Categories
Music Music Blog

Big BMA 2020 Winners Resonate With Memphis History

Myriam Santos

Mavis Staples

Time seemed to stand still as the 2020 Blues Music Awards unfolded on our screens yesterday: Nominees’ home-recorded performances captured on cell phones, and comments from prominent members of the music world, mixed with unique flashbacks from prior years’ awards shows, featuring luminaries such as Dr. John, Clarence “Gatemouth” Brown, Koko Taylor, Honeyboy Edwards, Luther Allison, Rufus Thomas, Ruth Brown, and B. B. King.

It was an all-online gala, with Shemekia Copeland hosting from her home. The live-streamed event was archived and can still be seen on Facebook and YouTube.

Yet the connection with history went beyond archival footage. Some of this year’s winners were seasoned veterans, embodying the living tradition of the blues more surely than any film footage. None other than Mavis Staples, so associated with the gospel and soul she cut at Stax Records and elsewhere, cemented her place in the blues with a win for Best Vocalist. And Bobby Rush took home the award for Best Soul Blues Album, a useful bookend to his 2017 Grammy for Porcupine Meat.

Christone ‘Kingfish’ Ingram

But, as if to prove that the blues are constantly being reborn, the biggest wins were scored by relative newcomer Christone “Kingfish” Ingram, of Clarksdale, Mississippi, who won  five statues, three for his debut album, Kingfish, as Best Emerging Artist Album, Best Contemporary Blues Album, and Album of the Year, along with two performer awards as Best Contemporary Blues Male Artist and for Instrumentalist-Guitar. Nick Moss and his band featuring Dennis Gruenling were also big winners with three awards: Band of the Year; Traditional Blues Album, for Lucky Guy!; and Moss personally in the Song of the Year category for his composition “Lucky Guy.” Last year’s Soul Blues Male Artist award winner, Sugaray Rayford, claimed that prize again this year along with the B.B. King Entertainer of the Year award.

Shemekia Copeland hosted, and won for Best Contemporary Female Vocalist

Below is a more complete list of the winners, who continue to prove the resilience and necessity of the blues in these trying times. Bravo to one and all for adapting to the demands of physical distancing to make this a unique online event.

B.B. King Entertainer of the Year
Sugaray Rayford

Album of the Year
Kingfish, Christone “Kingfish” Ingram

Band of the Year
The Nick Moss Band feat. Dennis Gruenling

Song of the Year
“Lucky Guy,” written by Nick Moss

Best Emerging Artist Album
Kingfish, Christone “Kingfish” Ingram

Acoustic Blues Album
This Guitar and Tonight, Bob Margolin

Acoustic Blues Artist
Doug MacLeod

Blues Rock Album
Masterpiece, Albert Castiglia

Blues Rock Artist
Eric Gales

Contemporary Blues Album
Kingfish, Christone “Kingfish” Ingram

Contemporary Blues Female Artist
Shemekia Copeland

Contemporary Blues Male Artist
Christone “Kingfish” Ingram

Historical Blues Album
Cadillac Baby’s Bea & Baby Records – Definitive Collection, Earwig Music

Soul Blues Album
Sitting on Top of the Blues, Bobby Rush

Soul Blues Female Artist
Bettye LaVette

Soul Blues Male Artist
Sugaray Rayford

Traditional Blues Album
Lucky Guy!, The Nick Moss Band Featuring Dennis Gruenling

Traditional Blues Female Artist
Sue Foley

Traditional Blues Male Artist
Jimmie Vaughan

Instrumentalist Bass
Michael “Mudcat” Ward

Instrumentalist Drums
Cedric Burnside

Instrumentalist Guitar
Christone “Kingfish” Ingram

Instrumentalist Harmonica
Rick Estrin

Instrumentalist Horn
Vanessa Collier

Instrumentalist Piano
Victor Wainwright

Instrumentalist Vocals
Mavis Staples

Categories
Music Music Blog

Vaneese Thomas Brings It All Back Home, With Show, New Album

Vaneese Thomas

Though she’s a longtime resident of New York, Vaneese Thomas has Memphis deep in her soul. So her show at Lafayette’s Music Room tonight has added significance. As the youngest daughter of Rufus Thomas, she had a ringside seat for the Stax circus in the label’s heyday, and she saw her older siblings, “Memphis Queen” Carla Thomas and keyboardist and producer Marvell Thomas, thrive there. Vaneese, on the other hand, left Memphis for college, where she cultivated her own style, and a New York-based career. Her self-titled debut album spawned the Top 20 US R&B singles “Let’s Talk It Over” and “(I Wanna Get) Close To You” in 1987.

She’s covered a lot of stylistic ground since then, most recently with albums grounded in the blues. But her latest album, Down Yonder, is a more eclectic slice of classic soul. Thomas is the project’s co-producer and either wrote or co-wrote all of its twelve tracks. Joining her are: Shawn Pelton on drums and percussion; Paul Adamy, Conrad Korsch and Will Lee on bass; Al Arlo on acoustic and electric guitars; Thomas’ husband and the disc’s co-producer, Wayne Warnecke, on dobro and percussion; Tash Neal on dobro and electric guitar; Robbie Kondor on keyboards and organ; Charles Hodges and Paul Mariconda on organ; Marc Franklin on trumpet; Tim Ouimette on trumpet and flugelhorn; Lannie McMillan and Ken Geoffree on tenor saxophone; Kirk Smothers and Rick Kriska on baritone saxophone; Katie Jacoby on violin; and, last but not least, sister Carla Thomas and Berneta Miles on background vocals; and Kevin Bacon on lead vocals.

Speaking with Thomas recently about her upcoming show, I found it has a regional focus that resonates with Memphis as much as any of her other blues records.

Memphis Flyer: How did this new album come about?

Vaneese Thomas: Well, I mentioned it in the spring, and my husband was like, Okay, here we go again…But I’m so happy with the sound of it. I think it’s the best material I’ve ever written. It’s good story telling.

In your most recent albums, you’ve been exploring the straight up blues, but this sounds like a dynamite classic soul record.

I’ve been calling it ‘blues and beyond.’ Because, you’re right, there’s so much blues and gospel in it, but it’s a little departure from and expansion on traditional blues. Like any style of music, it has the capacity to expand, and you certainly don’t have to stick to the traditional Delta blues.

Some of the promotional material notes that “she tells stories of her Southern upbringing.” How personal are these stories?

Well, it’s not necessarily my personal experience, but certainly the experience of my Southern upbringing. For example, the story of “Ebony Man” is about African-American farmers and the difficulty they’ve had ever since post-slavery, in keeping their land. Because a lot of it was taken from them. It’s a current phenomenon as well. The New York Times just had an article about this very issue. Where ConAgra and lots of corporate farming interests have been pressuring people to give up their land. And of course, the black farmer, being at the bottom of the totem pole, has had the most difficulty over time, maintaining his property. So those are the kinds of stories I’m telling: not just my personal experience, but my Southern experience.

Wasn’t your father’s family from rural Mississippi? Did he have rural roots?

He was a baby when his family moved to Memphis, so he didn’t really know the rural experience. My mother did because she was raised on a farm in Whitehaven. But daddy was always urban. His parents moved into the city almost right after he was born.

You moved to New York when you were fairly young. You seem pretty happy there.

Oh I am. It gave me an opportunity that I would never have found here, for expanding my musical horizons. There used to be so many ways to have income streams. Playing live, doing television, touring. All the kinds of things you can do. But because television was rooted there, I got to know Paul Shaffer and Will Lee and all those guys who did TV. So I was always first call for television shows, and artists coming through town who needed singers. That sort of thing. So New York’s been very, very good to me.

And I suppose you’re always helping to bring a bit of Southern flavor to the city…

Oh, no question. ‘Cos they love that kind of background in your singing.

Edgar Mata

Carla and Vaneese Thomas

Speaking of your singing, as I listen to the new album, I’m reminded how different your voice is from Carla’s.

Oh my gosh! She has a sweeter tone, I think. It’s interesting. Our church was very straight-laced. It was not the gospel experience people expect from Memphis. We grew up in a very straight-laced Baptist church. So we sang hymns and anthems. It was very different from, say, the Pentecostal religious experience. So neither of us really had gospel as a foundation to our singing. But because we had access to the blues and big band and gospel, just being in Memphis, it certainly was a part of our experience.

Did any singers in particular have a big impact on you?

Well, it’s interesting. When I was younger, it was the British Invasion. I loved all the Beatles’ stuff. The variety of their music was a big influence on me. Because I realized you can’t be monolithic. You have to have a wide variety of musical experience to grow. So I loved the Beatles.  I was always playing and singing, but when I got to college, I began to play and sing at the same time more often, for concerts. And Elton John was a tremendous influence on my playing and writing style.

You were playing piano?

Yes, piano. And if you listen to “Down Yonder,” not only is that song a little gospel-y at the end, but at the beginning it’s very Elton John, like “Your Song” or “Tiny Dancer.” That kinda thing. So if you combine all that with other influences like the Staple Singers and Otis Clay and Al Green, you’ve got a tremendous well to draw from.

