The sudden closure of everything in mid-March due to Covid-19 had a devastating effect on all live music, including the blues. Nearly everything was closed down through April, but as weather warmed up in May, things began to slowly reopen, and I began to venture out more. Having acquired an iPhone 11, I decided to experiment with its photo capabilities, using some of my favorite photographic apps. I am especially partial to one called Filca, which lets you photograph with filters based on popular color and black-and-white films. The Agfa and Ilford filters really do resemble the old films they are based on, and the effects are really neat. Furthermore, the iPhone 11 boasts by far the best camera ever on an Apple phone.
Although live concerts did not resume in May, several artists performed live concerts intended for streaming. Duwayne Burnside did such a show outdoors at Red Banks in Marshall County, and the next day R. L. Boyce and Lightnin Malcolm did one at the Shack Up Inn in Clarksdale for the virtual Oxford Blues Fest.
The gangs of Black Indians (sometimes called Mardi Gras Indians) who appear in elaborate costumes on the streets of New Orleans on Mardi Gras, St. Joseph’s Night and the uptown and downtown Super Sundays are one of America’s most unusual and interesting cultural phenomenons. Although the term “Indian” would suggest a Native American frame of reference, the beautifully-decorated outfits have far more in common with African or Caribbean practices, as do the chants and percussion music used to accompany the gangs as they proceed down backstreets. Nobody is quite certain even how the tradition began; some accounts attribute it to a visit of Buffalo Bill’s Wild West Show to New Orleans in the 1880s. Certainly the first references to Black Indian gangs appear in the 1890s. But this theory fails to account for the similarity to Trinidadian practices, such as the Fancy Indian Mas (masque) and the stickfighting of the Canboulay (Cannes Brulee). Indeed early accounts of the Indians in New Orleans emphasized their penchant for violence. Confrontation between the gangs or tribes was not merely ritualized and danced as it is today, but was frequently bloody, and deaths were not unheard of, as in the Indian song “Corey Died on the Battlefield.” The use of drummed accompaniment certainly resembles the stickfighters’ practice in Trinidad, but the concept of chantwells, or singers who praised the various fighters does not seem to have made the journey to New Orleans. Instead, it is the gangs themselves and their Big Chiefs who praise their own bravery and their refusal to “bow down.” Whether New Orleans came by this tradition from Trinidad, or whether Trinidad came by it from New Orleans, or whether both spring from an African progenitor must remain conjecture at best.
Indian gangs exist in all working class Black neighborhoods of New Orleans, downtown, uptown, the Ninth Ward and the West Bank. However, it would seem that uptown has the largest numbers of gangs, and the corner of Second and Dryades in the Third Ward is a sort of ground zero for the Indian culture. On that corner is the Sportsman’s Lounge, headquarters for the Wild Magnolias, the first Black Indian group to make a record, and in the same block of Dryades is a place called Handa Wanda’s, where Indian practices are held in the months leading up to Mardi Gras. For anyone looking for Black Indians on Mardi Gras Day, this street corner is a good place to start.
But getting there from the St. Charles Avenue area poses a bit of a logistical nightmare on Mardi Gras Day. Parades result in road closures all over the city, and the only sure way to get through is on the interstates and freeways, and even they can become gridlocked as people try to go from parades uptown to things like Juvenile concerts downtown under the I-10 bridge. But I was fortunate enough to be able to get on the Pontchartrain Expressway with little problem, and by exiting on South Claiborne, work my way toward the area of uptown where I expected to find the gangs.
I wasn’t expecting to run into them as soon as I did however; Heading down First Street (as Second is one-way heading north) I ran into a traffic jam at Simon Bolivar, and I soon figured out why. Tribes of beautifully-dressed Indians were in the street with their drummers, and crowds had gathered. The gangs do not get the police escorts of the official parades, nor do they need them. They effectively block the streets on their own as they proceed, with drummers behind them, and crowds behind the drummers. The typical gang is accompanied by one or two bass drums, generally played in a horizontal position like snares, along with tenor drums, a cowbell, and occasionally a snare drum. Most tribes use a remarkably similar drum groove, which is sometimes called the “Indian beat.” This year, however, one of the gangs, the Black Hawk Hunters, had a brass-band-style snare and bass drummer. The effect was unusual, but the young men playing the drums were incredibly gifted. “I’m a fool on that snare drum,” the snare drummer said at a break in the action, and he could back it up with his sticks.
