Categories
Opinion The Last Word

Cold Weather Blues

Vicki steadied herself on the window sill, raised up, and reconnected a blind cord that had popped off a few moments earlier. She then stepped onto a wobbly bar stool and lowered herself to the hardwood floor. Johnny Cash and Elvis Presley looked on, seemingly in amusement, their black-and-white smiles forever captured on a framed print hung from the exposed brick wall. The print included a quote, “Don’t criticize what you don’t understand, son. You never walked in that man’s shoes.” I sneered at Elvis, hanging there with a big grin on his face. I’ll worry about walking in another man’s shoes when I can feel my feet again.

Mid-morning on Thursday, January 18th, and temperatures hovered near 30 degrees with windchills that made it much, much colder. Sleet, or freezing rain, lightly pelted the cars, the sidewalk, and the parking lot outside our first-floor rental. My feet, already wrapped in two layers of wool socks, felt numb. I wiggled my toes to make certain they still worked.

As I often jokingly say to Vicki, my better half, “Whose bright idea was this?” Unfortunately, this one was all mine.

On Wednesday afternoon we pulled into the rear parking lot of our Airbnb, located inside the former Ambassador Hotel on Vance Avenue. The dry snow that accumulated earlier in the week hadn’t refrozen yet, so navigating from our far away East Memphis home to South Main wasn’t difficult. While unloading Vicki’s Subaru, a small CAT bulldozer scraped snow from the lot and dumped it onto a gray slush-pile right behind us. The dozer’s noise and noxious gas fumes, combined with a biting cold wind, reminded me that this week might be unforgettable, but for all the wrong reasons. Yeah, maybe not a bright idea to be Downtown during a Snowpocalypse.

Icy Beale Street on Wednesday, January 17th (Photo: Ken Billett)

The 39th edition of the International Blues Challenge (IBC) kicked off that Wednesday night, so, as avid blues fans, we braved the ice and snow to support up-and-coming blues musicians who traveled to Memphis to perform in the bars and clubs along Beale Street. Typically held in January, IBC is a weeklong blues convention and, this year, featured almost 140 musical acts from the U.S., Canada, and 11 other countries.

After surviving Wednesday night’s frigid temperatures and Thursday morning’s frozen precipitation, Vicki and I ventured back to Beale, navigating icy sidewalks, slushy crosswalks, and ever-expanding piles of dirty snow. Baby steps, Vicki repeated like a mantra as we crunched and cursed our way along South Main. Once the skies cleared, Thursday’s weather turned out to be tolerable. Beale’s clubs were busy with various IBC activities: master classes conducted by veteran musicians, a “Women in Blues” showcase at Alfred’s and, inside A. Schwab’s, a Hohner harmonica demonstration. Following a dinner of slathered ribs at Blues City Café, we hopped next door to the Band Box, where we caught several performances and stayed for a late-night jam session. Well past our bedtime, Vicki and I called it a night and baby-stepped back to the Ambassador for some much-needed sleep. And warmth. We’d survived the first two days of IBC but had two more to go, and, unfortunately, the Mid-South’s Snowmaggedon would soon get worse. Early Friday morning, January 19th, and the outside temperature was barely 27. The extended forecast said temps would drop into the low 20s and stay there all day through Saturday. To add to the fun, burst water mains forced MLGW to issue a boil water advisory for portions of Shelby County.

Snow “sludge” on South Main Street (Photo: Ken Billett)

Johnny smiled. I frowned. That “Don’t criticize …” quote swirled inside my head. “Don’t start,” I warned the Man in Black. “You and ‘E’ get to stay here, where it’s warm.” From the bedroom, Vicki asked me who I was talking to.

Our Friday adventures on Beale were a frozen blur. The entire county was under a boil water advisory, and Saturday’s arctic-cold temperatures would be in the teens, not the 20s. Yeah, not a real bright idea …

Shivering from the cold, Vicki and I stood inside the historic Orpheum Theatre for Saturday’s IBC Finals. The grand lobby felt like an ice box. We soon learned that due to water-pressure problems, the facilities were now outside. So, when “nature called,” we opened an exit door and hurried through the bitter cold to a porta-potty. Unforgettable.

We’d left the comfort of our warm urban oasis for porta-potties and sub-freezing winds while sharing a lukewarm bottle of water. Nonetheless, we stayed all afternoon and enjoyed the talented finalists performing on the stage. After the finals, we baby-stepped our way to the Downtown Slider Inn. Finally, warm and cozy, Vicki ordered the falafel sliders and declared them her new favorite.

