On my previous birthday weekends in New Orleans, the TBC Brass Band was usually playing the Dumaine Street Gang second-line, but that didn’t happen this year, and instead Sunday was a day of gigs. It started with an outdoor wedding in front of a Ninth Ward church where the couple was paraded across the street to the house they were going to live in. That was followed by some sort of party at a reception hall in Metairie, and then two TBC gigs, the earlier of which was at Kermit’s Mother-in-Law Lounge in Treme.
Kermit’s is always a fun place to catch TBC, because they play on the outdoor patio, which has a real Caribbean vibe to it, complete with banana trees. This year a fire pit had been added, which provided extra warmth, as the winter evenings can get somewhat chilly even in New Orleans. Kermit had a funk band playing inside this year when we arrived, but they ended their set soon afterwards and everyone moved out to the patio. Although the To Be Continued Brass Band plays in a lot of places in the city, at Kermit’s there is always a great interaction between the band and their fans, and plenty of footwork in front of the stage.
The later set was down the street at Derrick Tapp’s Treme Hideaway, which I had usually viewed as a rap and R & B club. It has a sort of patio or courtyard as well, but at the Hideaway, bands play indoors. By the time TBC started playing their late set there, I was thoroughly exhausted and fairly hungry. And in post-COVID New Orleans, it doesn’t do to be hungry late at night, as there is nothing open. Everything closes early. I was finally able to pick up some breakfast at Coffee And in Marrero, one of the few places that remains open 24 hours a day.
My friend loves the Bar-Kays, so when she heard that their former lead singer Larry Dodson would be performing in Oxford, Mississippi, she wanted to go, and since my homeboy Danny Peterson plays drums for Dodson, I was able to get us tickets. As it turned out, the performance was no ordinary one, but rather a tremendous birthday celebration for a man named Vic Martin.
I had never heard of Martin, but saw a clue to his importance in that the event was being held in something called the Martin Center, which was out on a rural road south of Oxford off of Highway 7. Apparently Vic Martin is a prominent and important Black businessman in Oxford; the Martin Center is a large event complex behind what presumably is his house. He owns a construction and contracting firm, a catering firm, and an entertainment promotion business, and on this particular occasion, the room was filled to overflowing with guests at tables with white tablecloths, plenty of food and beverages. Several bands/acts performed including Bird Williams and Chic Rogers, and a resolution from Oxford Mayor Ryan Tannehill was read in Mr. Martin’s honor.
Later, Larry Dodson came up. I had warned my friend that he might perform more of his solo songs than Bar-Kays material, but she was thrilled when Dodson in fact performed a lot of there classic Bar-Kays songs she knew. Unfortunately, it was extremely hot in the large event center, and by the end of the night, my homeboy Danny on the drums had stripped down to his white T-shirt because he was too hot in his dress clothes from playing.
Not only did my friend get to dance, but she also got to meet Chic Rogers, Larry Dodson and Bird Williams, and had a great time indeed.
Drum practice can be noisy, and in the early days of young people learning to play, whether snare drum or the set, parents demanded that they practice in the backyard, in the wood shed so as to not disturb the house. Over time, practicing became known as “hitting the woodshed” and eventually just “shedding.” Informal gatherings at which several drummers battled back and forth became known as “shed sessions” or “drum sheds.”
In the milieu of Black gospel music, where many musicians are largely self-taught, aside from possible mentoring by older musicians in the tradition, shed sessions gave young drummers an opportunity to practice in conjunction with other drummers and other musicians, and continue to be an important part of the way Black music styles are transmitted from older musicians to younger musicians outside of a formal classroom setting.
Sheds are also exciting, and a great deal of fun. Unfortunately, they are not generally advertised ahead of time, and often are spread only by word of mouth. Even if they are mentioned on social media, it is not always clear where they are being held. So when South Memphis’ K3 Studio Cafe announced something called the Start Playing Drum Shed on a Wednesday night, it was both exciting and somewhat unusual. With February 12 being a Wednesday night, and a cold, wet one at that, I was not sure just exactly how many people would attend.