Finding a place to park along Simon Bolivar, I soon got behind one of the gangs, and followed them down into the Third Ward. Endlessly, different tribes appeared, signified by different brilliant color schemes coming down the street; one of these, the Comanche Hunters, had come all the way from the Lower Ninth Ward to uptown for the holiday. Eventually the center of attention shifted from Simon Bolivar to the Second and Dryades area around the Sportsman’s Lounge and Handa Wanda, which had opened for the occasion, selling food and beverage and restroom access, the latter of which was free for those who had purchased food or drink. In that area, I ran into the Golden Eagles, led by Big Chief Lawrence Boudreaux, undoubtedly a relative of the late Monk Boudreaux. The Golden Eagles had also made recordings, and this was the gang for which Joe Maize and Edward Jackson of the TBC Brass Band were playing drums.
When gangs approach each other, there is a ritual protocol by which they confront each other. Gangs send out ahead of themselves men called “spy boys” whose job is to report to the chief when they see another gang approaching. In the old days, the approaching confrontation could mean war, but nowadays, the chiefs will brag and boast at each other, and then they will dance-battle. Dance, boast and beautiful suits are today the way that Indians win or lose in battle. “I run through water and swim through mud,” bragged one big chief as he was confronting another on Dryades. Another said, “You’re beautiful, that I can’t deny, but everybody behind you gonna die.” In the old days, that might not have been an idle threat; today it is just part of the tradition. All the same, there are a lot of Black New Orleanians who do not like the Indians; some recall hearing of violent confrontations and deaths, or even witnessing them. Even today, they are not to be taken lightly; if they tell you to get out of the way, you should. This year, a big chief explained to a tourist “We don’t want you to get hit accidentally as we go into the hole,” the “hole” being a clearing amongst the crowd of onlookers.
I could have stayed out there all day until evening, and most years I would have. But my friends in the TBC Brass Band had a show at a house remarkably close to where I had parked on Simon Bolivar, and as the time approached for their show, I began to walk back up to the location. I was thoroughly tired, but in a pleasant sort of way.
Growing up, my family used to meet in October for family reunions in Jackson, Mississippi. It was the “big city” in Mississippi; it had a zoo, malls, a large football stadium, a downtown with reasonably tall buildings, and a number of hotels and restaurants. There was also a large reservoir out to the northeast of town that provided a fair amount of recreation opportunities. But if we thought of Jackson as the “big city,” one thing we never thought of it as was hip. But that began changing over the years, and recently the hipness has been growing ever more rapidly. I discovered that a few weeks ago when I decided to stop at a new coffee bar called Il Lupo while on my way from Monroe to Memphis. I could not even place the location of this new coffee bar, which seemed to be located about where the old School for the Deaf and School for the Blind campuses were. I found that the area had in fact been turned into a mixed-use development called The District, which looked like something straight out of Austin, Texas. A number of apartments, with retail shops on the ground floor sat across a park-like courtyard from an upscale burger restaurant called Fine and Dandy, and another retail building which included something called Cultivation Food Hall, inside of which was the coffee bar.
Cultivation Food Hall, a bright and attractive space, is owned by the same firm that redeveloped the St. Roch Market in New Orleans as a food hall, and features a broad array of different food options. Although I went inside looking for the coffee bar, I soon came upon a gelato stand at Whisk Creperie as well, so I ended up going there first. Then I walked next door to Il Lupo to get a pour-over coffee, which was quite good. There’s no better preparation method if you want to enjoy the full flavor profile of high-quality coffee beans and coffee roasts. Had I not already eaten, there were other attractive food stalls in the hall, including one that was selling authentic Italian-style pizzas, and another that seemed to specialize in breakfast.
The District is currently not easy to get to from I-55, but it is certainly worth paying a visit to.
