Lightnin Malcolm was playing in Merigold at Crawdad’s, and the original plan was for me to head to Senatobia and pick Sherena Boyce up, and we were headed there, but she ultimately decided that she wanted to go to the Beale Street Caravan Blowout at the Crosstown Concourse, where her pastor the Rev. John Wilkins was supposed to perform. So, when I left the Art on the Levee event in Arkansas, I drove across the river to Crosstown, wondering if I would be able to get into the event before she got there.
As it turned out, I walked around the Concourse for awhile, and then, hearing music, walked up a flight of stairs and directly into the middle of the event. A soul band, complete with horns, whose name I never caught, was performing on stage. They played mostly cover tunes, but a lot of it was Memphis music and it was good.
The food had been provided by a number of Memphis restaurants, from Central BBQ to Jack Pirtle’s and it too was quite good. R. L. Boyce’s manager Steve Likens and his wife Dawn were manning a T-shirt table, and the place was just about standing room only.
The main attraction at the event was a silent auction, full of all kinds of things I would love to have, including a Fat Possum LP gift pack, and various blues-related instruments and books. Of course, I had no extra money to be bidding on anything, but it was all for a worthy cause.
Sherena arrived eventually, but, to our disappointment, John Wilkins didn’t get started until the auction had ended at 9 PM, and played only an extremely brief set, really only a couple of tunes. It was great, but after he came down, the party was clearly breaking up, and we were not ready to go home.
I usually enjoy myself quite a bit at the annual Juke Joint Fest in Clarksdale, but this year’s festival was both wet and harried, as it poured down rain most of the day, and as I was scheduled to perform with Duwayne Burnside twice.
Upon arriving in Clarksdale, I found that the festival authorities would not allow me to park in the performers’ lot because I didn’t know the password. So I had to park down by Yazoo Pass coffee bar, and I managed to get there for a toffee cookie and a latte. But by then, the rain had really picked up, and I wanted to check out the new restaurant that had taken over the old Pinkbar on John Lee Hooker Street, the Hooker Grocer & Eatery.
With no umbrella, getting there took some doing, using shop awnings as cover where possible, and I still managed to get quite wet. Then, with the restaurant being new, Hooker Grocer proved to be packed to the rafters, with people waiting for tables. Ultimately, I managed to get seated, but the menu was fairly limited, expensive and strange. I ultimately opted for the burger, although without the mustard sauce or pickles, and to my disappointment, they didn’t serve bacon, nor french fries. What I got was a relatively dry burger with cheese, no accompaniments, and a canned drink, for nearly $20. That being said, I loved the blues-themed decor of the place and its atmosphere. Their dinner menu looks more interesting if I ever have the time or inclination. A young woman was inside the restaurant selling R. L. Burnside and Junior Kimbrough T-shirts, hand-made, but she didn’t have my size, and it was nearly time for me to perform at the Cat Head stage. However, now the rain had started in earnest, coming down in torrents, and I with no rain gear nor umbrella. Eventually, it slacked up enough that I felt comfortable heading to Cat Head, where the show was still going on bravely, under a tent that periodically would grow heavy with rain and then deposit it over the heads of the fans. I learned there that due to the rain I would likely have no trouble getting my car into the area to unload equipment, so I struggled back to the parking lot where I had parked the car, and then drove back down to the Cat Head stage.
By the time I got equipment unloaded into Cat Head store, it was just about time to set up and perform. There was very little room for a keyboard, but I managed to get set up, and Duwayne gave a rousing performance as best he could, while water occasionally poured down from overhead on amps, keyboards and our heads. I had left my keyboard bag inside the store, and suddenly, I looked around behind me and realized that the store had closed at 5 PM, which led to immediate panic. With the bag locked inside the store, I would have no way to put my keyboard back up afterwards, or protect it from the weather. Fortunately, when we finally finished performing, I learned that someone had thoughtfully brought it outside before the store was locked. And the rain had stopped enough that I was able to load up and head in search of dinner before my next performance.
Restaurants tend to work from a limited menu during Juke Joint Fest, which annoys me year in and year out, but I managed to get seated at Levon’s with less difficulty than the previous year. Last time, they had been serving their normal, full menu, but this year, to my disappointment, they too had created a limited JJF menu, but at least their signature pizzas were on it. Sherena Boyce soon joined me, and we enjoyed a leisurely dinner before we had to head to Pete’s Bar and Grill for my second performance of the night.