Sometimes, I have a good idea, I was tempted to say.

Instead, I just smiled.

Ken Billett is a freelance writer and short-story fiction author. He and his wife, Vicki, have called Memphis home for nearly 35 years. When not listening to blues music, Ken reads spy novels and tends to his flowers.

Categories
Books Music Music Features

Marina Bokelman and David Evans’ Going Up the Country

“Anthropologists are thrice-born,” my old instructor in the discipline, T.O. Beidelman, once asserted in a lecture. He had us all captivated with his tales of fieldwork among the Dinka in the Sudan. “First, we are born into our own culture. Secondly, we enter the cultures we study as children, and gradually are born as social beings in that community. And thirdly, we are reborn when we return to our own culture, seeing it with fresh eyes.”

Those words have echoed in my mind while reading a stunning new collection of field notes from the ’60s by two graduate students — one of anthropology, the other of folklore/ethnomusicology — in the blues communities of Mississippi and Louisiana. Going Up the Country: Adventures in Blues Fieldwork in the 1960s (Univ. Press of Mississippi) evokes all the excitement of discovery, of being reborn into another culture, that only a person putting their life and time on the line can feel as they aim for complete immersion. And it’s especially gripping for Memphis-based music lovers, as one of the authors is David Evans, onetime director (and founder) of the ethnomusicology program at what is now called the University of Memphis.

His time at the university is highly regarded among blues aficionados, for he not only studied the form but also performed it (often with the legendary Jessie Mae Hemphill) and produced it, running the small High Water Records label with Richard Ranta, which released many singles and a few albums by lesser-known artists in the ’70s and ’80s. Now retired, he’s still a performer and an appreciator of the blues. Yet all he accomplished at the University of Memphis is but an afterthought in this work, which focuses on earlier chapters of Evans’ life. But he wasn’t alone then.

“It was co-authored with my friend at the time, Marina Bokelman,” Evans explains, noting that Bokelman passed away in May of last year at the age of 80. This book is a fitting tribute to the magnificent work the two did over a half century ago. “We focus on the fieldwork that we did in 1966-67,” Evans adds. “It’s based on the field notes that we took as we did the work. Each day we’d write the notes, describing what we did, our encounters with artists and others. And then there are some other chapters providing background on that, discussing fieldwork, and a little bit about our lives before and after that period.”

The core of the book is an evocative tour through the lives of blues and gospel singers, with a level of detail and attention to both the music and their lives rivaling any blues study before or since. The co-authors’ notes and photographs take the reader into the midst of memorable encounters with many obscure but no less important musicians, as well as blues legends, including Robert Pete Williams, Mississippi Fred McDowell, Babe Stovall, Reverend Ruben Lacy, and Jack Owens.

It was all part of the authors’ studies in the fledgling folklore and mythology program at the University of California, Los Angeles (UCLA), where they began dating. There was clearly an intellectual as well as a romantic bond there, and the scholarly standards of the field notes are high. But this is also an adventure story of sorts, as the young couple describes searches for musicians, recording situations, social and family dynamics of musicians, and race relations, not to mention the practical, ethical, and logistical problems of doing fieldwork. The book features over one hundred documentary photographs that depict the field recording sessions and the activities, lives, and living conditions of the artists and their families. As you read along, you’ll want to listen to any recordings of the artists that you can get your hands on.

While the field adventures are gripping, so too is the milieu of the young scholars in Los Angeles at the time, living in Topanga Canyon, and playing host to a young Al Wilson, with whom Evans performed previously in Cambridge, Massachusetts. Evans describes introducing Wilson to Tommy Johnson’s “Canned Heat Blues,” and we read of Wilson founding the famous group named after that 1928 record. With this section, occupying nearly the first hundred pages of the book, and the “after the field” biographical essays detailing the authors’ lives after splitting up and pursuing their respective passions, this book is a glowing portrait of two insatiably curious souls, a fitting memoir of two lives well-lived.

“We had some real adventures,” reflects Evans. “They’re all in the book.”

Categories
Music News News Blog News Feature

New Blues Foundation Interim CEO Wants to Get “Back to the Basics”

Kimberly Horton was recently named interim president and CEO of The Blues Foundation after the departure of former president and CEO Judith Black.

