Memphis Minnie-Walls Miss US 61 Blues Trail South Have, MS

MISS US 61

Memphis Minnie - Walls

Memphis Minnie (Lizzie Douglas, 1897-1973) was one of the premier blues artists of the 1930s and ‘40s. Her singing and songwriting, spirited demeanor, and superlative guitar playing propelled her to the upper echelons of a field dominated by male guitarists and pianists. In the early 1900s, Minnie lived in Tunica and DeSoto counties, where she began performing with guitarist Willie Brown and others. She is buried here in the New Hope M.B. Church Cemetery.

Memphis Minnie 

Memphis Minnie 

Memphis Minnie 

MEMPHIS MINNIE spent most of her childhood in Mississippi, where she was known as “Kid” Douglas. U.S. Census listings of 1900 and 1910 place her in Tunica County, but she gave her birthplace as Algiers, Louisiana (June 3, 1897). When she was a teenager, her family moved to Walls, but Minnie soon struck out on her own, inspired to make a living with her voice and guitar. She reportedly joined the Ringling Brothers circus as a traveling musician and performed locally at house parties and dances with Willie Brown, Willie Moore, and other bluesmen around Lake Cormorant and Walls.

The lure of Beale Street drew her to Memphis, where she worked for the streets, cafes, clubs, and parties. She began performing with Joe McCoy, whom she married in 1929. After a talent scout heard the duo performing for tips in a barbershop, they made their first recordings that year, billed as “Kansas Joe and Memphis Minnie.” “Bumble Bee” was their big hit, and has been recorded by many other blues singers, although in later years their most recognized song would become “When the Levee Breaks.” The couple soon relocated to Chicago and continued to perform and record together before Minnie took on a new guitar-playing husband, Ernest Lawlars (or Lawlers), a.k.a. “Little Son Joe.” Minnie recorded prolifically throughout the 1930s and ‘40s, scoring hits such as “Me and My Chauffeur Blues,” “Please Set a Date,” “In My Girlish Days,” and “Nothing in Rambling.” Her showmanship and instrumental prowess enabled her to defeat the top bluesmen of Chicago, including Muddy Waters and Big Bill Broonzy, in blues contests. Minnie gained a reputation as a down-home diva who could handle herself, and her men, both on and off the stage. In 1958 Minnie returned to Memphis, where she died in a nursing home on August 6, 1973.

One of the rare women of her era to gain prominence as a guitarist, Minnie overcame considerable odds to achieve success, battling both racism and sexism. She has been heralded as a champion of feminist independence and empowerment. She was elected to the Blues Hall of Fame in its first year of balloting (1980). The Mt. Zion Memorial Fund erected a headstone for her here in 1996. Her songs have been recorded by women such as Big Mama Thornton, Lucinda Williams, and Maria Muldaur, as well as by men, including Muddy Waters, Elmore James, and Western swing pioneer Milton Brown.

Columbia Recording Company
“When the Levee Breaks”
 Kansas Joe and Memphis Minnie 

If it keeps on rainin',
Levee's goin' to break.
And the water gonna come and
You'll have no place to stay.
Oh, cryin' won't help you,
Prayin' won't do no good.
When the levee breaks, mama,
You got to move.
It's a mean old levee,
Cause me to weep and moan.
Gonna leave my baby and
My happy home.
When the Levee Breaks
Kansas Joe & Memphis Minnie

When the Levee Breaks, recorded June 18, 1929, was the first release by Kansas Joe McCoy and Memphis Minnie. McCoy was the vocalist on this song and many others during the years of his partnership with Minnie. Led Zeppelin brought the song to rock audiences when they recorded it in 1971, and its lyrics carried its renewed prominence as a theme song for documentaries about Hurricane Katrina after the levees broke in New Orleans in 2005.

In Woman with Guitar, Memphis Minnie's Blues at 1922 Da Capo Press book. Paula and Beth Garon documented Minnie's life and music analyzing her work from sociological, political, and surrealist perspectives.