You have quite a band to back up your singing.

Oh yes! I am so pleased with the guys that played, both in New York and here. In fact, the horn players on the album are playing with me at Lafayette’s. All three of them. Then in New York, one of the best drummers ever is Shawn Pelton. This is right in his wheelhouse. And Will Lee can play anything. He’s just multi talented, from blues to Jazz. And Robby Kondor used to be Carole King’s son-in-law, so I’ve known Robby for years. And he plays gospel as well as anybody I’ve heard. It’s sort of like a Spooner Oldham kind of vibe. These cats are really multifacted. And when I came down here to do some overdubs, I got Marc Franklin to do my horn arrangements. He just sits in it so great. And Lannie McMillan and Kirk Smothers. And my sister sang background on a few songs, and my friend Berneta. So it’s just the best of all worlds.

Where did you record when you worked here?

At Royal Studios, of course! If the walls could talk… And Boo Mitchell was the engineer, so I had all my peeps with me. 
Courtesy of Stax Museum of American Soul Music

Back: Mr. & Mrs. Marvell Thomas, Vaneese Thomas; Front: Carla, Lorene, and Rufus Thomas

Categories
Music Music Features

Soul Explosion: The New Stax Reissue

“I’m gonna have a hit if it’s the last thing I do!” exclaims Albert King. “Hanging around the studio for three days in a row now, I think ain’t nobody can get a hit outta here but Sam and Dave, Rufus Thomas, or Carla Thomas … I can play the blues myself! Yeah! Gonna get every disc jockey in business across the country. If he don’t dig this, he got a hole in his soul!” King is speaking over a song from half a century ago, but it sounds as urgent as this morning’s news. Such was the galvanizing spirit animating Stax studios throughout 1968 and 1969.

By then, the need for hits had become a matter of survival: Atlantic Records, which had distributed all Stax material through 1967, was enforcing the contractual fine print that made all Stax master recordings the property of Atlantic. Severing relations with the industry giant, Stax, guided by co-owner Al Bell, began cranking out new music at a furious pace.

Wayne Moore, photographer; Stax Museum of American Soul Music

Soul Explosion Summit Atendees with Covers

It was known as the “Soul Explosion,” and Craft Recordings has just re-released a two-LP set by that name that served as the capstone of this Herculean effort. Last year, the five-CD Stax ’68: A Memphis Story gathered every release from the first year of the label’s reinvention. The new double-vinyl reissue, identical in appearance to the original 1969 album, captures the time even more viscerally. Deanie Parker, former head of Stax publicity (and, more recently, president and CEO of the Soulsville Museum), recalls the time wistfully. “That was a time when people loved to read, to see pictures, to touch the album covers, singles, and labels, and have the artists autograph them.”

The vinyl reissue literally brings it all back home. As part of the label’s “Made in Memphis” campaign, the lacquers were cut by Memphis-based engineer Jeff Powell and manufactured at Memphis Record Pressing. And for Parker, the reissue transports her back to that time. “You’d hear something new and think, ‘Oh, this is fantastic! Look what these people did in the studio! Did you hear what they came up with last night?!’ Overnight, something dynamic could happen creatively, and it would modify the strategies that you had in mind earlier in the week, in terms of how we were gonna package it,” she recalls.

Package it they did, with an ever-refined sense of strategy. The Soul Explosion album assembled the biggest hits of 1968, with other diverse potential hits from that productive year. Johnnie Taylor’s “Who’s Making Love,” the label’s first big post-Atlantic smash, is followed in quick succession by Booker T. & the MGs’ “Hang ‘Em High,” Eddie Floyd’s “I’ve Never Found a Girl (To Love Me Like You Do),” and other chart-toppers and rarities. The LP was assembled for maximum impact, just before the label hosted a massive summit of industry players in May of 1969. As Parker recalls, “That album was the centerpiece.”

Al Bell recalls, “We were multimedia before multimedia was even a thing! During that one weekend in Memphis, we had large projections on the walls the size of movie theater screens, and we had video interspersed with live performances by all of our top acts. The energy during that weekend was like nothing the music industry had seen before.”

Beyond appearing 50 years after the original release, the timing of the reissue was especially poignant, coming only days after the death of John Gary Williams, the star vocalist of the Mad Lads. The LP’s two numbers from that group, “So Nice” and “These Old Memories.” In more ways than one, “these old memories” will “bring new tears.”
Editor’s note: Memorial services for John Gary Williams will be Saturday, June 8th, at the Brown Missionary Baptist Church, 7200 Swinnea in Southaven, 11 a.m. to 1 p.m.

Categories
Opinion The Last Word

Mirrors: Old Age is Looking Back at You

This nation has gone completely insane and everybody’s armed. I just wanted to point that out before I got to the main subject of this commentary: having birthdays. Lots of them.

The topic has been on my mind, since I’m about to round that circle once again, and when enough birthdays pile up, you start doing the calculus. It’s not age that bothers me, it’s the aging process. In my mind’s eye, I’m still 35, but my mirrored reflection betrays that fantasy. I’m way far from decrepit and am generally in decent shape for a man whose daily walk is from the bedroom to the den. Of course, the doctor tells me to walk around the block, but, baby, it’s cold outside. My wife will attest that I’m still very boyish and sometimes downright goofy. Here’s a dark confession: I still make funny faces at myself in the mirror. Which brings me to expound upon my concerns in the only creative way I know how — in a song.

Did I tell y’all that I was a songwriter? I thought so. If not, check out “Old Dog, New Tricks,” by Rufus Thomas on YouTube.

See, this journalism business is just my side-hustle. For many years, I attempted songwriting as a profession, but after nine years in Nashville, I burned out. In addition, since there is no more music business, I’ve been receiving royalty checks for 35 cents, or a buck and a quarter, every six months. Why even waste the stamp? However, after I quit writing songs, I found it was a hard habit to break, so I still write them — I just don’t have anywhere to send them. But then, I realized that if I wrote out my song in the Memphis Flyer, it would be published automatically. The law states that a song is copyrighted as soon as the pencil leaves the paper, or in this case, the keystroke hits the screen, so don’t be messing with my latest hit. I call it “Mirrors.”

You’re the one who got elected/ But not the one selected.

The word “orange” has no rhyme/ But that’s the color you’ll be wearing when you’re doing time. 

I’m sorry, that’s from a different song I’ve been working on. If you’ll indulge me:

“Mirrors”

I think my mirror’s lying to me/ Where is that boy I used to be?

My beard is now all specked with grey/ And my hair has mostly gone away.

I just don’t look the way I should/ But then, my eyesight’s not that good.

I just can’t seem to get used to myself/ I think I must be someone else.

The image in my mind is from 1993.

I think my mirror’s lying to me.

I don’t stare anymore/ but just by chance

I can’t help but catch a passing glance.

But what I see just isn’t me/ Where is that boy I used to be?

So I’m taking down the mirrors/ And here’s the reason why.

I just can’t stand to see a grown man cry.

I’m thinking of a Salsa or Samba beat, but it’s still a work in progress. I promised myself that I wouldn’t be one of those old codgers who sit around and complain about what ails them, yet here I am. I’ve accepted my circumstances, but that doesn’t mean I have to like it.

My first sign that I needed to take cautionary action was when I nearly slipped in the shower. I caught myself before falling through the curtain, hitting my head on the sink, and Elvising out on the bathroom rug. Melody is the mechanically inclined person in this household, so the next thing I knew, she was assembling one of those orthopedic chairs, all rubber and plastic, like the kind they use in hospitals. I balked at first out of reflexive vanity. Surely, a chair in the shower is a sign of surrender. But after I tried it, I wondered why it’s not standard equipment in all showers. It’s like sitting under a tropical waterfall and makes you want to linger. And you don’t have to bob and weave around a shower head like some slick prizefighter. The chair helped me come to terms with my limitations.

Although longevity is on my side, I still can’t help but be concerned. I inherited the longevity gene from my mother, but I also inherited my grandmother’s neurosis. If there’s a genetic predisposition, I’m on course to live a long life — miserably. Now, get the hell off of my lawn.

Randy Haspel writes the “Recycled Hippies” blog.

Categories
Cover Feature News

The Thomas Sisters: We Are Family

In February, the Memphis Housing Authority took steps to remove the last dwellers from the city’s oldest public housing project, Foote Homes. Though many had left already, and though carcinogens stained the surrounding soil, some longtime residents were reluctant to go. Perhaps they still had vivid memories of a time when Foote Homes was at the center of a thriving neighborhood culture in South Memphis.

Some may have even known the place soon after it was built in 1941, when a young couple, Rufus and Lorene Thomas, moved in to start a family with their young son, Marvell. When daughter Carla was born a year later, they had little inkling that the Thomas family was just beginning, or that the father, son, daughter, and daughter-to-come would one day become stars on a global scale.

Rufus was a natural showman, having proven himself on the road with the Rabbit Foot Minstrels and the Royal American troupe, tap dancing, scat singing, and learning how to work a crowd. Perhaps it seemed he was leaving that life behind for good when he and Lorene settled at Foote Homes, but the call of the stage still rang in his ears.

