Archives for category: Blues Music

Alabama Juke Joint Gip’s Place Shut Down; UPDATE LIVE TEXT FEED FROM MTG

May 7, 2013 //

Gip’s Place, Bessemer, alabama

Owner Henry Gipson (aka Mr. Gip) had his residence, known as Gip’s Place for over 60 years for “house parties” that are as close to a good ol’ juke joint that Alabama has left was closed down on May 4^th, 2013, for not having the proper business license by Bessemer Police.

Debbie Bond at Mando Blues, photo – Brad Hardisty

The residence was never intended to be a business since Gip doesn’t serve food or drink and is a BYOB place where blues lovers can enjoy regional blues masters like Debbie Bond as well as national performers such as Bobby Rush jam in front of a Birmingham area get together.

Opened in 1952, Gip’s Place was considered a “house party” and not a business and was considered a bright spot on the Bessemer, Alabama map.

There is a meeting today, Tuesday May 7^th at 6PM before the Bessemer City Council regarding the matter. Please be there, if you can attend. For further information contact Mayor Kenneth Gulley’s Assistant by email : mayorasst@bessemeral.org.

If you would like to find out how you can support Henry Gipson and Gip’s Place contact Cindi McGee at cindig34@hotmail.com.

A poll being conducted on al.org shows that an overwhelming 64% want Gip to be left alone by the city of Bessemer.

The closing of one of the last of Alabama’s true juke joints is creating international media attention.

Feel free to leave comments here, if you like. I will forward comments to those involved in supporting Henry Gipson and his privately owned residence. I am in contact, right now, with those involved in showing support in Alabama I will post updates when available here on The Nashville Bridge.

Feel free to link this article to your Facebook page or re-blog and get the word out. This is all about property rights, liberty and pursuit of the Blues! Be in Bessemer, Alabama by 6Pm if you can.

Blues Power!

Reports from Bessemer City Council Meeting regarding the closing of Blues Hall of Fame Member Gip Gipson’s Juke Joint: The following was a live text feed from inside the council meeting last night:

6:59PM The City Council will not even schedule the issue on the agenda. They claim they needed a weeks notice – though they shut down Gip’s on Saturday.

7:01 PM One person will be allowed to speak at the end of the meeting for 3 minutes.

7:09 PM The Circle X Film Group that is in the process of producing a documentary film on Gip’s is in the council hall filming for the doc.

7:10PM Many wouldn’t sign the film release. They will be blocked out. The city council is sitting here recognizing the achievements in poetry writing of the local kids…

7:15 PM All local news outlets are providing coverage.

7:24 PM Gip just arrived to a round of applause.

A single council member suggests that Gip’s should be moved out of the neighborhood and provided a venue near other city attractions. There is no response from any other council member. The Council President says that moving doesn’t matter because that involves another process and the problem is that Gip is operating an illegal business.

7:58 PM Gip speaks before the council: States that he is going to do what he is going to do and there’s not going to be a license and he’s not going to move.

Other members of the community are allowed to speak for three min each.

8:05 PM All speakers, community members, neighbors are in support. Much is said about the heritage that needs to be preserved and the failure of the leadership of City of Bessemer to have a vision that upholds the traditions of the community and the wider heritage of American music history.

People speak of the failure of the city to do anything related to crime, abandoned houses and other blight in the same area yet they are singling out a man that gives back to his community through charitable work and has brought pride and recognition to the town. That until the City shut down Gip’s they featured his Juke Joint on their website.

The council president will not allow anymore public comment related to the heritage and unique history of Gip’s.

There has not been a SINGLE person at the meeting who has raised any complaint or spoken against Gip.

8:07 PM Reporter from Italy is speaking up. The Council President tries to have her sit down, she moves to the mic anyway and describes how people in Italy see the value of preserving their cultural treasures and she cannot fathom why the city cannot see what they are doing is the destruction of American heritage. She says that Gip’s Place is like nowhere else in the world and an incredible example of Southern culture.

8:10 PM The city council pres is saying no more public comment. Many people are still raising their hands to be recognized. Now the Mayor is saying that no one is above the law and that he receives complaints from the neighbors every week about children seeing people urinating in their yards. The mayor is asked where these complainants are and told that there are more neighbors that wish to speak in support of Gip. They are not recognized. The Mayor calls the public assembly a mob. The council President tells the police to prepare to clear the room If any one else tries to speak. He singles out several previously recognized speakers to be removed if they say anything else.

8:12 PM A lady minister stands up and is trying to speak about peacefully working with the city to resolve this issue and the President told her to sit down. He states only the council is allowed to speak. The Police are to remove anyone else who defies the end of public commentary.

The city attorney speaks declaring that all members of the government and the police are required to honor their oaths to enforce the law and no man is above the law. He states that if the public wishes to change they are welcome to go through the process of changing the law.

8:19 PM – The council motions to adjourn. They call the meeting to a close.

Gip after leaving the council building is greeted by news crews, film makers & and the rest of his supporters who could not get into the assembly. The meeting was filled to capacity. – live text from T. Moreaux, Church of the Last World Singers

There are many questions as to why local city goverment is getting involved when this has been a major pride of the neighborhood since 1952 and at this point unsubstantiated allegations are being pursued regarding neighbor complaints even though many neighbors were in attendance to speak on Gip’s behalf but were not allowed to speak.

Update from 5/11/2013 – Gip did open up last saturday night, but, there were two police roadblocks going in and out of the area with a total of aproximately ten troopers, according to my source, looking for any reason to ticket any patrons going in an out of Gip’s Place. Gip also closed down early at 11 PM. Although there was a police presence that was intimidating patrons of his house party, they did not attmept to shut it down…stay posted.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags Bessemer Police, Bobby Rush, Debbie Bond, Gip's Place Bessemer Alabama, Henry Gipson

Categories Alabama, Alabama Music, Blues Music, Music

Memphis Blues Alumni Jimmy Wolf Pays Tribute to Little Johnny Taylor

April 16, 2013 //

Jimmy Wolf pays some due respect on the self-released A Tribute to Little Johnny Taylor to the Conway, Arkansas native that shows the blues did not start and end in Mississippi. Little Johnny Taylor’s approach was sometimes compared to Bobby Bland although Little Johnny Taylor had several successful R&B chart successes of his own in the 60’s and 70’s which included a couple of pop crossover hits “Part Time Love” and “Everybody Knows About My Good Thing” which are both featured on this collection.

Jimmy Wolf makes some use of his deep knowledge of living and playing on Memphis’ Ground Zero for the Blues down B.B. and Furry Lewis’ playground; Beale Street where he spent several years jamming with some artists that one wouldn’t know much about unless you spent time listening to the late great Fred Saunders among others.

By picking from the Little Johnny Taylor catalog, Jimmy Wolf has a deep reservoir of great songs that have not been exploited time and time again. Many of the songs on this album may be a first listen to a lot of new blues fans just like when Eric Clapton brought Robert Johnson’s “Crossroads” to a modern generation. In fact, the material is so strong; Jimmy could have easily done a Volume Two.

The gatefold photos of Jimmy with Little Johnny Taylor probably back when he was playing in Memphis and a shot closer to when Little Johnny Taylor passed away is worth the price of admission alone. Jimmy probably has some great stories about playing with the greats in Memphis for a big chunk of his life.

“Walking The Floor” kicks off with a swing boogie sing-a-long that would get any room going. He’s got a strong band on this album and Jimmy’s first hand Memphis experience with a cross of Albert Collins’ Ice Pick bite and Albert King’s early 70’s lead vibe has lots of swagger and nasty string bends. Jimmy plays like he has something to prove.