Welcome to one of the many sites on the Mississippi Blues Trail 

Visit us online at www.MSBluesTrail.org 

Elvis Presley-Tupelo Miss US 78 Blues Trail South Haven, MS

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Miss US 78

Elvis and the Blues  

Elvis Presley revolutionized popular music by blending the blues he first heard as a youth in Tupelo with country, pop, and gospel. Many of the first songs Elvis recorded for the Sun label in Memphis were covers of earlier blues recordings by African Americans, and he continued to incorporate blues into his records and live performances for the remainder of his career

Elvis and the Blues

Graceland 

Elvis in Tupelo, MS 

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Elvis Presley and the Blues - Tupelo, MS 

Elvis first encountered the blues here in Tupelo, and it remained central to his music throughout his career. The Presley family lived in several homes in Tupelo that were adjacent to African American neighborhoods, and as a youngster, Elvis and his friends often heard the sounds of blues and gospel streaming out of churches, clubs, and other venues. According to Mississippi blues legend Big Joe Williams, Elvis listened in particular to Tupelo blues guitarist Lonnie Williams.

During Elvis’s teen years in Memphis, he could hear blues on Beale Street, just a mile south of his family’s home. Producer Sam Phillips had captured many of the city’s new, electrified blues sounds at his Memphis Recording Service studio, where Elvis began his recording career with Phillips's Sun label. Elvis was initially interested in recording ballads, but Phillips was more excited by the sound created by Presley and studio musicians Scotty Moore and Bill Black on July 5, 1954, when he heard them playing bluesman Arthur “Big Boy” Crudup’s 1946 recording “That’s All Right.”

That song appeared on Presley’s first single, and each of his other four singles for Sun Records also included a cover of a blues song—Arthur Gunter’s “Baby Let’s Play House,” Roy Brown’s “Good Rockin’ Tonight,” Little Junior Parker’s “Mystery Train,” and Kokomo Arnold’s “Milk Cow Blues,” recorded under the title “Milkcow Blues Boogie” by Elvis, who likely learned it from a version by western swing musician Johnnie Lee Wills. Elvis's sound inspired countless other artists, including Tupelo rockabilly musician Jumpin' Gene Simmons, whose 1964 hit “Haunted House” was first recorded by bluesman Johnny Fuller.

Elvis continued recording blues after his move to RCA Records in 1955, including “Hound Dog,” first recorded by Big Mama Thornton in 1952, Lowell Fulson’s “Reconsider Baby,” Big Joe Turner’s “Shake, Rattle and Roll,” and two more by Crudup, “My Baby Left Me” and “So Glad You’re Mine.” One of Elvis’s most important sources of material was the African American songwriter Otis Blackwell, who wrote the hits “All Shook Up,” “Don’t Be Cruel,” and “Return to Sender.” In Presley's so-called "comeback" appearance on NBC television in 1968, former bandmates Scotty Moore and D. J. Fontana rejoined him as he reprised his early Sun recordings and performed other blues, including the Jimmy Reed songs "Big Boss Man" and "Baby What You Want Me to Do." Blues remained a feature of Elvis's live performances until his death his 1977.

Mama, she done told me, 
Papa done told me to, 
Son, that gal you're foolin' with 
She ain't no good for you.
But that's all right, that's all right.
That's all right now, mama, any way you do. 
"That's all Right" Arthur "Big Boy" Crudup (1946)
recorded by Elvis Presley 1954
Elvis appeared at the WDIA Goodwill Revue an annual charity event sponsored by Memphis leading Africain America radio station in 1956 and 1957. Here he poses with BB King on Dec 7, 1956.

In 1969 bluesman Albert King recorded this collection of songs made popular by Elvis, King was one of many African American singers who bare performed Elvis material. Presley's records hit the rhythm & blues charts from 1956 to 1963l reflecting sales and airplay in the black community.

Elvis at Dec 6, 1957, WDIA Goodwill Revenue with Little Junior Parker (from left) and Bobby "Blue" Band.

Elvis recorded three blues songs that were originally recorded by Arthur "Big Boy" Crudup a native of Forest, MS.
In 1956, interview Elvis said, "down in Tupelo, MS I used to hear Old Arthur Crudup bang his box the way Ida does and said If I ever got to the place I could feel all old Arthur felt, I'd be a music man like nobody ever saw."
Historians still wonder whether Presley actually saw Crudup perform, or only heard his records. Crudup claimed he never met Elvis. 

