African-American Heritage

Tommy McClennan Physical, intense Mississippi blues. Underrated guitar player.  Born on a farm in April, 1908, and grew up in nearby Yazoo City, Mississippi. Played across the South Delta in towns like Greenwood, Indianola and Itta Bena during the 1920s and through the 1930s, sometimes with his only local rival, and stylistic “sound-a-like”, Robert Petway. Reportedly, McClennan was a very nervous and slightly built man, but he must have really rocked in those Mississippi juke joints. There’s been a lot of negative writing about McClennan in the past, but Big Tony is telling you: this is one of the great Delta artists. He’s a powerful and convincing vocalist, and his playing has both impact and nuance; this is one of the Big Guys. Lester Melrose arranged his first recording session, for Bluebird in November, 1939; and around 1940 Tommy moved to Chicago. His first recordings sold rather well, and he

“Gatemouth” Moore Arnold Dwight “Gatemouth” Moore, a lesser-known blues icon is recognized for some of his blues compositions – “Did You Ever Love A Woman”, “I Ain’t Mad at You, Pretty Baby”, “Somebody’s Got To Go”. Blues greats such as B.B. King, Rufus Thomas, and Jimmy Witherspoon also recorded some of his tunes. In 1930 Moore moved from Memphis to Kansas City, where he worked with several jazz bands during1930s and 40s. manicsquirrel.com/etherion/st/ cash in check Most of Moore’s later recordings were in the gospel vein, however, in 1977 Moore made his final album, Great R&B Oldies, revisiting the blues. Moore retired to Yazoo City many years before his death in 2004. He was honored\ by a resolution from the Mississippi state legislature, commending him for his illustrious career in blues and gospel.

Nehemiah “Skip” James James grew up in Bentonia and is said to have learned the Bentonia Blues style from Henry Stuckey.  Highly emotive, often strange, James was one of a half-dozen virtuosos of Delta blues. He stood out from other artists not only because of his skill, but because of his courage in pursuing his creative vision when it went contrary to popular taste. With dark themes and sophisticated finger-picking, James helped redefine what could be done with three-chord music. Added to that was his superior vocal phrasing and wild piano playing. Whether because of religious background or personal hardships, his music usually reflected a dire outlook on life. One writer said it always seemed like night when Skippy sang the blues. The son of a minister, James for a while tried to find his life purpose preaching and singing in a choir, but he eventually returned to secular music.

Jack Owens Jack Owens was born L. F. Nelson, and lived and worked in Bentonia. Owens was never a professional recording artist, but he farmed, bootlegged and ran a weekend juke joint in Bentonia for most of his life. He was not recorded until the blues revival of the 1960s. Owens was rediscovered by David Evans in 1966, who was led to him by either Skip James or Cornelius Bright. Evans recorded Owen’s first album Goin’ Up the Country that same year and It Must Have Been the Devil (with Bud Spires) in 1970. He made other recordings (some by Alan Lomax) in the 1960s and 1970s, and performed at several music festivals in the United States and Europe until his death in 1997.  Owens shared many elements of his guitar style and repertoire with fellow Bentonian Skip James. He was often accompanied on harmonica by his friend Bud Spires.