Horton, originally from Jackson, Mississippi, has served as a manager and agent working with artists like Billy Price, Dexter Allen, Lady A, and more.

The Memphis Flyer spoke with Horton as she prepares to move to Memphis to fill this role. — Kailynn Johnson

Memphis Flyer: Tell us a little bit about yourself.

Horton: I’m just me! I’m a native of Jackson, Mississippi. I’m a mom of two — I have a 26-year-old daughter, and a 15-year-old son. I have been working in the music industry since 2008. My daughter is going to be taking over my company, Heathrow Muzik Box, LLC,  since I’ve been appointed interim president and CEO of The Blues Foundation. 

I have a master’s from Belhaven [University] in management and a master’s from Jackson State University in public health, and I’m looking forward to moving to Memphis.

What do you think of the state of blues in Memphis right now? Do you think it’s going strong? Is it weak?

That’s kind of hard to answer, because I think that the blues is always going to be going strong. It’s just having people in place to have it out on Front Street. I think Memphis is definitely a place where the blues, in my opinion, will always be going strong.

Do you think locals still love the blues? What about tourists?

The blues is a part of the culture in Memphis. Not just in Memphis, it’s part of the culture. Especially for the African American race. You know Willie Dixon said it best, “Blues is the root, everything else is the fruit.” So, all of the music that we listen to, whether it’s rap, gospel, R&B, all of that has something to do with the blues in some shape, form, or fashion. So, definitely locally, nationally, internationally, yes, it’s going.

A lot of your knowledge of blues comes from first-hand accounts. Do you think this makes your interest in blues a little more personal?

Oh, yes, definitely. Being able to touch, and listen to, and be in contact with — especially coming up in the South, of course — the blues was the real deal. I didn’t know what I was singing at the age of six. “The Thrill Is Gone” and “Sweet Sixteen,” those were two of  B.B. King’s songs that my dad would play quite often. At the age of six, to be able to actually see him, and meet him was like, “oh my gosh.” Most little kids were ready to see The Jackson 5, I was ready to see B.B. King. So yes, definitely. Even being in close contact with living legends of today as well, I love it. It’s where I’m most comfortable.

So, what do you think about the future of blues in Memphis?

It’s going to keep going. We’re going to make sure that young people know it’s there, and how and why they got the music that they’re listening to, and hopefully bring interest to the younger generation. Growing and thriving.

How do you plan on bringing a new generation of blues in, while also maintaining its already rich history?

The educating part of the blues has dropped off a little bit. [We will be] getting back into blues, and bringing back blues in the schools, exposing the younger generation to exactly what it is, where it came from, how we got where we are. 

[We’ll get] the school enrichment programs back in place and do outreach into the community to make sure young folks know the blues is where you got your rap from. The blues is where you got your everything from. That’s going to be one of the major plans. 

Hopefully, being able to partner with the Recording Academy to do some work with Grammy U, which reaches out to the university capacity for younger folks. Everybody thinks that the blues is sad and drowning, but it’s not. The blues is actually life. So, just getting them re-exposed to where it came from.

Piggybacking off of that, you said you’re looking to work with a new generation of blues artists as well, and bring more diversity in. Why do you think diversity is so important in blues?

I’m saying diversity not just in color but I’m talking about gender as well. We have some wonderful female artists that are blues artists, and a lot of the time they get overlooked because they don’t play a harmonica or a guitar, but they actually sing the blues. So, bringing diversity in that aspect, as well as making sure that our people — my people — know that we still have an obligation to the heritage of the blues.

You kind of touched on it just then, and a little earlier with some of the educational outreach programs that you all plan to do. Are there any other changes that you plan to make at the foundation? Even as interim CEO?

There are, but I’m not at liberty to speak about those at the moment. I want to wait until I actually get into the office full-time. My main change is to get the confidence of the artists back. They’ve lost confidence in the foundation, so I want to gain the artists’ confidence back, to make sure they know that we’re there, we’re here, we’re thriving, and we’re intending on making sure that the awareness is available.

So, what makes you excited about stepping into this role? What are you most excited about?

I’m most excited about working in an area that I love, that I have a true passion about — being able to come in and actually make some positive changes for the foundation. Just getting everything back to the basics — getting back to what it used to be, and better.

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Mojo Medicine Machine

Music Video Monday got that mojo working.