“Zig Zag Lightning” has the strident snare 1-2-3-4 hits of the original Galaxy records cut but with a little bit of some modern Memphis street funk especially in the hi-hat accents and plenty of B3 vibe thrown in. Jimmy’s playing is smooth almost Curtis Mayfield groove before hitting the pedal for his lead break which breaks through a sheet of ice and staggers through a big gain stage closeout reminiscent of what Gary Moore was after with the blues before passing away with some Paul Kossoff trigger finger vibrato..

“Everybody Knows About My Good Thing” kicks out the beginning with a little Albert King on the V type break. Jimmy plays as if he has to get the crowd response hear and now. The playing is not laid back for the record. This might as well have been recorded on a hot august night down on Beale Street where the crowd will walk out on you if they aint feelin’ it. Jimmy’s good thing is solid cut through the mix lead breaks.

Other stand-out tracks are “Junkie For Your Love” with the 70’s wah blues lead-in to some serious groove as well as the barn burning classic “Part Time Love,”

The album is a big enough showpiece that Jimmy Wolf and his band, Thomas “T.C.” Carter on Bass, Joe “Lawd Deez” Cummings on Keys and Stephen “Rythmcnasty” Bender on drums should be doing a multi-night stand at The Drop Zone in Northern Arkansas while Conway gives Jimmy the key to the city and proclaims Little Johnny Taylor day.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags Beale Street, Jimmy Wolf, Little Johnny Taylor

Categories Blues Music, Memphis, Music

Debbie Bond Radio Taping For Mando Blues

April 14, 2013 //

Debbie Bond was the guest last Monday night on WRFN Radio Free Nashville’s Mando Blues Show recorded in a huge army tent at Omega Studio high on the top of a peak at an undisclosed location in the nearby Nashville wilderness.

A fantastic crew with Tony Gerber , known for his electronic music compositions, acting as host for the night, went to work on soundcheck with Debbie and her band featuring Rick Asherson on keyboards and Dave Crenshaw on drums getting a much bigger than it looks sound going into the green spec recording layout.

Omega has developed a layout for power using not much more than six car batteries, car stereo amplifiers and LED lighting to run at a deceptively low 1600 watts with state of the art recording as can be seen by linking to the net recordings of the summit.

Debbie brought much more than just blues experience playing with Willie King and Johnny Shines for almost thirty years in Alabama displaying soulful grooves with a nod to Muscle Shoals, Alabama writers like Eddie Hinton, Dan Penn and Spooner Oldham. In this case, the western Alabama juke joint grooves may be at the heart, but, this was soulful blues.

Debbie brought three new songs that will be featured on her next album, “Find A Way,” That Thing Called Love” and “Steady Rolling Man,” that fit right in with “I like It Like That” from her days with Willie King as well as some songs from her most current release Hearts Are Wild with a stand-out version of the slow ballad blues of “Falling.”

Nashville session saxophonist Tom Pallardy sat in later in the set after a successful collaborative prior night set at The Nashville Jazz and Blues Awards at Bourbon Street in Printers Alley.

Host Tony Gerber paid tribute to female blues artists with his in-between tracks that also featured some rare Richie Havens and alternative version material.

Mando Blues is an esoteric record store workers dream where true collectors and music geeks get to hear all things blues and related materials. They all get a little spotlight. There may be no show quite like this in the world.

An invited group of about 10-12 people got to sit-in on the live recording happening that fit a BBC type production with high production values and plenty of meat in the interview.

Tony asked the right questions that will give any listener the feeling they knew where Debbie came from and what she is about after listening to the two hour show.

Although there are provided links to watch video of each one of the songs, it is well worth the price of free admission to listen to the entire show to get the interview segments as well as Rick’s “Monty Python meets Muscle Shoals” sense of humor.

Debbie is a native of California, but, her time growing up was spent in England and Europe while Rick’s roots are Londontown. Debbie and Rick almost crossed paths in College back in England, but, never actually met until Alabama Bluesman, Willie “Sweet Potato Man” King suggested they get to know one another in Western Alabama.

Roy Wooten aka “Futureman” stopped by to listen in and dug the Alabama soul groove coming out of the eventual four piece band with Rick sometimes playing the utility guy playing bass with one hand on the Nord keyboard and blues harp with the other hand and singing back – up vocals. If he had one more arm, they probably could have a full horn section.

Tom Pallardy’s sax fit right into the song as if he had been playing with Debbie for years but, in reality he had not heard much of the material. Dave Crenshaw brought down the volume on the drum kit to match the production set up without losing any of the grooves, in fact, it brought out the true dynamics of the songs.

Debbie was so happy with the production and final mix of the material that she has already talked about further recording collaboration with the Omega team.

It can be said, that there is probably know recording studio like it in the world, with its MASH style tent set up and being at the mountain peak as well as a crew with ears straight out of a JBL lab anechoic chamber. They know what they are doing and they love what they are producing.

While production was going on, some of the staff was busy cooking a meal fit for a king in a wood burning cast iron stove in cast iron pots. The band and crew were treated to Venison Stew, fresh picked greens and chicken after the final wrap.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

all photos (c) Brad Hardisty

Tags Alabama, Dave Crenshaw, Debbie Bond, Mando Blues Show, Music, Nashville, Omega Studio, Rick Asherson, The Alabama Blues Project, Tom Pallardy, Tony Gerber, Willie King

Categories Blues Music, Muscle Shoals Alabama, Music, Music City

Reverend Peyton Testifies About Grimey’s and Charlie Patton

March 17, 2013 //

photo – Scott Toepfer

Somewhere in Texas, The Nashville Bridge caught up with Reverend Peyton’s Big Damn Band as they geared up for SXSW following a successful first leg of the Big Damn Blues Revolution Tour with Jimbo Mathus, purveyor off all things “Southern” and Alvin Youngblood Hart.

The latest album the Side One Dummy Records release Between The Ditches which debuted at Number One on the iTunes Blues Charts the week of its release, has caught on all over the country after 250 shows a year that has left blood, sweat and tears on stages all over North America

The first single, “Devils Look like Angels,” featured a great video and has been popular on YouTube and Blues and Americana radio.

photo – Scott Toepfer

Nashville has been a regular stop for Reverend Peyton’s Big Damn Band after finding a solid supportive crowd with their mix of Country Blues that sits somewhere between Blues, Country and the local Americana Scene. The Reverend will be stopping through Nashville March 20^{th at} Exit/ In on Nashville’s Rock Block with wife, Breezy Peyton on washboard and his cousin Aaron Persinger on drums continuing The Big Damn Blues Revolution Tour with a full entourage and possible special guests.

Reverend Peyton shared some insight about why they have been doing so well this year.

Brad Hardisty / The Nashville Bridge: Where are you guys at right now?

Reverend Peyton: We are two hours from Dallas. Texarkana, I Believe.

TNB: Well you are in the south.

RP: Yeah. We were in Little Rock, Arkansas last night and now we are heading out towards our SXSW shows.

TNB: That is coming up here pretty quick.

RP: Yeah, we just did the first leg of the Big Damn Blues Revolution Tour. It will pick back up in Nashville (Exit/In March 20^th) after SXSW.

TNB: You make Nashville a regular stop.

RP: We have. We have played a lot of different venues in Nashville. We’ve played so many of ‘em and I think Exit/In is the best one. I love that place.

TNB: I have heard a lot about you guys around town. I’m sure you’ve done the Grimey’s in-store.

photo – Scott Toepfer

RP: Oh Yeah, we’ve played a Grimey’s in-store…two or three of ‘em. I just love Mike. He’s a fan and The Basement’s really cool too! It’s an intimate place and you know Grimey’s is just such a great place. Mike is such a music fan, you know. Like, all the bands that come through there and all the people that he deals with and he’s still a fan, you know. He’s cool.

