Ressurecting the Home of Memphis Slim by Robert "Nighthawk" Tooms

(Memphis, Tennessee) Last night I met with President Darren J. Fallas and Vice President John Gemmill of the Memphis Blues Society, and Heidi Knockenheur and Donna Donald to discuss some items of interest and we chanced to talk about a project that will be near and dear to many of our readers' hearts. Across the street, directly east of the Memphis Stax Museum is the former residence of that great bluesman, Peter Chatman, popularly known as Memphis Slim. Slim's house has become dilapidated and needs restoring in a big way (photo above by Darren J. Fallas). The nice folks at Memphis Heritage and some other interested parties including the Memphis Music Foundation and the folks at Soulsville, USA are all interested in making an attempt to restore his home.



Memphis Slim was one of the early boogie woogie players back when that piano craze first started in USA in the 1930's.

Memphis Slim took his name from Memphis, where he was born and raised. Memphis Slim got his start playing the blues at the Midway Café, at 357 Beale Street (southeast corner of Fourth and Beale Street's) in Memphis in 1931. After his early career in Memphis, where he emulated barrelhouse piano players like Roosevelt Sykes and Speckled Red, he moved to Chicago, Illinois and recorded for Okeh Records (as Peter Chatman & His Washboard Band) in 1940. The same year he also recorded for Bluebird Records as Memphis Slim. He played piano as Big Bill Broonzy's partner until 1944. Broonzy, also a sophisticated performer, urged him to develop his own style. Big Bill and Charlie Segar are usually credited for writing the blues classic, "Key to the Highway." This polish gave Memphis Slim opportunities not only in the juke joints he had been playing, but also in the "uptown" nightclubs.


After World War II Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label recorded the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxophonists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues)."


The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he recorded the first version of the down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, Matt Murphy, who performed "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A." He also worked with bassman Willie Dixon.

I got to play with Matt Murphy one night at the Black Diamond on Beale and he was not only a great entertainer but also a wonderful kind man who loves the music and all of us who are trying to keep it alive. He invited me to join him as piano player on his show at the King Biscuit festival in Helena that year and I have always regretted that I could not make it.



In all, he recorded more than 20 albums under his own name, and appeared on many more recordings as a sideman.


Slim left the United States for good in 1962. Slim lived in France most of his days and conditions there were much better for him than in the South during the days of segregation. Before Memphis Slim passed away, my friend Don McMinn brought him back to Memphis to play some gigs and I got a chance to meet him at a gig they were playing on Washington Street in Memphis back in the 1980's.

My old friend Jeff "Stick" Davis who used to play some in my band
http://www.stickdavis.com/thebass.html

My friend Billy Earheart and Memphis Slim
Billy E. taught me about drawbar registration for the Hammond organ
http://www.billyearheart.com/

Slim was playing with Don's band, then called the Memphis Blues Review, and they were comprised of several of the old members of the Amazing Rhythm Aces including Jeff "Stick" Davis on bass and my buddy, Billy Earheart on keyboards. Billy went on later to play on the road with Hank Williams, Jr. and many other famous musicians.

Memphis Slim

The club they were playing, which is no longer extant, was an old nightclub called the El Morocco, which in it's last days was used for square dancing and was available for rent for larger events as it would hold quite a large crowd and had a big dance floor. This night the place was packed and everybody there was excited to see the return of Memphis Slim. Slim put on a tremendous show and played one of my favorite classic blues, "Everyday I have the Blues," which he wrote. Here's a link to a video of him playing this song he called his bread winner:



As a young blues player and a big fan of Memphis Slim, I was thrilled when Don and Billy introduced me to this kind old gentleman and sat me down right next to him at their table during a break in the show. Slim was drinking Grand Marnier and I remember noticing how extremely long his fingers were when I shook his hand. He was very friendly and an extremely amusing and entertaining person on and off the stage. That night I asked him if it would be alright with him if I played his song during my little shows and he was delighted that I had asked and assured me that he would be very pleased to be remembered by his fellow musicians in his home town. He was a truly elegant gentleman and meeting him was a great moment in my life.