Before long, he was back in touch with his old history teacher from Booker T. Washington High School, Nat D. Williams, a learned writer and entertainer — and a pillar of the community. Williams had been hosting a popular Amateur Show on Beale Street, and when he left, Rufus stepped in to replace him.

He would end up staying for over a decade, helping to launch the careers of B.B. King, Bobby “Blue” Bland, and local jazz stalwart Herman Green, among others. From there he would become a renowned deejay and recording artist, of course, but this track record can obscure the fact that he was also, first and foremost, a family man.

Courtesy of Stax Museum of American Soul Music

Back: Mr. & Mrs. Marvell Thomas, Vaneese Thomas; Front: Carla, Lorene, and Rufus Thomas

To learn a bit more about the spirit of the Thomas family, which would ultimately nurture the talents of siblings Marvell, Carla, and Vaneese, I made my way to that hub of African-American culture in South Memphis, the Four Way Grill. Established in 1946, just a few blocks from the Capitol Theater, the eatery fed the Thomas kids and thousands of other Memphians for generations. When the Capitol was sold and became Satellite, and then Stax Records, the Four Way was a natural hang-out for performers as they dreamed of stardom. Community leaders of all kinds flocked there, and many of their photographs grace the walls. It’s the embodiment of the community of South Memphis and a reminder that to raise families full of potential, it may not take a village. Sometimes the neighborhood will do.

When Carla and Vaneese join me, I have to pinch myself. “Gee whiz, it’s Christmas!” I think. Of course, as soon as we sit down, talk gravitates to their legendary father who, even 16 years after his death, somehow still commands the room.

Vaneese, the “youngster” of the family, wants to emphasize the musicianship of her father. “If you ever see album credits listing so and so as the arranger of a Rufus Thomas session, don’t believe it. Daddy was always right there, going to each musician, telling them their parts.” She and Carla speak a little wistfully of their parents, and of their brother Marvell, who passed away earlier this year.

And yet it’s like they’re all there with us, as Carla relives her childhood days when Rufus first began working at “The Mother Station of Negroes,” WDIA. It was the first station in the nation to feature African-American deejays, and, as with the Amateur Hour on Beale, the road there was paved by Nat D. Williams, who helped Rufus step into B.B. King’s on-air slot after King’s music took him on the road.

Despite the progressive moves the station made at the time, Rufus found himself in a bizarre, half-segregated world where the deejays of color were not allowed to actually play the records: That was left to the white “engineers.” Announcers like Rufus would pull their record selections from the shelf, log them in, and step back as the engineers spun the platters. In any case, it wasn’t the magic of the records that captivated Carla so much as the live chorus, masterminded by deejay A.C. Williams. His “Teen Town Singers,” dreamt up as a promotional foray into local high schools, became an inspiration to many an aspiring vocalist.

Courtesy of Stax Museum of American Soul Music

Carla Thomas

“When daddy started at WDIA, we’d listen every day,” Carla recalls. “And that’s when I started listening to the Teen-Towners. I must have been 9 or 10. And I’d be, ‘Am I gonna be in there?'” Rufus would reply, “You’re too young. You can’t be in there.” Still, she persisted. “I wanna be in the Teen Town Singers!”

“She begged for a year,” says Vaneese.

“And then one day, he was nice to me,” says Carla. “He had no idea I could sing or even carry a note. I didn’t either! I just knew I wanted to be in it. One day he said, ‘I tell you what. You’re about to get on my nerves. Okay, I gotta go pull my show.’ They still had engineers in those days. ‘Now, you sit there with Martha Jean [Steinberg], and you just sit there til I finish.’ He goes in the back and he sits me with Martha Jean. And she was so gorgeous. She was just so beautiful. And she said, ‘Hey, you’re Rufus’ little girl.’

“I’m thinking ‘Oh God, I’m at WDIA!'” But something appeared to be wrong, the show’s producer was in a mild panic. After the main chorus sang, they were to broadcast the Teen Town Talent Time, where other high schoolers could join the chorus, often winning prizes. They were short one singer. Someone said, “Can you sing, little girl?”

“She didn’t know me from a hole in the ground,” says Carla, still excited at the memory. “And I said, ‘No, ma’am, I can’t sing,’ because my daddy had already told me I couldn’t sing. And then I thought, ‘Oh my God, the Teen Towners are still in there!’ And I said, ‘Mm-hmm, I sing!’ I didn’t know I could sing a note. I just knew I wanted to tell daddy I could actually sing with the Teen Towners. Anyway, I went in, and they had a little riser she found and stood me on it. And they had the little mic come down right in front of me. That’s how I won, because it picked up my voice. People called and said, ‘Who is that little girl? We wanna vote for her.’ I kid you not!”

Her talents thus revealed, rules were bent and Carla was allowed to join the regular Teen Town chorus. “Every Wednesday, every Friday, every Saturday. I never missed one rehearsal. From 11 years old to 17,” she remembers.

Courtesy of Stax Museum of American Soul Music

Carla Thomas

“And that was the case for all of them,” recalls Vaneese, who later won the talent contest herself but never joined as a regular member. “Which is why so many of them became professional singers. Percy Wiggins. He was one. His brother Spencer. Tyrone Smith. Ed Townsend.” And perhaps the most renowned Teen Towner of them all, Isaac Hayes.

As the Teen Towners made their appearances, Rufus began cutting records that were released on Chess, Meteor, and other labels, including Sun Records’ first hit, “Bear Cat.” Even then, he continued to deejay at WDIA, working days at a textile mill to make ends meet. Meanwhile, the other Thomas kids began their forays into music as well.

Marvell began studying music at LeMoyne College. His professor was known as “Doc Whitaker” — it wasn’t until later that the Thomas kids learned of his importance to American music history, having served as part of James Reese Europe’s military band during World War I, widely recognized for having pioneered orchestral jazz both at home and abroad.

Vaneese also learned from her brother’s music professor. “I took lessons there for 10 years,” she says. “He was a very, very cultured man. A very brilliant guy. A classical pianist. He spoke in French to me, and I wound up majoring in French in college as a result. I just love the language.”

Whitaker clearly made an impression on Marvell as well, as marked by the trajectory he traced in the music industry before, during, and after Stax. “Marvell — he carved a niche for himself in Memphis, in the early days of traveling bands, and by working with different arrangers and band leaders,” says Vaneese. This was apparent when Rufus showed up unannounced at the fledgling Satellite Records’ studio in 1960, proposing to cut a record. When Rufus and Carla sang what would become Satellite’s first hit, it featured Marvell on piano and a young multi-instrumentalist on baritone sax by the name of Booker T. Jones. Both would figure heavily in crafting the Satellite/Stax sound.

Vaneese Thomas

Carla, for her part, had gained enough confidence from her Teen Towner work to begin writing songs, which Rufus diligently captured on a home recorder. His tape of “Gee Whiz,” a song Carla had written at the age of 15 or 16, earned her her own session at Satellite and proved to be an even bigger hit than their previous duet. It remains a career-defining song for her to this day. She laughs at the song’s longevity, and the many ways she’s performed it. “I used to play with this little combo, we would go all over Tennessee. It was a jazz combo, and there they were playing ‘Gee Whiz,'” she chuckles.

The Stax tale is ultimately a tragic one, ending with the label’s bankruptcy in 1976. For Carla, moreso than most Stax artists, it proved to be the de facto end of her recording career, but not of her performances. Ironically, one of her fondest memories was the time she was called on to fill in for a Motown artist. When Tammi Terrell, partner in many hit duets with Marvin Gaye, was forced to quit performing due to a brain tumor, Carla somewhat reluctantly agreed to fill her shoes when Gaye played the Apollo Theater. For the confirmed fan of the duo, it was a watershed moment and foreshadowed a future career based more on performance than recording.

After the Stax collapse, Carla performed tirelessly in television appearances and concerts throughout the world. As Vaneese reflects, “It’s so precious that it doesn’t matter, the time frame since you had your last record. It’s timeless, classic stuff.” For her part, Carla seems content with her track record, noting, “Isn’t it amazing how people make you realize how important Stax was — more important to them sometimes than Stax was to itself.”

As the 1970s wore on, the time was ripe for the third Thomas sibling to step up to bat. But Vaneese was determined to explore music on her own terms, without relying on the Thomas family legend. “The Thomas legend, yes,” she muses. “And you know it took a long time for me to want to embrace it. And when I did, it was okay then. And it was because I had worked very hard on my own, and by then I appreciated the legacy.”

The story of her career begins with leaving Memphis. “I went to Swarthmore, outside of Philadelphia,” she recalls. “And I really didn’t know for sure what I was going to do. I was avoiding music, sort of. Every time it would chase me I would turn. But eventually I started doing it. I sang in recording studios in Philadelphia. Me and a friend were the B singers of the Sweethearts of Soul. I don’t know if you know the Sigma Sweethearts, but they sang on all the Spinners records and all those people like that. We didn’t get that high on the ladder; we sang on the lesser lights. But it didn’t matter, we were getting great studio experience.”