Pete’s is an old hole-in-the-wall near the Riverside Hotel, which normally does not have live music, but which makes a great setting for blues. On this particular night, Garry Burnside kicked off the evening of music, and I was not scheduled to perform with him, but he invited me to sit in, and I agreed. David Kimbrough, son of the late Junior Kimbrough, also came and sat in. He had been sick and some were not expecting him to be there, but he performed and sounded good. With Duwayne, we played until about 11 PM, and it had started raining again.
Sherena said she was going by Red’s Lounge to check on her dad R.L., but I loaded up my equipment and headed out back to Memphis, with lighting flashing off to the west. Although it had been a wet and somewhat frantic day, I was pleasantly content.
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.
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.
Duwayne Burnside, brother of Garry and another son of the late R. L. Burnside, is possibly the best-known performer in the Hill Country blues style today. Although he has made few recordings, fans flock to his infrequent live appearances, including an annual performance at the Juke Joint Festival each April. Like his brother Garry, Duwayne plays in a style that incorporates the Hill Country blues legacy, as well as the influences of more modern bluesmen, such as B. B. King, Albert King, and even Stevie Ray Vaughan.
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:
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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.
2152 Young Av
Memphis, TN 38104
https://www.facebook.com/pages/Goner-Records/73295355242 Tweets by GonerRecords
This year’s closure of Morning Bell Records was a terrible blow to Jackson, Mississippi’s music scene, so the news that a new record shop had opened in Jackson was welcome. But Offbeat Arts, the new venture from adventurous Jacktown DJ Young Venom is not exactly a record store in the ordinary sense, and what it is might at first seem confusing. It is (all at the same time) an art gallery, a record shop, a clothing store, a book store and a performance space. When I visited for the first time the weekend of the Core DJ’s Retreat, it was hosting a video shoot for local hip-hop artist Jaxx City. Its vinyl selection isn’t huge, but leans toward the funky, hip and less familiar side of the spectrum, and as might be expected, there’s a decent selection of local artists and releases (but not much in the way of CD’s, so be forewarned). There are also books about hip-hop and Black culture, comic books, local Jackson clothing gear, and beautiful local art. Occasionally, on weekends, Offbeat becomes a performance space for various DJ-based genres of music, which is appropriate, as the shop sits in the middle of Jackson’s burgeoning Midtown Arts District. When visiting, it’s probably a good idea to call ahead, as some days Offbeat is open by appointment only, and the opening hours seem to vary and be a little sporadic. That being said, Offbeat is as cool as store as I’ve seen anywhere in the South.
151 Wesley Av
Jackson, MS 39202
I had been invited by my friend Darren Towns, the bass drummer for TBC Brass Band, to go around with the band to their gigs on the Saturday of Satchmo Fest, and for the better part of the afternoon I had. But when I found out that there was an hour and a half interregnum between gigs, I decided to head out to Lake Pontchartrain and try a restaurant that I had been seeing for about a year but had never tried called The Blue Crab. Elsewhere in this blog, I have discussed the odd fact that the seafood cuisine of New Orleans and of the Mississippi Gulf Coast are rather different, despite close proximity, and that while it has been fairly easy to find fried seafood in New Orleans, it has not been nearly as easy to find the kind of gourmet seafood that is fairly common in Biloxi, Gulfport or Bay St. Louis. That now seems to be changing, and while Hurricane Katrina decimated the old seafood restaurants on the West End, a couple of new restaurants have appeared along what New Orleanians call the Lakefront, and the Blue Crab is one of them. All of the new restaurants along Lakeshore Drive have certain things in common, chief of which is beautiful views of the lake, the marina and the yacht club, and the Blue Crab is no exception. The view from its outdoor dining deck is truly amazing, and the resort ambiance is far more akin to something from Florida than something from Louisiana. As for the menu, there is little unusual for a New Orleans seafood place, and the prices are fairly reasonable. I opted for the fish of the day, which was pompano, and had it prepared in an almondine style, where the fish was breaded and fried, then topped with a butter-based almond sauce. As one might imagine, it was amazingly good, and accompanied by french fries that were golden brown and delicious. I chose to end my meal with a slice of key lime pie, which I enjoyed while watching the sun go down in the west over the marina. All in all, I was pleased with the Blue Crab, and will likely return.