Mojo Medicine Machine‘s motto is “Maximum rock ‘n roll with a groove.” Their new album Remedy for the Soul was recorded at Royal Studios with Boo Mitchell behind the boards and guest shots from folks like Rev. Charles Hodges, Steve Selvidge, and Jim Dandy. The first single, “Lay It Down,” is a classic blues rock stomp which gets right to the heart of the matter.

The video, directed by Ken Webb, gives you a peek inside the Royal tracking room, and a tour of Beale Street for all you quarantine bunnies who miss the Memphis nightlife. Get that vaccine and we can all be back there soon, rocking with the Machine! Let’s go to the tape:

If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Preston Shannon

Today, Memphis mourns one of our musical fathers.

Preston Shannon

For many, if not most, people who visit Memphis, Beale Street defines their experience of our music. For the last three decades, bluesman Preston Shannon has been the face they saw. Shannon’s voice could be silky smooth or sandpaper rough. His guitar stylings were 100% Memphis, with a clear, piercing tone and a stunning level of technical virtuosity. He released six albums over the course of his career, but his true claim to fame was his tireless live act. Night after night, Shannon played before millions of people, one packed Beale Street club at a time. He passed away this weekend after a bout with cancer at age 70. Music Video Monday remembers this giant the best way we can, by giving you a taste of his music. Here he is, live in Memphis, three years ago, tearing it up. Rest in peace.

Music Video Monday: Preston Shannon

If you would like to see your music video on Music Video Monday, email cmccoy@memphisflyer.com

Categories
Music Music Blog

Ponderosa Stomp Recap: 24 Hours in NOLA

Alex Greene

Andria Lisle, Vaneese Thomas, and Carla Thomas

Although Ponderosa Stomp, the New Orleans-based love letter to lesser-known soul, blues, rockabilly, and garage artists, was cut short by the fizzled Hurricane Nate, the festival was hopping last Friday. Many of the performers and audience alike stayed at the Ace Hotel, where the daytime hours were filled with panel discussions and interviews as part of the event’s Music History Conference. While vinyl junkies perused the record bins in a side room, and that evening’s bands rehearsed in a closed space near the lobby, hundreds more filed through the hotel’s main event hall to hear some history.

For those eager to hear personal tales of the music world, it was an embarrassment of riches. An early highlight was the panel dedicated to the late Billy Miller, visionary co-founder of Norton records. The label has released many Memphis treasures, from archival re-issues of rockabilly and Big Star to more recent works by the Reigning Sound. Miller passed away last year at the young age of 62, making this memorial panel an emotional one. His wife and partner, Miriam Linna, said that she was especially proud of his last labor of love, a collection of lost Dion tracks from 1965. The panel was moderated by the unflappable Michael Hurtt, of Royal Pendletons fame, also a musicologist in his own right.

Another Memphis panel featured Reggie Young, guitarist extraordinaire with Hi Records and American Studios. Young was not in the best health, but certainly of sound mind and body as he exchanged comments with moderator Red Kelly on the landmark singles and albums of his career, beginning with his first encounter with Jack Clement and Bill Black at the Memphis “Home for Incurables” in the 1950s. The success of the Bill Black Combo (who were known to wear “BBC” suit coats) led to tours with the Beatles, Kinks, and Yardbirds. When Kelly cued up James Carr’s “The Dark End of the Street,” featuring Young’s guitar work, the crowd gave the record a standing ovation. Similarly, upon hearing just the guitar break in Joe Tex’s “Skinny Legs and All,” the crowd once again rose to applaud. Young also recalled taking a lunch break while recording with King Curtis. At the local diner, Curtis picked up a menu and began riffing on menu items in musical terms, including some “boiling Memphis guitar.” The group loved it so much, they skipped lunch and returned to the studio to cut “Memphis Soul Stew.”

Another fine panel tied to Memphis was Andria Lisle’s discussion with Carla and Vaneese Thomas. They recounted their early love of the Teen Town Singers, and the pride they felt when Dave Clark, being dubbed “The World’s Oldest Teenager” at an award ceremony, turned to kneel before Rufus Thomas as he looked on, saying that honor could only go to him. Carla also recalled writing songs just for fun as a teen, as her father recorded on a home reel-to-reel tape deck. One of these was a little tune called “Gee Whiz (Look at his Eyes),” the recording of which Rufus took down to Stax on a whim, launching her career.

