After dinner, I began my first night of the Juke Joint Fest at Red’s Blues Lounge in Clarksdale to catch Grenada bluesman Frank “Guitar” Rimmer Jr. To my amazement, the place was packed with people. After a year of almost no live music, it was so good to see people back in a nightclub enjoying good blues in person. Unfortunately, Red’s has always been restrictive with regard to filming and sometimes even photography, so after Rimmer’s first set, I headed around to Bluesberry Cafe to catch Robert Kimbrough Jr, son of the late Junior Kimbrough. Robert was the first blues artist I met at my very first Juke Joint Festival back in the day; at that time he was selling a burned CD with a few songs on it. He has come a long way since those early days, with four studio albums to his credit. His performance at Bluesberry Cafe included songs from his new album The Pain Won’t Stop and several covers of songs recorded by his late brother David Kimbrough III, notably “Home Alone.” As at Red’s, there was a significant crowd at Bluesberry Cafe too, and the mood was jovial on the streets. It was a great way to kick off this year’s Juke Joint Fest.
On a recent Sunday afternoon, I headed down to the South Main Arts District in Memphis in search of brunch. The old Central Station has been turned into a hotel, and I wanted to see if there was a restaurant in it. Ultimately, I found that the restaurants in the Central Station Hotel were not open yet, and would not open until later in November, but I wasn’t disappointed, as I got a chance to see the beautiful Eight and Sand Bar, whose theme is Memphis music. Record albums span the shelves from ceiling to floor, along with a number of books about Memphis music and blues, and a permanent DJ booth. The music theme continues throughout the hotel, including beautiful speakers worked into the walls of the lobby.
I had thought that Vice & Virtue Coffee had a coffee bar in the Central Station Hotel, but I was wrong—it turned out to be in a completely different hotel up the street called the Arrive, which I really wasn’t aware of at all. This hotel also has a music theme, with an old gramophone in the lobby, and a cool bakery called Hustle and Dough! A salted caramel cookie from the bakery went perfectly with a cup of Vice and Virtue coffee, and I enjoyed the lively, vibrant atmosphere of the hotel lobby and bar.
Unfortunately, a cookie and coffee is not brunch, and the old brunch spot at Earnestine and Hazel’s called The Five Spot is apparently closed for good, so I ended up at The Arcade for breakfast, a reasonable stand-by in the area. While it will take more than cool hotels, bars, coffee and bakeries to rejuvenate Memphis, I like the trends I am seeing.
Central Station Hotel and Eight & Sand Bar
545 S Main St
Memphis, TN 38103
ARRIVE Hotel, Hustle and Dough and Vice & Virtue Coffee
477 S Main St
Memphis, TN 38103
Vice & Virtue Coffee (901) 402-8002
Brownsville drummer Kesha Burton had asked me if I would take her to the annual Blues on the Bluff fundraiser for Memphis community radio station WEVL, so although I hadn’t originally planned on going, I agreed. Although the weather had been horribly hot all day, showers had popped up in Fayette County, and things began to cool off as we headed into Memphis.
The Blues on the Bluff event is always held at the National Ornamental Metal Museum, which occupies a portion of the former Naval Hospital on the bluff south of the old Memphis-Arkansas and Harahan Bridges. There are few better views of the river than that location, and with its lovely tree-shaded courtyard, it makes a great venue for live music.
This year’s line-up included a Booker T. & The MG’s tribute band called the MD’s, who were on stage when we arrived, and after their performance, then the Ghost Town Blues Band marched into the courtyard in a Dixieland jazz band fashion before playing their set, which included a lot of new music from their forthcoming album “Shine.” A noteworthy feature of GTBB is their large brass section, which includes my homeboy Suavo J on trombone.
The headliner for the night was Lightnin Malcolm , the Hill Country bluesman from Byhalia, and Kesha got a chance to perform with him on percussion. His music consists of Hill Country standards, and originals in the Hill Country style, as well as some that are more alternative and even reggae-influenced, and the crowd of about 200 thoroughly enjoyed themselves.
In addition to music, there was a food truck from Fuel, the former restaurant on Madison Avenue, the folks from MemPops selling homemade ice cream pops, plenty of beer from Memphis Made Brewing, and a silent auction.
But the overwhelming highlight of the evening was the absolutely amazing sunset over the river, which started out a dazzling yellow, changing to a golden orange and then a deep red before it disappeared behind the treeline to the west in Arkansas. It was the perfect end to the day.
At the end of the evening, Kesha decided to stay with friends in Memphis, and I was starving, as the Fuel food truck had offered only tacos, so I headed to the Slider Inn in Midtown for a late-night dinner on the outdoor deck.
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.
After a day of research on my thesis in the Tennessee State Archives, I decided to enjoy my Friday night in Nashville. I headed first out to the new location of Grimey’s Records on the north side of Nashville in a former church. After many years on South Eighth Avenue near The Basement, they had decided to move to larger digs, and were taking advantage of the extra space to have live music performances in the store. I spent an hour or so there, but ended up not buying anything. Although it was beginning to rain, I decided to head to Nicky’s Coal-Fired Pizza in a neighborhood called The Nations where the streets are named for states. In my youth, this had been a rather rough neighborhood called West Nashville, not far from the Tennessee State University campus, but now it has been reborn into a trendy and hip district full of cafes and bars. Although I had enjoyed pizza the night before, I was eager to compare Nicky’s to Emmy Squared, and while they were different, I liked Nicky’s quite a bit. My pepperoni, bacon and mushroom pizza was quite delicious, and the space was cozy and inviting on a rather chilly, rainy evening. Just down Centennial Boulevard from Nicky’s I found a new coffee bar called White Bison Coffee, which was full of glass, chrome and white tables. It wasn’t particularly busy, but I had a delicious latte there, and a chocolate chocolate chip muffin.
