Although Saturday, August 25, 2018 was even hotter than the day before, the crowd that gathered in the late afternoon in Coldwater for the second day of the 68th Annual GOAT Picnic was even larger than the one from the day before. The surprise of the early evening was an R & B singer from Coldwater named Felita Jacole, who had a band of talented musicians backing her up, and who, to my surprise, did some original material, including a song called “Weekend.”
She was followed by the legendary R. L. Boyce, the last of the original Hill Country bluesmen, who performed with Kesha Burton from Brownsville, Tennessee on drums, and his daughter Sherena Boyce on tambourine and dancing.
Later in the evening came exciting sets by Nashville-based Blue Mother Tupelo, and Mississippi bluesman Mark “Muleman” Massey, but as it was the previous night, the most excitement in my opinion was the raw and exuberant processions of Sharde Thomas and her Rising Stars Fife and Drum Band between the performances on stage. After dark, the interplay between djembe, bass drum and dancers became truly uninhibited, and the crowd gathered around to watch.
Confronted with the challenges caused by moving to a new town and venue, the 68th Annual GOAT Picnic managed to rise to the occasion. The weather was perfect both days, with the grounds after dark illuminated by a beautiful full moon overhead, and a crowd of several hundred people in front of the stage.
Last year marked the first time we had organized a large outdoor birthday party for Hill Country bluesman R. L. Boyce, and that first picnic, with limited promotion and budget, attracted an amazing crowd of 500 people. This year, with the involvement of Amy Verdon of Fancy Magazine and Go Ape Records, we were able to plan the event on a slightly bigger level, and despite the threat of rain all around, we enjoyed great weather and a larger attendance.
The event, held on Friday August 17 to avoid conflict with the Hill Country Boucherie and Blues Picnic which was being held on Saturday, began with an exhibit opening of photography by Como artist Yancey Allison, who has been documenting the Hill Country blues for many years. Live music began in nearby Como Park at 6 PM, with the performers being documented this year by the Memphis-based Beale Street Caravan radio show. A crowd of around 600 braved the threat of rain to enjoy fife and drum bands like The Hurt Family and Sharde Thomas and the Rising Star Fife and Drum Band, and blues and soul artists such as Andrea Staten, Kody Harrell, Joyce “She-Wolf” Jones, Cameron Kimbrough, Lightnin Malcolm, Kinney Kimbrough, Willy and the Planks, Dee Walker and Duwayne Burnside. Several times, the guest of honor, R. L. Boyce made his way to the stage to perform, and on one of those occasions the crowd joined in singing “Happy Birthday” to him.
In addition to the five hours of some of the best Hill Country blues and soul, attendees also enjoyed free hamburgers, hot dogs and smoked sausages until they were gone.
It appears that the R. L. Boyce Picnic will be a major event in Como, Mississippi for many years to come.
The Frontline has discussed the legacy of Black fife and drum music at length in the past, but I continue to devote a considerable amount of space to it here because it is an ancient musical tradition that is clearly endangered and threatened. As far as we know, it exists only amongst two families, the Turner family in Tate County, Mississippi and the Hurt family in Panola County, Mississippi. But this year’s Hurt Family Picnic west of Sardis gave me reason for hope, because there I encountered young Hurt family members who were learning the snare drum, bass drum and the fife. Nothing will preserve the culture better than young people getting an interest in it and getting involved. Although the weather was hot, the musicians played for the better part of the day, and toward the evening, there were a number of dancers, too. They were also joined by a guest, Kesha Burton, who recently completed the Tennessee Folklife Arts Apprenticeship with Willie Hurt and R. L. Boyce, and who is accomplished on the snare drum, bass drum and fife.
After the six months of mentoring under the Tennessee Folklife Arts Program, mentors and apprentices were invited to a reception at the Tennessee Arts Commission office in Nashville in order to highlight what they learned during the program. So Kesha Burton from Brownsville, R. L. Boyce, Sherena Boyce and Willie Hurt, who had all been involved in the project to reintroduce fife and drum music to West Tennessee, all headed out to Nashville for the reception. Although the weather was stormy and wet in Memphis, we found that Nashville was dry and sunny, with the downtown area extremely busy with various events and festivals. In addition to the fife and drum project, other apprentices learned basket-making, chair-making, guitar-making, Panamanian dress making, buckdancing, Black gospel quartet performance, and square-dance calling. Although the space for the reception was somewhat cramped, everyone had a good time. Afterwards, I took Kesha Burton to Shipwreck Cove out at Percy Priest Reservoir to celebrate. After a stop for gelato at Legacy Gelato, and a run by Trader Joe’s to pick up some items that we cannot get in Memphis, we headed back to Brownsville, and then I to Memphis.