Papa Don McMinn

I also got to hear Memphis Slim play with Don McMinn at our old outdoor music festival the Schlitz Festival, on Main Street back in the 80's. It was another incredibly entertaining show with lots of great solos from both Don and Slim and a highly appreciative crowd cheering them on in the Memphis afternoon sun.

Memphis Slim died on February 24, 1988, of renal failure in Paris, France, at the age of 72. He is buried at Galilee Memorial Gardens in Memphis, Tennessee.

Memphis Slim's final resting place, Galilee Gardens, Memphis, Tennessee

In 1989, he was posthumously inducted into the Blues Hall of Fame.

Brad Webb

After some inquiries today by my friend, Brad Webb of I-55 Productions, we learned a bit more about the house resurrection project. Brad is my old bandmate who played with me in the band with Blind Mississippi Morris and with whom I have recorded a bunch of songs over the years. He is a fine guitarist and a very kindhearted, dedicated and soulful human being. We got this reply back from Dean Deyo, President of the Memphis Music Foundation:

Brad, there is a group that has started to do some work there but it is moving slowly.

I know a team from Memphis Heritage and the U of M spent a whole weekend at this house a few months ago and tried to clean it out and shore it up – there have been several architects and planners involved looking at it.

They have plans for it but it is depending on the economy and so probably still in the future…. Deanie Parker is the Director of Soulsville and is aware of the project – it is called Memphis Music Magnet – and I am working on it as well – we would appreciate any assistance

Dean A. Deyo

Thanks to the American Blues News, I will keep you all posted on our progress and also pass along how we can all offer donations and assistance to this project. Within just a few blocks of the STAX museum there are the homes of probably 15 or 20 famous musicians including Isaac Hayes, Johnny Ace Alexander and Aretha Franklin, just to name a few.

From the Memphis Commercial Appeal archives:

(photo by Dave Darnell)

Memphis Slim came from his home in Paris to play in Mississippi for the first time in 40 years in 1986. He performed at the Mississippi Delta Blues Festival at Freedom Village, near Greenville, on September 20, 1986. "The average blues singer has been taught to be ashamed of the blues. It was America's original art and it came from black people. So naturally they wanted to make us ashamed of it - and they did a good job of brainwashing. Now, it's almost too late," the 70-year-old bluesman said during an interview in his Southwind Motor Coach as he waited to go on. "I don't know what the young people are going to do. But if we don't get a new generation to do something about it, I don't know what's going to happen. They're calling blues everything but blues. They're calling it soul and rock-and-roll, but it's still the damn blues. I wish I knew if the young people are going to take it over, but I don't."

This is a video of one of the greatest BLUES bands of all time. Give it a listen:

Discography

Year	Title	Label
1959	Memphis Slim and the Real Boogie-Woogie	Folkways Records
1960	Memphis Slim and the Honky-Tonk Sound	Folkways Records
1960	Travelling with the Blues	Storyville
1960	Blue This Evening	Black Lion
1960	Pete Seeger at the Village Gate with Memphis Slim and Willie Dixon - Vol 1	Folkways Records
1960	Songs of Memphis Slim and "Wee Willie" Dixon	Folkways Records
1961	Tribute To Big Bill Broonzy	Candid
1961	Steady Rollin' Blues: The Blues Of Memphis Slim	OBC
1961	Memphis Slim U.S.A.	Candid
1961	Broken Soul Blues	Beat Goes On
1961	Alone With My Friends	Battle
1961	Chicago Blues: Boogie Woogie and Blues Played and Sung By Memphis Slim	Folkways Records
1961	Blues by Jazz Gillum Singing and Playing His Harmonica: With Arbee Stidham and Memphis Slim	Folkways Records
1961	No Strain	Bluesville
1962	Sonny Boy Williamson & Memphis Slim: In Paris	GNP Crescendo
1962	Pete Seeger at the Village Gate with Memphis Slim and Willie Dixon - Vol 2	Folkways Records
1962	Memphis Slim and Willie Dixon at the Village Gate with Pete Seeger	Folkways Records
1963	All Kinds of Blues	Bluesville
1963	Jazz In Paris: Aux Trois Mailletz	Polygram
1964	Clap Your Hands	Maison De Blues
1967	Bluesingly Yours	Maison De Blues
1968	Lord Have Mercy On Me	Maison De Blues
1969	The Bluesman	Maison De Blues
1969	Mother Earth	One Way Records
1970	The Blue Memphis Suite	Maison De Blues
1970	Messin' Around with the Blues: The Very Best Of	King
1971	Boogie Woogie	Maison De Blues
1971	Born With The Blues	Fuel 2000
1971	Blue Memphis	Wounded Bird
1972	South Side Reunion: Memphis Slim & Buddy Guy	Sunny Side
1973	Legacy of the Blues, Vol 7: Memphis Slim	Gnp Crescendo
1973	Memphis Slim	Storyville
1973	Soul Blues	Acrobat Records
1973	Raining the Blues	Fantasy
1973	Memphis Slim - Favorite Blues Singers	Folkways Records
1973	Very Much Alive and in Montreux	Universal International
1975	Going Back To Tennessee	Maison De Blues
1981	Rockin' the Blues	Charly
1981	Memphis Heat: Canned Heat & Memphis Slim	Sunny Side
1981	I'll Just Keep On Singin' the Blues	SLG, LLC
1990	Steppin' Out: Live at Ronnie Scotts	Castle Music UK
1990	Together Again One More Time/Still Not Ready For Eddie	Texas Music Group
1990	Parisian Blues	Polygram
1990	The Real Folk Blues	Mca
1992	Blues Masters Vol 9: Memphis Slim
1993	London Sessions 1960	Sequel Records UK
1994	The Blues Collection Vol 13: Beer Drinkin' Woman	ADD
1994	Lonesome	Legacy International
1994	Live at the Hot Club	BMG International
1995	Boogie After Midnight	Chicago Music Co.
1996	The Complete Recordings, Vol. 1: 1940-1941 (Peter Chatman As Memphis Slim)	EPM Musique
1996	Come Back & Other Classics	Masters Intercontinental
1996	The Bluebird Recordings, 1940-1941	RCA
1997	Dialogue in Boogie: Memphis Slim & Philippe Lejeune	Happy Bird
1998	Lonely Nights	Catfish
1998	Very Best of Memphis Slim: The Blues Is Everywhere	Collectables
1999	Life Is Like That	Charly UK
2000	The Folkways Years, 1959-1973	Smithsonian Folkways
2000	Blues At Midnight	Catfish
2000	Memphis Slim at the Gate of the Horn	Vee-Jay
2001	The Complete Recordings, Vol. 2: 1946-1948	EPM Musique
2001	Essential Masters	Cleopatra
2001	Blue and Lonesome	Arpeggio Blues
2001	Ambassador of the Blues	Indigo UK
2002	The Complete Recordings, Vol. 3: 1948-1950	EPM Musique
2002	I Am The Blues	Prestige Elite
2002	Kansas City	Classic World
2002	Boogie For My Friends	Black & Blue France
2002	The Come Back	Delmark
2002	Blues Legends: Memphis Slim	Lead
2003	Three Women Blues
2003	The Complete Recordings, Vol 4: 1951-1952	EPM Musique
2004	Worried Life Blues
2004	Grinder Man Blues	Snapper UK
2004	The Best of Memphis Slim	Liquid 8
2005	Boogie For 2 Pianos Vol 1: Memphis Slim & Jean-Paul Amouroux
2005	Paris Mississippi Blues	Sunny Side
2005	Double-Barreled Boogie: Memphis Slim & Roosvelt Sykes	Sunny Side
2006	Forty Years of More	Passport Audio
2006	Memphis Suite	Sunny Side
2006	Rockin' This House: Chicago Blues Piano 1946-1953 (CDs A&B)	JSP Records
2006	The Sonet Blues Story	Verve Records
2006	An Introduction to Memphis Slim	Fuel 2000
2007	The Ultimate Jazz Archive 14 1940-41 (1 Of 4)	Carinco AG
2007	Sings the Blues	Wnts
2007	Chicago Blues Masters Vol 1: Muddy Waters And Memphis Slim	Capitol
2007	Cold Blooded Woman	Collectables Records
2008	Greatest Moments	Stardust
2008	Four Walls	Jukebox Entertainment
2008	Born To Boogie	Unlimited Media
2008	Legend of the Blues	Wounded Bird Records
2009	Fip Fil and Fim	101 Distribution