Fife and drum music was once found in Black communities throughout the South, but by 1970, it was found only in Mississippi, Georgia and Tennessee, and by 1981, only in several Mississippi counties. With the recent retirement of Calvin Hurt of Panola County from playing,the Hurt Family Band seems to be a thing of the past, and there is really now only one Black fife and drum picnic in the United States, the GOAT Picnic sponsored by Sharde Thomas and the Rising Stars Fife and Drum Band, which nowadays takes place in Coldwater, Mississippi, after many years at Otha Turner’s farm near Gravel Springs.
This year, on Saturday, the event was hampered to some extent by storms and lightning, but there was enough breaks in the rain that the performers were able to come on stage, and there was a decent crowd outside the Northwest Shrine Club in Coldwater, which was the site of the festival this year. The evening opened with female blues singer Andrea Staten, who covered classic songs by Senatobia artist Jessie Mae Hemphill and longtime Como resident Mississippi Fred McDowell. She was followed by R. L. Boyce, who performed with an Australian blues musician named Dom Turner, who was visiting Mississippi,and with Kesha Burton from Brownsville, Tennessee on drums. Afterwards, the band 78 from Memphis came up to play a mix of originals and Hill Country standards.
Between the bands, Sharde Thomas brought out her Rising Stars Fife and Drum Band, and they marched through the crowd with fife and drum, attracting a group of dancers behind them. The second time the Rising Stars played, they marched onto the stage and were joined by Luther Dickinson of the North Mississippi Allstars. That impromptu jam session was memorable indeed.
Unfortunately at that point, the thunder and lightning that had been visible to the southwest started approaching nearer to the festival grounds. With bad weather eminent, and having to drive back to Brownsville and then Memphis, I left the event early.
Home Place Pastures was originally founded in 1869 or 1871, depending on the source, as a cotton plantation in the wilderness east of the railroad town of Como, Mississippi. It has belonged to several successive generations of the Bartlett family, with the most recent owners having decided to convert it from traditional agriculture to sustainable and organic beef, pork and lamb. The decision was an inspired one, and more and more restaurant menus in our region bear the legend “We proudly serve Home Place Pastures pork.” In addition to pasture-raised livestock, the Home Place has also served as a wedding venue at times. But once a year, it also becomes home to one of the Hill Country’s most important food and blues events, the Hill Country Boucherie and Blues Picnic.
The French word “boucherie” literally means a butcher’s shop, but the Hill Country Boucherie is actually a five-course meal prepared by nationally-renowned chefs. This year, items from 25 of the South’s best restaurants were available, and many people chose to camp on the grounds for the whole weekend. There was also a rock and hip-hop music festival on Friday night called Muscle Fest, which included the groundbreaking Memphis hip-hop artist Cities Aviv.
Nevertheless, for lovers of the Hill Country Blues, it is the blues picnic after the boucherie that is the main attraction. The Home Place Pastures is actually the perfect location for blues music, with a large pavilion suited to the purpose, and a retrofitted school bus with its front wall cut away to convert it into a movable stage. Fans have to sit on bales of hay, but that is half the fun, and the kids love playing on the larger haystacks that separate the fans from the artists-only area backstage.
For those who didn’t buy tickets to the boucherie, the Blues Picnic always has excellent pulled pork, and this year was no exception, except that they also had delicious brisket sandwiches, provided by Smoke Shop BBQ in Oxford.
As for the music, the evening began with the Como Mamas, singing a capella, but their voices were so strong that they easily carried the crowd. They were soon followed by R. L. Boyce, the elder statesman of Hill Country blues, who had just celebrated a birthday a few days before. Boyce, who often improvises lyrics as he goes, sang that he had said he wasn’t going to sing anymore, but evidently had changed his mind. His slow and languid “Jesus Is Going To Meet Me By The River Jordan” is a study in discipline, a humid aural landscape based on the plagal cadence at the end of hymns, a fitting soundtrack to sweltering summer days, kids playing on haystacks, or slow-moving creeks and bayous in the late afternoons. As his fellow musicians often attempt to pick up its pace, Boyce calmly but firmly re-establishes the slow tempo he demands. It is a sound unlike any other in the region.
