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We Recommend We Saw You

WE SAW YOU: Scheidt Family Performing Arts Center Opens With a Gala

Covering the February 4th grand opening gala for the Scheidt Family Performing Arts Center at University of Memphis brought back fond memories of the late Honey and Rudi Scheidt.

A photo of the couple appeared with the first party I ever covered. It was a visit to Memphis by the Metropolitan Opera. The after-party was at the old Justine’s restaurant. It was in 1980, when I was working for the Memphis Press-Scimitar

I wasn’t taking photos back then, so the photographer on the assignment took the the picture of the Scheidts. But I took many pictures of the couple later on. I saw the Scheidts at concerts, art exhibit openings, and other cultural events and fund-raisers over several decades.

I got to know Honey and Rudi, and I was always happy to see them at parties. I loved Honey’s graciousness and Rudi’s wit. They were friendly and fun. And I got to know their children —  Susan Arney, Rudi Scheidt Jr., Elkan Scheidt, and Helen Gronauer.

The Scheidts were big supporters of Memphis music. In 2000, Rudi gave his first donation for the Rudi E. Scheidt School of Music at U of M, Arney says. “He gave a huge donation to improve the program and they named it after him,” Arney says. 

“They wanted to keep Memphis on the map as far as music,” Gronauer told the audience during the concert portion of the evening. She and her brothers and sister took the stage and talked about their parents and the legacy they left.

Ironically, Elkan said, “None of us can sing a tune.”

The Scheidts are continuing to keep Memphis on the map through their philanthropy. “We Zoom every  Monday morning to talk,” Arney says.

And that will continue with the next generation of 11 grandchildren, she adds.  “Just any kind of cause, whether charity or not, that we can help make Memphis a better city.”

Susan Arney, Rudi Scheidt Jr., Caryn Scheidt, Kyle Polack, Rachel Polack, Ezra Polack, Lindsay Grass, David Grass, Helen Gronauer, Mimi Scheidt at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Laurie and Elkan Scheidt at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
The Scheidt children — Helen Gronauer, Elkan Scheidt, Rudi Scheidt Jr., and Susan Arney — on stage at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Kevin Sanders, director of the Rudi E. Scheidt School of Music, at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)

 The gala concert featured the University Symphony Orchestra, University Singers, and the Mighty Sound of the South Pep Band.

Al Kapone, who performed at Rudi’s birthday parties in February for years at the Germantown Performing Arts Centre, was master of ceremonies.  

Yours truly with David and Yvonne Acey and Al Kapone at the after party at the Scheidt Family Performing Arts Center gala.
Al Kapone was master of ceremonies at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)

Dionne Warwick was the featured performer. Warwick, who complimented the U of M performers, also sang just about every one of her hit songs by Burt Bacharach and Hal David. Her more-than-an-hour-long concert  included “Message to Michael,” “Do You Know the Way to San Jose,” “I’ll Never Fall in Love Again,” and “Anyone Who Had a Heart.”

She performed duets with her drummer, the fantastic David Elliott.

Warwick invited the audience to sing along with “That’s What Friends Are For.” Instead of the lighters music fans once used to show their appreciation back in the day, audience members at the gala waved their lit cell phones.

Dionne Warwick at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Drummer/vocalist David Elliott performs with Dionne Warwick at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)

The evening began with a tour of the building and continued with dinner in a tent. Following the concert, guests returned to the tent for music and dancing to The Bar-Kays. And Krystal hamburgers and Gibson’s doughnuts.

The crowd gets into it at the after party featuring The Bar-Kays at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
James Alexander of The Bar-Kays at the after party at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
The Bar-Kays perform at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)

Asked what she thought about the evening, Arney says, “It was magical. To me, for a building opening for the first time and everything being new — all employees, all visitors, all community — and you’re student based, there was nothing that I noticed that went wrong. And truly better than I would have ever expected.”

The 82,000 square-foot Scheidt Family Performing Arts Center cost around $40,000,000, Arney says.