When dusk settled on the Crescent City, festival goers migrated over to the Orpheum to see that evening’s full roster of bands. It all kicked off with Billy Boy Arnold, who delivered a soft-spoken “I Wish You Would,” along with other blues. A swamp pop revue followed, featuring T.K. Hulin and G.G. Shinn, and the latter’s “Harlem Shuffle” was galvanizing. Some fine, funky soul followed with Warren Storm and Willie West, but it was Winfield Parker who really brought the house down with his voice, an under-appreciated treasure of the soul genre.

It should be noted that a perplexing audio mix plagued much of the night, but every performer rose above it with aplomb. Barbara Lynn, a Stomp regular by now, was in fine voice and demonstrated some sublime guitar work. Archie Bell whipped the house into a frenzy, both with his “Tighten Up” and the lesser-known “Strategy,” which had him screaming “I’m soaking wet! I’m soaking wet” at the song’s climactic chorus, perhaps in sympathy with the Gulf Coast being on the receiving end of Hurricane Nate.

Roy Head carried on over the full horn section rave up during “Treat Her Right,” another Stomp favorite. And then came the abrupt shift to cajun stomping music with Doug Kershaw, who was a little out of it, but sang with gusto every word of his hit that he could recall. “He’s got Muskrat hides hanging by the dozens/ Even got a lady Mink, a Muskrat’s cousin/ Got ‘em out drying in the hot, hot sun/ Tomorrow papa’s gonna turn ‘em into money.” It had the floor shaking with knee-slapping joy, and Kershaw’s freestyle fiddling over the chord changes made the band sound almost psychedelic.

But the psychedelia was just beginning. Roky Erickson, who’s reprise of 13th Floor Elevators cuts has been known to be spotty at other festivals, was completely on point this night, and the band supported him mightily. The chemistry in this band led “Dr. Ike,” festival organizer Ira Padnos, to exclaim that it was the closest thing he could imagine to seeing the Elevators themselves.

Finally, show closers the Gories hit the stage fast and furious, building a glorious wall of noise with minimalist, primitivist swagger. Again, the ferocious music rose above the sound mix and the house was gyrating to Mick Collins’ blasts of noise guitar, soaring over the wiry groove of guitarist Dan Kroha and drummer Peggy O’Neill. For those Memphians who have long adulated this stunning band, it was a fine, gritty apotheosis to the night and the perfect melding of R&B, blues, punk, and unclassifiable parts and grease off the garage floor.

Alas, though Nate was a fizzle in the Big Easy the next day, a city curfew forced the cancellation of the second night’s show. Although there was an impromptu concert in the Ace Hotel on Saturday afternoon, this did not include performances by Don Bryant or the Thomas sisters. Indeed, the Bo-Keys, crack soul band of the current era in Memphis music, didn’t even make it to New Orleans due to bad weather or the threat of it.

Categories
Film/TV Film/TV/Etc. Blog

Bobby “Blue” Bland Celebrated With Special Screening Of Unsung

The life of Memphis blues legend Bobby “Blue” Bland will be the subject of an episode of TVOne’s series Unsung.

Bobby ‘Blue’ Bland

Bland was one of a group of pioneering blues musicians known as the Beale Streeters, along with B. B. King and Johnny Ace, who were instrumental in bringing the Delta music to the world. He owned his own record company, Duke Records, and had a string of pop and R&B hits in the late 60s and early 70s, including “Cry Cry Cry”, “Turn On Your Love Light”, and “Stormy Monday Blues”. He is a member of the Blues, Rock and Roll, and Memphis Music Halls of Fame. In 2013, he died at his home in Germantown.

Unsung, a music documentary show produced by the African American themed television network TVOne, is devoting an episode to the life of Bland. Memphians will get a special screening of the episode at Studio On The Square on Wednesday, Dec. 7. The 7:30 PM screening will be proceeded by a reception at 6:30. Seating is limited, so those wishing to attend should RSVP to Pat Mitchell Whorley at pat@fanfarecr.com.

Categories
Music Music Features

Down the Hard Road

Ghost Town Blues Band isn’t just a group of blues enthusiasts on the local nightclub circuit. Since forming six years ago, the band has been recognized by the International Blues Challenge (twice), toured the country numerous times, and been praised by blues societies nationwide. The band crowd-funded their latest album, Hard Road to Hoe, but still enlisted six-time Grammy-nominated producer Kevin Houston to man the controls. We sat down with chief songwriter Matt Isbell to find out more about the band’s latest album, recording live animals in the studio, and their extensive summer tour, which includes a stop at Beale Street Music Fest.