Kenny Brown is another matter altogether, a disciple of both Mississippi Joe Callicott and R. L. Burnside, who picked up the electrified sound of the latter man’s last stylistic phase. Hill Country blues amplified and electrified becomes a kind of rock and roll, and Brown, along with compatriot Cedric Burnside, are the two best exponents of this style and sound, which has a large following in and around the Oxford area.
The Home Place Band, AKA the Como-Tions, is Marshall Bartlett’s own band. They generally make an appearance at each year’s boucherie, and occasionally at the GOAT Picnic sponsored by Sharde Thomas’ Rising Stars Fife and Drum Band. Although music is more a fun hobby than a vocation for them, they are actually quite good, and their “Hog Farmin’ Daddy” is a hilarious song that somewhat describes what Home Place Pastures is all about.
Sharde Thomas and the Rising Stars Fife and Drum Band were not on the published schedule, but nonetheless made a welcome appearance. Black fife and drum music is perhaps the earliest secular Black music in the Hill Country, and simply the right thing for a moonlight picnic near Como. The rhythms and polyrhythms demand action, and people get up to parade and dance and second-line around the grounds.
The headline performer of the evening was the Rev. John Wilkins, son of the late Robert Wilkins, of “Prodigal Son” fame. John is the pastor of Hunters Chapel Missionary Baptist Church, not far from the Home Place, and a major gospel music star in his own right. Playing a music that differs little from traditional Hill Country blues except for the lyrics has given Wilkins a forum that few other gospel artists could attain, for he plays many nights a year at festivals and even night clubs where he is often the only gospel act. Yet he never compromises his beliefs, or sings a secular song. One can only imagine how many blues fans, perhaps burdened with troubles or sorrows, have been comforted and perhaps encouraged by something the Rev. John Wilkins sang or said at precisely the right time. After reminding us that when God says we have to move, we have to move, he then reminded us that “You can’t hurry God” but He’s “right on time.” There was a final country band scheduled to go on stage after Wilkins, but there was really no better message to carry away from the Hill Country boucherie and blues picnic. God is always right on time.
Last year, the North Mississippi Hill Country Picnic took a one-year hiatus, but most years, in June, a large two-day picnic is held at Betty Davis’ Ponderosa in Waterford, Mississippi to celebrate the past and current legends of the Hill Country style of blues.
Founded by Hill Country bluesman Kenny Brown, the event features performances from people like Duwayne, Garry and Joseph Burnside, Robert Kimbrough, Sharde Thomas and the Rising Star Fife and Drum Band and the Eric Deaton Trio. The weather is usually hot, but this year a fairly large crowd came out to enjoy the performers.
As the afternoon progressed however, dark clouds developed, and soon a fairly steady rain began over the festival grounds. As there was no shelter outside of the VIP areas, I decided it was time to go, as I didn’t have my camera bag, and my Nikon D3200 didn’t need to get exposed to water. I decided to head South to Oxford and get something to eat.
Bentonia, Mississippi is not a big town. It’s not even the biggest town in Yazoo County, yet the unique blues style of musicians from this town has made waves all over the world. Henry Stuckey, a blues guitarist who never made a recording, is said to be the founder of the unique Bentonia style of blues, which scholars say is based on a minor chord tuning, and which seems to have more in common with Hill Country styles further to the north. The Bentonia Blues Festival, which is the oldest continuing blues festival in Mississippi, celebrated its 47th year this year, and dedicated this year’s event to the memory of Henry Stuckey, who was pictured on the official poster and festival T-shirts.
In addition to being Mississippi’s oldest blues festival, the Bentonia festival is also one of the longest, with events beginning on Monday at the Blue Front Cafe, and continuing each night until the actual festival day on the following Saturday. At one time, the festival itself was held in front of the cafe, but it has long outgrown that, having moved to ample space on a Black baseball field north of town.
The Friday night event at the Blue Front seems to be showing signs of outgrowing that location as well. When we arrived at the cafe, there were literally hundreds of people out in front, as well as 60 or so inside the tiny venue where someone was performing. R. L. Boyce, who had ridden down with us was scheduled to perform fairly quickly, so there was no time to go and grab dinner. But there were a number of food vendors stretched out along Railroad Avenue, so getting a bite was not a big problem.
