artists from Fayette County have any degree of fame.
Yet, much like Marshall County to the south, Fayette County is a hotbed of blues, and the best place to experience it is at an authentic club on Highway 76 between Moscow and Williston called Saine’s Place.
On Highway 76, north from Moscow, Saine’s appears on the left-hand side of the road as a low, lighted building with plenty of cars out in front. Occasionally, barbecue smoke fills the air nearby. On the first Saturday of each month, the club features a live band, the Hollywood All-Stars from Memphis, featuring Big Don Valentine and Booker Brown. The Hollywood All-Stars have a long, venerable tradition in Memphis blues, and on the night I came, the band had a horn section consisting of trumpet and saxophone, and sounded very good indeed. But would-be visitors need to be aware that Saine’s is technically not open to the public, as signs at the front make perfectly clear. Admission is by permission (the club is officially “members only”), and costs $10. Charles and Terry Saine, the owners, seem welcoming to visitors, but do not permit photography or videography in their club, so be respectful and leave the cameras at home. That rule is something of a pity, though, as Saine’s offers an authentic, rural blues experience that is really not available elsewhere, certainly not in Memphis. The music consists of blues, soul and Southern soul,and by midnight, the dance floor is full. At one in the morning, the party showed no signs of winding down. For true fans of the blues, Saine’s Blues Club is not to be missed.
Saine’s Place AKA Saine’s Blues Club AKA Club Saine’s
4515 Highway 76
Moscow, TN 38057
Live music is the first Saturday night of each month, starting about 9 PM
Club open with a DJ at other times.
After leaving Alligator, we ended up heading down to Drew, and taking Highway 49W through Ruleville, Doddsville and Sunflower into Indianola, to one of my very favorite restaurants in the world, The Blue Biscuit. The Biscuit is owned by renowned chef Trish Berry, who had been the executive chef at Bill Luckett and Morgan Freeman’s ill-fated Madidi Restaurant in Clarksdale. While Madidi was expensive fine-dining, the Blue Biscuit is something altogether different, sort of a cross between a diner and a juke joint. While the restaurant menu is diverse and varied, in my opinion, the pulled-pork barbecue is the star of the show. A few years ago, it was possible to order something called “Biscuits and Barbecue”, which was exactly that, four freshly-baked buttermilk biscuits that were halved, with pulled pork placed between the halves. This was literally one of the most delicious things I have ever eaten. Unfortunately, we noticed on this visit that the menu has changed, and that biscuits and barbecue is no longer available, but the pulled pork is still on the menu, and just as good as I remember it from previous visits.
An added treat on this visit was live music from a Cleveland, Mississippi band called Jake and the Pearl Street Jumpers, whose repertoire consists of blues, soul and funk. Somehow, I had not encountered them before, but they are an accomplished and versatile band, and they kept the crowd mesmerized all evening. This was my first time seeing a live music gig at the Blue Biscuit, and I found the location and atmosphere perfectly suited to the music, and everything quite enjoyable.
Como, Mississippi is an historic town in far north Panola County, Mississippi on the edge of the Hill Country. Because it sits near the border between the Delta and the hills, Como has some of the ambiance of both regions, and has long been a center of blues and Black fife-and-drum music. Legendary bluesman R. L. Boyce calls it home, and his mentor, Mississippi Fred McDowell chose it after he moved to Mississippi from West Tennessee. What was once a faded, dying town when I first saw it as a boy has had some renewal since the opening of Como Steak House some years ago, and now each year, the history and traditions of this unique Mississippi town are celebrated in October at an event called Como Day. This year’s event featured plenty of good food and vendors, classic cars and motorcycles, and several different genres of music, including performances by the Southern Soul Band, Sharde Thomas and the Rising Star Fife and Drum Band and southern soul artist J-Wonn. Perhaps the highlight of the evening was the screening of Shake “Em On Down, a documentary about Mississippi Fred McDowell, arguably Como’s most famous resident. Through music clips and interviews, the story of this most important Mississippi bluesman was vividly and skillfully portrayed. Altogether, hundreds of people enjoyed a full day of fun in Como.
Although this year’s Blues In The Alley line-up of performers was largely disappointing, to say the least, the weekly summer concert series in Holly Springs ended on a high note last Thursday night with Memphis southern soul artist Gerod Rayborn, who is also president of the Beale Street Corvette Club. Needless to say, many of his club members came to the square in Holly Springs with their beautiful cars, and a significantly larger crowd showed up than what I had seen on previous weeks. The crowd was also more exuberant, with a lot more dancing and jooking, and it almost seemed like the vibe from previous years of the event. After a brief intermission, then another blues band from Memphis took the stage, Fuzzy Jeffries and the Kings of Memphis, and the crowd partied long past the usual ending time of 10 PM. Here’s hoping that the event organizers will book more of these kind of artists next year.