Wednesday, September 23, 2009

Bukka White - and the National Steel. The 'last' Samurai

Booker T. Washington "Bukka" White was born in Cleveland, MS in 1905 - or in Aberdeen, MS, or...? No one seems too sure. But it's a minor matter. What's important is what he gave the world after those humble beginnings, where ever they may have been.

Bukka's 'instrument of choice' was the National Steel Resonator Guitar, manufactured in quantity in the '20's, 30's and '40's (and, to a lesser extent, to this day) and could be had from the Sears Roebuck Catalog for about $4.50, back in the day. Favored for its volume in the days before electrical pickups, the National could easily be heard above the din of a juke joint or picnic.

I first met Bukka White in 1972. "Bukka? He's not here, He's at his office..." His wife directed me to Leath St. a few blocks away. There, in the shade, against the brick wall that was one side of the Triune Sundry store, I found Bukka. He was sitting on a plastic chair. Next to him was a wood crate that held a cooling quart of beer. Scattered about sat three or four admirers. Bukka was holding court. I introduced myself and explained the purpose of my visit, to put together a group of Memphis Blues musicians to tour the country. Bukka was cool to the idea and visibly skeptical of just who the hell I was. Some white boy with a Bright Idea. He'd heard a few of those before. "If the money's right - and I get it in front - maybe so..." That was extent of his commitment to the project.

"Okay, good enough for me. Let's see what we can do." We shook hands.

In the late '30's Bukka had done time at the notorious Parchman Farm Prison, a/k/a The Mississippi State Penitentiary. His daughter, Irene Kertchaval, told me the story. She said he won money in a crap game. The man he won it from refused to pay. Words were exchanged, the man reached down, Bukka pulled out a gun and killed him. Next stop, Parchman farm.

Parchman was less about punishment (and even less about rehabilitation) than it was about business. The ribbon-wire-enclosed 'camps' - as they were called - housed a tightly segregated population and sat amidst some 20,000 acres of cotton fields. These fields were worked by the general population and produced millions in state revenues. Established in the late a 1800's, by 1914, Parchman was single biggest business in the state of Mississippi. It was still big business some 20+ years later when Bukka arrived to serve his time for manslaughter. His crime, being a black-on-black violation, did not draw a heavy sentence and, with the help of his guitar and talent, he was paroled after serving four years.

The racial element of justice, as dispensed in pre-mid-century America, was illustrated in high relief by an incident related to me by my friend, David Calvit. He grew up in Louisiana during the period. In 1949, as a teenager, David was summoned to court for a traffic violation. Waiting to be called, he sat watching the judge deal with the docket. A case involving the knifing of one black man by another was called and the victim took the stand. "How long was the blade on the knife that the defendant used to stab you?" the judge asked. "Uh, 'bout five inches, Your Honor." The judge continued, "And how far into you did he stab that blade?" The victim looked at the judge, " Uh, 'bout four inches, I reckon."

The judge banged his gavel. "Twenty dollar fine. Five dollars per inch. Next case."

Black or white, in those days the distance between 'justice' and 'equity' grew, it seemed, apace with latitude. Vernon Presley, father of Elvis, also served time at Parchman and may well have been there at the same time as Bukka. Their paths probably never crossed due the 'separate but equal' nature of their surroundings. Vernon got two years for "uttering a false instrument" - he altered the "$2.00" to "$3.00" on a check given him in payment for a pig. The issuer of the check was a local (Tupelo, MS) big shot who sought to make an example of this dishonest 'cracker'.

My relationship with Bukka was slow to develop but eventually grew into a friendship. Early on, he displayed himself to be a man of his word. And he expected the same in return. He never had to be reminded what time the bus was leaving, when he had to be on stage or how long a set we needed. If we had a 5:00 AM departure for the next gig, he was the first man aboard.

Bukka and BB King were first cousins. In 1975 I helped organize a concert at Western Illinois University in Macomb, IL. The show consisted of Bukka White, Willie Dixon, Muddy Waters and BB King (whew!!). Either Willie or Muddy (I don't remember which) had played Detroit the night before and had stopped in Chicago at 5:00 AM to pick up master harp player Carry Bell, just to add a little 'weight' to his set. I have never seen musicians so psyched to play a gig as these guys were when they showed up. Bob Margolin, Muddy's guitar player for almost a decade, remembers it to this day - ask him, he's on Facebook, that playground of the middle aged (I'm there, too...) or his website, bobmargolin.com.

Bukka opened the show, followed by Willie, then Muddy and BB closed. The show started at 8:00 and BB finally came down from the stage at 1:00 AM. There were some 3,500 people in the audience, and NO ONE LEFT. At the close of the show, BB called Bukka up to acknowledge him. Bukka grabbed the mic and began to talk. He reminded BB of his first guitar, a Stella, given him by Bukka.

"You remember, B, you was so little, next to that big red Stella." There was absolute silence. BB was looking at the tops of his shoes. His eyes were filling. He looked, for all the world, like a nine- year-old boy, standing on that stage. "Yeah...I sure do remember." he finally said, and threw his arms around Bukka. The audience erupted.

With the addition of Bukka White, the core group that comprised the Memphis Blues Caravan came to be. Others would rotate through, some on a regular basis, some but once. They would include the likes of Memphis Ma Rainey, Mose Vinson, Madame Van Hunt, Sam Chatmon, and others. We'll be dealing with each, at various times, as the story continues.

[Below is Bukka's "Fast Streamline" - background music for a wonderful short by someone named Shukowinz.]

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