The building is paid for, but much more is needed for the center, Arney told the audience. For instance, they need $1.5 million dollars for grand pianos. The pianos cost $200,000 apiece, she said.

I think it’s safe to say Rudi and Honey would have given the gala a thumbs up. “I know they’re here tonight looking at all of us,” Rudi Jr. said.

Jimmy Tashie, Nancy Tashie, and Rabbi Micah Greenstein at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Mario Monterosso, Dabney Coors, and Kortland Whalum at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Billy Orgel and that writer guy at the Scheidt Family Performing Arts Center gala. (Credit: Billy Orgel)
Merry and Johnny Moore at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Mike and Sharon Goldstein at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Kathy and Roger Sapp at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
Kate Duignan and Chris Peck at the Scheidt Family Performing Arts Center gala. (Credit: Michael Donahue)
We Saw You
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Music Music Blog

Levitt Shell Announces this Fall’s Free Music Series

When we wrote about the return of live music this spring, the folks at Levitt Shell were already planning to bring back their much-loved Orion Free Music Concert Series, but there were no details. As Executive Director Natalie Wilson said at the time, “With the impact of Covid19, we can’t do our normal four nights a week, but we are coming back Friday and Saturday evenings in September, through the third weekend of October. We’re going to focus on supporting our local musicians this fall. And we pay our musicians at the market rate because we believe in not just presenting music, but also powering music. And that includes supporting our musicians and their livelihoods. It’s been our mission since the Shell was built in the 1930s.”

Furthermore, the Levitt Shell has some help this time around: the Memphis Black Arts Alliance.

Formed in 1982, the Memphis Black Arts Alliance is one of the oldest and most prominent African-American focused arts organizations in the city. Executive Director Lar’Juanette Williams is leading the charge to bring opening acts for the series.

“Though we’re still finalizing dates, we’re excited to bring acts such as Adajyo, the Memphis Jazz Workshop, Young Actors Guild, Caza Teatro, SubRoy Studios, and Kurl McKinney and Sons to name a few,” said Williams. “Memphis has always had a diverse wealth of phenomenal artistry. We are so very pleased to partner with the Levitt Shell to highlight and produce great local entertainment.”

The Shell’s plan was to fund the free music with the six ticketed events that have been happening at the shell since May. And now the fruits of that plan are to be harvested. Today, the Levitt Shell released its fall schedule, and it’s impressive — all the more so because, true to their word, they’re focusing entirely on local artists.

The caliber of these artists speaks for itself, but we’ll point out a couple of notable details that might not be apparent at first glance.

Many are asking, what is “Occupy the Shell”? It’s no less than an extravaganza of local hip hop, R&B and soul artists that should be on your radar, especially because the event is curated to help “musicians and recording artists facing difficulties imposed by the COVID-19 pandemic.” Beginning at 4 p.m. on September 4, the event features these performers:
Tyke T – Hip Hop/Rap
Iron Mic Coalition – Hip Hop/Rap
D’Vonna Taylor – Neo Soul
Jakub Trunk – Hip Hop/Rap
J. Buck – Soul
Tha Kidd from Marz – Hip Hop/Rap
Mydes – Hip Hop/Rap
Moe Javi – Hip Hop/Rap
Trina Machelle – R&B/NeoSoul
Dee Jizzle – R&B
Jay DaSkreet – Hip Hop/Rap
Sumo Tre – Hip Hop/Rap
Juju Bushman – Soul
Bleu Boys – Hip Hop/Rap
Kiña del Mar – Soul/Gospel/Hip Hop/Rap
Courtney Terez – R&B
Jaeti – Hip Hop/Rap

Another event beginning in the afternoon, the Stone Soul Picnic, presents a similarly diverse array of artists, from gospel and soul, to world music, to the outright funk of the one and only Bar-Kays. You read that right: the Bar-Kays. For free. At 3 p.m. on September 18, the Shell is the place to be:

3:00 – 3:05 Devotion
3:10 – 3:20 Star Spangled Banner/Lift Every Voice – Cleveland
3:25 – 3:40 Mt. Moriah East Praise Team
3:45 – 4:00 Sierra Ward Pope
4:05 – 4:35 The Mellowtones
4:40 – 5:20 Take 2
5:25 – 5:55 Echoairs
6:00 – 6:20 Ekpe
6:25 – 6:50 Uncle Richard’s Puppets
6:55 – 7:25 Chinese Connection Dub Embassy
7:30 – 8:00 U-Turn
8:05 – 9:00 BarKays

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Music Music Features

MonoNeon Vision

Dywane Thomas, Jr., has written out his artistic philosophy. This is convenient for writers needing to sum up the enigmatic bass virtuoso using only tidy rows of type. It’s an absurd format to describe an artist that lights out for the sonic territories, tagged with threads and a name of radiant color that cuts through the night: MonoNeon. The best we can do is make every line of his creed our starting point.  Get ready for the MonoNeon Art Manifesto:

Write your own vision and read it daily. “That came from Dada, the manifesto stuff,” says Thomas. But ever since he got his first guitar at four and played it like a bass, Thomas has followed his own vision. From the start, this lefty has avoided left-handed guitars and basses, instead playing conventional right-handed instruments upside down. “When I was younger,” he remembers in typical low-key fashion, “people used to tell me, you know, flip it the other way. You’re playing it wrong. You would sound better playing it right handed or whatever. I just kept on doing it.” Nowadays his upside-down bass of choice is a five-string, or he’ll play his quarter tone bass, which allows him to play pitches between the notes of the conventional scale. His choice of material is visionary too, ranging from quirky, beat driven funk excursions to mimicking in bass tones the voices of people from random videos found online.

MonoNeon: WHERE'S THE CHOCOLATE MILK AT…? from Dywane MonoNeon Thomas Jr. on Vimeo.

MonoNeon Vision (3)

Have the Southern soul/blues & and funk at the bottom and the experimental/avant-garde at the top … (YOUR SOUND!). “My home base is always gonna be Johnny Taylor, Bobby Womack, Denise LaSalle, you know – funk, Bar Kays,” says Thomas. And you can hear this in most of his work: a payload of funk, heavy as a semi, taking wide left turns. “I want to sound like Mavis Staples and Stockhausen together, or something. Or at least the idea just helps me progress and create stuff.” He recalls teaching himself bass: “I practiced in my grandmother’s living room, to records, WDIA, all the old blues stuff. Eventually I started playing in church. That’s where I really got most of my skill from. Olivet Fellowship Baptist Church on Knight Arnold Road. I played with different types of gospel choirs, like Kevin Davidson and the Voices. Then after that I went to Berklee College of Music.”

Make your life audible daily with the mistakes … the flaws … er’thang. Thomas expresses his life story every time he picks up a bass. His father, Dywane Thomas, Sr., is a heavy bass player in his own right. “He still plays. He used to play with the Bar Kays, Rufus Thomas, Pops Staples. He was really like a studio ace in Memphis in the 90s.” But it wasn’t a simple case of the father teaching the son. “He moved to Europe when I was pretty young, ‘cos he was doing a lot of work over there. So I really taught myself how to play. I’d just listen to him on recordings.”

Understand and accept that some people are going to like what you do and some are going to dislike it. … When you understand and accept that dichotomy … Move on!  Not long ago, Thomas began posting his videos online, with little regard for audience or convention. They found a niche audience, and one fan was especially notable. In December, 2014, his presence was requested at Paisley Park. He jammed with Judith Hill’s band, who Prince was producing, but didn’t even meet His Purpleness at the time. Eventually, on return visits, Prince joined the sessions. “He could jam all night. His rhythm guitar playing is just otherworldly,” Thomas recalls. Prince ultimately recruited Thomas for his own band. “I’m thankful for recording with him, and he released a song under my name and stuff, ‘Ruff Enuff’ on NPG Records. I guess he really liked me to do that.”

MonoNeon Vision (2)

Recalling the time before Prince’s passing in April of 2016, Thomas is understandably wistful. “Paisley was just a different world to be in. The smell just crosses my nose sometimes. Lavender.”