Sun Recording Company
“ That ’s All Right”
Elvis Presley
Memphis, TN 

Welcome to one of the many sites on the Mississippi Blues Trail 

Visit us online at www.MSBluesTrail.org 

https://www.findagrave.com/memorial/837/elvis-presley

Otha Turner -COMO Miss US 51 Tanger Outlet Blues Trail South Haven, MS

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Miss US 51

Otha Turner -COMO 

The African American fife and drum tradition in north Mississippi stretches back to the 1800s and is often noted for its similarities to African music. Its best-known exponent, Otha (or Othar) Turner (c. 1908-2003), presided over annual fife and drum picnics and goat roasts on his property in nearby Gravel Springs and performed at numerous festivals. His music was featured in several documentaries as well as in Martin Scorsese’s film Gangs of New York.

Otha  Turner MIss US 51

Black Fife and Drum Music

The fife and drum ensemble is most closely associated with military marches, but African American bands in North Mississippi have long used fifes and drums to provide entertainment at picnics and other social events. Many scholars believe that such groups formed in the wake of the Civil War, perhaps using discarded military instruments. Prior to the war slaves were largely forbidden from playing drums out of fear that they would use the instruments for secret communication, though African Americans did serve in military units as musicians, playing fifes, drums, and trumpets. North Mississippi fife and drum music are often described as sounding “African,” but it was not imported directly from Africa. Instead, it appears that African American musicians infused the Euro-American military tradition with distinctly African polyrhythms, riff structures, and call-and-response patterns. Fife and drum bands have performed spirituals, minstrel songs, instrumental pieces such as “Shimmy She Wobble,” and versions of blues hits including the Mississippi Sheiks’ “Sitting On Top of the World” and Little Walter’s “My Babe.” While the black fife and drum tradition is identified with northern Mississippi, researchers have also documented the music in other areas, including southwestern Mississippi, western Tennessee, and west central Georgia.

In 1942 multi-instrumentalist Sid Hemphill and his band made the first recordings of Mississippi fife and drum music for Library of Congress folklorist Alan Lomax. His granddaughter, blues singer-guitarist Jessie Mae Hemphill, later played drums in local fife and drum bands. Lomax also recorded fife and drum music by brothers Ed and Lonnie Young in 1959. In the 1960s and ’70s folklorists George Mitchell, David Evans, and Bill Ferris recorded groups featuring Napolian Strickland (c. 1919-2001) on fife and Otha Turner on the bass drum.

Turner, born in Rankin County around 1908—various sources suggest birth years ranging from 1903 to 1917—moved to northern Mississippi as a child together with his mother, Betty Turner. He learned to create his own fifes by using a heated metal rod to hollow out and bore a mouth hole and five finger holes into a piece of bamboo cane. Turner, who spent most of his life as a farmer, eventually became the patriarch of the regional fife and drum tradition. He recorded as leader of the Rising Star Fife and Drum Band for various American and European labels and appeared in several documentaries, including Gravel Springs Fife and Drum, Lomax’s Land Where the Blues Began, and Martin Scorsese’s Feel Like Going Home. Following his death in 2003 his granddaughter and protégé Sharde Thomas inherited leadership of his fife and drum band.

Captions
Top Photo: Otho Turner leads his fife and drum band including RL Boyce and Abe Young, at the annual picnic at his home in Gravel Springs, northeast of Como in August 1998

Otha Turner plays guitar as his friend Mississippi Fre McDowell looks on. The photograph was taken in 1969 by folklorists David Evans during a field recording session.

The band on this 1995 eP on the Sugar Ditch label included, from left, Bernice Turner Pratcher RL Boyce, Otha Turner and Aubrey Turner, Otha Turner and Pratcher, his daughter and the group's manager, tragically died on the same day, Feb 27, 2003. Otha's name was spelled Othar, other in Otbo on various recording and documents.

Como native Napolian Strickland was a close musical associate of Otha Turner who played fife, drum, diddley bow harmonica and guitar. Turner made his first recording performing on drums behind Strickland's fife and vocal.

fife player Ed Young and his brother Lonnie (right)were among the many local musicians, including Fred McDowell, who was first recorded by folklorist Alan Lomax. Lomax subsequently booked the Youngs as folk festivals nationwide.

Drummer Abe ("Kag" or "Cag")
Young the son of Lonnie Young

Otha Turner looks on with pride as his granddaughter, Sharde Thomas (b Jan 8, 1990) performs at the Turner's annual picnic in Aug 1997. Sharde was accompanied on drums by her cousin Rodney Andre and Aubrey.