To my shock, the tiny venue was filled within an hour of doors opening. There were four drumsets, and about three keyboards, and although I had come with the intent of watching and documenting with my phone, I ended up playing the Rhodes piano, and fortunately one of the drummers who was taking a break filmed while I played. That particular groove turned into a Prince-ish funk romp that I enjoyed immensely By that point we had three keyboard players, four drummers, two saxophonists and a bassist. I had supposed that this was the shed, but we soon learned that the actual shed would be after the workshop presented by Memphis drummer Chris Pat.
Chris has been impressing me for some time with his recorded solos on the Memphis Drum Shop channel. Although they are intended to sell drum sets or cymbals, they are well-composed musical solos in their own right and not just product demos. Pat is a versatile drummer who is at home in gospel or behind Christina Aguilera, and who has as good a sense of swing as any jazz drummer I ever heard. More impressively on this workshop occasion was his great advice to young drummers and his humility. He also played drums against three recorded tracks and was absolutely amazing.
At that point, it was 10 PM, and it was announced that the shed was going to begin in earnest. I had to work the next morning at 5 AM, so I was not able to stay. I suspect that it went on until the wee hours. Did I mention that there was also no admission charge?
With my birthday falling on Monday December 2, I decided to celebrate a day early by going to New Orleans for the Dumaine Street Gang second-line, since I knew that the To Be Continued Brass Band would be playing in it.
The TBC Brass Band, as it is usually called, is one of the bands that first attracted me to New Orleans’ street brass band culture, and is the band that most typifies the modern brass band sound and style. Although the band has a youthful, defiant hip-hop swagger, its music is firmly rooted in both the brass band tradition and the standard soul tunes of the Black community.
Waking up at 8 AM in Jackson, Mississippi, I had to stop for breakfast, which I did at Cultivation Food Hall, where I had chicken and waffles at a place called Fete au Fete, which I didn’t realize was a branch of a New Orleans restaurant chain. However the food was great, and with a cup of coffee from Il Lupo Coffee I got back on the road headed for New Orleans. Unfortunately, the parade was set to begin in the Treme neighborhood at noon, and I only made it across the causeway at 11:45, and by the time I made it to Treme and found a place to park (under the I-10 overpass on Claiborne), the parade was already underway. However the weather was a pleasant 70 degrees, and the sun was out, and as a result, crowds were everywhere. The club members and bands were just coming out of the Treme Community Center when I arrived, and although I would have liked to have grabbed a coffee at the Treme Coffeehouse before following the bands into the parade, I decided it was better not to be left behind.
As it turned out, TBC had not yet come out of the community center, and they were marching behind the Divine Ladies, a social aid and pleasure club that apparently parades with the Dumaine Street Gang every year. This year’s parade actually featured no less than five bands, and as we headed out Orleans Avenue, with the sun beaming, I felt the wave of exhilaration that I always feel when starting out on a second-line. At first there were fewer onlookers along the sidewalks, but eventually the crowds picked up, including those on horseback that always seem to appear at any downtown second-line. One difference with this particular second-line was that there were almost no route stops at all, and the bands and marchers had little time to rest. One exception was a brief stop along Broad Street, where a group of Mardi Gras Indians began setting up a chant “They got to sew, sew, sew” with tambourines, which Brenard “Bunny” Adams, the tuba player for TBC, ended up picking up, and soon the whole band was playing their brass band version of it. Not long afterward, the Divine Ladies instructed their members to move forward, and we were soon on the march again.
Walking down Esplanade, I noticed the ruins of Le Palm Ballroom, at which once I had seen TBC play at a funeral. Now the roof had caved in, and the building seemed destined for demolition. Heading up Claiborne Avenue, past Kermit’s Mother-in-Law Lounge, we came to St. Bernard Avenue and headed up it past Celebration Hall and the Autocrat Club, where a lot of motorcycle clubs had posted up with their bikes. The parade went as far as the Dollar General and T-Mobile stores, and then u-turned to head back down toward Treme, with TBC breaking into a joyful and upbeat song that I had heard them play before but which I didn’t know the name of.