© Robert "Nighthawk" Tooms, 2010

RCT

check out my website at: http//:RobertNighthawkTooms.com//

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Wilroy Sanders of the Fieldstones dies at 76 by Robert "Nighthawk" Tooms

(Memphis, Tennessee)Wilroy Sanders, a true old school blues showman and friend, died on February 16, 2010, from complications caused by his battle with lung cancer. Wilroy owned Memphis' famed Green's Lounge, also known as Dorothy's Lounge at 2090 E. Person Ave., which was the blues hotspot of the Orange Mound area until it burned several years ago. Wilroy continued to play at clubs like the Blue Worm but recently his playing was limited to sitting in for a couple of numbers because of his declining health. His loss of vitality and health and growing inability to play deeply troubled him.

Willie Roy "Wilroy" Sanders was the leader of the Fieldstones, a true inner city blues band that claimed its origins and style from the Mississippi Delta blues players. Byhalia, Mississippi, was Wilroy's birthplace. His family farmed in that area until relocating in what was then rural Memphis, actually outside of Collierville, Tennessee, in the 1930's.

Wilroy began building his own guitars as a young boy and when I first met him back in the early 1980's he was playing a cool electric guitar he had made from a wooden 2 by 4. We used to call it the "Wilroy guitar" and it had a really cool sound. I had never seen such an instrument before and was amazed at Wilroy and his guitar.

A young Wilroy Sanders in his Army days 1953-1955

My band, the Wampus Cats, pulling a U-Haul trailer behind my '71 Cadillac, rolled into the town square of Oxford, Mississippi, in 1982 and played a fun couple of sets there in the afternoon before the Fieldstones went on stage. I became quick friends with their lovely and remarkably talented bassist, Lois Brown, who was one of the few rare female blues bass players I had ever seen. The Fieldstones were comprised of Wilroy Sanders (vocals, guitar); Little Applewhite (vocals); Wordie Perkins (guitar, piano); Bobby Carnes (organ); Lois Brown (bass guitar); Joe Hicks (drums); Clarence Nelson (guitar).



In the subsequent years I jammed with different combinations of the band's members and also became friends with Wilroy, Joe, Wordie and Bobby. Everyone in the Fieldstones band was trained by Leroy Hodges, Sr., father of my friend Leroy "Flick" Hodges who played on so many great Hi Records including lots of big hits by Al Green.

the author and the great Howard Grimes

Mr. Hodges, Sr., was the father of all the guys in the Hi records house band, Teeny, Charles, Leroy. Drummer, Howard Grimes, my old friend and band mate, was the only member of the Hi Records house band that was not a son of Mr. Hodges, Sr.

Hi Rythm, the Hi Records house band with Willie Mitchell
Standing: Leroy Hodges, Teeny Hodges, Archie Turner, Charles Hodges and Howard Grimes

Wilroy blended his gospel vocals with the blues and emerged a soul singer with the help of Mr. Hodges. His vocals were heartfelt and moving and the band played so much that they became a tight unit. As a young man, Wilroy was in several Memphis blues bands, including the Binghampton Blues Boys who wrote the blues classic, "Crosscut Saw."

Author and ethnomusicologist Dr. David Evans, head of the doctorate program of Ethnomusicology at the University of Memphis, discovered the band and produced two 45 rpm recordings of them on the High Water label. In 1983 he produced the album Fieldstones, Memphis Blues Today on High Water. David is a good friend who not only authored scholarly texts on music but also plays in the Last Chance Jug Band here in Memphis.

A couple of my buddy Dr. Dave Evans' CD releases.

