Muddy Waters Miss US 61 Blues Trail South Haven, MS

MISS. US 61

Muddy Waters 

Muddy Waters lived most of his first thirty years in a house on this site that was part of the Stovall Plantation. In 1996 the restored house was put on display at the Delta Blues Museum in Clarksdale. Muddy Waters was first recorded here in 1941 by Alan Lomax, who was a complaining song for the Library of Congress.
Muddy Waters is known as the king of Chicago Blues. 

Muddy Waters 

Muddy Waters 

Muddy Waters 

Muddy Waters African American Music on the Stovall plantation was documented as early as 1901 when a Harvard archeologist heard local workers singing what he later described as “autochthonous music” and strains of apparently genius African music. 

Muddy Waters (McKinley Morganfield, 1913-1983) moved to Stovall with his grandmother from Rolling Fork, Mississippi c1915. The Stovall plantation remained his primary base until he moved to Chicago in 1943. 

In August 1941, on a field recording expedition sponsored by the Library of Congress and Fisk University, Alan Lomax and John Work set up portable equipment in Water’s house to record Muddy and other local musicians, including fiddler Henry “Son” Simmons. Lomax returned with Lewis Jones in 1942 for the second series of recordings. Two of Water’s recordings, “Burr Clover Farm Blues” and “Burr Clover Blues” paid tribute to plantation owner Colonel William Howard Stovall (1895-1970) and his crop. The Stovalls, one of the Delta’s most successful cotton-farming families, were pioneers of agricultural technology, and Colonel Stovall invented the burr clover seed harvester in 1935. Waters told Lomax that he wrote “Burr Clover Blues” at Stovall’s request. Waters entertained field hands at his house which serves as a juke joint and also played at social functions for the Stovalls, as did the Mississippi Sheiks, a popular black string band that Waters admired. 

Water’s cousin, The Reverend Willie Morganfield (1927-2003), was born on the Stovall plantation and turned down offers to sing the blues and devoted his talent to the church, becoming a popular gospel recording artist in the 1960s. He was the pastor of the Bell Grove Missionary Baptist Church in Clarksdale. Blues singer-pianist Eddie Boyd (1914-1994), who wrote the classic “Five Long Years,” a NO. 1 rhythm & blues in 1952, was also born on Stovall. Stovall resident and blues basis David “Pecan” Porter (1943-2003) later lived in the house that Muddy Waters had earlier occupied. Porter was active on the Clarksdale blues scene from the 1960s through the 1990s. 

Only in the 1980s after the vacant house was in disrepair, did tourists begin visiting it as a Muddy Waters shrine. In 1987m guitarist, Billy Gibbson of the rock group ZZ Top had “Muddywood” guitars crafted from plans of the house. ZZ Top subsequently used the guitars to promote a fund-fund-raising drive to benefit the Delta Blues Museum.

Well, now the reason I love that
ol' Stovall's Farm so well
Well, now you know, we have
a plenty of money
And we never be raisin' hell
"Burr Clover Blues" by Muddy Waters
The remains of Muddy Water's house from this spot as it appeared in the mid-1990s. Shortly after this photo was taken the cabin was removed from this site and sent on a five-year world tour that was sponsored by to House of Blues.

Welcome to one of the many sites of the Mississippi Blues Trail
Visit us online at
www.MSBluesTrail.org

Abbay & Leatherman - Robinsonville Blues Trail South Haven, MS

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MISS US 61

Abbay & Leatherman - Robinsonville

Abbay & Leatherman, one of the oldest and largest cotton plantations in the Delta, is known to music enthusiasts worldwide as the boyhood home of blues icon Robert Johnson (c. 1912-1938). Johnson lived here with his family in a tenant shack by the levee during the 1920s. The powerful and impassioned recordings he made in 1936-37 are often cited as the foundation of rock ‘n’ roll, and the facts, fantasies, and mysteries of his life and death are a continuing source of intrigue.