TNB: The Basement is pretty cool, that is where Justin Townes Earle used to play there all the time when he first started with The Good Life and all that. Even Metallica did a Live At Grimey’s disc at The Basement. They wanted to play Grimey’s but it was too small so they played at The Basement below the store. I was going to say, your band is at an interesting crossroads. You can play straight up blues festivals, Bonaroo and The Americana Music Festival. You are kind of in an interesting position, don’t you think?

RP: Yeah, we are looking that way. It’s kind of weird because sometimes people don’t know what to classify us as or where to put us, but, it has really been a blessing because we can play anywhere, you know. There are certain bands, like a punk band, they can play a punk rock club and that’s it, you know, or if you are even just a straight up Country Honky Tonk band you’re running that way. We can play everywhere, you know. We can play a regular rock fest and blues fest and folk fest, country fest and you name it. It is sort of funny too. A lot of people, they don’t even quite understand what kind of music it is that we play; it’s country blues, you know, that’s what it is.

TNB: I’ve got some friends out in Mississippi. I can see your sound is mostly what they would call Boogie Blues if it was coming out of Mississippi. It’s not straight up Hill Country; it’s got a little bit of Hill Country. What do you guys think where you are coming from? What are you after?

RP: Well, I just call it Country Blues. For Hill Country, there is a certain trance aspect. It’s kind of raggedy. Old Delta stuff. We are a little bit of that mixed up. I have been a student of it all since I was a little kid. I sort of have my way of playing and it kind of mixes it up all together and also, a lot of times we are playing straight up blues and blues stuff, but, the difference is nobody’s writing songs anymore. They just focus on being guitar gunslingers. You know. I want to be someone who writes song from the heart. You know what I mean. That is the most important thing.

TNB: I think that is what keeps the blues alive. Have you met “Blind Boy” Paxton?

RP: No, I don’t think I know him.

TNB: He made the cover of Living Blues Magazine. He plays old time Charlie Patton style or earlier. He’s probably the best acoustic blues musician right now, but, he won’t write anything. It’s like the music was written in a certain time period and that is where it fits. You are one of the only songwriters that I can see where, it’s like you are not copying Burnside, Kimbrough. You really are not copying anybody even though it has that aged feel. It’s your own stuff. Do you get that feeling?

photo – Scott Toepfer

RP: Here’s the deal, man. If you are not making new music then go home. Because, nobody is going to do it as good as Charlie Patton did it anyway. You know what I mean? Nobody can play Charlie Patton better than Charlie Patton. You are not going to play Son House better than Son House. So, my songs are what I am going to play, you know, otherwise you are just kind of like a museum piece, like a throwback like someone in costume that is just showing up to play a part in a movie or something. I think music should be from the heart. I’ve always believed that. That is why Muddy Waters was so good. That’s why John Fogerty is so good. The best music comes from a personal place. Some people copy things and change the names, I don’t even do that. You know, for me, that’s what it’s all about. Music that’s fresh and new but maybe it sounds like it’s old, like timeless music that’s new. I guess so, if that makes sense. It’s hard to do. Blues has been around for almost a hundred years and I’ve been playing it for you know, most of my life. It’s hard to sort of write new stuff because so much has been done, but, it’s a quest that I will be forever on; to write new songs that are timeless still. Songs that still fit in with the annals of blues going back to Charlie Patton, you know.

TNB: It’s interesting; you do go back and do Charlie Patton covers, which is way back.

photo – Scott Toepfer

RP: He is my patron saint. I did that record, Peyton on Patton because I want people to know who he is because I feel like I have a problem with the blues world. Not enough people know who Charlie Patton is. I think if you know who Charlie Patton is then you have to start with him. I think that music in general starts to get more into focus. You start to understand where people like Muddy Waters and where I am coming from. I just want to make sure people know about Charlie Patton. In his day, he was super famous you know. In his day, he was the guy. It’s sort of like he influenced Robert Johnson, Muddy Waters and Howlin’ Wolf. In his day, Charlie was the hero; He was the one they all wanted to be. He drove around in good cars; he played a Gibson Guitar with a hard case. He was the one that was truly successful, you know and the music is amazing. In my opinion, he was the best there ever was. I think the reason his playing is not that well known is because the recordings were so raw. That’s why I did that record that way. I wanted to do it his way. I kept it sort of raw. I didn’t put too much of myself into the record. Anyway, I wanted to try to use his rawness and play it the way he would play a song. I wanted to play the way he played them so people could hear his guitar pickin’. So they could have appreciation for what he was on guitar. He was just about songs you know.

TNB: You guys have been around for about four or five albums now?

RP: Yeah, we have made five records I think.

TNB: Things are really starting to pick up the last couple of years.

RP: Yeah, it has been a slow and steady ride. I think the last records have got a lot more attention it has been exponential, especially after the Charlie Patton record. People in like the traditional blues world sort of heard that one and started saying, “maybe we should have been paying attention to these fellas.”

TNB: That is kind of how it happens sometimes. What is ground zero for you guys?

RP: Well, I don’t know. We have pockets all over the place where it’s big. The West Coast is really good: lots of stuff there. It has kind of blown up in Cincinnati and, of course, southern Indiana, Burlington. Indianapolis; big time there. Kansas City has been a huge place. I think for us it has always been just one fan at a time. More word of mouth than anything else. It has been fans just coming out and telling their friends and then they buy the record and they’re spinning it. A lot of barbecuing or whatever and I think has been the secret for us.

TNB: One of the most interesting things was that I saw you played a big motorcycle rally. Was that at Sturgis?

RP: We have done Sturgis a couple of times. We did a Bike fest in Arkansas. It’s no big deal. We do a Biker fest and then we will turn around and do the Vans Warped Tour. The kids on the Warped Tour are like 13 and those kids are fun to play for! They go nuts! Then we will go and play a festival at Red Rocks in Denver, Colorado. Denver is a big town for us. It might be one of the biggest. They are such a great crowd.

TNB: They do have a good acoustic scene.

RP: That’s true.

TNB: Real quick, any new albums this year or just touring what is going to happen.

RP: I’m not sure. We will be touring on the Blues Revolution Tour which has been going strong. There are going to be festivals. We’d like to get in there and do some recording. I think it’s something I just we’ve made, kind of like, once a year for a while, so, I foresee us doing something.

TNB: Have you had any guests come up and jam on encores?

photo – Scott Toepfer

RP: Oh yeah on the Blues Revolution Tour we have been doing jams where it’s just the three of us those two guys and me then the Big Damn Band and Jimbo’s band. I think in Nashville… I don’t wanna say who…but, there is likely going to be some specials guests coming up that are Nashville locals.

TNB: When you jam, are you doing old time blues or…

RP: Yeah, we have been jamming on stuff like that and just trade it up, like, maybe one or two Jimbo songs or like some Charlie Patton stuff. Different things. It changes every night.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags Alvin Youngblood Hart, Charlie Patton, Jimbo Mathis, Reverend Peyton's Big Damn Band, Reverent Peyton, The Big Damn Blues Revolution Tour

Categories Americana Music, Blues Music, Exit/In Nashville, Uncategorized

Highway 61 Revisited

December 23, 2012 //

photo – Brad Hardisty

With a few days on my hands after meeting with SIX in Branson, Missouri, I decided to return to a magical place that I had only been to once before; Clarksdale, Mississippi, home of the infamous Robert Johnson folklore, the “Crossroads”, that was once home also to Son House, a small town with a legend that casts a big shadow.