David discovered and recorded the Fieldstones in the early 1980's


Wilroy Sanders, the Last Living Bluesman

Sanders even became the subject of a 1999 video documentary, produced by local music label Shangri-La Projects, titled “The Last Living Bluesman.” It can be obtained at Shangri-la's site here:

http://www.shangri.com/

We in Memphis were all thrilled to see the video of the Fieldstones back in late 1980's when MTV still played an occasional song and was looking desperately for some video content. The Fieldstones video, replete with the glowing background lighting of Massa's liquor store on 3rd Street, was both a testament to the past, to deprivation, and concurrently a ray of hope that even some humble blues players could be seen on MTV. As the famous Ramones point out, after the market became glutted with video content, MTV had no time for them or such indelible roots music as the Fieldstones.

To help defray Sanders’ funeral costs, Shangri-La Records, located at 1916 Madison Ave., has set up a charity fund. Anyone who donates $25 or more will get their choice of a free copy of Sanders’ “The Last Living Bluesman” CD, book or video. Sanders is survived by his wife Dorothy Mae Tucker Sanders, and more than two-dozen children

Other Fieldstones:

Wordie Perkins would occasionally find himself off the Fielstones roster for imbibing tooo much in the spiritus fermenti, but he always returned to light up the show with his inimitable style. Wordie, who once drank so much he passed out before the first song at an overseas festival only to wake up, on stage, for the last number, and play to an overwhelming round of non-stop applause, has passed on to glory. God bless you, Wordie, it was a pleasure to be on stage with you. The last I heard of my friend, Lois Brown, she had lost a leg to diabetes and moved back with a family member in Pennsylvania. These are the last remnants of the Fieldstones original blues players from my area that still plied their craft despite the vicissitudes and trials of time, age, infirmity and changing tastes.

My greatest hope is that others, with even a shred of such soulfulness and virtue, will replace the lost Fieldstones in the blues pantheon. Memphis, Tennessee, has lost a beautiful, poignant and enduring voice in Wilroy Sanders. I will never forget you, Wilroy, and I can still see you with your self-made 2 by 4 guitar playing and singing with the enduring soul of man down at that stage in Oxford, Mississippi.

© Robert "Nighthawk" Tooms, 2010

RCT

check out my website at: http://www.RobertNighthawkTooms.com/

Dale Hawkins loses Battle with Cancer by Robert "Nighthawk" Tooms

(Memphis, Tennessee)On Saturday, February 13, 2010, music legend Dale Hawkins succumbed to a long battle with cancer. Last night I received information from friends and family members in Louisiana that Dale passed away. The preponderance of you have heard the many versions of Dale's song "Suzy Q" but many of you do not know the wealth of music that this classic Rockabilly from the Golden age bestowed upon our American musical landscape so I shall endeavor to fill in the blanks.



Here's what will be published by the family for Dale's obituary:

The address for the funeral home is:

North Little Rock Funeral Home
1921 Main St., North Little Rock, Ark.
72114

Delmar Allen "Dale" Hawkins, singer, songwriter, and producer, was born in
Goldmine, La., August 22, 1936 and passed away in Little Rock, Ark., on
Saturday, February 13, 2010. Dale was born into a family of musicians. His
father, some uncles and cousins were part of a group known as "The Hawkins
Family" that toured Arkansas and Oklahoma in the 1930's and 1940's. His
father, "Skipper" Hawkins was one of the original "Sons of the Pioneers"
singing group. His first cousin, Ronnie Hawkins, was a recording artist in
the 1950's and 1960's and still performs. Dale's brother, Jerry Hawkins,
was in the music industry for a period of time before going into private
business.

In addition to his classic "Suzie Q", Dale recorded over 40 songs on the
"Chess" label for the now legendary Leonard Chess. He was the third
entertainer to appear on Dick Clark's American Bandstand and was the first
white artist to perform at the "Apollo Theatre" in Harlem and the "Regal" in
Chicago. After appearing on the CBS television Show "Big Beat" in the late
1950"s, he was asked to "guest host" the show. The guest slot became a
permanent job and "Big Beat" became the "Dale Hawkins Show" whose guests
included the top entertainers of that time.

