Back in 1979, I had attended Shadowlawn Middle School in a rural area along Shadowlawn Road north of Ellendale. I was in the sixth grade then, and remember that I had to get up really early to catch the bus to ride out there, and my parents didn’t like it. I don’t know where I had heard the rumor that our school had once been a high school, but I recall asking one of our teachers about it, and she had stated that Shadowlawn had never been a high school. Back then, I never found any evidence to the contrary, but I do remember that the slogan “Soul Power” was spray-painted on one of the yellow road signs along Shadowlawn Road, and that there was still a grocery store open in those days, but we students were forbidden to go over there.
I learned the truth about Shadowlawn many years later, as a high school student at Bartlett High School in 1985 or 1986. Our school library and the main office had many of the old Panther Parade yearbooks, and when I looked at one from 1971, I noticed that a majority of the Black seniors in the book were said to have “transferred from Shadowlawn.” Furthermore, each student was allowed to list all of their activities, including those at Shadowlawn. I learned that the school had had a student newspaper, a band, a choir, and social clubs called the Gracious Ladies, the Gentlemen’s Club and the Elite Club. They had had football, basketball, baseball and track, a competitive current events quiz team and a drill team. There was also in that yearbook a picture of the straight A students from Shadowlawn, and a reference to “two completely different schools becoming one.” I decided that the history of this Black high school near Bartlett that had never produced a graduating class should be researched and documented, and I set out to do that. Through my friends in Ellendale and Oak Grove, I had no problem in finding and interviewing former students, and since I was required to do a senior term paper in English class, I decided to do the history of Shadowlawn High School as my topic. Unfortunately, the English teacher, Mrs. Reed denied permission for the topic, and I had to write about something else, which proved to be the Memphis Blues Brass Band, but I continued the research on Shadowlawn, interviewing former students and teachers, and desperately looking for memorabilia without really ever finding any. Ultimately I never wrote the paper/article/book, as I could never find any relevant photographs, and I felt that the story without pictures would not be nearly as compelling.
When I heard late last year that a Shadowlawn Alumni Association had been formed, and that a reunion had been held, I was amazed, and a little saddened that I hadn’t heard about it and hadn’t attended it. So when I discovered that a historic marker would be unveiled in front of the school on December 2, which also happened to be my birthday, I was determined to be present. Although my research had nothing to do with what was occurring, I felt it was something of a validation of what I had believed in back in 1985, and just a little comfort (too little in my opinion) for those seniors in 1971 who had been denied the right to graduate from their high school. On this cold Saturday morning, as I heard these men and women sing their alma mater, which choir and band director Lonnie Neely had written to the tune of Henry Mancini’s “Charade”, I felt the thrill of seeing an injustice partially put to rights. Thus inspired, my research into Shadowlawn and the neighborhoods around it continues.
Also thrilling to me was the opportunity to meet the Rev. Arthur Becton, a descendant of Thomas and Mittie Becton, who donated the land on which Shadowlawn School was built. Rev. Becton had known the Bartlett-area blues musician Lum Guffin personally, and was familiar with the fife-and-drum tradition in the area. He explained to me that in addition to the Independent Order of Pall Bearers and Guffin’s United Sons and Daughters of Zion, that there had also been another organization with a fife-and-drum band called the Social Benevolent Society, which used to hold picnics at a place called Early Brown Grove, which he said was near the corner of present-day Kirby-Whitten Parkway and Egypt-Central Road. He also told me that in that day when Blacks in the area were primarily without telephones, that the bass drum was beaten to inform people that someone in the club had died, or that someone was ill and needed visiting. Of the annual Brunswick picnic, he described how the picnic grounds were strung with strands of white Christmas lights so that the party could go on long after dark. I hope to do a formal interview with Rev. Becton in the next few weeks. Altogether it was a wonderful and uplifting morning.
I grew up in Bartlett, and went to Bartlett High School. A lot of my friends lived in the Black community along Old Brownsville Road, and I knew some people that lived along the road whose name was Guffin. But somehow, I had never heard of Lum Guffin, and the sadder thing was that he was living during those warm afternoons when I used to walk along Old Brownsville Road visiting friends. I wouldn’t encounter Lum Guffin until much later, after his death in 1993, when I saw a download link for his album Walking Victrola in an online blog, noticed his last name, and wondered if he might have been from Bartlett. I downloaded the album and enjoyed it, did some reading that revealed that Lum Guffin had played the Memphis Country Blues Festival at the Overton Park Shell in 1969, and then had pretty much moved on to other things. But later, in 2015, I began to do some research into Black fife-and-drum music, specifically trying to determine if it had ever occurred in West Tennessee as it had in North Mississippi. For a number of reasons, I considered Fayette County to be the most likely location for fife-and-drum music in Tennessee. Overwhelmingly rural, it has historically been the county with the largest Black majority in the state, and it is directly north of Marshall County, Mississippi, one of the most important blues counties in America. But my research led in a different direction, and to a major shock- there had indeed been a fife and drum band in West Tennessee, one called the United Sons and Daughters of Zion Fife and Drum Band Number 9, and it was located in Bartlett, Tennessee. Furthermore, it had been recorded, by the Swedish blues writer and researcher Bengt Olsson. A check of the liner notes of the On The Road Again compilation that contained the track mentioned that the leader and fife player of the band was none other than Lum Guffin, and he was quoted regarding other chapters of the United Sons and Daughters of Zion having fife-and-drum bands, and about the friendly competition between various fife-and-drum bands at the annual Brunswick Picnic in August. Lum later recorded for Italian musicologist Gianni Marcucci in his front yard in 1978. The recordings were issued in part on the Albatros label in 1979, and more or less completely on the excellent Blues at Home Volume 13 on Marcucci’s own Mbiraphon label.
Years have passed since the summers of 1984 and 1985 when I used to hang out along Old Brownsville Road, and time has not been kind to the Black community that once was there. Most of the small homes and farms which used to line the road have been replaced by suburban tract subdivisions, but I did notice that one of the new subdivisions had a road named Guffin Road. I didn’t really expect to find much, for the area had been so built up, but suddenly, in the middle of an otherwise-ordinary suburban subdivision was a stand of old forest and an old, historic looking home. It was weather-beaten and ancient, and there was no historic marker, but I could not help but imagine that it had been preserved for a reason. Could it have been the homestead of Columbus “Lum” Guffin? I took a few pictures of that house on that pleasant sunny Sunday in July, and posted them on Facebook, and within a day, I learned that the house was indeed the old home of Lum Guffin. I heard from several of Guffin’s descendants over the next few weeks, and learned that many of them are active in gospel music. My next step is to try to set up interviews with many of the remaining members of Guffin’s family in the hopes of making his story fully known.