MonoNeon with PRINCE (clips from PRINCESTAGRAM) from Dywane MonoNeon Thomas Jr. on Vimeo.

MonoNeon Vision

Embrace bizarre justapositions (sound, imagery, etc). And: Conceptual art. Minimalism. “I got into microtonal stuff when I got to Berklee. I met a guy named David Fiuczynski. Guitar player. He plays with Jack DeJohnette. Very heavy. I also started getting into John Cage when I got to Berklee. And other avant garde stuff like Iannis Xenakis, Easley Blackwood, Jr., Julián Carillo. Morton Feldman. Milton Babbit. Stockhausen. All that stuff, that I don’t understand, but I love it.”

Polychromatic color schemes. High-visibility clothing. “It was PolyNeon at first, then I changed it. I got bored. It all happened at my grandma’s house. I was reading something about solid color neon stuff. I really like neon light installations. All the avant garde stuff.”

DIY!  “I released two EP’s this year. I’m always just releasing stuff. I don’t necessarily consider it an official thing. It’s just therapeutic to me to just put stuff out. You know. I just try to hype it up as much as I can and then I try to just move on.” Thomas creates his music and videos on his laptop, though occasionally he’ll work with other locals. “There’s a cat named IMAKEMADBEATS. He’s the one that got me into making my own music videos. I bought a camera and everything. And a rapper from his label, A Weirdo from Memphis, he calls himself. He’s on my album too. He doesn’t know it though.” Thomas has been incredibly prolific – he’s self-releasing a new album, A Place Called Fantasy, this Thursday.

Then there are the artists who seek him out. “I’m with a band called Ghost Note. That’s like a side project of Snarky Puppy. With Nate Werth and Robert Searight. We just recorded an album, I think it’s supposed to be released this year in October.”

Childlike. And: Reject the worldly idea of becoming a great musician … JUST LIVE MUSIC! “I don’t even have goals, to be honest. I just like the journey. I don’t have a set plan. That’s really because of the support from my mom and my grandma. I’m thankful for that. I hope that doesn’t change. I’m just a kid. I’m 26 years old, but I’m still a kid.”

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Music Music Blog

Remembering Ben Cauley of the Bar-Kays

Isaac Washington

Ben Caulley continued to play professionally after surving the plane crash that killed Otis Redding.

The legendary Bar-Kays trumpeter Ben Cauley passed away late Monday night at the age of 67. Cauley was most known as the lone survivor of the plane crash that killed Otis Redding and Bar-Kays members Phalon Jones, Carl Cunningham, Jimmy King and Ronnie Caldwell. He was 20 years old when the plane went down. Cauley returned to the crash site at Lake Monona in 2007 for the 40th anniversary. “I knew one day I would be back,” he told an AP reporter. “There were a number of times that I thought about it but didn’t have the strength. I’m coming this time.” 

After the crash, Cauley experienced a lifetime of success as a horn player, re-forming the Bar-Kays with bass player James Alexander and playing on the iconic Isaac Hayes album Hot Buttered Soul. Cauley also toured with Aretha Franklin, and The Doobie Brothers, among others. The Bar-Kays were inducted into the Memphis Rock and Roll Hall of Fame in 2013. 

Remembering Ben Cauley of the Bar-Kays (3)

Remembering Ben Cauley of the Bar-Kays

Remembering Ben Cauley of the Bar-Kays (2)

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Sing All Kinds We Recommend

Celebrate Hard Rock Cafe’s New Digs

The Bar-Kays threw down a housewarming party for the Hard Rock Cafe’s new location at 126 Beale. That building is now a Memphis music volcano housing the Hard Rock, the Memphis Music Hall of Fame, and Lansky’s Clothiers. The scene spilled out onto the street as media, fans, and tourists lined up to see the Bar-Kays donate a couple of slammin’ suits and knock out a set of pile-driving soul. Have a look a the photos. 