Back in 2007, I had met Adrian Kosky from Australia, in Nashville during a songwriter’s conference hosted by NSAI at the Opryland Hotel. Adrian had come up with some interesting self-penned blues that he played on hand- built Dulcimers. We did some acoustic jamming and got along pretty well.

Mississippi Cotton by Hopson’s Commissary – photo – Brad Hardisty

Adrian and I went to Gruhn Guitars on Broadway. Adrian was looking for a vintage Gibson melody maker, but, I found a 1936 Gibson Electric Hawaiian that became part of my arsenal.

2007 Hopson’s Commisarry, Adrian Kosky and Brad Hardisty

Adrian was on his way to Clarksdale, Mississippi in a few days to film some scenes for a blues documentary he was working on. He invited me to meet up with him to do some jamming in Clarksdale on film.

2007, Clarksdale, Mississippi, Adrian Kosky & Brad Hardisty

Man, I went out there with just a night and a day to get situated. We spent the night in Pinetop Perkin’s boyhood shotgun shack at Shack Up Inn, before going over to Hopson’s Commissary to shoot some footage.

I mainly played slide on my old 1950’s era Silvertone jumbo. The Silvertone got some major mojo after Willie King signed it at a folk festival in western Alabama. Willie “Sweet Potato Man” King, like to put a lot of soul-boogie in his stuff with almost a very countrified Howlin’ Wolf voice. I was so glad to meet him, not knowing that he would pass away within a year. If you get a chance to see the original bluesmen, don’t pass it up. It may be your only chance.

Coahoma County, Photo – Brad Hardisty

Part of that scene made it onto UStream and I have the photos to prove it, although the full production has yet to be completed.

Cotton field in Coahoma County, photo – Brad Hardisty

The next morning, I only had a few minutes to drive through the blues district before I had to get back to Birmingham, Alabama. I vowed one day I would return and really go on some pilgrimage to get to know a place with so much vibe it resonates a 7^th chord.

photo – Brad Hardisty

Well, time flies when you’re running around like a chicken without a head. It is now 2012 and I finally get three days where I can head south on Highway 61 to Clarksdale. Bob Dylan said it better than I could.

Sunflower, Clarksdale, MS, photo – Brad Hardisty

With some Topper Price on the stereo, I headed south on Highway 61, leaving Furry Lewis’ Memphis behind. I checked into Bally’s in Tunica after getting a web special for $24.95 a night then it was back in the blue Fiesta, blues on the stereo. I was just 20 miles out of Clarksdale when I started to see some interesting Cypress trees in standing water next to a just harvested field of cotton. I had to stop and get some shots.

Blues District, Clarksdale, photo – Brad Hardisty

Cruising into Clarksdale via the HWY 161 cutoff past a pecan stand, the road took me straight to the “Crossroads” of HWY 49 & 61. This is the place made famous in the song by Robert Johnson where he supposedly made “the deal.”

photo – Brad Hardisty

Abe’s mascot, photo, Brad Hardisty

At the corner of Hwy 61 & 49 is Abe’s BBQ, the same family owned joint that Robert Johnson used to get his pork sandwiches, only then it was called The Delta Inn. I stopped and ate some ribs. They were, tender, not really smoky tasting; having been used to Kansas City and Memphis BBQ, it may not be a strong contender, but, it was worth stopping in just to say, “I ate there.”

Back alley in the blues district, photo – Brad Hardisty

I was in Clarksdale this time, really to take in the historic blues district and important landmarks. I decided to start with what I had heard about. I set the GPS for Ground Zero, the club co-owned by Morgan Freeman.

photo – Brad Hardisty

Cemetary on Sunflower, Clarksdale, MS, photo – Brad Hardisty

A little up the road, my GPS took me on a right turn down Sunflower. Okay, now this makes sense, The Sunflower Festival in Clarksdale. Apparently, The Sunflower River runs alongside the old downtown with Sunflower Road running along the side.

Ground Zero, Clarksdale, MS, photo – Brad Hardisty

Hendrix by Rosalind Wilcox at Sun House, Clarksdale, MS, photo – Brad Hardisty

Finally, I made a couple of turns and I was a half block down from Ground Zero. I looked across the street and saw this sofa size painting of Hendrix. Instead of heading down to the club to check out the jams, I crossed the street and was looking at this most awesome serene face on Jim Hendrix. I am a Hendrix nut and was surprised to see some Hendrix in Clarksdale; I didn’t know if he was “pure” enough for Clarksdale.

Sun House, Clarksdale, MS near Ground Zero, photo – Brad Hardisty

Well, I was in for a few surprises this time in Clarksdale, Mississippi. The owner of the gallery was locking up. Rosalind Wilkinson invited me to come on in and opened up the door. Okay, I won’t forget this date; it was 12/12/2012 and about 5 in the afternoon. I realized after looking around that this was all her creations. A place about 6000 square feet of painting, jewelry, photos, you name it.

Tracks behind The Delta Blues Museum, photo – Brad Hardisty

It turns out Rosalind Wilcox aka Mississippi Rosealee, is known among the Hill Country Blues Artists such as the late R L Burnside, Junior Kimbrough, one of the late true originals and their families among others. I was blown away she knew Cedric Burnside, grandson of RL and one of my favorite drummers. In fact, she introduced Lightnin’ Malcolm to Cedric Burnside which created one of the best duo recordings to come out of the blues scene in a long time.

Clarksdale Blues District, photo – Brad Hardisty

Rosealee is an accomplished singer/songwriter who also plays drums for two of the oldest Mississippi blues legends, Robert Belfour and LC Ulmer. In fact LC wrote a song for her on the M For Mississippi soundtrack, “Rosealee.”

Led Zep, Robert Plant immortalized in the Blues District, photo – Brad Hardisty

She had named her art/performance space Sun House in honor of Son House, another Clarksdale native that inspired Led Zeppelin and Jack White among other rockers.

an empty store front turned art in Clarksdale, photo – Brad Hardisty

Rosealee asked if I had even been to Clarksdale before. I explained that I had just one time; when I played acoustic slide guitar for Australian Adrian Kosky at Hopson’s Commissary at The Shack Up Inn, but, had to leave after filming.

Muddy Waters in the Mmiddle, Clarksdale blues district, photo, Brad Hardisty

“I know Adrian,” said Rosealee. In fact it turned out he was back in Clarksdale for the first time since 2007 and had just arrived a few days before. Okay, now this was getting to be Crossroads folklore.

Delta Blues Room, Clarksdale, MS, photo – Brad Hardisty

She didn’t have his number, but, he was staying at a friend’s apartment a couple of blocks away and she was content on taking me there. Well, now my mind racing back to when I met Adrian at that NSAI conference at the Opryland Hotel and we ended up jamming. He had a cool voice.

Clarksdale Blues District, photo – Brad Hardisty

Adrian then invited me to be in Clarksdale a week later for filming and that was that tale.

Brad catching up with Adrian Kosky five years later in Clarksdale, 12/12/2012

The entrance door was locked, but, with the help of a friend, we got in touch with Adrian and he met us at the pizza parlor downstairs. There were four of us, Adrian, Rosealee, an art student of hers and myself playing music trivia all night with the DJ and a packed house. It was a blast and all of a sudden I was with three friends starting a new Mississippi Delta odyssey.

photo – Brad Hardisty

Rosealee invited me to stop by later the next day and we were going to hang and she wanted to jam on some guitars and music at her art space that had a stage and amps…the whole nine yards.