A brief time courting success as half of a duet led to some minor record deals, but it wasn’t until she tried her hand as a solo act that she broke out. “My first solo record was on Geffen Records. And I had a top 10 R&B record, called ‘Let’s Talk It Over.’ I’ve been doing this a long time,” she laughs. That first hit was in 1987, followed by another, “(I Wanna Get) Close to You.” Subsequent records failed to chart as well, but “then I moved to New York and did a lot of commercials.”

That last comment underplays Vaneese’s varied career since her Geffen days. Her work can be heard on countless voice-overs and as a background singer for the likes of Aretha Franklin. And with her ongoing work as a singer, writer, and producer, even as she remains planted in New York, she has launched a new phase of her career — exploring the rootsier sounds of her hometown.

“When I put out Blues for My Father in 2014, that was my first foray into the blues. So I did that really in honor of Daddy, obviously. And because people don’t know that he sang blues all through his career, from the beginning to the end. So I wanted to dab my toe in that, and I’ve grown to love it. And I want to sing more earthy stuff.” Last year’s The Long Journey Home continues in that vein, and she shows no sign of letting up.

Meanwhile, all records aside, there is the call of the stage. In recent years, it has brought the two sisters closer together. Aside from one or two performances in the 1970s featuring Rufus and all three siblings, Carla and Vaneese had not performed together until recently. It began with an appearance at the Montreux Jazz Festival in 2002, and it seems to be accelerating. “Carla and I did one in the Canary Islands this summer,” notes Vaneese, and that was fast on the heels of performing at the famed Poretta Soul Festival in Italy. This fall, they were scheduled to sing at the Ponderosa Stomp Festival, but Hurricane Nate nixed that. Nonetheless, they show no signs of slowing. As we sit in the Four Way Grill sipping our tea, they’ve come to terms with each other, with the neighborhood that nurtured them, and where fate may yet take them — together.

Categories
Cover Feature News

Herman Green: Living Legend

Imagine being born into the Great Depression, growing up in South Memphis. You’re a part of the household of the Reverend Tigner Green. You’re not terribly wealthy, but you’re better off than many and not without some dignity in the racist order that prevails in the 1930s South.

Your life is filled with music. Your biological father, Herman Washington — murdered when you were only two — once played in W.C. Handy’s legendary band. You bear his name, and they call you Junior. Your grandmother was a pianist of some talent in St. Louis, and as you mature, you develop skills in piano and guitar. Under your stepfather’s guidance at the Church of God in Christ, you play guitar alongside a blind pianist, Lindell Woodson, marveling at a dexterity rivaling that of the great Art Tatum, with songs bringing congregations to their feet, clapping and shouting.

Every day hinges on three simple tasks: You kill a chicken; you chop wood; and you practice your music lessons.

“That,” says Herman Green, the man recalling all this, “is one part of the beginning of yours truly.”

Justin Fox Burks

Dr. Herman Green, who would come to carry the genius of post-war blues, soul, and jazz into the 21st century, halts this idyllic tale of youth as he confronts a defining moment: high school marching band. “They didn’t have marching band in elementary school,” remembers Green. “So I got in high school, and I told my mom, ‘I gotta get me a horn. I can’t march down the street with a guitar; they won’t even let me!’ She said, ‘Okay, we’ll get down there and get you a horn. What kind do you wanna play?'”

Though trumpet looked easy enough, its demands on his lips were baffling, so Green settled on alto saxophone. The rest is history, thanks in no small part to his mother, Alice Lee, and the stepfather whose surname he would ultimately take as his own.

Life at Booker T. Washington High School would bring with it more than just a change of instrument. It was there that Green met a man who seemingly presided over every period of Memphis musical innovation. One wouldn’t be far off imagining some demi-god descending to usher young Herman into the world of secular music — a demi-god doing the funky chicken.

“There were pageants we used to do at the end of the school season at Booker T. Washington, and Rufus Thomas was the one that put it together. So we did that, I did that for four years while I was in high school, with him. Plus, I played gigs with him.”

Justin Fox Burks

Herman Green

By the age of 15, Green was in the orchestra backing talent shows that Rufus Thomas and his colleague “Bones” compèred on Beale Street. Over the next couple years, the music he played became more worldly, culminating in the arrival of another pivotal figure. “B.B. King came to Memphis from Mississippi, so Rufus said, ‘I got a saxophone player you need. His name is Herman Green.’ So we got to playing like Covington, Dyersburg, West Memphis; we played the Harlem Club, which was a black club. They was over there rolling the dice while we was over in the corner playing.

“So we did that for about a year, and I said, ‘B., you think you ready to move? What you wanna do, you wanna stick around here, or you wanna go further?’ He said, ‘Well, I think we need to move. We goin’ to Kansas City. I heard they love the blues there.’ So we went up there, me and B., to look it over. And there was a lot of jazz musicians there in Kansas City. I said, ‘Okay, B., I don’t hear nobody blowin’ no blues. Let me get on the bandstand,’ ’cause I could play some jazz myself then. I mean, I was taught early. And guess who it was I jumped on the bandstand on top of — Charlie Parker! Now, you know I had to be a fool to get on the bandstand with Charlie Parker there. But at that time I hadn’t seen Charlie Parker in my life, man! So Charlie said, ‘Hey, you play good for a kid.'”

Green and King returned to Memphis as planned, but other temptations awaited. At the Memphis Cotton Carnival, a touring troupe offered work. “They had a show with girls running out there with their shorts and dancing. They called it a ‘bally’ stage. Pay your money, come inside. I did 22 shows in 8 hours. They were paying $5 — that’s what a musician was making in those days. And the bally troupe wanted me to go with them with the show. So I left a note to tell my folks I was going to leave, and I’ll let you know where I’m going and I’ll be in touch, and blah, blah, blah. … I was ready to leave, because they were headed to Canada, all the way up the east coast.

Dave Gonsalves , Herman Green, John Coltrane, and Arthur Hoyle

“Man, I’m up there playing my butt off, and all of a sudden … Well, my mom was a church mother, and she wasn’t supposed to be seen in those kind of places, you know. But she came through them curtains, man, and she stood there like this with her arms crossed. And she waited till the end of the show. She was a classy lady. Then she said, ‘Junior, I got your note. I didn’t come up here to scold you. I didn’t come up here to hurt you. I came up here to keep you here, because you’ve got a little more schooling to do. You need to know a little more about life. Now come on. Your daddy’s downstairs waiting on ya.’

“That was my stepfather. He was in the car. And preachers then, you know, had them big, long limousines. And I just said ‘Well, there’s no use arguing here. I just might as well go.’ So I did, I went home and stayed a whole year. And I lost a brand new pair of suede shoes that I bought at Florsheim. Thirty dollar shoes! I left ’em on the bus, man. But they really were concerned about me getting an education. They wanted me to go to college.

“So I went one year. Then next time that bally troupe came back, I played a gig with ’em, and I said, ‘What time y’all planning on leaving town?'” With his mother’s blessing, this time, Green left Memphis.

“I went all the way up to Toronto, Canada, man, and come on back down, and when they headed back down to Virginia, I got off in Washington, D.C., and I went back to New York, and that’s when I got in touch with Sonny Stitt and Gene Ammons and John Coltrane. I was like 21; they at that time were 27 or 28 I think.”

BB King, Herman Green, and Melvin Lee

“When I first got to New York, I picked up the paper and it said Jam Session: Birdland. Sonny Stitt was booked there for three weeks with Art Blakey, but they had a jam session on Sundays before they’d do the show. I took the paper, stuck it under my arm, grabbed my horn and went down there. Got there, slammed my horn down on the table, took it out, and walked up on the stage. So Sonny, he kinda looked at me funny, and he thought, ‘Well here’s something.’ That’s what he told me later that he said to himself.

He said, ‘Where you from?’ I said, ‘Memphis Tennessee.’ ‘That explains what you just did,’ he said. ‘Well let this be a lesson. Don’t never walk on nobody’s bandstand until they call you. And you let ’em know who you are.’ And then he said ‘Now let’s get back up there and play, ’cause you can play.’”

It so often came down to that simple fact for Herman Green: He had chops. That skill served him well wherever he landed, including the heady New York bop scene of 1950.

Back in Memphis, he played on Rufus Thomas’ “Why Did Ya Dee-Gee?” — released on Chess Records and Sun Records. He was drafted into front line service for the Korean War, only to be reassigned to the Army band when officers heard him practicing his horn. Upon his return to the States, a layover in San Francisco turned into a two-year stint: “I loved that city,” he remembers. There he played Bop City and led the house band at the Blackhawk, a pivotal club where he played with pioneers of the West Coast Sound like Dave Brubeck, as well as his New York cohorts: Miles Davis, Thelonius Monk, Dizzy Gillespie, and John Coltrane. Occasionally, he’d even see his old Memphis friend Phineas Newborn Jr. when he passed through.

Finally, Green moved on, landing a steady gig with Lionel Hampton and His Orchestra, which he stuck with for 10 years. (You can hear the 1960 band on the CD, Live at the Metropole, New York City.) It was Hampton, Green says, who had the biggest impact on his playing, but it was at this time, during a three month residency at the Riviera in Las Vegas, that he had a brush with another demi-god who’d impacted all of jazz itself.