Jimmy Duck Holmes, the owner of the Blue Front and living legend of the Bentonia blues, went on stage at 8 PM, and performed for nearly an hour. His style is to play a nearly-continuous medley of various blues lyrics from the tradition, rather than playing individual songs, and he is a consummate showman, joking and interacting with his audience. That is, in fact, one of the great things about the Blue Front, as its small size and lack of a raised stage creates an intimacy that is lost on the big outdoor festival stage.
Holmes was followed by R. L. Boyce, and indeed, the two men’s style resemble each other to a large extent, despite the distance between Como and Bentonia. Boyce performed a number of his signature tunes, and then he and Holmes played together. Eventually they were joined by a female blues singer known as Lady Australia, who, I was told, is a sister of the late Fat Possum artist Paul “Wine”Jones.
Eventually things began to wind down, and we headed to our hotel rooms in Yazoo City for the night.
San Francisco-based David Katznelson is the owner of Birdman Records, a really cool group of blues and roots labels, which includes subsidiary labels Birdmanophone and Sutro Park, but he once lived in Taylor, Mississippi, seven miles from the Ole Miss campus. Jane Rule, who lives in a big and historic home in Taylor, was mayor of Taylor for 12 years, and just about every year, on his birthday, she throws David Katznelson a party. But not just any kind of party- a veritable blues festival, with artists like Lightnin Malcolm, R. L. Boyce, Sharde Thomas and the Rising Star Fife and Drum Band and Luther Dickinson.
The last time R. L. Boyce played at the party in Taylor, it was marred by endless monsoon rains, and had to be moved onto Ms. Rule’s back porch. This year, although hot, the weather was perfect for a festival, and a much larger crowd turned out. There were barbecued ribs, and chicken, and grilled corn, as well as two cakes, one yellow and one chocolate. When we arrived, Ms. Rule was giving rides to the little kids on her golf cart, and Lightnin Malcolm and R. L. Boyce were on stage.
Later in the day, there was a performance of Sharde Thomas and the Rising Star Fife and Drum band, one of the last surviving fife and drum bands in America, and their performance brought a crowd of dancers out to move to the grooves, with the guest of honor, Mr. Katznelson, at the front.
The fife and drum band was followed by Luther Dickinson, a member of the North Mississippi All Stars and son of the late Memphis musician and producer Jim Dickinson. It was Luther who produced R. L. Boyce’s first album Ain’t The Man’s Alright for Katznelson’s Sutro Park label, and he gave an enthusiastic performance on this sunny Sunday afternoon.
After some remarks in honor of the birthday guest, the party got back underway, but much of the food and drink was gone, and the sun was beginning to go down. Sherena Boyce and I decided to leave and head back toward Senatobia. Taylor Grocery restaurant was open, but we were so full from the good food at the party that we didn’t think about eating any more food. At Oxford, we stopped for a frozen yogurt on the square at Ya Ya’s, and then headed on back home.
From Drew, I decided to head across to Merigold. I had wanted to see Po Monkey’s juke joint for the first time in real life, and possibly eat at Crawdad’s. I was disappointed on both fronts, as Crawdad’s is not open on Sundays, and Po Monkey’s proved to have been stripped bare. As I told someone later, it would have been better not to have seen it at all than to have seen it like it is now.
I had heard after Willie “Po Monkey” Seaberry’s death that the family had decided to have an auction, but I had no idea of the extent. Everything both inside and outside was stripped away and sold, even the signs on the outside. The historic marker seems ironic in front of a boarded-up and stripped building, with draconian “No Trespassing” signs everywhere. The only decorations at the building seem to be votive offerings that fans have left behind, as a sort of commemorative shrine.
I have been told that “it’s complicated,” but given the power of organizations like the Blues Foundation and/or Delta State University, I cannot understand why this most important place could not have been saved. Even now, the building should be restored and redecorated, even if like Club Ebony in Indianola, it is only open at certain special times for special concerts or events. There are people worldwide who would be willing to donate to such an effort. It only needs an organized and co-ordinated effort to make it happen.
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.