The late Junior Kimbrough on occasions called his music Cotton Patch Soul Blues, and after his passing, his legacy was carried on by three of his sons, Robert, Kinney and the late David Kimbrough III, who passed away on the Fourth of July in 2019. These men built on the foundation of their father, adding more soul influences into the music, and becoming blues stars in their own right. On July 31st, 2021, one of David’s daughters and his longtime friend Sherena Boyce threw an event at the Pavilion Building in Holly Springs, Mississippi to celebrate his legacy and achievements as a blues musician.
Only two solo albums were released by David Kimbrough during his lifetime; his first, I Got The Dog In Me was released in 1994 by the same Fat Possum record label that his dad had recorded for; the record was credited to David Malone rather than David Kimbrough. A second album was completed for Peter Redvers-Lee’s short-lived Midnight Creeper label out of Oxford, but has yet to see release. Instead, Scott Hatch released an album on David called Shell Shocked, which came out on his Lucky 13 imprint. David also appeared with his brothers on a Junior Kimbrough tribute album released in limited quantity by Justin Showah on his Hill Country Records imprint.
On this hot Saturday night, David’s legacy was recalled with a performance by the Eric Deaton Trio, featuring Kinney Kimbrough, David’s brother. A DJ, Mississippi Stud, performed between band sets, and Deaton’s trio was followed by David’s best friend Duwayne Burnside, who had played on the I Got The Dog In Me album. Although Duwayne performed a lot of his usual songs, he also closed out with a rousing version of “I Got The Dog In Me,” the second of the night. It was a fitting way to end the tribute.
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.
Holly Springs, Mississippi is a town in the center of the region of Mississippi known as the Hill Country, a place known for both Hill Country blues and the unique variant of it which the Kimbrough family calls Cotton Patch Soul Blues, after a community called Cotton Patch which existed near the intersection of Highway 72 and Highway 7 in Benton County during the 1960’s. This crossroads, between Michigan City and Lamar, was the scene of at least one or more juke joints, where rockabilly legend Charlie Feathers and blues legend Junior Kimbrough played together at one time. The extent of their collaboration must be left to conjecture, but it is undoubtedly true that Feathers recommended the man he called “Junior Kimball” to Tom Phillips, the owner of Select-O-Hits and Philwood Records in Memphis, and the small label recorded a 45 single of Kimbrough. Feathers also told an interviewer that Junior Kimbrough was “the beginning and end of all music,” a quote that now graces Junior’s headstone. Of such a legacy is greatness built, and that legacy is now celebrated annually at the Kimbrough Cotton Patch Soul Blues Festival held at The Hut in Holly Springs.
The Friday night opening of the festival is a time for the students in the daytime workshops to show off what they learned, playing with the mentors who were teaching them during the day. This year, the mentors included drummer J. J. Wilburn, Robert Kimbrough and Duwayne Burnside, but Garry Burnside and David Kimbrough also performed.
The venue was a perfect one for the occasion, as The Hut, a former American Legion building on Valley Avenue in Holly Springs, has the ambiance of an old juke joint, made all the more by the smell of barbecue being smoked outside, and the crowds of people gathered around cars in the gathering dusk. Inside, the small room was packed from one end to the other, with barely enough room for people to dance. Yet they found a way.
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.
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.
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.
It was a rainy Monday night, and a work night at that, and I was tired and not feeling like doing much of anything. But my friend texted me and said that her dad, R. L. Boyce, had been asked to play a yard party in Taylor, Mississippi with Luther Dickinson, and that we needed to take him there. So we picked R. L. up in Como and made our way through some pretty significant storms to Oxford, and then out along the Old Taylor Road heading to Taylor. The site for the porch party happened to be a beautiful, rambling old house belonging to Jane Rule Burdine, a photographer originally from the Delta who was also a former mayor of Taylor. The house was full of books, about every conceivable Southern subject. There were many books about Mississippi, and many books about William Faulkner, who of course is something of a big deal to Lafayette Countians. Although the reason for the occasion was never stated, the party featured a number of musicians, writers and film makers, including blues/indie musicians Lightnin Malcolm and Luther Dickinson, and Birdman Records owner David Katznelson. Although rain precluded any kind of playing on the front porch, the house also had a back porch which was fully enclosed, and there Lightnin Malcolm, Luther Dickinson and R. L. Boyce set up to begin playing. The small crowd gathered on the back porch to hear a couple of hours of the best Hill Country blues, while thunder and lightning raged outside. My cousin Al Morse, who lives in Taylor came over to hear the musicians, and to my great surprise, my other cousin Reilly Morse, her dad, also showed up, as he had been visiting in Oxford and Taylor. One of R.L.’s friends had come from Como to join us, and the party showed no signs of winding down at midnight, so my friend and I decided to leave and go home, since both of us had to be at work early the next day. All the same, it was a whole lot of fun on a Monday evening.
