Check out the Bobby Hebb mini-bio by Dan Cooper in the Encyclopedia of Country Music
The Encyclopedia of Country Music - Page 218 - Google Books Result
2012 - Music
... For his 2005 release That's All I Wanna Know (Tuition) he recorded a new ...
The Lost History of Nashville Rhythm & Blues
By Daniel Cooper
December 12, 1996 News » Features
It was on the second floor of the second location that Bridgeforth started booking name entertainers. The New Era was more or less a piano bar that “would seat about a hundred people,” he says. Initially, the acts he lined up were piano-blues performers like Pvt. Cecil Gant (who once recorded a tune called “Nashville Jumps”), Ivory Joe Hunter, Amos Milburn, and Memphis Slim. They had no trouble filling the hundred seats—not only because a guy like Milburn could make a solo piano rock like a 12-piece orchestra, but also because Fourth Avenue between Cedar/Charlotte (the two streets met at Fourth) and Gay Streets was a major hot spot for black Nashville, easily as active as Jefferson Street. The New Era was a focal point, but located on that same stretch of Fourth Avenue were several other important venues and businesses, including Grady’s, a club favored by Fats Domino when he passed through town, and the Bijou Theater, where Bessie Smith used to sing of her “Empty Bed Blues.” By the time Bridgeforth moved the New Era onto the block, the Bijou’s regular attraction was Jerry Jackson’s vaudeville revue, a weekly extravaganza that employed such future Nashville stars as Roscoe Shelton and 3-year-old Bobby Hebb.
The Soul of Nashville
Posted July 27, 2014 by Craig Havighurst & filed under Blog.
To make a long story short, Gray eventually landed on the staff of the CMHOF and found himself in a position to work with fellow soul/R&B devotee and historian Dan Cooper to develop the exhibit that became Night Train.
Michael Gray (whom I’ll interview during the show along with the boss who let it all happen Kyle Young) says that the most satisfying thing about Night Train was the way it revived the musical lives of the surviving artists who were featured in the exhibit. Validated and celebrated, some returned to performing and others got a lift. Sax player Hank Crawford got an honorary degree from Tennessee State University. Bobby Hebb got to play the Grand Ole Opry for the first time in decades, and got the night’s only standing ovation. “We were advocates for people who had not been fully recognized for their achievements,” Gray said. He could have said the best part was winning a Grammy Award. But he didn’t.