Afterwards, my homeboy Otis Logan was supposed to be playing drums at a bar in East Nashville on Gallatin Avenue called The Cobra, so I headed up there, but the rain was growing worse. I kicked it with Otis for a minute, but the group he was supposed to play with wasn’t going on stage until 10 PM, and I had decided to drive back to Memphis, since the weather wasn’t getting any better, and since staying over would have led to me simply spending more money. So I left out, somewhat reluctantly, and got on the Interstate to head back home. But I accomplished what I had come for, and had a bit of fun as well.
Clayborn Temple is one of Memphis’ most historic locations. Built in the late 19th century as Second Presbyterian Church, it became known as Clayborn Temple African Methodist Episcopal Church after the Presbyterian ccongregation moved far to the east of Midtown. The building became an important focal point of the Civil Rights Movement in Memphis, particularly the Sanitation Workers Strike of 1968 which resulted in the death of Dr. Martin Luther King Jr. Unfortunately, at some point, the Clayborn Temple congregation died, and the building fell into disrepair. At one point, the City of Memphis put fencing around it to protect against falling bricks, and it seemed likely that the building would have to be demolished. Fortunately, against all odds, Clayborn Temple was resurrected in 2017 as a performing arts venue, and on November 3, 2018, Blue Tom Records, the student-run record label of the University of Memphis, sponsored its annual This Is Memphis concert in the historic structure.
Unfortunately, I learned upon entering Clayborn Temple, that the building’s success story may be somewhat premature. There is still significant roof damage and a considerable amount of work remains to be done. However, it is good to see that a plan for renovation is in place, and funding is being raised. Because This Is Memphis is a celebration of the young musical talent of one of America’s most musical cities, the building was an inspired choice of location for the concert, and indeed, a very impressive soul-jazz band called Back Pockets was soundchecking on stage when I entered.
The Back Pockets proved to be the first band on stage of the evening, and is a large collective with a sizable brass section and a female vocalist. They filled the large room with sound, and were fairly impressive, alternating between neo-soul vocal tunes, and jazz instrumentals. Unfortunately, the videos I took of them proved to be out-of-focus and unusable. Hopefully I will catch them performing elsewhere.
After a performance from a local singer/songwriter named Sienna, a new band called Estes came on stage. Estes is the latest project of Andrew Isbell, formerly of The Band CAMINO, and it proved to be a melodic, tuneful band reminiscent of The Southern Sea or The Autumn Defense. The songs were well-written and immediately attractive, at once sunny but with a hint of nostalgia.
Estes was followed by a very soulful singer-songwriter named Phillip Bond who is a senior at the University of Memphis. Unlike a lot of neo-soul artists today, Bond’s original compositions are lyrically daring and more poetic than pop. On this particular night, he performed the first song he ever wrote, “Fool For You” and became somewhat emotional about it, as the song undoubtedly has significant meaning for him. He was also backed by a first-rate band of young musicians.
Memphis has produced a number of great singer-songwriters in recent years including Amy Lavere and Valerie June, and Bailey Bigger can hold her own with the best of them. A talented singer with a beautiful voice, Bigger is also a consummate songwriter, as evidenced by her original compositions, including “Green Eyes” with which she launched her This Is Memphis performance. With only her guitar, and occasionally one other musician, she managed to captivate the audience in the large venue. Bailey’s album Closer to Home is currently out on iTunes, and she is now signed to Blue Tom Records, working on an upcoming release.
Another singer/songwriter/activist Jordan Dodson, known as JD, seeks to use her music to promote empowerment for women and African-Americans. Her performance at This Is Memphis included her brief put powerful song “Don’t Shoot,” a reference to the numerous police shootings of young Black men in America.
This year’s concert was closed out by Dylan Amore, the only rapper currently signed to Blue Tom Records, and one with a growing following in Memphis, Tennessee. He is hard at work on his EP for the label, and also has several previous releases and mixtapes.
Altogether, it was a fitting tribute to young and upcoming Memphis artists in a beautiful setting, as well as an opportunity for University of Memphis students to learn the business of concert promotion and operation….in short, a win-win for performers, attendees and students alike.
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 a few of my friends expressed concern and disapproval of the name of Merigold, Mississippi’s Po Monkey Day, the event was organized for the first time last year to honor the late Willie “Po Monkey” Seaberry, who was the owner of the legendary Po Monkey Lounge just outside the town of Merigold. This year’s festival was somewhat hampered by outrageous heat, with the heat index by some accounts near 114 degrees. Still, a hundred people or so showed up in downtown Merigold near Crawdad’s Restaurant to hear from musicians such as Lightnin Malcolm, Cedric Burnside, R. L. Boyce and Super Chikan. Cedric performed a new single called “We Made It” from his forthcoming LP Benton County Relic which is due out in September. Toward the afternoon, storms approached, but they never really developed near the festival area, and things never really cooled off at all. After R. L. Boyce’s performance, with every table in Crawdad’s reserved because of the festival, we headed down to Airport Grocery in Cleveland instead, and not only was the food good but so was the all-blues soundtrack. Airport Grocery was once a live blues venue when it was on Highway 8, but since it has moved onto Highway 61, it doesn’t seem to book live music, or at least not as much. As for the legendary Po Monkey Lounge, we learned this week that our hopes that someone might purchase and preserve the historic juke joint were in vain. The contents will be sold at auction next month, and presumably the building will be demolished.
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.
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.