This is the second year of the Kimbrough Cotton Patch Blues Festival, which celebrates the legacy of Junior Kimbrough and his sons David, Robert and Kinney, and this year’s festival, held on Mothers’ Day, was hot weather-wise, and musically as well. Rather than being held inside The Hut in Holly Springs, where the Friday night jams had taken place, the Sunday afternoon line-up was held on a large stage outside, where a crowd enjoyed a number of familiar and not-so-familiar blues artists, including the Hoodoo Men from Nashville (I had not heard of them, but was pleasantly impressed), Cameron Kimbrough, Joyce Jones, R. L. Boyce, juke joint dancer Sherena Boyce, Eric Deaton, Lucious Spiller, and of course the Kimbrough Brothers. Also of interest was a new beer called Kimbrough Cotton Patch Kolsch, named in honor of the Kimbrough family, and released by the 1817 Brewery out of Okolona, Mississippi. These folks also have something called “Hill Country IPA,” and are one of a number of new microbreweries springing up in Mississippi and elsewhere in the South. Since I had to work the next day, I was not able to stay until the end of the festival, which I was told came about midnight or so, but year 2 of the Kimbrough Festival was a rousing success.
For the second year, fans of Mississippi blues came to Holly Springs to celebrate the legacy of Junior Kimbrough and his sons David, Robert and Kinney at the Kimbrough Cotton Patch Blues Festival. Held over a three-day period, the festival was primarily centered around a former VFW hut known simply as The Hut, which suitably has the ambiance of an old Mississippi juke joint. Set in a hollow down from a higher street, it sits behind some trees which hide a spooky old Masonic lodge which has been abandoned, but inside on Friday night, the atmosphere was bright and cheerful, despite the failing air conditioner and the incredible heat. The great David Kimbrough Jr was on stage, with his brother Robert on bass and his brother Kinney on drums, and a small crowd was listening attentively in the chairs out in front of the stage. As the night progressed, the event turned into a jam session, with other artists and students from the earlier workshops joining in, and an even larger crowd milling around outside where it was cooler. Among the other cool things was that an Okolona beer company, 1817 Brewery had introduced a new variety of beer called Kimbrough Cotton Patch Kolsch in honor of the Kimbrough family, and it was being sold at the event.
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.
Authentic blues in an authentic environment is hard to come by these days, and when the Memphis juke joint Wild Bill’s closed in December, it became just that much harder to find. But in Holly Springs, Mississippi, on the occasions when The Hut is open, great blues musicians hold forth for a local crowd in the kind of rough, non-descript setting that is appropriate.
The Hut is a former American Legion post in the Black community of Holly Springs. Located near the intersection of West Valley Avenue and Boundary Street, it is a small, white building set down in a ravine far from the street, a structure which looks as if could only hold about a hundred people. Yet it is cozy, has a kitchen, has ample graveled parking, and on a recent Friday night was full to the rafters, with the great Robert Kimbrough Sr. on stage as I walked in.
Robert, a son of the late Junior Kimbrough, is a favorite musician around these parts, but despite all the enthusiasm for his performance, the order of the night was to highlight female blues performers, an event organized by Fancy! Magazine owner Amy Verdon called “Lady’sNight at The Hut.” The original band consisted of Robert Kimbrough, J. J. Wilborn and Artemas Leseur, aided occasionally by Johnny B. Sanders, who had come up from Jackson. These men backed singers Iretta Sanders, and Lady Trucker, whose performances brought many dancers out, including R. L. Boyce’s daughter Sherena. There were also a number of visitors from other parts of the country who traveled to Holly Springs to see the show. Robert Kimbrough came back on stage to close out the first set with a version of his dad’s song “You Better Run”, and then the band took a break.
Unfortunately, during the intermission, two women in the crowd got to fighting, which led to the police being called, and an early end to the evening, as a lot of people chose to leave. But that too has always been part of the blues. Authenticity is not for the squeamish.
Amy Verdon, the New York-based owner of the online magazine Fancy! and its record-label offshoot Go Ape Records has been quite a contributor to the cause of the Hill Country Blues, helping to record artists such as Robert Kimbrough and R. L. Boyce and helping to put on last year’s Kimbrough Cotton Patch Blues Festival. This year, she put together a special exhibit of photographs intended to highlight the role of women in the blues in Mississippi. The exhibit was displayed at the Leontyne Price Library on the campus of Rust College in Holly Springs, and since I had photographs in it, I made plans to attend the opening reception, despite the extremely cold and miserable weather we were having.