In the mid-sixties Dale turned to behind-the-scenes work as a producer and
A&R man and produced hits like "Not Too Long Ago" for Joe Stampley and the
Uniques, "Western Union" by the Five Americans, "Do It Again A Little Bit
Slower" by Jon & Robin, and then later worked as the A&R Director of RCA'S
West Coast Division.

In the eighties and nineties, Dale returned to writing, recording, and
entertaining. During this period, Dale recorded many CD's including the
classic "Wildcat Tamer" and the critically acclaimed "LA, Memphis, and
Tyler, Texas".

Several years ago Dale was diagnosed with cancer. He faced the news the
only way he knew how. He kept on singing and entertaining across the U.S.A.
and Europe until he became too weary to go on.

Dale is a member of the "Rockabilly Hall of Fame", the "Louisiana Music Hall
of Fame", and served in the U.S. Navy during the Korean conflict.

His mother, Estelle Taylor Phillips, and father, Delmar "Skipper" Hawkins,
predeceased him. Dale is survived by his loving sons, Jeffrey and Jay Paul;
his brother, Jerry and wife, Pat, of Bossier City, LA., his sister, Linda
Snider and husband, Grady, of Alexandria, LA.; and his loyal
companion/special friend, Flo Murdock. He cherished his three
grandchildren: Marshall, William and April. Dale leaves his music to
comfort a great host of family members and friends.

Visitation will be from 5:30 p.m./7:30 p.m., Wednesday, February 17, 2010,
at the North Little Rock Funeral Home in North Little Rock, Ark. Services
will be held at 10:00 a.m., Thursday, February 18, 2010 with burial services
following in Riverside Cemetery, St. Paul Ark.

In lieu of flowers please make memorial donations to the charity of your
choice or just help a struggling musician.

From Wikipedia:

"Delmar Allen "Dale" Hawkins (August 22, 1936 - February 13, 2010) was a pioneer American rock singer, songwriter, and rhythm guitarist who was often called the architect of swamp rock boogie.^[2] (Fellow rockabilly pioneer Ronnie Hawkins is his cousin.)

In 1957, Hawkins was playing at Shreveport, Louisiana clubs, and although his music was influenced by the new rock and roll style of Elvis Presley and the guitar sounds of Scotty Moore, Hawkins blended that with the uniquely heavy blues sound of black Louisiana artists for his recording of his swamp-rock classic, "Susie Q."

Fellow Louisiana guitarist and future Rock and Roll Hall of Famer James Burton provided the signature riff and solo. The song was chosen as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Creedence Clearwater Revival's acid rock rendition of the song on their 1968 debut album, helped launch their career and today it is probably the best known version.

John Fogarty and Dale Hawkins in Little Rock, Arkansas

Hawkins went on to a long and successful career, recording a number of songs for Chess Records. In 1998, Ace Records issued a compilation album, Dale Hawkins, Rock 'n' Roll Tornado which contained a collection of his early works and previously unreleased material.

Other recordings include the cult classic "LA, Memphis and Tyler, Texas," and a 1999 release, "Wildcat Tamer," of all-new recordings that garnered Hawkins a 4-star review in Rolling Stone. However, his career was not limited to recording or performing. He hosted a teen dance party, The Dale Hawkins Show, on WCAU-TV in Philadelphia.

He then became a record producer, and found success with the Uniques' "Not Too Long Ago," the Five Americans' "Western Union," Jon & Robin's "Do It Again - A Little Bit Slower." He served as executive vice president of Abnak Records; Vice President, Southwest Division, Bell Records (here he produced Bruce Channel, Ronnie Self, James Bell, the Festivals, the Dolls, and the Gentrys); and A&R director, RCA West Coast Rock Division, working with Michael Nesmith and Harry Nillson. In the 1990s, he produced "Goin Back to Mississippi" by R. L. Burnside's slide guitarist, Kenny Brown.

My friend Kenny Brown's CD produced by Dale Hawkins

Hawkins' pioneering contributions have been recognized by the Rockabilly Hall of Fame.