Abbay & Leatherman - Robinsonville

Abbay & Leatherman - Robinsonville

Abbay & Leatherman - Robinsonville

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Robert Johnson would become known as the “King of the Delta Blues,” heralded not only as a dramatic and emotional vocalist but also as an innovative and influential master of the guitar and a blues poet who could chill listeners with the dark depths of his lyrical vision. But he was recalled only as a good harmonica player who had limited skills as a guitarist during his adolescent years here on the Abbay & Leatherman Plantation. Johnson left the Delta around 1930, but when he reappeared about two years later he possessed such formidable guitar technique that Robinsonville blues luminary Son House later remarked that Johnson must have “sold his soul to the devil.”  The 1986 Hollywood movie Crossroads was based on the legend of Johnson’s alleged deal with the devil, as were several subsequent documentaries and books.

Johnson was born in Hazlehurst, Mississippi, the illegitimate son of Julia Dodds and Noah Johnson. May 8, 1911, is often cited as his birthdate, although some sources, including a census listing and his death certificate, point to 1912. His mother once sent him to Memphis to live with his father, Charles Dodds (aka Charles Spencer) but took him back after she married Willie “Dusty” Willis at Abbay & Leatherman in 1916. Johnson, then known as Robert Spencer, reportedly lived here for a decade or more beginning in about 1918. Records from the nearby Indian Creek School verify his enrollment there. However, the 1920 census shows Will and Julia Willis and Robert Spencer in Lucas, Arkansas, in the same county where Abbay & Leatherman owner Samuel Richard Leatherman once acquired additional cotton-farming property.

Johnson married Virginia Travis in Tunica County in 1929, but his 16-year-old wife died in childbirth on April 10, 1930. Back in Hazlehurst, Johnson found himself a new wife, Callie Craft, as well as a musical mentor, guitarist Ike Zinnerman.  He soon left married life behind to pursue a career as an itinerant musician, now able to play alongside the best bluesmen in the Delta, including Son House and Willie Brown, and to entertain crowds wherever he went with a reputation for being able to play any song after hearing it just once. He began recording in 1936, and though his recordings proved highly influential in the course of blues and rock ‘n’ roll history, few of them sold well during his lifetime. His death near Greenwood on August 16, 1938, has often been attributed to poisoning, although the case remains a mystery. Johnson was inducted into the Blues Hall of Fame in its first year, 1980, and into the Rock and Roll Hall of Fame also in its initial year, 1986.

I'm gon' get up in the mornin',
I believe I'll dust my broom.
Girlfriend, the black man you lovin'
My girlfriend can get my room.
"I Believe I'll Dust my Broon""
Robert Johnson
An aerial view of part of the Abby & Leatherman plantation from the 1920s. At its peak, more than 45-0 families lived and worked here, according to Bobby Leatherman. The plantation traces its history back to 1831 when Richard Abby purchased land from the Chickasaw Indians tribe. 

“I Believe I’ll Dust My Broom” was one of many of Robert Johnson’s classics later covered by blues and rock performers. Others include “Sweet Home Chicago,” “Cross Road Blues,” “Love In Vain,” “Come On In My Kitchen,” and “Stop Breakin’ Down Blues.”

The deep Delta blues of Son House and fellow Delta legends Charley Patton and Willie Brown were a major inspiration to Robert Johnson. House, Brown, Louise Johnson, Howlin’ Wolf, Fiddlin’ Joe Martin, Woodrow Adams, Willie Johnson, and Tommy Bankhead were among the blues recording artists who lived and performed at various times on plantations in this area.

The mystique surrounding Robert Johnson helped propel the boxed set, The Complete Recordings, to the Billboard pop music charts in 1990. It was the first album to feature a photograph of Johnson; earlier album covers, including that of the historic 1961 compilation King of the Delta Blues Singers, relied on illustrators’ imaginations.

Willie Coffee and R. L. Windum were local childhood friends of Robert Johnson. Coffee was one of several musicians who played in the area at house parties and juke joints but who never recorded commercially; others he recalled included Willie Polk, Robert Newman, Henry Neyland, Mitchell Winters, Mamie Fletch, Will Loving heart, Walter Rogers, and Sol Henderson. Windum (1910-2003) and Johnson played harmonica together as youngsters. He recalled “Three O’Clock in the Morning” as a favorite harmonica piece of Johnson’s.