Photos celebrated Hill Country musicians such as Jessie Mae Hemphill, as well as a number of dancers. I was amazed by the schedule of the 1983 Memphis Music and Heritage Festival, which proved that legendary Bartlett bluesman Lum Guffin had headlined a gospel group on one of the stages. Several of the performers scheduled to play the next night at The Hut were present, including Johnny B. Sanders and Iretta and Robert Kimbrough Sr, and a few people came through to check out the photos. The exhibit will remain up through the end of February.
Due north of Marshall County, the quintessential county of the Mississippi Hill Country is Fayette County, Tennessee, which perhaps could be considered Tennessee’s only Hill Country county as such. Geographically and demographically similar to the county in Mississippi below it, Fayette should have been a hotbed of blues, and apparently was, but was much less studied than its Mississippi counterpart. Otherwise, the two counties are remarkably similar, right down to their charming county seat towns with courthouse squares that could be the setting for some epic movie of the American South. Holly Springs in Marshall County is known for its Blues in the Alley events each Thursday night in July and August, so when Fayette County began announcing Music on the Square events on Thursdays in September, I decided to drive out to Somerville and see what was going on. The weather was beautiful and perfect for such an event, and a crowd of about a hundred people had gathered on the northwest corner of the courthouse square along Market Street, where a stage had been set up. There were cookies and lemonade provided by local business sponsors, and some custom cars and trucks had been parked closer to Fayette Street on the west side of the square. Unfortunately, the band that had been chosen to play on this particular Thursday was a country band, and country music is not my cup of tea, but at least this particular country band was from Fayette County, and had a certain rock edge to their style. Somewhat disappointed in the music, I spent the rest of the evening walking around the tiny downtown in Somerville, snapping pictures of a number of landmarks before heading back to Memphis. Even so, the court square makes an excellent background for live music performance, and those who attended had a great time.
Holly Springs and Marshall County, Mississippi are a frequent destination for blues tourism. Two of Mississippi’s greatest blues families, the Burnsides and the Kimbroughs are from the county, and Foxfire Ranch, the Blues in the Alley concert series, and the North Mississippi Hill Country Picnic attract blues fans, particularly during the summer months. But up until recently, tourists wanting an upscale dinner had to make their way to Oxford or to the Memphis area. That changed in July with the opening of Marshall Steakhouse on Highway 178 between Red Banks and Holly Springs.
Marshall Steakhouse is as much a destination as a restaurant, featuring a truly-massive park-like setting that includes an outside stage and plenty of seating. On the night of my visit, a bluegrass group was playing on the stage to a small crowd.
The restaurant, which had only been open a week, was incredibly crowded, with probably around fifty or more people waiting for seating. But, to my surprise, I suppose because I was only one person, I was seated immediately. It needs to be noted however that there are no small, intimate tables for two, and that parties of one or two are usually seated at the opposite end of a long table from other guests. Although Marshall Steakhouse is not cheap, they have some very reasonably-priced entrees, including two cuts of sirloin. I ordered the small sirloin, and was quite impressed with its flavor. Sirloin steaks can be tough, but this one was extremely tender, and easy to cut. The yeast bread was hot and delicious, and the baked potato was very good as well. I was also impressed by the fact that the price of my steak included all the accompaniments as well, something that is definitely not the case at a lot of steakhouses these days. I have to mention too that Marshall Steakhouse has a challenge- a 72-ounce steak with salad and baked potato that is free if a person can finish ALL of it within an hour. If not finished within an hour, it costs $89! I have not heard whether anyone has taken the challenge, and whether anyone has actually won it. As for the service, it was friendly, but fairly erratic, with lots of people being offered other people’s orders, but that is not necessarily surprising one week in. Corrections were made promptly, and everybody made happy. One thing to note, though- the Marshall Steakhouse is not a place to be caught up in your cellphone. Made entirely out of metal, the building is a true deadzone inside, and most phones get no signal. There is currently no public wi-fi. But there is plenty of decor, and large-screen televisions hanging from the walls. Besides, who stays buried in their phone at dinner anyway?