In 2006, he was diagnosed with colon cancer and began radiation therapy, while continuing to perform occasionally. In October 2007, The Louisiana Music Hall of Fame honored Dale Hawkins for his contributions to Louisiana music by inducting him into The Louisiana Music Hall Of Fame.

At the same time, he released his latest recording, "Back Down to Louisiana," inspired by a trip to his childhood home. It was recognized by the UK's music magazine, Mojo, as #10 in the Americana category in their 2007 Best of issue, while "LA, Memphis and Tyler, Texas," was awarded #8 in the reissue category.

Hawkins died on February 13, 2010, from colon cancer."


A trouper of the first order until the end, during the past 4 years, Dale Hawkins scheduled performances around chemotherapy, and even recorded some new songs that have not been released yet. His unique talents will be missed by fans worldwide.

© Robert "Nighthawk" Tooms, 2010

RCT

More from the Zebra Ranch by Robert "Nighthawk" Tooms

(Memphis, Tennessee) After a very warm response from our kind readers we have bowed to public sentiment and returned to the Zebra Ranch where we wind up our recording of Reba Russell's new CD. We cut 14 sides in a little over a week and it sounds like a good blues record is born. The photo above, by my dear friend, Jo Teri, is of a performance by Sid Selvidge of the Blues foundation and the late Jim Dickinson, founder and guru of the famed Zebra Ranch. Sid was my professor in college and he taught me a hell of a lot about blues and American music. He is a world class professor and a good friend. Thanks, Sid. Sid heads up Blues Caravan program which is heard throughout the known universe and other solar systems as well.

The Zebra Ranch is sequestered in a very relaxed atmosphere located off the beaten path to allow for musical creativity without worldly distractions. Only the lovely distractions of the ranch itself are required to produce some good music within its confines. It's incredibly quiet out here and at night you can see a million stars. There's no telephone, television or other unwanted distraction in the studio, just friends, instruments and time to make music. The Zebra Ranch is a magical place.

Musician, songwriter, award winning producer, Zebra Ranch creator,
Jim Dickinson

above, some of the last Reba Russell CDs including our "greatest hits "record, "Rewound"
You can buy them at the band's website:

http//:RebaRussell.com/

Sometimes the post office box is a superior option.

Open gates reveal the fecundity of human creativity, the Zebra Ranch

After a couple of days the monsoon rains set in so we got cozy inside and cut songs for about 12 hours or so a day. We were fully prepared with adequate food and drink to survive unassisted for several days. toward the end of the week the rain started to freeze and so we had to halt operations for a couple of days. We don't have snow plows down south and most people down here can't drive worth a damn in the frozen stuff so we laid low at our respective cribs until it thawed.

Outdoor seating went from dry to wet to icy during the week. I love these old gliders. This one looks as if the two seats have become closer friends over time.

Time to head inside and make a joyful noise

This ceramic Mississippi mojo panther exudes music power.
I saw a live one of these driving south on I-55 toward Natchez one day.

reels of recorded 2 inch tape

Robert "Nighthawk" Tooms (photo by Wayne Russell)

the many textures of the Zebra Ranch

The ju-ju beams forth from the Zebra Ranch during night tracking.

Cody Dickinson's percussion instrument collection is vast.

Doug's sack-o-sticks

beautiful designs on this conga

action figure riding an alligator protects the ranch

Dawn Hopkins replays a take as Reba listens. After a long day of overdubbing I fell asleep in my chair after taking this picture. With age one learns to value a nap.

Wayne and Reba through the crazy lens

Tater Red mojo candles radiate a groovy mood throughout the expanse

Josh and Wayne tire of the author's flash attachment
yet the author forges on fearlessly. I knew they were unarmed.

Batman keeps his lamp at the Zebra Ranch.

Josh Roberts

The zenith of hipitude, the zebralava.

Wayne Russell dines on delicious stuffed peppers made by Jolene Roberts which were AWESOME. Thanks Jolene!

Josh listens to the replay

The author consoles himself at the Hammond console, deep in overdub mode,
basking in the doppler effect of the whirling 122 Leslie

goat-a-phonic diddley bow

This is what is known as a steamer trunk. It's what you packed to carry on a steamship.