However, I was filming video footage with my iPhone 7, and it soon ran out of battery life, so when the second-line started down the final push along Claiborne, I fell out of the line and went to my car, in order to begin charging the phone. I had thought that I could grab a coffee at Treme Coffeehouse, and meet up with Darren Towns, the bass drummer for TBC, but I was frustrated on both counts. About 5000 or so people were at the second-line, and the resulting gridlock and chaos made getting anywhere impossible. The police had the whole area around the community center and coffeehouse blocked off, and not only could I not get into the area, but Darren could not get out. The end result was that he could not go with me for my birthday dinner in New Orleans.
Instead, I headed across the river to Gretna to the Liberty Kitchen Steak and Chop House, which was one of the few steakhouses open in New Orleans on a Sunday afternoon. Darren and I had eaten at one of their sister restaurants in Metairie a few years ago; that location had closed, but we had been impressed with the food. I was impressed again on this particular evening; my filet mignon was delicious, as were the sides. The food was not cheap, but I have had inferior meals at higher prices, and the easy access and free parking were an added benefit.
After dinner, I wanted dessert, so I headed over to Freret Street to a place called Piccola Gelateria, where I had a peanut butter and fudge gelato in a cup, and by then, it was time to head back over to Kermit’s Mother-in-Law Lounge, where the TBC Brass Band was playing their weekly Sunday night gig.
The Mother-in-Law Lounge was founded by the late Ernie “K-Doe” Kador, who named the place for his biggest recorded hit ever, “Mother in Law.” After he passed away, his widow had kept it open until she also passed away. Kermit Ruffins, the world-famous trumpet player who is also well-regarded as a chef, had closed his jazz lounge in the Treme neighborhood, but when the Mother-In-Law Lounge closed, he acquired it, restored it and soon had it back open. There was already a significant crowd in and around the lounge when I got there, despite the fact that the live music had not yet started. Somewhat incongruously, the center of attraction was at first a DJ playing New Orleans rap and bounce. But it was the older, classic stuff and contributed to the feel-good vibe of the place, which was painted in vibrant colors and with numerous slogans and quotes from the late K-Doe.
Although I feared that the weather would turn colder, at least when I arrived, it was still fairly warm and pleasant out on the patio where the stage was located. The TBC members had largely stayed in the area, as they could not get out of the massive traffic jam that had accompanied the end of the second-line, and they soon began trickling into the club and setting things up on the patio. There was a large television screen outside with the Sunday night NFL game on, but most of the attention was focused on the stage once the To Be Continued Brass Band started playing. Ruffins’ love of marijuana is no secret, and when the TBC band played a new song about “getting so high,” Kermit suddenly appeared on the roof and shot off fireworks, to the thrill of the patio crowd. The band also broke out with a new song, “I Heard Ya Been Talking,” which is aimed at the Big 6 Brass Band, a newer band that has allegedly been talking smack against TBC. Such rivalries, which resemble rap group rivalries, are a usual thing in the New Orleans brass band culture.
As the night progressed, things got chillier on the patio, and TBC broke out with some smoother sounds, a pleasant reading of the Temptations’ “Just My Imagination” and Smokey Robinson’s “Quiet Storm.” Then they closed out, all too soon, with a funky version of “We Wish You A Merry Christmas” that seemed to owe something to the Jackson 5’s “The Love You Save.” It was a great way to end the evening.
But by now, it was fairly chilly indeed, and fog was developing. I met Darren Towns in Marrero, and we headed back over to the French Quarter in New Orleans to the Cafe du Monde for cafe au lait and beignets. In previous years, my move would have been to the Morning Call at the Casino in City Park, but the City of New Orleans had evicted Morning Call in favor of the Cafe du Monde, but the latter had decided to not be open 24 hours a day in City Park, and the location had already closed for the night. Fortunately, we were able to find a free parking place along Decatur Street, and we sat at the table enjoying our beignets and coffee. Bunny had called Darren from Frenchmen Street, but he didn’t come through where we were, and so when we left, we drove down Frenchmen Street to see if anything was going on, but there really wasn’t much of anything, and the fog and chill were in the air. Ultimately, we headed back across the bridge to Marrero. But it had been a great day to celebrate my birthday with my favorite brass band in New Orleans.
