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22-548: Before the formation of the Memphis Horns, the co-founders worked in other projects. Jackson, while in high school, was a member of the Mar-Keys , a group that would become part of the house band for Stax Records during the 1960s. Meanwhile, Love was playing the saxophone in his father's church, and his school bands. He joined the house band in 1965, after completing his post secondary education in music. Upon Love's entry,

44-570: A de facto name for the racially integrated Stax Records house band, which had a floating membership. The most frequent Mar-Keys studio players during this era, subject to change from session to session, were: These musicians, in addition to being the studio Mar-Keys, served as the backing band on singles and albums by dozens of rock , R&B , and soul music artists who recorded at the Stax studios, including Otis Redding , Carla Thomas , Wilson Pickett , and many others. While still involved with

66-546: A Nominating Committee composed of nationally recognized authors, producers, historians and leaders in the music industry. The number of annual inductees may vary. On August 1, 2015, the Memphis Music Hall of Fame opened its museum and exhibition hall at 126 S. 2nd Street between the Hard Rock Cafe and Lansky Brothers' Clothier. The museum features memorabilia and other archival materials from nearly all of

88-570: A concert in Paris. For the 1969 album Damifiknow! , the Mar-Keys were back in the studio, and were explicitly identified in the album credits as the sextet of Steve Cropper, Duck Dunn, Booker T. Jones, Al Jackson, Andrew Love, and Wayne Jackson (no relation to Al). The album was not a chart success, and the Mar-Keys name was essentially retired once again. For the final album credited to the Mar-Keys, 1971's Memphis Experience Stax simply assembled

110-481: A gold disc . The lineup for this recording included the Royal Spades' Steve Cropper (normally a guitarist, here playing second keyboard; producer Chips Moman did not want a guitar part on the song), Packy Axton (tenor sax), Wayne Jackson (trumpet), and Jerry Lee "Smoochy" Smith (main keyboards ), augmented by horn players Floyd Newman (baritone sax), Gilbert Caple (tenor sax) and others. The authorship of

132-525: A horn section — with Isaac Hayes , Otis Redding , Rufus Thomas , Sam and Dave and others — as well as on other releases, including The Doobie Brothers ' What Were Once Vices Are Now Habits and U2 's Rattle and Hum , as well as a few solo records. In the 1970s, they recorded with Al Green , Aretha Franklin , Rod Stewart , James Taylor , Joe Tex , Neil Diamond , Mike Harrison , Don Harrison Band , and Stephen Stills . They toured with Stills in 1971 and The Doobie Brothers from 1973 to 1976. In

154-468: A number of instrumental cuts from various sources, without regard for group continuity. Three of the album's seven cuts were outtakes from sessions by the Bar-Kays , while the other cuts were performed by various uncredited Memphis musicians with no other ties to the Mar-Keys' past. The legacy of the Mar-Keys is that they were key players in the development of Southern soul and Memphis soul . In 2012,

176-533: A supergroup backing singer-songwriter Andrew Jon Thomson, on his "All Star Superband" multi-album project. In 2008, this line-up played on some songs on the Raconteurs record, Consolers of the Lonely . The same year the Memphis Horns recorded with Jack White ( White Stripes , the Raconteurs ) and Alicia Keys on the song "Another Way to Die", for the 22nd James Bond movie, Quantum of Solace . In 2008,

198-641: A tribute to the city's wide-ranging role in the fields of blues, gospel, jazz, R&B, country, rockabilly and hip-hop, was launched on November 29, 2012, featuring an induction ceremony for its first 25 honorees at the Cannon Center for the Performing Arts. Each inductee into the Memphis Music Hall of Fame receives the Mike Curb Award, named after songwriter, producer and record company owner, Mike Curb . Annual inductees are selected by

220-518: Is held each year in Memphis. Since its establishment in 2012, the Hall of Fame has inducted more than 48 individuals or groups. It is administered by the non-profit Memphis Rock N' Soul Museum . In July 2015, the Memphis Music Hall of Fame opened a 'brick and mortar' museum and exhibit hall, which features memorabilia, video interviews, and interactive exhibits. The Memphis Music Hall of Fame, created as

242-432: The 1960s. As the first house band for the label, their backing music formed the foundation for the early 1960s Stax sound. The group began as The Royal Spades while its members were in high school. They tried to get a record made for the local Satellite Records (the forerunner of Stax), unsuccessfully, even though the label was owned by the mother and uncle of the group's tenor sax player, Charles "Packy" Axton . When