(You can hear the 1960 band on the CD, Live at the Metropole, New York City).“They had an after-hours breakfast jazz jam place, and I was over there playing on the stand, and I used to play with my eyes closed ’cause I didn’t wanna get disturbed, especially when I was playing something different. And then I heard this deep voice say ‘Keep on playing, boy!’ And I looked around, and there was Louis Armstrong standing next to me! Ooh, Lord have mercy, I almost put my horn down, man!

“He said, ‘Don’t you dare put that down, the way that you playing.'”

It was Green’s mother, who had given her blessing when he left Memphis, who brought him back. During a session for Atlantic Records in New York, he got a call that his mother wanted him home. She was dying of tuberculosis. He left the session immediately, getting home in time to see her just before she passed. Soon, he was settled again in his hometown. It was 1967, and Stax Records was in full swing. Green, who had played with his younger cousin Al Jackson Jr. on Beale Street, soon fell into recording sessions there. For a while, as the Memphis scene fired on all cylinders, there was plenty of work to be had. In the early 1970s, he married Rose Jackson (who has since passed away), and by mid-decade, he had taken a teaching position at Lemoyne-Owen College. All the while, he played his horn, often with fellow Booker T. Washington alum Calvin Newborn on guitar, mentoring young jazz talents like James Williams along the way.

Even as Beale Street withered after the 1960s, traditional jazz thrived in Memphis for a time. Green and his band, the Green Machine, became a fixture on the scene, and he fondly recalls the rebirth of Beale Street in the 1980s, marked for him personally by the night Stevie Wonder sat in with his band after playing Memphis in May.

In 1986, he befriended a young bass player, Richard Cushing, who saw great possibilities in the jam-based approach of the Grateful Dead. The next year, their friendship bore fruit with FreeWorld, now perhaps the longest-running Memphis band of this generation. The group has consistently brewed an unpredictable blend of funk, New Orleans street music, soul, and jam rock — a gumbo of influences that has led them to carve out a reliable niche on Beale. Even as local audiences for bop-informed, swinging jazz lose the plot, such bands with a backbone of funk keep the spirit of improvisation alive and well. FreeWorld has kept Green spry on the stage, and they were there backing him when he was awarded an honorary doctorate by the Memphis College of Art. Seeing FreeWorld play Beale Street recently, I was struck by how crucial the simple act of dancing has been to Memphis music, bridging the many disparate paths Green has taken over decades. Dance weaves like a golden thread from the strut of Rufus Thomas, through the years with Lionel Hampton, the Stax years, and into the present. All the while, Green has mined the more complex territory of harmony and melody embodied in his first chance meeting with Charlie Parker.

Seeing him take the microphone last Sunday, singing a blues song resonating with echoes of old Beale Street, all of his 87 years seemed to be summed up in a few elegant lines, dipping and crosscutting to the rhythm, as he sang into the sky, eyes wide open, “She’s waiting for me, she’s waiting for me.”

Categories
Cover Feature News

The Bird’s the Word

Over the weekend, a man was arrested for stabbing a gas station worker over “bad chicken.” Now we’re not ones to condone violence —no stabbing! — but people around these parts have certain expectations that their chicken is going to be good.

This issue is all about good chicken. Plenty of words have been written about Gus’s and Uncle Lou’s, so we decided to explore Memphis’ other chicken avenues. We guarantee that you’ll be hungry after reading this.

The Smoked Chicken Debris PoBoy
@ The Dirty Crow Inn

If heaven ain’t a lot like The Dirty Crow Inn, I don’t want to go. (I checked, and it’s fine to rip off Bocephus when you’re talking chicken. “He wouldn’t mind,” is what the rule book says.)

I’d heard tell of a chicken Philly sandwich at the Inn. It’s a special sometimes, the bar man told me, but not part of the regular menu. At that low moment, a ray of hope cut those rainy clouds — the word “debris.”

The Inn keepers have called it the “Chicken Debris PoBoy” online, but the Dirty Crow menu said, “smoked chicken debris” sandwich. To me, debris is debris any way you cut it (or don’t, I guess). And I’ve seen it swimming in the serving pan at Mother’s, the famed New Orleans restaurant that invented debris (the term anyway).

My sandwich at the Dirty Crow was every bit a po’boy, beautifully smoked chicken bathed in an earthy brown gravy riding two light (and lightly toasted) pieces of French bread from Gambino’s, that fine and famed New Orleans bakery.

Sometimes “smoked” menu items, even in Memphis, don’t taste that way. The Crow’s chicken debris sandwich does not leave you guessing. Its smoke flavor is present but delicate, the way it ought to be. It blends seamlessly with that gravy and a nice dose of melted cheese that pulls away in a pizza-commercial string as you pull the sandwich from your mouth.

The place is heaven for dive-bar aficionados (like me). The food makes it a before-you-die destination for all Memphians. — Toby Sells

Dirty Crow Inn, 855 Kentucky, 207-5111, facebook.com/thedirtycrowinn

Fried Chicken @ Cash Saver

Sometimes, you just gotta have fried chicken. Last week, I was so desperate I went to the KFC drive-thru and ordered a box. “Thlbetwtyminawtfcxx” came back over the microphone.

“What?”

“Thlbetwtyminawtfcxx”

“What?”

After several attempts, the fellow managed to get the message to me: “There will be a 20-minute wait for chicken.” Right. At a chicken restaurant. So …

I’ve been hearing about Cash Saver’s fried chicken for more than a year now. Midtowners who I know and trust have said to me, “That fried chicken is the real deal. And cheap!” Some said it was the best in town. I don’t know about that, but I’m here to tell you, they were right about it being very good. And very cheap.

Fried Chicken at Cash Saver

I ordered two breasts and two thighs. Total cost? $5.19.

The pieces were very large, crispy on the outside and perfectly moist on the inside. The flavor of the skin was savory, lightly seasoned but with a little bite. In short, great fried chicken — the real deal. Highly recommended. I’ll be back for more. — Bruce VanWyngarden

Cash Saver, 1620 Madison, 272-0171, memphiscashsaver.com

Romaine Salad with Chicken Skins @ Hog & Hominy

Anytime I see someone slip off and discard the skin from an otherwise perfect piece of fried or baked chicken (but especially fried), I inwardly pray for their poor soul and wonder who it was that set you down a path of self-deprivation.

It’s not only that they are missing out on some heart-healthy unsaturated fats, it’s that they might still fall victim to this woefully false myth that this is something you have to do to make your chicken healthy enough to consume (spoiler, it’s not).

Well, someone at Hog & Hominy decided, “Screw that, we’re devoting a dish solely to chicken skins.” And just to round it out, lest the consumer grew up under the anti-skin mythology, that someone decided to build their chicken dermis homage on a bed of Romaine lettuce.

The result is an unexpectedly cohesive salad, misleadingly and simply titled, “Romaine.” The chicken skins used are more akin to a pork rind rather than the double-breaded crunchiness of most fried chicken pieces. These puffy morsels are strewn atop a decent portion of lettuce, which is in turn covered in snowy Parmesan and drizzled with pecorino vinaigrette.

Justin Fox Burks

Romaine Salad with Chicken Skins at Hog & Hominy

The skins are lightly seasoned so the vinaigrette can come in and work its magic by introducing a low level of spice and tang, two flavors that pair surprisingly well with the fried fat essence of the skins. The Romaine lettuce does what Romaine was put on this earth to do, namely, trick us into thinking we’re consuming something mega-healthy when we are not. And, of course, it’s the perfect semi-crunchy vehicle that supports the crispiness of the skins.

Be warned, though, this is not the type of salad loaded down with auxiliary vegetables and croutons. It’s not going to fill you up. But it will deliver piquancy worthy of what I have determined to be the greatest part of the chicken.

Micaela Watts

Hog & Hominy, 707 W. Brookhaven,
207-7396, hogandhominy.com

Chicken Tamales from Tacqueria La Guadalupana food truck

Tamales were among the earliest food imports from south of the border to make it onto Norde Americano menus, and they remain a staple, whether in supermarket cans or on restaurant tables. Something of a debate rages as to whether the meat base in those wraparound masa cylinders should be beef or pork, but there is a third possibility — chicken — and a good place to sample it is from the Tacqueria La Guadalupana food truck that sets up daily on the north side of the shopping-center lot where Cordova Road intersects with Germantown Parkway — in an area that is more multi-ethnic than you might imagine. (The internationally focused Cordova Farmers Market is the big-box anchor on the lot.)

The La Guadalupana truck offers numerous cooked-while-you-wait specialties, several involving chicken. Order tamales, and what you get, for a mere $7.99, is three YUGE tamales, each with a generous and succulently breaded tortilla coating, within which is packed none of that minced mystery-meat filling you get at so many places, but steamed and tender morsels of freshly carved, fresh-off-the-bone-looking chicken meat. Two sauces are available as condiments, the green one appears to mix guacamole with chili; the red one (maybe laced with habanero) is scalding hot.