Sherena Boyce, daughter of the great Hill Country bluesman R. L. Boyce had told me that Deandre Walker and his band the Mississippi Boys were going to play Saturday night at a club called Como Catfish Bar & Grill in Como, so I made plans to join her and go to check them out. This was, so far as I knew, the first time for the relatively new restaurant to book live music, and my friend and I had intended to eat dinner there while enjoying the show. We soon found that we could not, because every table had been occupied by people that were there to see the show, and who would not be leaving anytime soon. So we decided we would have to grab dinner across the street at Windy City Grill and then come back.
What we didn’t know was that Windy City had booked Sean “Bad” Apple, a noted bluesman from Clarksdale, and was fairly crowded as well. However, we were able to get a table, and Sherena got a chance to perform with Sean before we finished dinner and headed back across the street to where Deandre Walker was performing.
Deandre Walker is a child of the family that has the Walker Family Singers in Como, and is a gifted young soul singer. His band, the Mississippi Boys, are first-rate also, with an incredibly funky young drummer laying the foundations. Walker typically does cover songs of many popular soul and R & B songs, but on this particular evening he also did a couple of original tunes.
With him being from Como, the little bar and grill was full to standing room only with relatives, friends and fans, and everyone had a good time. The music and fun continued until around midnight, and then everyone headed home.
A while back, I had crossed paths on Facebook with the Rev. T. Ray Greer, pastor of Salem Missionary Baptist Church in the countryside just to the north of Mason, Tennessee in Tipton County. He was interested in the research that I and John Marshall were doing into the history of Mason, and so he reached out to invite us to come to a breakfast at his church, meet some of the older members, and perhaps gain new information into the history we were working on.
So on the Sunday morning after my journey to the state archives in Nashville, I drove out Austin Peay Highway, and made my way to the historic church, which was founded in 1868, although the current building was built in 1913. There was a huge quantity of cars outside, and my friend John Marshall was already there when I arrived.
Inside, we were warmly welcomed, and there was coffee and breakfast. John Marshall had brought a copy of the church’s deed, which he had copied from the county courthouse in Covington, and he was sitting and talking with a woman that was said to be 94 years old.
After breakfast, there was a rousing and joyful service, with a choir, and a drummer and a keyboard player. Although the congregation was fairly small, the members filled the stage area in front of the pulpit with all kinds of donated food goods for the needy and poor of the Mason area. When it was time for the offering, the keyboard player took a break, and to my surprise, a young man sang a song accompanied only by the drummer, who impressed me with his funky playing style.
Then it was time for John Marshall to get up and make his historical presentation. He outlined what he knew of the church’s history and property boundaries, and named many of the notable families that had helped to found the church, He also discussed the Salem School, which had been across the road from the current church.
Afterwards, I made a brief presentation regarding my research into Black fife and drum music in the Mason area. I mentioned the horse races at Booster Pete’s on the Tabernacle Road, and the Broadnax Brothers Fife and Drum Band, and a few people in the church recalled what I was talking about. I ended up leaving with about three phone numbers of people that might be willing to be interviewed on the subject of the horse races, trade days, fife and drum bands and picnics, and then headed back to Memphis.
If Memphis rap were a nation, Al Kapone would be the unanimous choice for an ambassador’s position. One of the earliest Memphis rappers, he has in more recent years become a Memphis icon, popular with constituencies that don’t necessarily get enthused by rap music on a daily basis.
For the same reason, Kapone fits neatly onto the kind of Midtown shows where other rap artists might be awkward. For example, this pre-holiday lineup at the amazing Railgarten venue was kicked off by the nostalgic Memphis soul band The City Champs featuring Joe Restivo, whose fan base probably doesn’t listen to a lot of rap. But everyone knows Al Kapone. Anyone who has ever been to a Grizzlies game or watched the movie Hustle and Flow knows him.
By the time the band launched into their third song, there were at least a hundred people in the club, with more arriving all the time. After they finished their nearly hour-long set, they were followed by up-and-coming Memphis rapper Tune C. performing his song “Naturally” and R & B singer Kameron Whalum performing his new single. After Uriah Mitchell performed a couple of songs, Al Kapone came on stage, performing a number of his more recent hits with a live band. On occasions, he introduced local rappers onto the stage to perform specific songs, including Muck Sticky and Lil Wyte, who also recently released a new album.