Rhodes suitcase piano next to the big Baldwin grand

This, the "Powder Keg of Imagination" is available for visiting artists. It is stored next to the ash tray and tends to erupt throughout the day and night.

Glow in the dark stars and planets illuminate the ceiling.

I love this picture of Hef and the ladies. Viagra was specifically invented for Hefner.

King Biscuit flour sack hearkens back to the days of KFFA radio and King Biscuit Time which was sponsored by these fine flour and corn meal making folks. Gourmand Wayne Russell says it makes a fine biscuit. He would know.

There's a Free World sticker on the wall. They recorded their last CD here with Jim.

autographed poster from the family of Biggie

Yoda keeps this piano floating about 4 inches off the floor at all times. His powers are amplified by this text about masked wrestlers.

The mirror also floats.

Voodoo doll sans pins

Yes, it's a zebra puppet.

beautiful old pump organ

outboard gear and a Macintosh decoy

This provides the shaka-lacka in the boom-shacka-lacka in case you have ever wondered.

Here's a poster for our friends the North Mississippi AllStars who are Cody and Luther Dickinson and Chris Chew. They are currently touring the USA in a big bus and playing to sold-out crowds where they perform. For more information or to buy music and tickets, check out their cool website:

http://www.nmallstars.com/index.shtml

My friend, Luther Dickinson,
guitarist for North Mississippi Allstars and the Black Crowes

Nothing gets past the keen ears of the super producer/engineer Dawn Hopkins. She has created award-winning CDs and is the other half of the Blue-eyed Bitches Production Company.
We have made records together for 20 years. She is my trusted friend and colleague.

A set list from one of Jim's last live performances is still taped on his guitar.

arrrr! I love the rug, matey!

inscription "Be still and know that there is God" over the Shrine

Skydog rests comfortably in the confines of the Shrine

I was too scared to open this.

So many cables (photo by Wayne Russell)

Detail from a supercool old barber chair from way back in the day, a favorite of Jim's

These were made in St. Louis with pride. The thing weighs about a ton.

In this photo Wayne is either tuning his guitar or contemplating some snacks.

Lee Baker and Furry Lewis adorn the walls.

I saw Jim Dickinson perform at a show with Furry at Southwestern at Memphis around 1976. It was a truly great show that I shall never forget, particularly his cursing of a guy from Nashville who preceded him using a phase shifter on his guitar. Jim had a clever play on words for the man's phase shifter. He never was politically correct but always made you laugh.

old advertising illustrations

Two silvertone heads with matching cabinets, and Ampeg B-15 flip-top, Super Champ, Marshalls, a Deluxe and Luther's brown Concert join my old Bassman in audio isolation

evidence of Jim's or perhaps Jed Clampitt's whittling

Doug McMinn, Wayne Russell, prepare to ride the range in the rain.

that's an old school pencil sharpener

Wayne tries to trade his bass for whatever Dawn is eating

Reba Russell cuts a late night vocal track

Leaving after a long day of productive music-making(photo by Wayne Russell)

cool old travel trailering yard art

This may be a time-travel trailer.


yard art and ranch storage area- a good place to hang your hat


Snow melts outside the fence


We have to grow our own snow in the South.

Beautiful old gnarled limbs out at the ranch

As the last of the snow leaves the landscape we pack up our gear and head back for home. We are indebted to Jim Dickinson and his wonderful, kind family for allowing us to share in this incredibly fun atmosphere where giants walked and great recordings have been and shall be made. If you or your band would like to record while basking in the sublime groovitude that is the Zebra Ranch then you may contact Mary Dickinson at the website below:

http://www.zebraranch.com/

This is a great website full of information, pictures and history and I highly recommend that you all check it out by clicking above.

If you missed my first article on the Zebra Ranch from last week, well, that's just a damn shame, but rejoice, here's a link to the article:

http://www.ameriblues.com/2010/02/reba-russell-band-records-at-zebra.html

©Robert "Nighthawk" Tooms, 2010

RCT