The celebration continues all weekend, most notably with a tribute to the late Jimi Jamison on Saturday.

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Opinion The Last Word

The Rant

After every Memphis Grizzlies game, my brother-in-law is fond of getting online and posting, “I am a Grizzlies maniac,” with several exclamation points, depending on the closeness of the game. As of this writing, the opening series of the NBA playoffs is still undecided, but win or lose, how exciting has this been for Memphis?

It’s a wondrous thing to see this city come together and rally around a common cause. Just think, if we could only get the City Council to do the same.

For this community, the Grizzlies mean so much more than basketball. They are a focal point around which all Memphians can unite, and those occasions have proven so rare, it’s worthy that we celebrate when it happens. My only problem is, with three overtime games in a row, the Griz are fixing to throw me into cardiac arrhythmia. Thank God for Obamacare.

I now understand how, once you know a player’s background and watch his attitude on the court, you become more invested in the games and individual performances. Your spirits rise and fall throughout the season until the storyline plays out. Judging from the past couple of games at FedEx Forum, Grizzlies fans’ spirits are pretty damn high. My wife has attended several games this season, while I am content to watch from the couch. It’s tinnitus. My ears just can’t take it anymore. But the entire Forum nearly burst right through the flat screen the other night. It’s no wonder the Grizzlies were named “best overall professional sports franchise” by ESPN The Magazine. And that includes baseball, football, and hockey. 

The city’s adopting of this team and these players is nearly as heartwarming as all the work these guys seem to so happily do for the community. This group has a workmanlike ethic for a blue-collar town and the fit seems just right. The league needs a team like this precisely because they play as a team. I just hope the new owners don’t screw it up and try to turn the Griz into the run-and-gun Lakers. Why mess with a good thing?

How can you help but admire these guys, especially the Grindfather himself, Tony Allen? This guy is everywhere. Statistics can’t begin to show what he adds to this team. I am hesitant to admire him too much, however, for fear that they’ll trade him. His defensive play is an art, and speaking of the same, I’d like to add a word about defense. When you speak of, say, the secretary of defense, or say a game was a “defensive struggle,” the accent is always on the second syllable. So why does a sports crowd always scream “DEE-fense?”

Because Memphis is supposed to be different, I’d like to urge our citizens to be the only fans in all of sports to shout, “de-FENSE!” That will mess with the other teams’ minds. That aside, the past two games, the Forum was rocking with chants of “Z-Bo,” and I thought I saw paint chips falling from the ceiling after Mike Miller went on a three-point tear. Even before we learned the name, Beno Udrih, Melody and I were screaming, “Way to go, new guy!” at the television screen. What’s better than watching Mike Conley’s calm under pressure? And we definitely got the right Gasol.

Reuters | Bernadett Szabo

Jerry Lee Lewis

A year ago, I wrote a column that said the Grizzlies were great, but the music sucked. Since then, I’ve heard Willie Mitchell, Curtis Mayfield, Isaac Hayes, and James Brown over the arena’s speakers. So, all praises to the tune selector, and I hope my rant helped. Now, if I could just make a couple more suggestions. If a player on the opposing team travels, play a snippet of Rufus Thomas singing, “Justa, justa, justa walkin’.” When our big men block an opponent’s shot, Elvis’ “Return to Sender” would be appropriate. And when one of our guys hits a three-pointer, play Jerry Lee Lewis singing, “Goodness, gracious, great balls of fire.” Also, the Bar-Kays’ “Soulfinger” needs to be the team’s fight song, only the crowd can scream, “Go Grizzlies,” where they shout “Soulfinger,” in the original recording. One more thing. Why must they play that same inane chant in every arena right before tip-off? Let’s chant “Na, Nas” with Wilson Pickett’s “Land of 1000 Dances.” While we’re at it, “We Will Rock You” is one of the worst grooves in popular music and is awkward for Memphis folks used to clapping on the two-and-four. And were you aware that every time that heavy, guitar-drenched song where everyone yells, “Hey!” is played, you are profiting Gary Glitter, a sexual deviate so depraved that they kicked him out of Thailand?

