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.
Back in 1950, Othar Turner, of Gravel Springs, a few miles east of Senatobia in Mississippi’s Hill Country region, decided to hold a picnic for his friends and neighbors in the community. He killed and barbecued goats, and he and his friends ate, drank and danced to fife and drum music, a rural pre-blues form of Black music that had once been found across the South. By the time musicologists like David Evans visited Tate County in 1970, the event had been going on for 20 years, and eight years later, the famed musicologist and documentarian Alan Lomax visited the Turner Family Picnic as well. Othar, whose friends called him “Otha”, went on to make two full-length record albums, and contribute a song to the soundtrack for Martin Scorsese’s The Gangs of New York , and by the time of his death on February 27, 2003, he had passed the tradition of his Rising Star Fife and Drum Band on to his granddaughter Sharde Thomas.
Unfortunately, last year, a family dispute within the larger Turner family led to the eviction of the annual picnic from Otha’s old homestead, as well as the demolition of most of the structures that had been used for the event. While there was something different about this year’s picnic due to the necessity of relocating it from Gravel Springs, it is also true that Sharde Thomas chose a location in Coldwater that greatly resembled the old location, with a number of old wooden structures. Attendance was somewhat light at the beginning, as the weather had been quite hot on the Friday of the first night, but the crowds soon grew larger, as bands like blues-rockers 78 (named for a major highway in the Hill Country) and artists like Joyce “She-Wolf” Jones and Robert Kimbrough Sr performed on the stage under a tent. The Thomas family’s stand was selling catfish and goat sandwiches, and RC’s Soul Food Restaurant from Como had a stand as well. A large, full moon (some said a “blue moon”) shown overhead. But the high point of the evening, at least for me, were the interludes between stage acts when Sharde Thomas, alternately playing djembe or fife, performed with her Rising Star Fife and Drum Band, marching across the picnic grounds. Occasionally, these processions developed into djembe vs. bass drum battles between Sharde and Chris Mallory, one of her drummers, and on other occasions, dancers came and got down low to the ground to the rhythms of the bass drum. Despite the new location, the 68th Annual GOAT Picnic was a success.
Although it was the weekend of the Sunflower River Blues and Gospel Festival in Clarksdale, R. L. Boyce’s daughter Sherena had mentioned something about a large birthday picnic and party near Senatobia, Mississippi that was supposed to feature live blues and fife and drum music, so on Saturday evening, despite the heat and occasional storms, we headed down to a small village of trailer homes along the LRL Road south of Senatobia, where a birthday party was being held for a woman named Carolyn Hulette. A large flatbed trailer had been set up as a stage, and a hundred people or so were gathered at tables and chairs under the trees, enjoying barbecue and live music. Fife musician Willie Hurt was playing when we arrived, and the musicologist Carl Vermilyea was backing him up on the snare drum. Later, Willie called me over to meet Ms. Hulette, who explained to me that she used to “follow the drums” but that she was now “too young” for that. Many Hulette family members had come from Virginia and from the West Coast, and some were camping in tents on the hill south of the stage area. There was a DJ as well, lots of dancing, a birthday cake and lemonade, and then Ms. Hulette’s son Tracy and grandson Travis came on stage with a drummer to play some blues. Sherena explained to me that Travis had been playing with R. L. before he had moved to Nashville. He proved to be a talented, gifted Hill Country-style guitarist, and he played several standard blues tunes, such as “See My Jumper Hanging Out on the Line” and “Going Down South.” After they performed, the proceedings were turned back over to the DJ, and as it was after 11 PM, we headed back to Senatobia.
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.
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.
Spring is the festival season in North Mississippi, and each small town has some sort of spring festival with games, vendors and live music. Senatobia, Mississippi, in Tate County, has long been nicknamed the Five Star City (I haven’t the slightest idea why), so, not surprisingly, its spring festival is called Five Star City Fest. Como blues musician R. L. Boyce was scheduled to perform on the main stage on the Friday night, May 11, but I decided to head to the festival early to see if any other blues performers were scheduled. After all, Tate County is one of only two counties where Black fife and drum music still goes on, and it has a long and storied history of blues and Black gospel music. Unfortunately, I soon learned that almost everyone booked for the festival other than Boyce were country artists. There was a barbecue festival going on in the park along the railroad tracks, but the main festival was going on along Front Street north of Main. The street had been blocked off, and a number of vendors and food trucks had set up in the area, including the local Bliss Ice Cream Company from Senatobia. With the weather so hot, I really wanted some, but they were not set up to take debit cards, so I ended up walking down Main Street to the Sayle Oil Company store, and bought an ice cream Twix bar instead. Nearly a hundred people were running or walking in the 5K run, which had begun around 6 PM, and which started and ended near the main stage. Close to the stage also was the site of the new Delta Steakhouse restaurant, and while it is not open yet, I could see through the windows that the tables and booths and chairs were already in place within the restaurant space, and that the place should be open relatively soon, perhaps in June. R. L. Boyce came on stage at 7 PM, with Steve Toney on drums and the young guitarist Kody Harrell, and with Boyce’s daughter Sherena playing the tambourine and dancing. A small crowd of Boyce fans were in the audience cheering him on as he performed most of his standard compositions and tunes. I had considered staying on after his performance to see who would come on stage next, but I soon found that it was another country band, and I had no desire to see that, so I debated heading to Holly Springs for the first night of the Kimbrough Cotton Patch Music Festival, but I ultimately decided to head back to Memphis.
This year’s premiere Oxford Bourbon Festival in Oxford, Mississippi consisted two nights of tasting at the historic Lyric Theatre and a night of live blues and more bourbon at the Oxford location of New Albany’s Tallahatchie Gourmet, which, the last time I was there, was a cool coffee bar called The Shelter on Van Buren, where Duwayne Burnside had been performing on a New Year’s Eve. As Tallahatchie Gourmet, the place seems brighter and sharper, but it still retains its homey, comfortable vibe. The music of the evening was Como, Mississippi bluesman R. L. Boyce, who was playing with fellow blues musician Lightnin Malcolm, and Boyce’s daughter Sherena, a well-known juke joint dancer in the Hill Country region. The crowd was somewhat sparse, but full of people who knew the musicians and yelled their enthusiasm from the audience. Although I didn’t eat, I have to add that the Tallahatchie Gourmet menu leans toward New Orleans cuisine and looks worth checking out.
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.