Delta Blues Music, photo – Brad Hardisty

Before heading over to Sun House, I stopped across the street at Blues Town Music looking for a slide. I didn’t find one to my liking, but, I did meet Watermelon Slim, a local who performs at Ground Zero with some great tone and some amplified acoustic slide. He showed me the fine points of playing slide with a Craftsman socket, but, I couldn’t get the hang of it.

photo – Brad Hardisty

There were some great old Kay, Silvertone and other cheap cool sounding guitars from the forties and fifties. I learned something from Hubby Jenkins of the Carolina Chocolate Drops and Jeron “Blind Boy” Paxton: you need to check out everything because sometimes that little cheap Silvertone might have the tone you have been trying to find. Character is a big deal when you are playing the blues.

photo – Brad Hardisty

Down the street was Cat Head Music, kind of a Mecca for blues music deep collectors. It was hard to decide what to buy. I finally decided to get the Slim Harpo Excello collection. Dude, Slim’s version of “I’m A King Bee” is one of my favorite grooves and the fact that this was little ole Nashville’s Excello Records made it something special. It turned out that Robert Plant had been in a few days earlier and went for the same disc according to the owner. Hey, hey, what can I say, Robert has good taste.

photo – Brad Hardisty

I got into The Delta Blues Museum, picking up a poster of Charlie Patton before walking through the entrance watching Albert Collins on the overhead TV while checking out some fantastic memorabilia culminating with Muddy Waters cabin at the rear. I couldn’t take any pictures, but, at least I can say I was there.

Tree Temple, Clarksdale, MS, photo – Brad Hardisty

Thursday night, we grabbed some Hibachi Chinese Buffet, a little sushi; a little okra then we went over to her place where I showed Rosealee some of the ragtime style blues I had been working on, playing on the Luna Dobro. Rosealee then played some Gospel on the guitar and sang. What a voice! All I could do was stop and listen.

Mississippi Rosealee at The Shack Up Inn back porch, photo – Brad Hardisty

Okay, now we are talkin’ serious stuff next. Rosealee showed me some serious hill country blues open tunings and started playing some Junior Kimbrough stuff along with the timing. She knew her Hill Country Blues. Here I was getting a private lesson on Hill Country style. Wow, that evening was worth the trip down yonder, but, the company was even more impressive.

Gary Vincent, Clarksdale Soundstage, photo – Brad Hardisty

The next morning I showed up to talk with Gary Vincent, a 30 year Nashville career singer/songwriter who relocated to the blues district and opened a recording studio complex called The Clarksdale Soundstage. The first album recorded there by Elvin Bishop is up for a Grammy nomination.

The Clarksdale Soundstage, photo – Brad Hardisty

The Clarksdale Soundstage – photo – Brad Hardisty

Housed in a group of what looks like fifties era offices with a kitchen and some open spaces for hanging out and dining, the main room looks like a high concrete arched garage that either was a mechanics garage or a machine shop.

The Les Paul Room, photo – Brad Hardisty

Morgan Freeman has his own voice over room located directly across from the control room.

Morgan Freeman’s voice over desk, photo, Brad Hardisty

The Les Paul Room has a large dining table with plenty of chairs for hanging out and room to plan on how to conquer the world.

Restored Greyhound Bus Station, blues district, photo – Brad Hardisty

Robert Plant booked out the space for several days for his group to practice in preparation for the headlining spot at The Sunflower River Blues and Gospel Festival.

Rosealee heading into the chapel at Shack Up Inn, photo – Brad Hardisty

Jamming inside the Chapel out at Shack Up Inn, photo – Brad Hardisty

The Chapel, Clarksdale, photo – Brad Hardisty

Brad Hardisty at Hopson’s Commissary, photo – Rosalind Wilcox

Mississippi Rosealee at Hopson’s Commissary, photo – Brad Hardisty

The next day we headed over to Shack Up Inn and looked around where I had been before. Memories started coming back. This has to be one of the coolest place to stay overnight anywhere. In fact, as a bonus, you can pick out your own cheap Kay or Silvertone to take to your room or shack for the night. A lot of musicians and foreigners walk through those doors. I got some great pictures of Mississippi Rosealee out there. I saw this pink metal glider rocker and had an idea to kind of do the Crosby, Stills and Nash album cover blues style with Mississippi Rosealee.

Robert Johnson test pressing, photo – Brad Hardisty

The Rock and Blues Museum houses an extensive collection of Rock and Roll as well as other genre memorabilia. Looking at a good copy of Slim Harpo’s Excello release, “Baby Scratch My Back” was great, but the test pressing of Robert Johnson’ s “Love In Vain” was worth the price of admission.

Rolling Stones acetate, photo – Brad Hardisty

We had a wonderful evening sharing more stories about LC Ulmer and friends and aquaintances in Clarksdale. Rosalind Wilcox is also the head of the Fine Arts Department at Coahoma Community College. This multi-talented Wonder Woman was my tour guide for my time in Clarksdale.

photo – Brad Hardisty

I got some great shots of world famous Red’s, the real juke joint in Clarksdale where the line up posted on the door said it all. The weeks booked acts included Robert Belfour and Lightnin’ Malcolm…nuff said!

Down by The Sunflower River, photo – Brad Hardisty

The Sunflower River, photo – Brad Hardisty

photo – Brad Hardisty

I walked down by the historic Sunflower River while I was there and really took in the spirit of the place where time has stood still and where the blues district is reviving with loyal blues fans and shop owners.

New Roxy, Clarksdale, MS, photo – Brad Hardisty

It was a gothic blues trip down memory lane in Clarksdale. I will be back.

– Brad Hardisty, Nashville TN thenashvillebridge@hotmail.com

Tags Adrian Kosky, Clarksdale, L C Ulmer, Mississippi Rosealee, Robert Belfour, Robert Johnson, Rosalind Wilcox, Sun House, Sun House Clarksdale, The Clarksdale Soundstage

Categories Blues Music, Music, Uncategorized

Hot October Night At 30th Annual Musicians Reunion

October 12, 2012 //

photo – Brad Hardisty

Nashville’s Queen of the Blues, Marion James, who had a Top 10 hit in 1966 with “That’s My Man” on Excello Records whom also once had a young Jimi Hendrix in her band at Club Del Morocco, presided over the proceedings of the 30^th Anniversary of The Jefferson Street Musicians Reunion & Benefit which celebrated the Rhythm and Blues era of 1950-1970 that was Nashville on Jefferson Street, 4^th Avenue and even a part of the Printers Alley where the event took place last Sunday, Oct. 7^th, starting at 2Pm at Bourbon Street Blues and Boogie Bar.

Marion James – Nashville’s Queen of the Blues, photo – Brad Hardisty

A great collectible program was available that had the lineup of bands as well as a comprehensive piece on the importance and history of the people and places that made up the great Rhythm & Blues era in Nashville.

There are mentions of Johnny Jones, Jimi Hendrix, Earl Gaines, Little Willie John, Gene Allison, and Christine Kittrell. The included story entitled; “Scuffling: The Lost History of Nashville Rhythm & Blues” was written by Daniel Cooper in 1996 and is one of the most comprehensive articles written about the scene that was played out at The Baron, Club Del Morocco, The New Era, The Club Revillot, Maceo’s (a great photo of Ray Charles playing at Maceo’s is featured in the program), Sugar Hill, Deborah’s Casino Royale, Ebony Circle, Pee Wee’s, even a beer joint called Behind The Green Door (Marion claims to have came up with the name of this joint).

Nashville had its own R&B imprints back in the day, Bullet, Tennessee Republic, Excello, Calvert, Cherokee as well as Athens, Sims, and Sound Stage 7.

The importance of Music City’s R&B, was just as huge as Memphis, although not as well known to the rest of the world. The music of Nashville was in thousands of southern state jukeboxes and being played on the mega powered Nashville pride WLAC back in the day.