LONGUEROR Recording Company
“I Believe I'll Dust My Broom”
 Robert Johnson

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

Visit us online at www.MSBluesTrail.org

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 

Son House Miss US 61 Blues Trail South Haven, MS

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Miss US 61

Son House

Eddie James "Son" House (1902-1988) plumbs the emotional depth of the blues perhaps more than any other Delta blues artist. A preacher at times, a barrel-housing bluesman at others, House has fiercely torn between the sacred teaching of the church and the secular lure of the blues life. House, who lived in the Robinsonville-Laekr Cormorant area in the 1930s and early 40s, was a major influence on both Robert Johnson and Muddy Waters. 

Son House

Son House

Son House

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SON HOUSE Son House is regarded as one of the preeminent blues artists, but during his early career in the Delta, his renown was largely confined to local jukehouse audiences. He later attained international prominence during the 1960s “blues revival” through passionate, trance-like performances that highlighted his aggressive guitar style. He would occasionally rise from his chair to sing spirited a cappella gospel songs.

 House was born near Lyon in Coahoma County on March 21, 1902, or by some accounts years earlier. Through his association with Delta blues legend Charley Patton, House first recorded for the Paramount label in 1930, though sales were minimal in the Depression era. Like other Robinsonville-area blues artists, including Robert Johnson, Howlin’ Wolf, and Willie Brown, House performed mostly at weekend suppers and dances held at sharecroppers’ houses. Tunica County locals have recalled House living and working on the Harbert, Tate, and Cox plantations, though he preferred to sing or preach. When the spirit called, he would preach at various churches, only to resume his nightlife as a bluesman.

House was a tractor driver on the R. E. Neunlist plantation in 1941 when he was recorded for a Fisk University-Library of Congress study led by Alan Lomax and John Work III. On September 3, they recorded House, Willie Brown, Fiddlin’ Joe Martin, and Leroy Williams at Clack Store, a commissary and train station that stood at this site. (A chugging locomotive can be heard on the recordings.) Despite problems with local authorities, Lomax later recalled, “Of all my times with the blues, this was the best one.” The second Library of Congress session in Robinsonville in 1942 would be the House’s last recording in Mississippi.

In 1964 a group of blues aficionados, including Dick Waterman, drove to Robinsonville to look for House, only to learn he had long retired from music and had moved in 1943 to Rochester, New York. His subsequent “rediscovery” was reported in Newsweek, and Waterman would manage House’s comeback career, often booking him as the closing act at festivals. The most notable of the albums House recorded was the 1965 Columbia LP Father of Folk Blues. House performed little after the early ‘70s, and from 1976 until his death on October 19, 1988, he lived in Detroit with his wife Evie, whom he had married in Robinsonville in 1934. He is buried in Detroit.

Oh, I'm gon' get me religion,
I'm gon' join the Baptist church.
I'm gon' be a Baptist preacher,
And I sure won't have to work.
The above Paramount label courtesy of Yazoo Records is the only copy of the record known to record collectors journals. It was recorded in 1930. Left The Columbia LP "Father of Folk Blues" was recorded in 1965
The above photo of Fiddlin' Joe Martin was from a 1967 recording session in Robinsonville, conducted by David Evans
Son House in Philadelphia, Penn.
The Clack Store stood at this site until it was razed in 1993. House sometimes preached at a church behind the store. This photo was taken in 1984.

PARAMOUNT Recording Company
“Preachin’ The Blues-Part 1”
Son House

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

Visit us online at www.MSBluesTrail.org 

https://www.findagrave.com/memorial/7951199/eddie-james-house

Highway 61 Blues - Tunica Miss US 61 South Haven, MS

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Miss US 61

Highway 61 Blues - Tunica

U.S. Highway 61, known as the "blues highway," rivals Route 66 as the most famous road in American music lore. Dozens of blues artists have recorded songs about Highway 61, including Mississippians Sunnyland Slim, James “Son” Thomas, “Honeyboy” Edwards, Big Joe Williams, Joe McCoy, Charlie Musselwhite, Eddie Shaw, Johnny Young, Eddie Burns, and Mississippi Fred McDowell. The original route, now called Old Highway 61, was just west of here.