Last summer, the Tennessee Arts Commission began a Folklife Apprenticeship program to preserve endangered folkways in the state, and one of the areas of interest was in Black fife and drum music. Unfortunately, Black fife and drum music seems to have died out in Tennessee around 1980 or 1981, but it still exists in a remote part of North Mississippi among the members of two families, so a decision was made to have people from that region mentor a young apprentice from West Tennessee. The apprentice chosen was a female drummer from Brownsville named Kesha Burton, and because the lessons between her, bluesman R. L. Boyce and fife-player Willie Hurt took place at the West Tennessee Delta Heritage Center in Brownsville, that institution became interested in sponsoring a festival of Black fife and drum music. The first annual Fife Fest was held at the center on June 16, featuring performances by Kesha Burton with R. L. Boyce and Lightnin Malcolm, and with the Hurt Family Fife and Drum Band from Sardis, Mississippi. I gave a somewhat rambling lecture on the legacy of fife and drum music in Tennessee, and Willie Hurt demonstrated to the crowd how a bamboo cane fife is made. Another expert scholar on Black fife and drum music Carl Vermilyea had driven up from Tallahassee, Florida with his wife for the event, and ended up joining in on the snare drum. The weather was absolutely perfect for the event, and about a hundred people attended. It is to be hoped that festivals like this one and programs like the apprenticeship may reintroduce Black fife and drum music to Tennessee.
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.
Although fife and drum bands once were common in West Tennessee, the phenomenon had largely died out by 1980. The Tennessee State Archives created a mentorship program that was designed to reintroduce fife and drum music to Haywood County by having R. L. Boyce teach the traditional drumming styles to a young Brownsville resident, Kesha Burton, who in turn can teach it to other young people in her community. Because Boyce was primarily a drummer, his daughter Sherena arranged for a fife player, Willie Hurt, from Sardis, Mississippi to come and teach the fife to Kesha, although he also is a skilled snare and bass drummer. Although lessons had been occurring since December, on January 27th, the West Tennessee Delta Heritage Center sponsored the Sleepy John Estes Blues Jam, and the public finally got to hear the first results of the lessons, with Willie Hurt, Kesha Burton and Sherena Boyce playing snare drum, bass drum, fife and tambourine, with various switching of instruments. R. L. Boyce had been nominated for a Grammy and was on his way to the Grammy Awards in New York.
As for the blues jam, it ended up being more about Americana music than the blues per se. There was a considerable amount of folk and bluegrass, and a little bit of blues-inflected music. But sadly, there are few of the original generation of blues musicians left in West Tennessee, the exception being harmonica player Linzie Butler, who was present at the event. The fife and drum music was something of a surprise at this year’s jam, but it was well-received all the same.
Fife and drum music once flourished in West Tennessee, but similar to what happened in Georgia, disappeared rapidly in the 1970’s. The last evidence we have of any fife and drum activity in West Tennessee is the recordings made of a Fayette County band in 1980, although I have always considered it likely that some fife and drum activity took place in Tipton and Haywood Counties as well. Last summer, the Tennessee State Department of Archives and History decided to sponsor a mentoring project that seems intended to reintroduce the fife and drum band style to West Tennessee, by having a Mississippi fife and drum musician mentor a young Tennesseean. The program ended up hiring Como, Mississippi bluesman R. L. Boyce and having him work with a young female drummer in Brownsville named Kesha Burton. Boyce is a nephew of the late Otha Turner, and began his music career as a snare drummer for various fife and drum ensembles in Panola and Tate Counties in Mississippi, so he was a good choice to teach the drumming styles of this music to young people. On December 12, 2017, we carried him up to Brownsville for his first lesson with Kesha, which took place at the West Tennessee Delta Heritage Center in Brownsville. After the lesson, I had an opportunity to walk around Brownsville taking pictures of the square and nearby streets and neighborhoods. I especially enjoyed walking down South Jackson Avenue, which had once been the heart of the Black community in Brownsville, although there are no longer any juke joints or cafes still operating. Perhaps the oddest visit of the day was to a massive outdoor art installation called the Mindfield, the long-term work-in-progress of folk artist and visionary Billy Tripp. Somewhat in the same vein as the Watts Towers or St. Paul’s Spiritual Temple in Memphis, the Mindfield is an autobiographical work, although it also contains bits of slogans and symbols that indicate something of Tripp’s philosophies about life and society. Next door to it is a restaurant called the Mindfield Grill that seems to warrant a future visit.