Once in a while, a local music show gets announced which I just cannot miss, and the announcement of a Don Bryant show with soul revivalists The Bo-Keys was just such a show. Better yet, it was being held at Loflin Yard, one of my favorite Memphis venues.
Don Bryant is one of Memphis’ forgotten soul geniuses. Originally a member of Willie Mitchell’s group The Four Kings, he recorded a number of soul sides for Joe Coughi’s Hi label during the 1960’s, but ended up becoming better known as a staff writer for the label, with “I Can’t Stand The Rain”, recorded by Ann Peebles in 1973 becoming his biggest hit. Bryant married Peebles in 1974, and soon disappeared from popular music. There were rumors that both Bryant and Peebles had transitioned to gospel music, and a few gospel releases appeared under Bryant’s name. Peebles would occasionally return to blues and soul music, but Bryant did not, at least until embarking on the recording of a new album “Don’t Give Up On Love” for the Fat Possum label out of Oxford.
Friday night’s show at Loflin Yard was primarily a showcase of the new songs, backed by Scott Bomar’s Bo-Keys, the highlight of which was a funky gospel tune called “How Do I Get There?” which is the single from the forth-coming album. Despite the drizzly weather, the venue was fairly crowded, and Bryant, at 74 years of age, was still in great form and voice, a consummate performer. And thanks to the Bo-Keys ,featuring such Memphis legends as drummer Howard Grimes and keyboardist Archie Turner, the backing sound was authentic, with live horns and real instruments, and no modern anachronisms. It was a once-in-a-lifetime opportunity to hear authentic Memphis soul music as it was intended to be heard.
When a young Lebanese man from Port Arthur, Texas named Clifford Antone got kicked out (or perhaps dropped out, depending on who you ask) of the University of Texas after a marijuana arrest in 1970, it seemed like an end to a promising career. The Antone family were prominent businessmen in Houston, owning an import firm and a chain of sandwich shops that specialized in po-boys. Other young men might have fallen into a depression, or started on a downward spiral into harder drugs and ruin, but Clifford Antone decided to open a night club. Yet when Antone’s opened in 1975 on a then-moribund East Sixth Street in downtown Austin, it was hardly the kind of club that people would have expected success from, for it was a blues club, and the blues revival had fizzled out by the end of the 1960’s. Nor was Austin well-known for blues, despite a Texas blues legacy that was primarily centered around Houston. But all of the best names in blues from around the country played at Antone’s, and by the time of Clifford Antone’s death in 2006, his empire had added a record store and a record label as well. The record store belongs to other owners now, and the record label was sold to Warner Brothers after a bankruptcy, but the club, despite occasional closures and numerous relocations, remains the absolute best blues club in Texas, and probably one of the best blues clubs in the world. So it was quite an honor for Hill Country bluesman R. L. Boyce to be invited to play there, along with Marshall County bluesman Lightnin’ Malcolm, who has increased in popularity over the last several years. The club was packed to overflowing, despite the cold, rainy weather, and the crowd enjoyed every minute of the proceedings. The drum chair was held by the late T-Model Ford’s grandson Stud Ford, and R. L.’s daughter Sherena provided the juke joint dancing and played the tambourine. Seen in the crowd was noted music journalist Matt Sonzala. It was a great night indeed.
63-year-old Robert Finley is from Bernice, Louisiana, near Ruston, and is well-known to the people in the Monroe, Louisiana area where he often performs. But he never made a record until his recent debut Age Don’t Mean A Thing on the Big Legal Mess subsidiary of Fat Possum Records out of Oxford. The Fat Possum imprint started with blues artists, and slowly seems to be heading back in that direction, having signed the 83-year-old Leo Bud Welch a couple of years ago for his debut album, and finding a similar artist in Finley.
This year’s King Biscuit Blues Festival found Robert Finley performing on Cherry Street in downtown Helena and signing copies of his new debut album, which I highly recommend.