HIGHWAY 61 BLUES

HIGHWAY 61 BLUES

Highway 61 Blues - Tunica

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Highway 61 Travel has been a popular theme in blues lyrics, and highways have symbolized the potential to quickly “pack up and go,” leave troubles behind, or seek out new opportunities elsewhere. As the major route northward out of Mississippi, U.S. Highway 61 has been of particular inspiration to blues artists. The original road began in downtown New Orleans, traveled through Baton Rouge, and ran through Natchez, Vicksburg, Leland, Cleveland, Clarksdale, and Tunica in Mississippi, to Memphis, and north to the Canadian border. Mississippi artists who lived near Highway 61 included B. B. King, Robert Johnson, Charley Patton, Son House, Muddy Waters, Howlin' Wolf, Sonny Boy Williamson No. 2 (Rice Miller), Ike Turner, Robert Nighthawk, Sunnyland Slim, Honeyboy Edwards, Sam Cooke, James Cotton, Jimmy Reed, and Junior Parker.

The first song recorded about the road was Roosevelt Sykes’s “Highway 61 Blues,” cut in 1932; at the time Sykes was a resident of St. Louis, the first major city along Highway 61 above the Mason-Dixon line. In 1933 two Memphis bluesmen, Jack Kelly and Will Batts, recorded "Highway No. 61 Blues," and the Tupelo-born Sparks Brothers cut "61 Highway." Other 1930s recordings included "Highway 61," a sermon by Raymond, Mississippi, native “Hallelujah Joe” McCoy; "Highway 61" by Jesse James; and "Highway 61 Blues" by Sampson Pittman, recorded for Alan Lomax of the Library of Congress. In 1947 Gatemouth Moore recorded a jump blues version of “Highway 61 Blues,” and in 1956 pianist Sunnyland Slim (Albert Luandrew) of Vance, Mississippi, recorded “Highway 61.” Over the next decades, Highway 61 songs often appeared on albums by James “Son” Thomas of Leland, Honeyboy Edwards, Big Joe Williams, Mississippi Fred McDowell, and other traditional blues veterans.

Although many bluesmen used the lyrics “Highway 61, the longest road that I know,” their descriptions of the highway’s route were often misleading. Some suggested that the road started at the Gulf of Mexico (100 miles south of New Orleans) and ran through Atlanta, New York City, or Chicago. Many Mississippians certainly did begin their migrations to Chicago via Highway 61, but most finished their journeys by continuing from St. Louis to the Windy City along the famous Route 66. In 1965 the road gained an even more mythological reputation when Bob Dylan recorded his influential album “Highway 61 Revisited.” Dylan was well versed in the blues, but his inspiration may also have come from the fact that Highway 61 ran through his home state of Minnesota.

Well, I'm leavin' here in the morning
I'm goin' down Highway 61.
Girl, I'm lookin' for my baby.
Boy, you know that ain't no fun.
If she done left Mamphis
There's one thing, boy, that worries me;
She's down in New Orleans
"Down on Rampart Street  Highway 61"
Suland Slim

The blues artists pictured here are among the many who lived along the route of Highway 61 It is the northern Delta area of Mississippi and or in Memphis or Missouri
Muddy Waters
James Cotton
Jimmy Reed
Junior Parker 
Sunnland Slim 

Cobra Record Corp
 “Highway 61”
Sunnyland Slim 

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

Visit us online at www.MSBluesTrail.org 

The Blues Foundation - Memphis Miss US 61 South Haven, MS

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Miss US 61

The Blues Foundation - Memphis

The Blues Foundation, the world's premier organization dedicated to honoring, preserving, and promoting the blues, was founded in Memphis in 1980. Mississippi-born performers and business professionals in the Foundation's Blues Hall of Fame outnumber those from any other state, and Mississippians have also won many annual Blues Music Awards, Keeping the Blues Alive Awards, and International Blues Challenge talent competitions sponsored by the Foundation.

The Blues Foundation

The Blues Foundation

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The Blues Foundation, the headquarters of an international network of blues appreciation with thousands of members, grew from a small base of Memphis supporters that presented the first W. C. Handy Blues Awards at the Orpheum Theatre on November 16, 1980. Balloting for the awards (later renamed the Blues Music Awards) and the Blues Hall of Fame was initially conducted by Living Blues magazine by polling a worldwide group of blues authorities, deejays, musicians, folklorists, record dealers, and producers. The majority of the first twenty inductees into the Blues Hall of Fame in 1980 were born in Mississippi: Muddy Waters, Howlin' Wolf, B. B. King, Elmore James, Robert Johnson, Sonny Boy Williamson No. 2 (Rice Miller), John Lee Hooker, Willie Dixon, Son House, Otis Spann, Jimmy Reed, Charley Patton, and Memphis Minnie. By 2012, more than fifty Mississippians had been inducted. As the Foundation grew, paid members became the Blues Music Award voters, while a select committee of experts elected the Hall of Fame inductees.