Jackson Baker

Taqueria La Guadalupana at the corner of Cordova Road and Germantown Parkway

Wood Roasted Half Chicken @
The Kitchen Bistro

Served in a round ceramic casserole the color of red clay, the Kitchen’s wood-roasted chicken earns it $29 price tag with looks, smarts, and personality. First, cornbread panzanella sets the dish with a seasonal cacophony of tomatoes, onions, and olives. Next comes the chicken, brined, flattened, and wood-roasted to a deep and rustic char. And what swirls on top with magical brushstrokes of taste and color? The dressing, a pesto of sorts made with garlic, olive oil, lemon, and anchovies. “You don’t want to eat the chicken and think the chicken tastes like fish,” explains head Chef Dennis Phelps. “You want to eat the chicken and think the chicken tastes delicious.” — Pamela Denney

Justin Fox Burks

Wood Roasted Half Chicken at the Kitchen Bistro

The Kitchen Bistro, 415 Great View Drive East, 729-9009, thekitchen.com

General Tso’s Chicken @ Mulan

It’s a conundrum every office has had to face as they order takeout lunch: What’s the deal with General Tso’s Chicken? Who was the eponymous military man? What’s his connection with poultry? How do you even pronounce it?

If these questions have ever prompted debate at your workplace, take heart. The answers are out there, in the form of Ian Cheney and Jennifer Lee’s 2014 documentary The Search for General Tso. It’s a fascinating look into the ways immigrant communities adapt to American life that also tells you everything you need to know about the sweet and spicy Hunan-style dish which, it turns out, is virtually unknown in China.

The first two things I noticed about the General Tso’s Chicken at Mulan is that the garnish contained a glowing LED and a dearth of broccoli on the plate. Many Chinese restaurants include plentiful broccoli with the stir-fried dark meat, and the florets come in handy for sopping up the sauce that gives the dish its deep red color. But once I bit into the succulent chunks of chicken, I realized the vegetable would have been a distraction from the main show. Each morsel was just a little crispy on the outside, tender on the inside. It was outstanding. I got the standard spice level for scientific purposes, so the sweetness and heat were finely balanced. But if you like it spicy, they’ll be more than happy to oblige.

Chris McCoy

Mulan General Tso’s Chicken

For the record, the Chinese character transliterated as “Tso” or “Zho” means “left.” It’s a syllable that English does not contain, but it is roughly pronounced as “jowh.” However, to avoid confusion with your server, you should probably just go with “so.” — Chris McCoy

Mulan, 2149 Young, 347-3965 mulanmidtown.net

Chicken and waffles @
The HM Dessert Lounge

I’m aware of no other restaurant in Memphis where one can dine surrounded by paintings of the late, great Prince hung on purple walls. I discovered the promised land, and it’s named HM Dessert Lounge. The restaurant’s focus is in its name, with one exception: chicken and waffles.

The chicken is dipped in double honey hot sauce, Jamaican jerk sauce, or spicy peach glaze. It’s then paired with a regular, cornbread, honey butter biscuit, blueberry, sweet potato, or a maple bacon waffle. Options, indeed.

Justin Fox Burks

Chicken and waffles at The HM Dessert Lounge

I settled on four chicken breasts bathed in double hot honey sauce and coupled with a maple bacon encrusted waffle — $12 well spent. Sticky as it is, the hot honey sauce slides from the chicken and blends with the maple syrup, creating a sweet and spicy combination that brings magic to a dish which otherwise would have been too obvious. The chicken isn’t flaky but smooth, and each piece shines beneath the sauce. Slice the waffle, cut the chicken, and fork ’em together. Sauce and syrup united, the waffle coats the chicken, and bacon bits provide a necessary crunch.— Joshua Cannon

The HM Dessert Lounge,

1586 Madison, 290-2099,

facebook.com/fashionablysweetlounge

Smoke Chicken @ Picosos

There are fewer words in the English language sadder than, “Sorry, not today.” Especially if those words are spoken with genuine disappointment in a Mexican accent at Picosos, a terrific little south-of-the-border diner on Summer Avenue. The restaurant’s “Smoke Chicken” is an old-Memphis-meets-old-Mexico delicacy that sells fast, is only available on the weekends, and so succulent and good it’s worth heading out early to get your order in before the Saturday lunch crowd arrives. Served with rice and refried beans and topped with a handful of french fries, the meal is exactly what it sounds like — a quarter, half, or whole chicken covered with a heady-not-hot spice rub that’s a little on the salty side and slow-smoked to barbecue-lover’s perfection. It’s tempting to just wolf the whole thing down, but advisable to savor every spicy, smoky, chickeny bite. — Chris Davis

Smoke Chicken at Picosos

Picosos, 3937 Summer, 323-7003

The Family Chicken Dinner @ SuperLo

It was a snobby Midtowner’s dilemma.

Our Target basket was full. The kids were getting pissy. We were all hungry, but the grown-ups didn’t want to make lunch.

“But there’s nothing to eat in East Memphis,” we whined without saying a word.

Wheeling through the parking lot, my wife caught a scent on the wind. “Oh my god, somebody’s fried chicken smells GOOD!” she said. We both whirled, like castaways searching the skies for a rescue plane.

The only thing that made sense was the deli counter of the Target-adjacent SuperLo. We’d been there infrequently, but I thought I remembered a big deli case. I remembered correctly.

The star of the SuperLo show was a fried chicken dinner, perfect for a Sunday lunch. Plenty of dark-brown-fried breasts and thighs lined a warming tray. But we wanted the eight-piece meal and the case offerings would not do for our wonderful deli helper.

“Nuh-uh. Give me two minutes, baby,” the woman said to my wife. “I’m going to make you up some fresh.”

Two minutes later, she filled a white, cardboard service box with two breasts, two thighs, two drummies, and two wings, like a Memphis-style Noah’s Ark. That Ark came with big-ole sides of green beans, mashed potatoes, and four King’s Hawaiian rolls. (They even added two cookies for my son. No charge.)

The chicken was crunchy-crispy on the outside, fork-tender and moist on the inside, warmly spiced, but not too spicy. It was that eye-rolling, soul-feeding, conversation-stopping, back-home-style kind of good. And all of it for about $14.

Who says there’s nothing to eat in East Memphis? — Toby Sells

SuperLo, 4744 Spottswood, 683-6861, superlofoods.com

Fried Buffalo Chicken Slider (add peanut butter) @ The Slider Inn

The first thing you need to know about Slider Inn’s Buffalo Chicken Slider is that you should order it fried. They’ll serve it grilled, but that’s your loss. As is, the sandwich comes with a palm-sized chicken breast drenched in buffalo wing sauce and topped with American cheese, lettuce, tomato, and ranch.

Here’s the second thing you need to know — hidden off the menu, secret but paramount. Ask for peanut butter, and the sandwich will come with a layer of crunchy goodness spread across the bottom bun. The ranch, buffalo sauce, and peanut butter assemble in your mouth upon first bite. It’s manna on the tongue.

For all its glory, there’s no way around it, you’ll smack your way through this mess of a meal. The peanut butter serves as a medium between the milky ranch and hot and tangy buffalo sauce, softening the spice to let the flavors shine.

Joshua Cannon

The Slider Inn, 2117 Peabody, 725-1155, facebook.com/sliderinn

Chefs Speak Out

It’s not easy to eat your way through Memphis, one piece of chicken at a time, especially if you’re trying to go veg (I’m at about a week this go around). That’s why I asked some of my favorite chefs in town to serve as my chicken-chowing proxy and name the chicken dishes they go for when they get a break from the grind.

Chef Kelly English, who can do things with chicken that grant him James Beard Semifinalist awards and spots on television and in Bon Appetit, can’t say enough nice things about the magic that happens in the kitchens of Memphis visionary chef Karen Carrier. “I just had my favorite chicken dish ever at the Beauty Shop — Karen’s smoked chicken dish,” English says. He’s referring to the Hickory Grilled Chicken, which comes in a Thai green curry broth with candied garlic chips, pickled red onion, watermelon, Thai basil, mint, cilantro, and corn fritter. “It was fan-frickin’-tastic. It is my favorite chicken dish I’ve ever had at a restaurant.” He may or may not have posted on Facebook that “Karen Carrier is the coolest kid in school.”

Justin Fox Burks

Gary Williams

Chef Gary Williams, of DeJaVu legendari-ness, has done his share of traveling and sharing his New Orleans recipes with A-listers, and points to several restaurants who serve up chicken goodness in Memphis, including Cozy Corner’s Cornish Hen, Uncle Lou’s honey chicken, and HM Dessert Lounge’s ability to take chicken and waffles to the nth degree. “I’m a chicken connoisseur,” he says. But there’s one spot in particular that has his heart. “There’s this little spot called Pho Binh on Madison, and they do this chicken dish that has pineapple and is a little spicy, served over rice. That is one of my favorite places. It’s a gem,” Williams says. — Lesley Young

Being Pirtle

So what’s it like being a Pirtle? It’s good, say Cordell and Tawanda Pirtle. And as they go over the past, present, and future of Pirtle’s Fried Chicken, a couple approaches and asks for a picture. As they move on, the woman exclaims in a whisper, “Oh my goodness!” “Happens all the time,” Tawanda says.