Welcome to one of the many sites on the Mississippi Blues Trail 

Visit us online at www.MSBluesTrail.org 

https://www.findagrave.com/memorial/19636923/otha-turner

Joe Callicott-Nesbit Miss US 51 Blues Trail Tanger Outlet South Haven, MS

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Miss US.51

Joe Callicott -Nesbit (1900-1969)

Although his early recording career resulted in only two songs issued in 1930, Nesbit native Joe Callicott (1899-1969) is often regarded as one of Mississippi’s finest early bluesmen. His guitar work was also featured with local bluesman Garfield Akers on Cottonfield Blues, a classic 1929 single that illustrated how blues developed from field hollers. In the late 1960s, Callicott recorded more extensively for folklorists and served as a mentor to Nesbit guitarist Kenny Brown.

Joe Callicot 

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Joe Callicott, whose music was notable for his delicate guitar style and rich vocals, spent most of his life here in Nesbit. He began playing blues as a young boy and performed for many years together with fellow guitarist Garfield Akers (c. 1900-1959). They played mostly around the area at informal gatherings and performed in a distinctive local style similar to that of Memphis blues pioneer Frank Stokes and Hernando’s Jim Jackson. In 1929 Jackson arranged for the pair to record for the Brunswick-Balke-Collender corporation of Chicago, which had set up a temporary recording unit at the Peabody Hotel in Memphis. Callicott’s recording of “Mississippi Boll Weevil Blues” from that session was unissued, but he played on Akers’ two-part single “Cottonfield Blues,” which was issued on the Vocalion label. The following year they again recorded in Memphis. Vocalion issued “Dough Roller Blues” and “Jumpin’ and Shoutin’ Blues” by Akers, while Brunswick released Callicott’s "Fare Thee Well Blues" and "Traveling Mama Blues" (using the spelling Calicott on the label and Callicutt in company files). Although Callicott gave up performing in the 1940s, Akers was active on the down-home Memphis blues scene of the early ‘50s. Akers, however, never recorded again.

In 1967 folklorist George Mitchell met and recorded Callicott, and Callicott’s subsequent return to performing included a booking at the 1968 Memphis Country Blues Festival in Memphis and travels as far as New York City. Recordings made by Mitchell and British producer Mike Vernon of the Blue Horizon label revealed the impressive range of Callicott’s early repertoire, which included songs about World War I and the boisterous nightlife of Beale Street. During this period Callicott also taught guitar to Kenny Brown (b. 1953), who lived with his family next door. Brown later became well known in the blues world via his twenty-year relationship with Holly Springs guitarist R. L. Burnside as well as his own recordings. On his 2003 Fat Possum CD Stingray Brown recorded three of Callicott’s songs.

Another young student of older blues artists in the area was Bobby Ray Watson (b. 1943) of the nearby Pleasant Hill community. Watson often performed together with local harmonica player Johnny Woods (1917-1990), a dynamic performer and native of nearby Looxahoma. This area’s most famous resident, the legendary pianist, and vocalist Jerry Lee Lewis included many blues songs in his repertoire. The Nesbit ranch purchased by Lewis 1973 became a tourist attraction and featured a piano-shaped pool.

Joe Callicott Miss US 51

Joe Callicott Miss US 51

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Left and above right, Joe Callicott, late 1960a. Above left with his wife Doll, circa the 1950s. The top label is from a 1970 LP of George Mitchell field recordings. Callicott is buried in the cemetery adjacent to this marker. 

Cover sleeve of a 1972 single on the Oblivion label by Johny Woods. In addition to making his own recordings, Woods also performed on record with his frequent musical partners R. L. Burnside and Mississippi Fred McDowell. 

Watson and his wife Libby Rae founded the Mississippi Country Blues Society and conducted field recordings sessions with many traditional blues artists around the state

Kenny Brown left with David Kimbrough, Dwayne Burnside, and Cedric Burnside at the dedication of the “Hill Country Blues” Blues Trail marker in Holly Springs, July 3, 2008. In 2006 Brown started the annual North Mississippi Hill country Picnic that celebrates blues from the region. 

Revival Label song 33 1/3 rpm Mono Side 1
“Deal Gone Down"
Rolling & Tumbling
Riverside Blues
Down Home Blues
Old Boll Weevil
Frankie and Albert
Joe Callicott 

Welcome to one of the many sites on the Mississippi Blues Trail 

Visit us online at www.MSBluesTrail.org 
https://www.findagrave.com/memorial/9708063/joe-callicott