Marshall County, Mississippi is recognized as the home of the Hill Country blues, and the home of its two greatest exponents, Junior Kimbrough and R. L. Burnside. So it was entirely fitting that this year, one of Junior’s sons, Robert Kimbrough, put together an event to celebrate the life and legacy of his father, the Kimbrough Cotton Patch Blues Festival. Over several days, the event featured an exhibition of photographs at Rust College in Holly Springs, a guitar workshop, a jam session and a Sunday afternoon concert on an outdoor stage adjacent to the old VFW Hut on West Valley Avenue. On Mother’s Day afternoon, with impeccable weather, a crowd gathered to enjoy authentic Hill Country blues from Robert Kimbrough Sr. and the Blues Connection, Little Joe Ayers (who had played with Junior), Dan Russell, Memphis Gold, Cameron Kimbrough, Leo Bud Welch, R. L. Boyce with Carlos Elliot Jr and Lightnin Malcolm, and the Kimbrough Brothers, featuring Robert, Kinney and David Kimbrough. Young drummer and guitarist Cameron Kimbrough is a grandson of Junior and son of drummer Kinney Kimbrough, and was especially impressive on drums with Memphis Gold and Leo Bud Welch. Altogether, it was an amazing day of some of the best blues Mississippi has to offer.
Marshall County, Mississippi and its county seat of Holly Springs are ground zero when it comes to the subgenre known as Hill Country blues. After all, the style’s two greatest stars, Junior Kimbrough and R. L. Burnside were from the county, and largely pursued their music careers there for the better part of their lives. As such, there is potential for blues tourism in Holly Springs, and the powers that be there have been slowly attempting to capitalize on it, sponsoring a weekly summer event during the months of July and August on Thursday nights called Blues in the Alley. On previous years, this event has showcased a lot of local and regional talent, including R. L. Burnside’s sons Duwayne and Garry, and Junior Kimbrough’s sons David and Robert, as well as Little Joe Ayers, and other blues musicians steeped in the Hill Country style. A stage is set up on the courthouse square, and on average, several hundred people show up to dance, party and enjoy the music.
Unfortunately, this year was different. When the event kicked off on June 30, Potts Camp legend Kenny Brown was on stage, and he had invited his friend Duwayne Burnside to perform as well.A crowd of several hundred people turned out to enjoy the kickoff, which was capped by a fireworks display. A week or two later, Lightning Malcolm, also familiar to Hill Country fans was the featured artist. But sadly, that was as good as it would get this year. As the summer stretched on, it became apparent that the festival organizers did not intend to book Duwayne or Garry Burnside (Duwayne ultimately appeared at Foxfire), nor Cedric Burnside (who played at New Albany’s Park on the River on July 2), nor David or Robert Kimbrough (Robert played a Sunday evening at Foxfire later in the summer), nor Little Joe Ayers. In fact, as the festival booked unknown bands like the Around The Corner Band, and out-of-town groups like the Juke Joint Three, something even more disturbing became apparent. For the most part, this year’s Blues In The Alley was booking only white artists. In fact, by the time the festival ended on September 1 with Gerod Rayborn, as best I could determine, only two Black artists had been featured all summer, and one of them, Oxford’s Cassie Bonner, is a singer/songwriter and not a blues artist at all. Ultimately, the programming choices affected attendance, which was way down, and skewed the crowds that did show up racially, with far fewer Blacks choosing to attend the weekly event. And this was all the more noticeable, as Holly Springs and Marshall County have a large Black majority. Sadly, it seems there is no way this was coincidental. Local Marshall County artists that are world-famous were passed over in favor of unknown (but white) bands from somewhere else. Although I asked a number of my friends in Holly Springs if they had heard any reason for the drastic change in booking policy, no justification for the change was ever readily forthcoming.
Ultimately, if Holly Springs wants to capitalize on its blues legacy as Clarksdale has managed to do, it must choose to become far less race-conscious as a town. The organizers of Blues in the Alley must understand that the Kimbrough and Burnside names are known all over the world, and that these are the artists that need to be booked if the goal is to get people to visit Holly Springs from other states or other countries. There’s nothing wrong with booking highly-talented white blues artists with impeccable Hill Country credentials like Lightning Malcolm, Kenny Brown or Eric Deaton. But Holly Springs and Marshall County are predominantly-Black, and Blues in the Alley should offer something for the Black majority as well…particularly if public funds are being expended. Otherwise, there may eventually not be a Blues in the Alley at all.
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.