Cordell is the only child of Jack Pirtle, the founder, with his wife Orva, and the force behind Jack Pirtle’s. Cordell describes his father as an outgoing man, a doer and a creator. Jack opened his first restaurant near the Firestone plant in the 1940s and then hooked up with Colonel Harland Sanders of Kentucky Fried Chicken. Jack sold Kentucky Fried Chicken using Sanders’ special seasoning, alongside Pirtle’s burgers and hotdogs.

Cordell says the first contract with Sanders was a single page, double-spaced. Later, when KFC sought a more formalized agreement, Jack decided to move on, eventually phasing out the KFC part of the business.

Justin Fox Burks

Cordell and Tawanda Pirtle

“He couldn’t use the same cooking equipment because it was part of the process for KFC. He built his own cooking equipment, pressurized cookers, and then my mother had a degree from the University of Tennessee in home economics, so she and he together tried different formulas. They went through a lot of different formulas and came up with this and varied it some for the first year as they saw how it did. That started in 1964,” says Cordell.

Pirtle’s seasoning was originally mixed in a device Jack built that looked like a concrete mixer. The recipe is top secret. “That’s what Pirtle’s is known for, that taste that we have,” Tawanda says. “It’s the same seasoning that the gravy is made out of. It’s a huge deal for us. And the spices have to be mixed up for a period of time for all of them to combine correctly.”

Cordell, who started working at Pirtle’s at 13, took over the business in 1979. “It was doing well. We had six stores at the time. When I took it over, I had been a store manager for 17 years. So I had pretty much been there/done that on almost everything,” Cordell says. “When I took it over it was almost more of an organizational change.”

“Your daddy thought you were going to go broke,” Tawanda interjects.

“Precisely,” Cordell agrees, noting his father’s concern over the purchase of expensive cash registers and a centralized warehouse.

Pirtle’s didn’t go broke. There are now eight stores. They get approached a lot about franchising — about three times a week, says Tawanda.

They’ve resisted franchising, as they want to work out the best deal for them and the franchisee. While none of their kids (he’s got three, she’s got two) have shown any interest in the business, they’re hoping that one of their grandkids or great-grandchildren will sign on and take on franchising.

As for the future, they’re considering more stores. They’ve thought about opening a Jack Pirtle’s Cafe.

Cordell is 72 and retired. Sort of.

“I tell everybody they’ve got the tired part right,” he says, laughing. “But, no, as far as being totally retired, when you’re involved in a business your entire life and you’ve grown up in it and you know all the people, you really can’t just simply say, I’m done. It’s always there. It’s always on your mind.” — Susan Ellis

Chicken

Playlist

Oblivians — “Call the Police”

We’ll kick this thing off with an instant classic from the Oblivians. This track was on the band’s last album Desperation. Listen close for the chicken reference.

The Meters — “Chicken Strut”

One of the best Meters songs happens to have some squawking in it, but I would include this in any playlist because the Meters rule, plain and simple.

Those Darlins — “The Whole Damn Thing”

Before Those Darlins went all Fleetwood Mac on us, this was arguably their most popular song. This simple tune about eating a whole chicken was catchy enough to get the band some notoriety and is worth revisiting while raiding the fridge.

Hasil Adkins —
“Chicken Walk”

If you haven’t heard Hasil Adkins before, do yourself a HUGE favor and track down the album Out to Hunch.

Charles Mingus —
“Eat That Chicken”

A classic from jazz legend Charles Mingus.

Project Pat — “Chicken Head”

Hell yeah I included this song in this playlist. Project Pat for life.

Billy Swan — “I Can Help”

By now you’re going to need some help getting out of that chicken coma. Let this classic from Billy Swan get you moving again.

Rufus Thomas —
“Do the Funky Chicken”

A classic from Rufus Thomas. The live footage on YouTube of his performing this song is amazing and should be played on a big screen at every chicken restaurant from now on.

Patrick Hernandez —
“Born to Be Alive”

We’ll close this thing out with a toast to any vegetarians or vegans who picked up the Chicken Issue. If you believe that all animals are born to be alive, dance around with your fake chicken nuggets to this obscure ’70s classic.

— Chris Shaw

Categories
Editorial Opinion

Ruby Wilson

There’s a video clip from 1988 of Ruby Wilson singing “The Thrill Is Gone” at the Peabody Hotel with B.B. King and Rufus Thomas. When Ruby steps up to the microphone, B.B. steps back. “You think I’m gonna sing behind that, you’re crazy,” he says, getting out of the way.

And who can blame him? Wilson, who passed away August 12th, following a severe stroke, was a one-woman wall of sound. Her voice could be a precision tool or a wrecking ball, and when even B.B. King yields the floor, it’s not hard to see how she earned her reputation as the Queen of Beale. 

Ruby Wilson

Wilson, a 40-year veteran of Memphis nightclubs, grew up in Texas, where she worked in the cotton fields as a laborer, picking and chopping the stuff. Her mother was a maid and the director of her church choir. Her father was a self-employed handyman, mechanic, and friend of guitarist and Federal recording artist Freddie King. Between her two parents, Wilson was firmly grounded in gospel and blues traditions, and she started singing in public when she was only 7. By the time she was 15, she was touring as a backup singer for gospel star Shirley Caesar. At 20, she was singing with B.B. King, who called her his goddaughter. 

Following advice given to her by Isaac Hayes, Wilson moved to Memphis in the early 1970s and went to work in the Memphis City Schools system as a kindergarten teacher. She wrangled 5-year-olds by day and continued to pursue her career as a singer at night, performing at a club called the Other Place on Airways. She soon became a fixture on Memphis’ club scene, playing all over town in venues like Club Handy, Club Royale, Rum Boogie, Mallards, Alfred’s, Silky’s, Neil’s, Boscos, and Itta Bena, to name only a few. She appeared in several films, including Craig Brewer’s Black Snake Moan, and performed on stage with Beale Street Ensemble Theatre, a summer stock company working out of Southwest Tennessee Community College. 

Wilson toured the world numerous times. She sang for presidents, prime ministers, princesses, and queens. She performed alongside artists such as Willie Nelson and Ray Charles and recorded 10 solo albums. 

She was also a survivor, who reclaimed not only her speech, but her ability to sing and perform following her first stroke in 2009.

The thrill may have gone away when B.B. King passed last year, but, as anybody who ever partied with Ms. Ruby on Beale knows, now it’s gone away for good.

Categories
Fly On The Wall Blog Opinion

Remembering Rufus Thomas and Prince at the New Daisy

Prince, not at the New Daisy

Pictures or it didn’t happen. Isn’t that what they say these days? But mobile phones didn’t have cameras in 1997. And even if they did have cameras back then, I didn’t own a mobile, and wouldn’t for another five years. I didn’t own a camera either, and the phone I answered that sweaty August morning was attached to the wall of my townhouse in the Greenlaw neighborhood, which was three years away from its rechristening as Uptown. My friend Kelly was calling because she had news she thought I’d want to know. 

“PRINCE IS PLAYING A SECRET CONCERT AT THE NEW DAISY TONIGHT OMG!,” she said. Well, she didn’t say “OMG.” Nobody said OMG back then. But that was the gist.

Kelly didn’t have details. She didn’t know when it would happen, or how much it would cost. She wasn’t  100% sure it was even happening, or if Prince was really playing a second show or just hanging out while someone else played. But she was 99% sure something involving Prince was happening, which was good enough for me since he was definitely playing a concert at the Bass Pro Shop formerly known as the Pyramid, and the last time Kelly was 99% sure about something the two of us went to the Peabody Hotel, called the front desk from a pay phone, asked for Tom Waits’ room, and Tom answered. So, as far as I was concerned, Prince was absolutely playing the New Daisy at some point in the next 24-hours, and I was going to go stand in front of the theater so I could be the first person in the door. There was only one problem: My mom was in town for a rare visit. 

Time for an aside: There will be plenty of tributes in the days and weeks to come, where people attest to the genius of Prince Rodgers Nelson, who changed ideas about music, sex, and masculinity every bit as much David Bowie, and brought race, and sonic segregation to the mix. I’m not going to do that here, because if you’re reading this, you already know. But “Sexy Motherfucker,” was playing on the jukebox at Wolf’s Corner (now American Apparel) the night the 500 lb woman fell down. She’d been having a good time (like the rest of us) and shaking that ass (like the rest of us), and then that ass shook (and cleared) the dance floor. This is that kind of story. 

“Go,” my mom said, without hesitation or even a hint of mom guilt. She already had a 20-dollar bill rolled up, and was sneaking it in my hand. See, my mom stalked Bob Dylan in New York in the 1960’s. She says she wasn’t stalking anybody, she just knew all the coffee houses where Dylan hung out to stare at his boots, and sometimes she’d go stare at him. I say “semantics.” Either way, when it comes to musically cool moms, she makes Starlord‘s look like a poser. She grew up in Motown, collected records, and met musicians. She’s got stories about Freddy and the Dreamers and introduced me to the Nashville Teens and tons of great garage bands. When other moms were using the TV as a baby sitter, she gave me a stack of Federal singles and a record player and didn’t say, “sit still.” Now she was giving me Prince — and a little spending money just in case I needed something. “Here you go, honey. Have a good time.”