Flyer: Where did you get the idea to open the album with a recording of a push broom?

Matt Isbell: I make cigar box guitars, and I’ve learned over the years that not everyone has $300 to spend on a cigar box guitar. I’ve learned to make smaller things like shakers and other cheap homemade instruments and somehow that has evolved into using a broom as an instrument. Basically, I just take a door buzzer and reverse the polarity of it, and it becomes a little tiny speaker for the broom. It was kind of a cool idea that actually worked, so we decided to mess with it in the studio. We use the broom live now too, and it definitely gets some weird comments from sound guys when they see us plugging it in on stage. It’s paired with a cigar box guitar on the opening track, which made a lot of sense.

How did you hook up with producer Kevin Houston?

We’ve done every record with him. He’s the North Mississippi Allstars’ engineer and he worked under Jim Dickinson. He grew up with the Dickinson boys and he learned everything he knows from that family. Kevin has a real good approach as a producer and he’s amazing to work with. We recorded the latest album on tape, and he was all about us getting technical with stuff like the push broom. He looks at the studio like a giant playground and that makes it really easy to work with him.

What does the expression “hard road to hoe” mean to you? Is that an expression you’ve heard a lot before?

The original saying is “hard row to hoe,” and I guess it’s an old farmers saying. I changed it up a little bit because we aren’t farmers, we’re drivers. We drive around from town to town playing music, so it applies to what we do as a band every night.

The album starts and ends with some pretty heavy lyrical content. Was that a conscience decision?

Nah, not really. The last album was a lot softer as far as lyrics go, but I think each album is a reflection of my life at the point it was recorded. Our next album will probably be a little bit more jovial, but that’s not where I was when we made this latest record. I lost my mom recently and my dad has Parkinson’s and I guess that title track is about me losing my mentors, so to speak. I didn’t mean for it to be really deep or anything, but that’s just how stuff comes out sometimes. I’ve been sober for over nine months, but I still have a lot of experience from drinking and that comes out on the last song “Road Still Drives the Same.” A lot of things have changed since we started this band, and I think that’s reflected on this record too.

How else is Hard Road to Hoe different than your last album Darkhorse?

We didn’t have a piano player or a horn section when we made Darkhorse, but we wrote that album so that we could grow into having one. The 2012 album was kind of a blueprint for what the future of our band would be, and now we have those extra members and are writing songs with them as a full band.

Tell me more about the decision to record your dog on the track “My Doggy.”

I figured out that my dog can sometimes howl in a certain pitch depending on how I’m singing or what I’m playing. I have an old Wurlitzer organ that she will howl to, and she also howls when someone plays the harmonica. As soon as I figured that out I was like “we have to get this dog in the studio.” She’s just a rescue dog, but she can sing.

The band is going to be touring almost all summer long in support of Hard Road to Hoe. How do you prepare mentally for a trip that long?

Man, honestly I look at each tour date like it’s just another show. We’ve been doing this band for more than six years now and I don’t take it for granted, but there’s not a whole lot of mental preparation that goes in it for me at this point. People are honestly really excited to see good music from Memphis no matter where we play. When we play Canada, we get treated like rock stars because they don’t get to see bands like us very often. Pretty much anywhere we go we get treated like we are a lot bigger than we really are.

What are you most looking forward to in regards to playing Beale Street Music Fest again this year?

Just being asked to play again is a huge honor. That was the music fest to end all music fests when I was a kid. I didn’t know there was anything other than that – I thought that was the biggest music fest in the world. For us to play the Blues Tent and the same stage as some of my favorite childhood musicians, it’s still surreal.

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We Recommend We Recommend

Benefits for Joyce Cobb and Bobby Memphis

Everybody loves Joyce Cobb, the Memphis jazz singer, WEVL DJ, and sometime actress who was recently diagnosed with pancreatic cancer. Cobb’s longtime bandmate, multi-instrumentalist Hank Sable is ready to take that love to the next level. “I’ll tell you what I think,” he says. “I think Memphis would be better off if we made Joyce mayor of the city. She represents the best of who we are. When she sings there’s no black or white or anything else.”

Joyce Cobb

Sable, who’s played violin and guitar with Cobb’s band for 10 years, is just one of the many artists scheduled to perform at a benefit show at Boscos Squared on Sunday, March 29th. The event will include an open bar and food, a silent auction, and music performed by the Stax Academy, members of Cobb’s band past and present, and a long list of friends and musical collaborators.