Jimi Hendrix with The King Kasuals, Club Del Morocco, early 60’s

There are discussions right now to start a fund to erect a statue of Jimi Hendrix near where the Club Del Morocco once stood on Jefferson Street. While Seattle has every right to claim Jimi as their own, it was here along with best friend and brother in arms, Billy Cox, that Jimi spent his time honing his skills and developing his songwriting craft (building riffs with Billy that would show in later compositions) in probably the most demanding city then and now for a guitarist to prove his worth.

Jimi may have lost out a guitar dual to Nashville’s great and gracious Johnny Jones, but, performing in Nashville only strengthened his resolve and allowed Jimi the opportunity to tour with the powerhouse performers of the day like Little Richard & The Isley Brothers. Johnny later paid tribute to Jimi by releasing his own version of “Purple Haze” with Jimi’s former band, The King Casuals in 1969 on the Brunswick label for all you collectors out there.

John Richards, photo – Brad Hardisty

Starting at 2PM, the New Orleans feel of the Bourbon Street Blues & Boogie Bar, began to heat up with local favorites John Richards, Miranda Louise and Delicious Blues Stew getting the party started. The stage announcer, Peter Burger, plays saxophone with Stacy Mitchhart and also got to play in Marion James during her “burn- the- house- down” set!

There was a great silent auction to benefit the Marion James Musicians Aid Society that helps to support the musicians that made the scene happen between 1950-1970; especially with medical costs. As you all know, being a musician means forgoing a lot of insurance benefits. It was a chance to give back to the community that gave us so much.

Classic Cropper by Michael Patrick Maness, photo – Brad Hardisty

I myself eyed a print of Steve Cropper signed by the artist Michael P. Maness, after a few bids, one very close to the cut off time, it is all mine! While there were several other great pieces of art of BB King, Stevie Ray Vaughan and an autographed Buddy Guy gig poster, it is rare to come across an art piece of Steve Cropper, my personal icon for what he has been able to achieve in his life, that so captured the essence, Hawaiian shirt, custom orange Fender Telecaster and all. It will go on the wall next to my art print of another Memphis legend, Furry Lewis.

Those in attendance included Baton Rouge Bluesman Larry Garner, as well as current King of The blues in Nashville, Nick Nixon. I had heard Steve Cropper was out of town, but, I did hope to see Billy Cox at the event with no such luck. I did catch him once hanging out with old friends at a Sunday night Blues Jam at Carol Ann’s, so; he is seen around town now and then. It would have been great to see Larry Carlton or Dan Auerbach from The Black Keys show up at one of these events, maybe, down the road apiece.

Tom Cat of Bad Moon Blues Band, photo – Brad Hardisty

The Bad Moon Blues Band featuring Tom “Tom Cat” Whisenhunt, who has won a pair of Blues Guitarist awards, did some Strat-o-castin’ which started turn the heat up in the joint.

Regi Wooten, photo – Brad Hardisty

As the afternoon settled early evening, it was Carissia and Company that set the bar featuring Regi Wooten on Guitar. Although his brother, Victor Wooten, may be more well known, it was Regi’s guitar style that inspired Victor to go for some of the things he is known for on the bass.

Carissia, photo – Brad Hardisty

Playing of “Taps” to honor those Nashville blues musicians who have passed on. photo – Brad Hardisty

Carissia and Marion James look on as candlelight procession starts, photo – Brad Hardisty

Before Marion James’ set, there was a candlelight procession honoring passed Jefferson street artists such as Earl Gaines and Jimi Hendrix, before making mention of those who have passed on recently such as Nashville’s Donna Summers and Bob Babbit. Finally, after a moment of silence, “Taps” was played by a lone trumpet.

Lola Brown (daughter of Dr. Dorothy Lavinia Brown, the first black female surgeon in the south) performed a stirring Gospel rendition of “I’m Goin’ Way Over Yonder” and Carissia took a turn on the classic Curtis Mayfield, “People Get Ready.”

Samuel L. Dismuke Jr., photo – Brad Hardisty

When Marion James took center stage with “The Queen’s Band,” the tiny stage was covered with some of Nashville’s finest performers on everything from horns, guitar to Hammond B3. Marion had three backup singers, including Lola Brown. There were at least 10 musicians, including Samuel L Dismuke jr. Jr. on trombone, who Marion said she considered to be one of her sons onstage. There was no denying why Marion James is the current “Queen of the Blues.”

Everybody stopped for about 30-40 minutes. Nobody was eating their Cajun burgers or swallowing down a couple of fries. There was no talking or chitchatting or wandering around. Time stood still as Marion cut through like a hot knife in a stick of butter.

Marion James, “The Queen of the Blues”, photo – Brad Hardisty

It was an electrified performance that was not to be missed. Marion not only sang some of her classics, but, some of her new songs from the new release on Ellersoul Records, Northside Soul with the attack of Sister Rosetta Tharp in a street fight with James Brown. Marion won!

This was the main event, although, a great late night jam featuring the Andy T Band and Nick Nixon was still in the wings. After several hours, the night built to a crescendo and I left with my Steve Cropper print rolled carefully.

photo – Brad Hardisty

It was the end to another successful year for The Jefferson Street Musicians Benefit sponsored by Jefferson Street Sound.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Bad Moon Blues Band, Billy Cox, Blues Music, Bobby Blue Bland, Bourbon Street Blues and Boogie Bar, Bullet Records, Carissia and Company, Cherokee Records, Christine Kittrell, Daniel Cooper, Delicious Blues Stew, Ear Gaines, Ellersoul Records, Excello Records, Gene Allison, Jefferson Street, Jimi Hendrix, John Richards Group, Johnny Jones, Larry Garner, Little Richard, Little Willie John, Lola Brown, Maceo's, Marion James, Michael P Maness, Miranda Louise, Nashville, Nick Nixon, Peter Burger, Regi Wooten, Samuel L Dismuke Jr, Stacy Mitchhart, Steve Cropper, Tennessee Reublic Records, The 30th Anniversary Jeffersob Street Musicians Reunion & Benefit, The Baron Nashville, The Isley Brothers, The King Kasuals, The New Era Nashville, Uncategorized, WLAC

The Drop Zone in Northern Arkansas

October 3, 2012 //

Courseys Smoked Meats, Leslie, Arkansas photo- Brad Hardisty

On a recent road trip traveling south from Kansas City, heading south to Branson, and then dropping down into the Ozarks, I planned a stop at Courseys Smoked Meats in St. Joe, Arkansas for one of my top 5 sandwiches in the world. All it contains is a pile of the best smoked turkey this side of Sonoma County, California, sliced razor thin, piled high with homemade smoked cheddar cheese, a little mayo and mustard on white bread.

After consuming one of the treasures of The Ozarks, it was hard to keep traveling too long after a meeting in Branson at 8AM and a smoke turkey sandwich at lunch, it was time to find an antique store or something.

The Drop Zone, Leslie, Arkansas photo – Brad Hardisty

A sign came up on HWY 65: turn left here to old downtown Leslie, Arkansas. After crossing a narrow bridge and about 100 yards off the main highway, I came face to face with a sign that looked like one of The Blues Brothers playing guitar (but turned out to be Thomas) that read The Drop Zone.

Oak Street Station – connected to The Drop Zone, photo – Brad Hardisty

I had to enter by another store that had some vintage vinyl upfront, I ended up picking up a King Record 45 and started talking to Thomas about The Drop Zone and what has been going on in Northern Arkansas. It was like stumbling onto a juke joint in the Mississippi Delta. A great little venue that holds about 85 people, where there are couches, tables, chairs and some room to dance up front.