All that remains is the memory of a grin so big it threatened to crack my face. And a similar memory of so many other people wearing the same dopy expression.

And so it came to pass, my wife Charlotte, (who was still my girlfriend Charlotte) and I, left mom at home and headed toward Beale St. where we stood and waited for hours for something that might not happen. We weren’t the first to arrive, but we were among the first. We certainly weren’t the last, and over the course of the day the crowd outside the Daisy swelled into a mob. Then the mob grew into an impatient crush, pushing at times against the theater doors. It was pretty clear everybody wasn’t getting in.

I’d never “camped out” for tickets before. But this was different. It was important. Charlotte and I had both grown up in small towns in the 1980’s, without a lot of access to any new music other than what was being played on increasingly corporate radio stations. It’s almost impossible to explain to anybody who’s grown up with the internet, and instant access to everything, just how fresh the opening guitar lick of “When Doves Cry” sounded, as it squalled through the speakers of my cheap SoundDesign boom box. 

Lots of songs have stopped me in my tracks. But only twice in my life has a new song I heard on a top 40 radio station made me stop everything I was doing and give it my full attention. “When Doves Cry,” is the least interesting story, but it’s the only one I’m telling. I was in my bedroom doing homework when it played on KQ101, a station out of Russellville, KY. The other song was, “Little Red Corvette.”

It was late when the line outside the New Daisy finally started moving.  I don’t remember what time it was, but the sun was down. People who were tired of standing cheered because it was really happening. We were all about to see Prince tear a club to pieces.

Rufus

Words like “magic” are overused, but there was alchemy involved in what happened next. Miracles were wrought. Wearing shiny lavender jammies Prince owned the stage, running through songs like “The Ballad of Dorothy Parker,” “Baby I’m a Star,” and “1999.” He covered James Brown, Parliament, and the Staples singers. The highlight of the show, however, was when Prince — always the biggest star in the room— introduced his special guest: 80-year-old Stax royalty, Rufus Thomas, who made his supremely groovy appearance in shorts and knee socks. Then the unflappable Purple one proceeded to nerd the hell out, saying he didn’t want his time on stage with Rufus to end.

There was conflict too. And drama! Thomas, who was grooving along with the band, didn’t seem to be clear as to what was expected from him. When Prince encouraged him to cut loose and freestyle, he balked: “Oh no.” There was a back and forth. Something was said about “nursery rhymes,” and then, with increasing confidence, the two men started improvising together. I wish I could tell you what was said and sung, but the details have slipped (or were possibly sipped) away. All that remains is the memory of a grin so big it threatened to crack my face. And a similar memory of so many other people wearing the same dopy expression.
So, about ”

Caption story: I was not quite 16 when Purple Rain hit movie theaters. That meant I was unable to see an R-rated film without my parents. So I bought a ticket for Meatballs 2 and snuck in. To this day I’ve still never seen Meatballs 2.

Little Red Corvette.” I heard it for the first time on my first ever “parking” date with an older woman (she was 16). Now that sounds like a lie because “Little Red Corvette” is a song about  riding around and “parking” with an experienced (ahem) driver. This isn’t a teen bragging story though, because nothing happened. Some kissing almost happened, I guess, but before it could really happen I turned up the radio, and said I wanted to listen. To the whole song. In silence. And that’s when I learned  you’re not supposed to ignore your date, especially if she has the drivers license and the car. Cue Floyd Cramer.

I really wasn’t going to tell the parking story because it sounds too perfect to be true. But I needed a way to wrap this memory up, and sometimes the universe gives you weird little gifts. Sometimes it’s “Little Red Corvette” on a first date. Sometimes you find yourself front and center for something amazing nobody else will ever get to see. Like the night the 500 lb woman fell down while dancing to the jukebox at Wolf’s Corner. Or the time Prince and Rufus Thomas got funky together on Beale St.

I’ve got no pictures, but I swear to God, Wendy, and Lisa too, it happened. You’ll just have to believe me, and and the few hundred other people lucky enough to be there. 

And that’s really all I have to say about that. Goodnight, sweet Prince. Rest in Purple. And if you think about it, say hey to Rufus.  
 

Categories
Opinion The Last Word

The Rant … (May 21, 2015)

This week’s 45th anniversary celebration of Overton Square brings back a flood of memories which, in itself, is an accomplishment. TGIFriday’s was a year old when I showed up, so if my math is correct, I was 23 when I began singing in the Square.

I’d just moved back to town after a six-year absence, when I got the call. A new club had opened across the street from Friday’s where Boscos now stands, called The Looking Glass. In contrast to the frenzy at Friday’s, this was more of a businessman’s club with the long wooden bar leading into a plush lounge area. They wanted live music but not a whole lot of noise, so I got the solo job, playing nightly, Wednesday through Saturday.

The sitting room was constructed to look like a library, with overstuffed couches and bookshelves filled with someone’s castoff antiquities. There was a platform in the corner with a high bar stool on top. Every time I took the stage, it was like climbing an obstacle course, but from there I could watch the whole crazy scene of Memphians celebrating the passage of an ordinance allowing liquor by the drink. The Southern Baptists had kept Memphis a cocktail-free town for 50 years, and now the city was ready to party.

As for personal exposure, a student from Ole Miss named Holmes Pettey came in one night, and the next thing I knew, I was opening for the Allman Brothers in Oxford.

When Lafayette’s Music Room opened in August of 1972, I became the Square’s unofficial go-to guy for a warm-up act. Friday’s manager and former Box Tops drummer, Thomas Boggs, moved me across the street where, instead of playing four sets a night, I became the opening act for some of the major artists of the day. Lafayette’s wasn’t just a rock club. They booked jazz musicians like Herbie Hancock, Buddy Rich, and Chick Corea, or you could drop by the next week and catch Waylon Jennings or Earl Scruggs.

Billy Joel was touring behind his first album, Piano Man, when he played Lafayette’s. I strummed pleasantly for the packed house, but Billy Joel blew them away. Between shows, I went to the dressing room and, after introducing myself, I told Billy that I really believed he was going to make it. He smiled and told me he appreciated it. Hey, you’ve heard of the “butterfly effect.” Who’s to say my few words of encouragement didn’t make all the difference?

When I was finishing up my set before Barry Manilow made his Memphis debut, I told the audience that they would love this guy with the piano that lights up like a Christmas tree, which sent Manilow’s manager into a rage, chasing after Thomas Boggs, screaming that I had ruined Barry’s schtick.

Then there was the night Kiss performed.

By this time, the jam-packed Square had created a burgeoning local music scene that went for three blocks in either direction. At one point, there were at least a dozen clubs within walking distance featuring hometown pickers — 13, if you counted Yosemite Sam’s. Lafayette’s was filled with curiosity seekers when Kiss shook the stage. I stood in the back, and when Kiss cranked up, it was like being cuffed across the ear. The band wasn’t halfway through their grotesque routine when the audience started jamming the exits. Kiss cleared out Lafayette’s in 30 minutes. Wanna know why? There were 10 local bands on the street with better musicians than Kiss, and they didn’t need stage make-up to get the message across. Kiss made no waves here and were considered to be a short-lived novelty act, reeking of desperation. Of course, now they’re in the Rock and Roll Hall of Fame while I’m here, 40 years later, still reminiscing about the gig.

Kansas was another band too loud for the room. They hadn’t even gotten to “Dust in the Wind” before the decibel level sent customers running into the night with bleeding ears. On the other hand, Minnie Ripperton was heavenly and Leon Russell was cool. Henry Gross became a Memphis favorite after his Lafayette’s appearance and returns to the same room this weekend for a long-anticipated encore.

When Boggs asked me to put a band together for a slow Tuesday night, I called some guys and we started a weekly jam that drew in some of the city’s best players. One night, I looked around and four of the six musicians onstage were in the teen sensations, Randy and the Radiants — only now we were old enough to drink. The band reformed on the condition that we drop the “Randy” from the name. The Radiants became one of Lafayette’s rotating house bands, playing for a month at a time, and the place was jammed every night. Some of the waiters would periodically line the foot of the stage with vodka tonics, which the legendary Andrew Love referred to as “show-biz medicine.”

The room was jumping when Rufus Thomas walked in. None of us had met Rufus yet, but we were booked to back him up at a charity show later that month. I was delighted to invite Rufus up to the stage while the audience roared its approval. Mr. Thomas called the key and the tempo and the band broke into an uproarious 10-minute blues jam with Rufus pulling out every risque verse he knew. The audience went nuts and screamed so loudly it was hard to hear him when he walked back to me and said tersely into my ear, “Never invite me up again without asking my permission first.”

It was as heartbreaking to see Lafayette’s Music Room close back then as it is heartwarming to see it reopened now. So get out there and start making some new memories. This week’s gathering of original Overton Square performers is our chance to pass the torch.

And guess who’s opening?