And, even if you’re not a Memphis music aficionado, chances are you’ve seen Bobby Memphis (aka Bobby Jordan). Long before there were bike lanes in Memphis, Jordan, a cycling enthusiast who’s played bass and sung with bands like the Mudflaps and the Great Indoorsmen, could be seen pushing pedals all over town. Jordan was hospitalized after suffering a heart infection that lead to a stroke, and benefits have been scheduled in both Memphis and Nashville.

The Memphis benefit is Monday, March 30th, at Lafayette’s Music Room featuring performances by Amy LaVere and Will Sexton, Susan Marshall, the Bluff City Backsliders, and Papa Tops West Coast Turnaround. The show starts at 6 p.m. There is no cover charge, but donations are being accepted.

Categories
Theater Theater Feature

Hoodoo Love at Hattiloo

She keeps a ra’t’s foot in her hand at night when she goes to sleep,

She keeps a ra’t’s foot in her hand at night when she goes to sleep,

to keep [me with] her, so I won’t make no midnight creep.

— “Bad Luck Woman Blues,” Papa Charlie Jackson

I’d like to see a Texas cage match where Katori Hall’s Hoodoo Love takes on Memphis: The Musical. Not because I think it would be much of a fight, but because it would be deeply satisfying to see Hall’s scruffy fairy tale school that wannabe rock-and-roll origin story by a couple of good-intentioned Jersey boys.

Hall’s a Memphis writer who writes Memphis and writes it well. Hoodoo Love, currently onstage at the Hattiloo Theatre, is an intensely poetic love story from the Great Migration, about a little bitty woman with a great big voice, who escapes her hellish preacher’s daughter’s life in rural Mississippi, hoping to make it as a blues singer on Beale Street and to cut a record for the white man on down the road in Chicago. She spends most of her time washing clothes for other people and thinking up songs.

Toulou, sweetly embodied by Keia Johnson, falls hard for Ace, a masterful bluesman with a girl in every town. Desperate to make him her one and only, she turns to Candy Lady, a conjure woman, whose root work is “powerful shit.” The charms work, but there’s a price.

To spice up this voodoo stew, Toulou’s violent, hard-drinking brother follows her to town with the intention of founding his own congregation. Jib, a character reminiscent of Jacob Engstrand from Ibsen’s Ghosts, brings everything Toulou was running away from with him.

Hall has a gift for writing colorful, idiom-laden dialogue that tumbles from her characters’ mouths like Shakespeare’s prose. Hurt Village sounds like Shakespeare. It also sounds like North Memphis at the turn of the last century. She also has a gift for style-hopping, and Hoodoo Love’s mix of earthy music and magical realism is like an Alice Walker story arriving by train in one of Sam Shepard’s early rock-and-blues fantasias. It studies the violence and deprivation underpinning the thing we call the blues, riffing on myths, and the memories of people who claim to have seen guitar legend Robert Johnson on the day he died, crawling on the floor on his hands and knees and barking like a dog.

There are many satisfying things about the Hattiloo’s run through Hoodoo. Johnson’s vulnerable, unforced performance tops the list, although every actor brings something good to the table. Arthur Ford’s Ace is a smooth operator, whether he’s blowing harp or blowing smoke. His scenes in Toulou’s arms, and under her spell, make steam. As brother Jib, Rickey Thomas is an awkward mess of a manchild and a loose cannon. Candy Lady is brought vividly to life by Hurt Village veteran Angela Wynn. But on opening weekend, not all of the actors seemed comfortable with the lines and blocking, and nothing upsets the flow of a performance like actors having to think about what they are doing and saying. Here’s hoping that gets better once the cast has a few shows under its belt.

It’s frustrating, in Memphis especially, to watch actors pretending to play blues out of sync with music from the wings. Even if you commit to actors who can’t play, Hoodoo Love‘s Memphis setting and magical elements create opportunities to present music in a theatrical way, without turning the show into an actual musical.

Director Brooke Sarden may not have found perfect solutions for Hoodoo Love‘s musical challenges, but she seems especially attuned to the meaning and natural musicality of Hall’s language.

Although it’s set in the 1930s, Hoodoo Love‘s modern Memphisness shines through in a way that should make it especially satisfying for regional audiences.