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
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.
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.
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.
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.
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.
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.
Duwayne Burnside, brother of Garry and another son of the late R. L. Burnside, is possibly the best-known performer in the Hill Country blues style today. Although he has made few recordings, fans flock to his infrequent live appearances, including an annual performance at the Juke Joint Festival each April. Like his brother Garry, Duwayne plays in a style that incorporates the Hill Country blues legacy, as well as the influences of more modern bluesmen, such as B. B. King, Albert King, and even Stevie Ray Vaughan.
The late Jim Dickinson was passionate about Memphis’ Beale Street. He carried on a running feud in song with the Memphis Housing Authority and Memphis’ city government over its rough treatment of Beale Street during so-called “urban renewal”, and it was almost certainly at Dickinson’s suggestion that Alex Chilton’s early working title for Big Star’s third album was “Beale Street Green”, a reference to the green fields that surrounded the entertainment district once the surrounding neighborhoods had been destroyed (the poetic title would later resurface as a movement of instrumental music on one of Dickinson’s Delta Experimental Projects). So when the Orpheum Theatre commissioned Dickinson to put together an album as a fund-raiser, he responded with a recorded paean to his beloved street, now endangered by civic ineptitude, an album called Beale Street Saturday Night. The album was somewhat bizarre, consisting of two unbanded sides that played continuously. Songs and interview clips faded seamlessly into one another, more like a radio documentary than an album. For years, the album was a highly-sought collector’s item, but it has now been lovingly reissued by the Omnivore label, and to celebrate that fact, Shangri-La Records in Midtown sponsored a performance of Sons of Mudboy, that most elusive group of Memphis musicians and folklorists, centered around Cody and Luther Dickinson and Steve Selvidge, along with Jimmy Crosthwaite of Mudboy and the Neutrons, the supergroup that started it all. Hearing a Sons of Mudboy concert is like taking a crash musicology course in Memphis music. First, there are no genre barriers, as the group works seamlessly from blues, to rock, to bluegrass, folk or gospel. Some of the songs are originals, or at least songs that were original to Jim Dickinson, Sid Selvedge or Lee Baker of Mudboy and the Neutrons, while many others are covers, which range from Furry Lewis to Sleepy John Estes to Mississippi Fred McDowell. This performance was somewhat unusual in that it opened with Jim Dickinson’s “Power To The People” which is usually a closer, and so it closed with the Hill Country blues standard “When I Lay My Burden Down”, where they were joined by the great Sharde Thomas on the cane fife. A crowd of about 100 people enjoyed the unexpected sunny weather (storms had been predicted) and pleasant temperatures, the perfect setting for a great afternoon of Memphis music.
Buy Jim Dickinson’s Beale Street Saturday Night here if your local store doesn’t stock it:
Keep Up With Sons of Mudboy here:
Record Store Day is a worldwide holiday held in April to call attention to an endangered species, the neighborhood record store. Record companies release all kinds of cool limited-edition vinyl LP’s and singles, and local stores often sponsor live performances on the day, and with vinyl sales picking up all the time, the future of independent stores doesn’t seem quite as bleak as it did a few years ago. In Memphis, three stores were official Record Store Day participants, and the first one I visited was Goner Records in the hip Cooper-Young neighborhood. Goner is a record label as well as a store, and not surprisingly they made a big deal of the day, with live bands such as the Blackberries out under the gazebo at Cooper and Young, and a store literally full of customers.
Things seemed more subdued at Shangri-La Records on Madison Avenue, although they had opened an hour earlier than Goner. They had decided to have their live music the next day on Sunday, when they were having Son of Mudboy play for an album release party for the reissue of Jim Dickinson’s legendary Beale Street Saturday Night compilation, but there were still a number of crate diggers enjoying their Saturday afternoon by browsing.
The third and final store participating in Record Store Day was Memphis Music, the blues-oriented record store on Beale Street, where the Memphis Music Commission had decided to sponsor live performances. Unfortunately, things were quite hectic on Beale, with a Corvette competition, and the annual Africa In April festival at Church Park, but small crowds gathered to enjoy Memphis singer-songwriter Michael Joyner and the a cappella vocal group Artistik Approach. It needs to also be pointed out that Memphis Music has greatly increased its vinyl selection over the last year or so, and is not just a store for tourists, but is worth a visit from local music lovers as well. It’s selection of import CD”s, particularly those with a Memphis connection, is also worth browsing.
2152 Young Av
Memphis, TN 38104
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