The Drop Zone opened in Leslie, Arkansas on September 9^th, 2011. Sandra Chidester is the owner while Thomas Anderson manages and books all of the entertainment. Thomas is also President and Sandra is Secretary/Treasurer of the Buffalo River Blues Society that uses the Drop Zone as its local venue.

Leslie, Arkansas is a small town of around 450 residents located in the North Central part of the state.

Thomas Anderson, The Drop Zone, photo – Brad Hardisty

The venue is totally non-alcoholic, non-smoking, all ages and is ranked as one of the best venues of its kind in Northern Arkansas. The Drop Zone has been referred to as “like having a juke joint in your living room”.

Thomas is an experienced musician having played in an Iowa band in the 60’s called The Nomads for a couple of years before the Vietnam draft caused The Nomads to disband.

Cee Cee James at The Drop Zone, photo courtesy Thomas Anderson

The Drop Zone normally books Blues and Classic Rock bands from all over the Central United States but has had bands from as far away as New York and Canada.

Brenda Meyer at The Drop Zone, photo courtesy – Thomas Anderson

The first concert was on the 9^th of September, 2011 with 79 inside and another 30 outside dancing in the street. Thomas says, “Clover Blue, a two time competitor at the International Blues Challenge in Memphis just brought the house down that night!” The Drop Zone First Anniversary party featured Arkansas favorites, the Joe Pitts Band.

“We have been very picky in finding quality bands and artists who have performed at the Drop Zone. Like Joe Pitts, Cee Cee James, Brenda Meyers, Smooth Down Under, R.B. Stone, Danny Brooks, Tyrannosaurus Chicken and many more. Voodoo Highway from New York, NY will be here for our Halloween party. Our dreams are to someday to be able to afford having the bigger names here: Buddy Guy, Eric Clapton, and Johnny Lang. But, that will be a long time coming,” Thomas muses.

Thomas has something to say about starting a venue in the middle of the Ozarks, ”The residents of Leslie are mostly divided to our being here with some loving what we are trying to bring here, to others not wanting the town to change at all. But, I think that is the way most small towns are. What many don’t understand is without new businesses that employ people, there might not be many small towns left today; so many are fading away. The Drop Zone employs 5 during live entertainment. Leslie would be very lucky with more music venues like the Drop Zone moving here. It would greatly improve the economy by bringing more people into town to enjoy great music while providing more jobs. An RV park or motel would be nice to have.”

The best place to eat, locally, is the Leslie Cafe. Located on Main Street, the cafe has great owners, great service, and the best home cooking anywhere. Bread and pastries are all made from scratch. The Drop Zone normally takes all the bands there to eat.

Lodging is another story. The Marshall Motel is located in Marshall, 8 miles North of Leslie on Highway 65. Nice rooms for those on a budget. Twenty miles to the South is the Best Western located in Clinton. Rooms are nice and loaded with all the amenities. Tell them you would like the Drop Zone rate if you ever get out this way.

Thomas has some more plans, “We are planning on expanding in the future. Possibly getting the adjacent building and making another venue, even adding rooms to house the bands. We are currently working with the Leslie Cafe into establishing a live music venue by bringing in the bands the Drop Zone has had in the past. The new venue is being built with lighting and a sound system being added. There will be a different menu for weekend nights when they have live entertainment. The Grand Opening of this new music venue is scheduled for the 13^th of October with the blues band Smooth Down Under from Branson taking the stage.”

Interstate Buffalo at The Drop Zone, photo courtesy – Thomas Anderson

Thomas says, “I think the hardest thing is just trying to continue finding all those great bands and artists out there, bringing them to the Drop Zone, and just hoping you can make enough to break even. Music and the devotion of the bands and our great support from our friends is what keeps us going.”

1/2 of Tyrannosaurus Chicken at The Drop Zone, photo courtesy – Thomas Anderson

Some of the comments that the team has heard about The Drop Zone are:

“Don’t bother going to Kansas City to hear good Blues, just take yourself down to the Drop Zone in Leslie”

“If you think your band is “all that” stop in and play the Drop Zone. They are a bands proving ground”

“Best venue. Best bands. Best owners. Best patrons”

“This venue knows how to do it right”.

“Now, let me tell you,” Thomas goes on, “after those comments, you just can’t stop bringing in the best. It’s in our blood.”

For information about the Drop Zone or the Leslie Cafe or for booking these venues, call and talk with Thomas at 501-253-6373.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Blues Music, Buffalo River Blues Society, Cee Cee James, Classic Rock, Courseys Smoked Meats, Interstate Buffalo, Leslie Arkansas, Music, Rock Music, The Drop Zone Leslie Arkansas, Tyrannosaurus Chicken, Uncategorized, Voodoo Highway

Boo Hanks and Dom Flemons New Album

June 20, 2012 //

This week, Music Maker Relief Foundation announced the release of Boo Hanks‘ & Dom Flemons‘ Buffalo Junction. This album is the result of a partnership between Piedmont-style blues guitarist Hanks and Flemons, who in 2011 won a Grammy Award and played the Newport Folk Festival with his group the Carolina Chocolate Drops.

Hanks worked the tobacco fields near his Virginia home for the majority of his 83 years.

Boo Hanks & Dom Flemons -2008-New Orleans

In 2006 he began a partnership with Music Maker Relief Foundation that led to opportunities such as opening for the Chocolate Drops and playing the Lincoln Center. Hanks met Flemons on the day he arrived at the Music Maker Relief Foundation office, and the two have remained friends. Their collaborative album, Buffalo Junction, which will be available today, June 19, was named for Boo Hanks’ hometown and features upbeat, country blues that crosses generational lines.

The album highlights Hanks on the guitar and vocals, while Flemons plays a variety of traditional instruments such as the jug, harmonica, bones and also sings backup vocals. The album was recorded when Music Maker Founder Tim Duffy and Flemons went to visit Hanks at his home in Buffalo Junction, leading to the album’s title.

Dom Flemons said of the recording experience: “Boo Hanks is a treasure. His vocal and guitar phrases are something so unique and forgotten in the modern world of folk and blues. He an absolutely engaging songster and it has been a pleasure to have played with him for several years and to be a part of this album which will hopefully present his music to a much wider audience.”

Hanks has been a Music Maker Partner Artist since 2006, and up until that time his music was only heard by those in the communities close to his Virginia home. Since beginning work with Music Maker, he has performed all over the country, and developed a professional friendship with Music Maker Next Generation Artist Flemons. Through Next Generation partnerships, MMRF is able to foster the continuation of Southern traditional music among younger generations of musicians. Buffalo Junction is a collaborative album that does just that.

Dom Flemons-Memphis-2011 /Photo-Brad Hardisty

Dom Flemons with Carolina Chocolate Drops, have been involved with both the Folk Festival in Memphis, The Americana Festival in Nashville as well as making in store appearances at Grimeys New and Preloved Music when in Nashville.

Listen: Boo & Dom, “Girls Are Crazy About Me”

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Americana Music, Americana Music Festival, Blues Music, Boo Hanks, Carolina Chocolate Drops, Dom Flemons, Grimey's New and Preloved Music, Memphis, Memphis Folk Alliance 2011, Music, Music Maker Relief Foundation, Nashville, Piedmont Blues, Uncategorized

Bobby Blue Bland at Blues Spring Fest

June 2, 2012 //

The 4^th Annual Blues Spring Festival sponsored by New Hope Foundation took place at Centennial Park in West End on Memorial Day under record setting mid-90 temperatures that got almost as hot as the afternoon jam session.

Nick Nixon in 2PM Heat!