Despite the dismal weather outside, the standing room only crowd was full of holiday cheer, and a good time was had by all.
I got an invitation on Facebook a week or so ago from a musician friend, trombonist Victor Sawyer, to come to the debut performance of a new Memphis brass band called the Lucky 7 Brass Band, which was being held at Growlers, the former location of the Hi-Tone on Poplar Avenue across from Overton Park. Memphis has had a couple of other brass bands, the Mighty Souls Brass Band and the Memphorleans Street Symphony. But, because we are not a city that has Mardi Gras (or even the Cotton Carnival any more) and because there is no real second-line culture here, our brass bands are more concert ensembles, and none has the separate snare and bass drums that characterize the average New Orleans brass band, and they may include indoor instruments like a drumset, a keyboard or even an electric guitar or bass. In that regard, the Lucky 7 Brass Band was true to form, including an electric bass rather than a tuba, and a drumset rather than the traditional separate snare and bass drummers. But what it did bring to the table was more of the street edge that the Crescent City bands have, and a tight and clean ensemble sound. For their debut performance, which was all too short at just under an hour, they played cover tunes exclusively, but these ran the gamut from New Orleans standards to contemporary hip-hop, and a good-sized crowd came out (with the threat of bad winter weather hanging over Memphis) to cheer them on. The Lucky 7 Brass Band is one we will likely be hearing a lot more about in the future.
Sometime before New Year’s Eve, a lady friend had shared a link with me on social media about a young musician named Akeem Kemp who was performing in Conway, Arkansas on January 13. I had not heard any music of this young man, although the name seemed vaguely familiar, as if I had heard somebody mention him in the past. At any rate, I googled him, and soon found that he would playing a little closer to home (and sooner) at the White Water Tavern in Little Rock on January 6, so we made plans to go.
The weather proved to be cold and quite wet, but we encountered a large crowd at the White Water, which is the best venue in Arkansas to enjoy live blues, as Akeem Kemp is from right up the road in Morrilton, Arkansas, and thus is considered a hometown hero. At only 20 years of age, and sporting dreadlocks, Kemp might look like a rap artist to those who didn’t know better, but his youthfulness belies a serious mastery of the electric guitar, and an uncanny ability to handle the kind of deep, soulful blues that other young artists avoid, tunes such as “As The Years Go Passing By” or “The Sky Is Crying.” Of course, like any young star of the guitar, Kemp knows his Hendrix, Prince, and even a bit of R & B/Southern soul, as in his hit original “Are You Doubting My Love.” But Akeem Kemp has internalized the language of the blues, and his decision to embrace the genre is thrilling, because only as young musicians become involved in blues will we succeed in preserving this endangered art-form. The future of the music is truly riding on his shoulders.
After leaving Alligator, we ended up heading down to Drew, and taking Highway 49W through Ruleville, Doddsville and Sunflower into Indianola, to one of my very favorite restaurants in the world, The Blue Biscuit. The Biscuit is owned by renowned chef Trish Berry, who had been the executive chef at Bill Luckett and Morgan Freeman’s ill-fated Madidi Restaurant in Clarksdale. While Madidi was expensive fine-dining, the Blue Biscuit is something altogether different, sort of a cross between a diner and a juke joint. While the restaurant menu is diverse and varied, in my opinion, the pulled-pork barbecue is the star of the show. A few years ago, it was possible to order something called “Biscuits and Barbecue”, which was exactly that, four freshly-baked buttermilk biscuits that were halved, with pulled pork placed between the halves. This was literally one of the most delicious things I have ever eaten. Unfortunately, we noticed on this visit that the menu has changed, and that biscuits and barbecue is no longer available, but the pulled pork is still on the menu, and just as good as I remember it from previous visits.
An added treat on this visit was live music from a Cleveland, Mississippi band called Jake and the Pearl Street Jumpers, whose repertoire consists of blues, soul and funk. Somehow, I had not encountered them before, but they are an accomplished and versatile band, and they kept the crowd mesmerized all evening. This was my first time seeing a live music gig at the Blue Biscuit, and I found the location and atmosphere perfectly suited to the music, and everything quite enjoyable.