Over the years, the Blues Foundation expanded its activities to include education programs, blues conferences, health care, the Handy Artists Relief Trust (HART) Fund, Keeping the Blues Alive Awards, Lifetime Achievement Awards, and the International Blues Challenge (IBC). Hundreds of blues societies and organizations around the world have affiliated with the Foundation and many have sponsored bands in the IBC competitions. While the blues has become an international phenomenon, the Blues Foundation has continued to acknowledge Mississippi for its crucial role in blues history and as the home of generations upon generations of blues musicians. More than two hundred Blues Music Awards have gone to Mississippi natives or one-time residents as Performers of the Year in various categories or for their contemporary, traditional, acoustic, soul-blues, or reissue recordings. Multiple award recipients include B. B. King, Muddy Waters, John Lee Hooker, Charlie Musselwhite, Pinetop Perkins, Little Milton, James Cotton, Willie Kent, Magic Slim, Albert King, Eddie Shaw, Eden Brent, Hubert Sumlin, Bobby Rush, Cedric Burnside, Honeyboy Edwards, Elmore James, Howlin' Wolf, R. L. Burnside, Sam Myers, Otis Rush, Jimmy Rogers, Willie Dixon, Carey Bell, Eddy Clearwater, Otis Spann, Sonny Boy Williamson (No. 2), and Snooky Pryor. Zac Harmon, Eden Brent, and Grady Champion are among the IBC winners with Mississippi roots.

Memphis has long been a major gateway to and from the Mississippi Delta, both for musicians and for blues fans worldwide. In 2010 the Blues Foundation, formerly housed in small office spaces without room for a Hall of Fame exhibit, acquired this building to make 421 South Main Street the permanent address of the Blues Hall of Fame and the “International Home of Blues Music.”

Muddy Waters, a native of Issaquena County MS received more votes than any other artist in the first Blues Hall of Fame balloting in 1980. He recorded "Gone to Main St" in 1952.

The first album elected in the Blues Hall of Fame's Classics of Blues Recordings was King of the Delta Blues Singer by Robert Johnsson who was born in Hazelnuts, MS. In the singles category "Dust my broom" bu Elmore (Elmo)James from Richland, MS let the first-year voting. 

Pinetop Perkins of Belzoni, MS won so many annual honors in the piano keyboards category as "instrumentalist of the year" that the award was renamed for him. The Blues Entertainer of the Year was renamed after BB King a native of Berclair, MS who began his professional career in Memphis. 

Among the Blues Hall of Fame inductees or Blues Music Awards winners who lived in both MS and Memphis (or West Memphis) are Rufus Thomas, Albert King, Charlie Musselwhite, Litttle Milton, Junior Parker, James Cotton, Howlin' Wolf, Robert Johnson, Charley Patton, Honeyboy Edwards, Memphis Minnie, Furry Lewis, Matt "Guitar" Murphy, Gus Caannon, WC Handy, Hubet Sumlin, Ike Turner, BB King, Mississippi Fred McDowell, Sunnyland Slim, Eddie Taylor, Robert Nighthawk, Big Walter Horton, John Lee Hooker, Jimmy Rogers, Jimmy Johnson, Sonny Boy Willaimson, No 2, Billy Gibson, George Jackson and Jessie May Hemphill. 

Chess Recording Company
“Gone to Main St”
Muddy Waters 

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

Visit us online at www.MSBluesTrail.org 

From Mississippi to Memphis Miss US 61 South Haven, MS

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Miss US 61

From Mississippi to Memphis

The bright lights of Beale Street and the promise of musical stardom have lured blues musicians from nearby Mississippi since the early 1900s. Early Memphis blues luminaries who migrated from Mississippi include Gus Cannon, Furry Lewis, Jim Jackson, and Memphis Minnie. In the post-World War II era, many native Mississippians became blues, soul, and rock ‘n’ roll recording stars in Memphis, including Rufus Thomas, Junior Parker, B.B. King, and Elvis Presley.