By 2Pm things were in full swing with veteran Nashville Blues singer, James “Nick” Nixon kicking into high gear performing, “No End To The Blues,” co-written by Scotty Moore in the middle of a scorching soulful set that even brought a little church to the afternoon proceedings.

Plenty of room on the skillet in the front row!

The Festival was not all inclusive to Blues, which also included Country singer Verlan Brock as well as T.J. Hooker-Taylor doing a tribute to his father, R&B Vocal Legend, Johnny Taylor.

Blues from down under!

Musicians from both the Nashville Blues Society as well as The Tennessee Rhythm and Blues Society did their own jamming as well as supporting the solid line-up.

Mojo Workin’ 95 degrees in the shade!

Many of the local artists can be caught at Carol Ann’s weekly Sunday night blues jams as well as Tuesday night Rhythm and Blues.

Bobby Blue Bland and Elvis, Dec. 7th, 1956

The main-headliner, Rock & Roll Hall of Famer, Bobby “Blue”Bland, did not disappoint. For most of the show, due to the heat, most all the seats at the front of the stage were free for the taking to watch your favorite artist. Nashville was not ready for late August heat in May. It took a strong will and plenty of water to last a few hours out by the shell at Centennial Park.

Howard Hewett

Next up; The 12^th Jefferson Street Jazz and Blues Festival on June 16^th starting at 12 noon at the Bicentennial Capitol Mall Amphitheatre featuring headliner, Howard Hewett of Shalamar fame.

1963 dated photo, Jimmy (Jimi Hendrix) 3rd person – Billy Cox on Bass in Nashville.

For those outside Music City, Jefferson Street was Nashville’s Beale Street where even Jimi Hendrix played with Army buddy, Billy Cox after leaving Ft. Campbell Kentucky in 1962 in The King Kasuals. Jimi once even challenged local guitar hero, Johnny Jones, to a guitar dual back in those days.

Stretching out in the shade with some Carol Ann’s BBQ

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Billy Cox, Blues Music, Blues Spring Festival Nashville, Bobby Blue Bland, Howard Hewett, Jefferson Street Jazz and Blues Festival, Jimi Hendrix, Johnny Jones, Music, Nashville, Nashville Blues Society, Nick Nixon, Rock and Roll Hall of Fame, Tennessee Rythm and Blues Society, Uncategorized

Secret Stages 2012 From the Cheap Seats

May 30, 2012 //

The Dirty Streets – Secret Stages 2012 – Rogue Tavern

Secret Stages 2012 on May 11^th & 12^th, took over where the first Birmingham Indie Festival left off last year, with plenty of homegrown SXSW style Buzz, this time around with a fully fledged website instead of a hard to find blog.

Black Tusk – Secret Stages 2012 – Das Haus

From Nashville’s Natural Child to Memphis’ River City Tanlines to Chattanooga’s own take on the MGMT formula, Machines Are People Too, SS 2012 had everything from vintage postcard sounds of Frank Fairfield to the Motorhead meats Black Sabbath at a Southern Bar B Que sounds of Black Tusk, most groups were part of the Southeast circuit with all points in between, with several Artists travelling from far reaches of the kingdom.

Break it down

Even a coffee house was throwing down Rappers, DJ’s and Breakdancers next door to Das Haus as an add plus to the list of venues.

Hail The Titans – Das Haus, Photo- Thomas Diasio

Speaking of Das Haus, with the metal machine noise Lou Reed in a Sonic Youth Blender rock of Hail The Titans, Death Surf Punk of Kill Baby Killand the aforementioned Black Tusk taking care of business with an alpine view backdrop and the dense smell of Brats, Kraut and German Beer lingering in all four corners, this was the edge of the Abyss, where as some of the safer acts played at Rogue Tavern.

Machines Are People Too – Rogue / Photo – Thomas Diasio

Rogue, the biggest club of all featured Machines Are People Too getting everybody on their feet dancing then a few minutes later, The Dirty Streets, were throwing down Social Distortion meets Government Mule.

Baby Baby @ Easy Street

There was something for everybody and all ages. Baby Baby, with double the drumming pleasure, played at all ages Easy Street cranking out loud post punk. This wasn’t a bar, just a big empty hall, loud music and a table for buying Cd’s and other swag.

Third Man Rolling Records Store @ Secret Stages 2012

The second day had to contend with constant soft rain that left the vendors and the Third Man Rolling Record Store out in the cold, whereas last year, the main outdoor stage was the place to congregate, this year, everybody was scurrying for indoor digs with a few dancing in the rain at the foot of the main stage listening to blues and jazz.

Lydia Loveless @ Metro / photo- Thomas Diasio

Metro kind of became the Americana beacon with Bloodshot Records’ Lydia Loveless and Taylor Hollingsworth’s new duo with newlywed wife, Kate Taylor, playing songs off their southern roots Fat Possum Records, Deadfingersrelease.

Deadfingers @ Metro

The greatest benefit was this was truly a pub crawl in the Loft District, which has seen a lot of changes over the last 5-10 years. It covered four square blocks where no taxis were needed to get around.

Machine Are People Too @ Rogue / photo – Thomas Diasio

Chuck Leishman, who originally had the idea for the pub crawl, who called together the roundtable that developed Secret Stages stated, “We wanted to have a festival that all these bands that play the circuit could have a platform, a place to get their music heard in one weekend. It would be great if every regional area had a festival like this.”

Ben Lamb w/ Lydia Loveless @ Metro / photo – Thomas Diasio

This truly was what SXSW felt like maybe twenty years ago. There were some local corporate and media support and even a few bands on some Indie labels, but, this was a place where many bands were able to be heard by a diverse crowd.

Hail The Titans @ Das Haus / Photo – Thomas Diasio

Birmingham has seen some success over the last few years, with bands like The Great Book of John and Wild Sweet Orange.

Black Tusk @ Das Haus

It would have been anybody’s guess that Birmingham would host the best Indie Festival in the Southeast with over 100 bands and comedians during two days in May.

Vintage Gibson backline @ Metro

Birmingham is just about the same distance between Atlanta, Nashville, Memphis, Mississippi and Northern Florida making it an easy 2-4 hour trip from just about anywhere in the region.

The number of venues has more than doubled in Birmingham in the last ten years.

A little secret Elvis imagery (Taking Care Of Black Tusk) @ Das Haus

The time was right, the place right and the vibe was right. Shine a light on Birmingham.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Baby Baby, Birmingham, Birmngham Alabama, Black Tusk, Bloodshot Records, Blues Music, Das Haus, Deadfingers, Frank Fairfield, Gibson Amplification, Hail The Titans, Indie Music, Indie Rock, Kate Taylor, Kill Baby Kill, Lydia Loveless, Machines Are People Too, Metro Bar Nashville, Music, Rock Music, Rogue Tavern, Secret Stages 2012, Taylor Hollingsworth, Third Man Rolling Records Store, Uncategorized

Owner Henry Gipson (aka Mr. Gip) had his residence, known as Gip’s Place for over 60 years for “house parties” that are as close to a good ol’ juke joint that Alabama has left was closed down on May 4th, 2013, for not having the proper business license by Bessemer Police.

Debbie Bond was the guest last Monday night on WRFN Radio Free Nashville’s Mando Blues Show recorded in a huge army tent at Omega Studio high on the top of a peak at an undisclosed location in the nearby Nashville wilderness.

Owner Henry Gipson (aka Mr. Gip) had his residence, known as Gip’s Place for over 60 years for “house parties” that are as close to a good ol’ juke joint that Alabama has left was closed down on May 4^th, 2013, for not having the proper business license by Bessemer Police.