Keep it simple, fellas. It might be enjoyable to watch an entire arena full of crazed fans doing the “Funky Chicken.” Even more fun to be there doing it.

Randy Haspel writes the “Born-Again Hippies” blog, where a version of this column first appeared.

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Sing All Kinds We Recommend

Sound Advice: Friday, April 4th

It’s Friday. Put on your soul cape and show the world what it’s been missing!

The Bar-Kays at Minglewood Hall:

Sound Advice: Friday, April 4th (2)

Carrie Nation & the Speakeasy at Newby’s:

Carrie Nation & the Speakeasy – 13 Riders from KMUW FM89 on Vimeo.

Sound Advice: Friday, April 4th

Spirit Carvan at the Hi-Tone

Sound Advice: Friday, April 4th (3)

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News The Fly-By

Q&A with James Alexander,

As the former back-up band for Otis Redding and the sound behind Isaac Hayes’ Hot Buttered Soul, Memphis-based soul/funk group the Bar-Kays boast quite a resume.

Earlier this month, the group added a new accomplishment to their list when they spent a week entertaining about 4,000 U.S. troops stationed in Iraq and Kuwait. The Bar-Kays, joined by the Dazz Band and Con Funk Shun, played as a “super-group” known as Legends of Funk during five separate shows in Middle Eastern cities.

The Bar-Kays returned to Memphis last week, and bassist James Alexander, the only original member of the Bar-Kays, stopped by the Flyer office to recount the details of their trip. — Bianca Phillips

Flyer: How did the troops react to your performance?
Alexander:
A couple of guys came up and said that because we were there, they could get through the hard times. The average tour of duty in a war zone is 15 months. Some of them go out fighting six days a week. They’re under a lot of stress.

Did you experience culture shock?
After going over there, I’ll never complain again. We take a lot of things for granted, such as running water. You can’t go to a faucet and drink the water over there. That’s a no-no. Everybody drinks bottled water.

Where did you stay?

There are no hotels. You have to stay where [the troops] stay. Sometimes you can get your own room, but there’s no TV, no restroom, no shower. It’s like being in college. You have to go down the hall to use the bathroom or the phone. In the remote areas, we stayed in places that held six people to a room.

You were in a war zone. Was your life in danger?

We only ran into a couple of problems. We had some mortar attacks, and we had to run for cover.

Under normal circumstances, each area has three or four bunkers where you go to take cover. If you’re not close to a bunker, you get as low to the ground as you can. One time, we were close to a bunker, and the other time, we just had to get real low. No one was hurt.

How did you travel to each show?

The bases that we played were maybe less than 200 miles apart. But we went to every city by C-130 [aircraft]. It’s too dangerous to travel through the towns on the ground. We had to wear bulletproof vests and helmets on the planes as we traveled from base to base.

Was anyone in the group apprehensive about doing this?
No one had a problem with it. It was a life-changing experience to visit the hospitals, to do the shows, and to see the reaction of the troops. We visited the wounded soldiers and wounded Iraqi civilians.

What do shows like yours do for troop morale?
Most of the concerts they’ve been having over there have been comedians and country music. So this was really exciting for them. They’d never had this type of show over there. Our music is fun, feel-good dance music. They really enjoyed it.

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Music Music Features

Cauley To Return to the Scene of Plane Crash that Killed Bandmates, Redding

On Monday, Bar-Kays trumpeter Ben Cauley will return to the site of the 1967 plane crash that killed Otis Redding as well as several of his bandmates. Cauley will be attending a ceremony honoring Redding in Madison, Wisconsin.

The ceremony marks the 40th anniversary of the plane crash in Lake Monona. Cauley, then 20, was the only survivor. This will be the first time that he has returned to the site.

“I knew one day I would back,” he told an AP reporter. “There were a number of times that I thought about it but didn’t have the strength. I’m coming this time.”

He said that he plans to perform songs on his trumpet, including Redding’s hit “(Sittin’ on) the Dock of the Bay.”

Read the story here.