B.B. King 

Elvis Presley 

From Mississippi to Memphis

From Mississippi to Memphis

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Memphis blues was discovered by the rest of the world largely via the works of Beale Street-based bandleader W. C. Handy, who began using blues motifs in his compositions shortly after encountering the music in the Mississippi Delta around 1903. By the 1920s many musicians from Mississippi had relocated here to perform in local theaters, cafes, and parks. The mix of rural and urban musical traditions and songs from traveling minstrel and medicine shows led to the creation of new blues styles, and record companies set up temporary studios at the Peabody Hotel and other locations to capture the sounds of Mississippians who came to town to record, such as Tommy Johnson and Mississippi John Hurt, as well as some who had settled in Memphis, including Robert Wilkins, Jim Jackson, Gus Cannon, Memphis Minnie, and Joe McCoy.

In the decade following World War II musicians from around the Mid South descended upon Memphis, and their interactions resulted in the revolutionary new sounds of R&B and rock ’n’ roll. Riley King arrived from Indianola and soon became known as the “Beale Street Blues Boy,” later shortened to “B. B.” Many of King’s first performances were at talent shows at the Palace Theater, 324 Beale, co-hosted by Rufus Thomas, a native of Cayce, Mississippi, who, like King, later worked as a deejay at WDIA. King and Thomas were among the many Mississippi-born artists who recorded at Sam Phillips’s Memphis Recording Service, where Tupelo’s Elvis Presley made his historic first recordings for Phillips’s Sun label in 1954. The soul music era arrived with the Stax and Hi labels in the 1960s, and again many Mississippians were at the forefront: Stax’s roster included Little Milton, Albert King, Rufus Thomas, and Roebuck “Pops” Staples, while Hi producer and bandleader Willie Mitchell, a native of Ashland, oversaw recordings by soul and blues artists Otis Clay, Syl Johnson, Big Lucky Carter, Big Amos (Patton), and others with Mississippi roots.

WC Handy Statue on Beale St Memphis, TN 

The revitalization of Beale Street as an entertainment district, beginning in the 1980s, resulted in new performance venues for Mississippi natives including Daddy Mack Orr, Billy Gibson, and Dr. Feelgood Potts. The Mississippi-to-Memphis blues tradition has also been promoted by the Center for Southern Folklore, radio stations WEVL and WDIA, and labels including Inside Sounds, Icehouse, Memphis Archives, Ecko, and High Water. Mississippi has been well represented in the Memphis-based Blues Foundation’s International Blues Competition and Blues Music Awards (formerly W. C. Handy Awards), and thirteen of the first twenty artists inducted into the foundation’s Blues Hall of Fame in 1980 were born or raised in Mississippi.

Brunswick Recording Company “Fourth and Beal” Cannon and Woods “The Beale Street Boys

Jim Jackson, Rufus Thompson (at microphone), and Furry Lewis (right)became Memphis music icons after moving here from Mississippi. They all settled in Memphis prior to 1820.

The Handy Sheet is from 1917.
In 2003 WC Handy awards, Sam Phillips with four of the Blues legends is recorded in the early 1950s. Seated, from let are Ike Turner, BB King and Little Milton (all natives of Mississippi). Standing with Phillips is Memphian Rosco Gordon. Phillips also recorded Little Junior Parker Howlin' Wolf, James Cotton, and Doctor Ross, among others Mississippi bluesmen.
Beal Street at night the late 1930s.
WC Handy Shown at a parade held in his honor here in 1953 came to Memphis form Clarksdale, MS. The park is a block north of this marker was renamed for him in 1931.




Ecko Records, founded by Mississippian John Ward in 1995 became a leader in the soul-blues market with releases by Mississippi natives including Ollie Nightingale Sheba Potts-Wright, Denise LaSalle, OB Buchana, David Brinston, and Lee "Shot" Williams.
High Water Records under the direction of Dr. Davis Evans at the University of Memphis documented more traditional blues.

Beal Street as it appeared in the summer of 1944.

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

Visit us online at www.MSBluesTrail.org 

https://www.findagrave.com/memorial/146489606/b.b.-king