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264-454: The 1980s, they recorded with Jimmy Buffett , Willie Nelson , Hank Williams, Steve Winwood , Robert Cray and many others. They toured with Jimmy Buffett for three years and one year with Joe Cocker . In the late 1980s and 1990s, Jackson and Love worked extensively with the blues outfit, The Robert Cray Band. They provided their trademark funky/soul horns backing to five of the band's albums: Strong Persuader (1986); Don't Be Afraid of

286-544: The Dark (1988); Midnight Stroll (1990); I Was Warned (1992); Sweet Potato Pie (1997). In 1992, they released their own album Flame Out , produced by fellow Stax alumnus Terry Manning . Following the retirement of Love in 2004, Jackson recruited Tom McGinley, a baritone sax player, to continue to record on projects such as Neil Young 's Prairie Wind (2005). In 2007, Jackson reunited with former longtime member Jack Hale, also including McGinley, in order to join

308-407: The Mar-Keys and Stax studio work, Cropper, Steinberg, Jones and Al Jackson Jr. also began recording as Booker T. & the M.G.'s in 1962. Consequently, from then through 1966 instrumental music recorded by the Stax house band was issued under the name of either the Mar-Keys or Booker T. & the M.G.'s, depending on the type of recording: in general, tracks featuring a horn section were credited to

330-622: The Mar-Keys regrouped with a lineup consisting of original members Wayne Jackson, Floyd Newman, Don Nix, Smoochy Smith, Terry Johnson, plus former M.G. Lewie Steinberg , and original member Packy Axton's son Chuck. Terry Johnson (born James Terry Johnson on April 3, 1943, in Memphis, Tennessee) died on March 19, 2016, after a short illness, at age 72. Memphis Music Hall of Fame The Memphis Music Hall of Fame , located in Memphis, Tennessee , honors Memphis musicians for their lifetime achievements in music . The induction ceremony and concert

352-452: The Mar-Keys, and those without horns were credited to Booker T. & the M.G.'s. Dunn replaced Steinberg in the M.G.'s in 1964, having already played with the Mar-Keys both live and in the studio for several years. The demise of the group as a singles act occurred due to the success of several of its members. By the time of the 1965 recording "Boot-Leg", singles credited to Booker T. & the M.G.'s were far outselling recordings credited to

374-403: The Mar-Keys, who had failed to chart in years. Therefore, the decision was made to issue the horn-driven "Boot-Leg" (co-written with Packy Axton and Isaac Hayes) as a track by Booker T. & the M.G.'s, even though it had been conceived of as a Mar-Keys track, and Booker T. Jones himself did not actually play on it. With the top 40 chart success of "Boot-Leg", by the end of 1966 the Mar-Keys name

396-631: The Memphis Horns were inducted into the Musicians Hall of Fame and Museum in Nashville, TN . In 2012, the Memphis Horns received a Grammy Lifetime Achievement Award for outstanding artistic significance in music, and in 2017, the duo was inducted into the Memphis Music Hall of Fame . The Mar-Keys The Mar-Keys , formed in 1958, were an American studio session band for Stax Records , in Memphis, Tennessee , in

418-504: The band eventually made a record, Axton's mother, Estelle Axton , convinced them to change their name, and they became "The Mar-Keys". However, the live lineup of the Mar-Keys was not always the same as the band heard on the recordings. Their first and most famous recording was the organ - and saxophone -driven single " Last Night ", a number three hit nationally in the US in 1961. It sold over one million copies, earning certification as

440-476: The song, credited simply to "Mar-Keys" on the label, is registered with BMI to Axton, Caple, Newman, Smith, and producer Moman. Singles and albums continued to appear under the Mar-Keys name throughout the 1960s, though none anywhere near as successful as "Last Night". The original all-white band continued to play live dates for a time, but fairly quickly, were largely replaced for studio recordings by session players. This meant that in practice, "The Mar-Keys" became

462-686: The two met formally and clicked quickly, as they had heard, and heard of, each other in clubs before. In addition to recording at Stax, the duo were also working sessions at Royal Studio and American Sound Studio in Memphis, at Atlantic Records in New York, and at FAME Studio in Muscle Shoals . In 1969, after being asked to work exclusively at Stax, Jackson and Love declined and incorporated as The Memphis Horns to continue offering their signature sound to all who needed it. The Memphis Horns appeared on nearly every recording for Stax that included

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484-491: Was no longer appearing on singles. Although the Mar-Keys were no longer routinely issuing singles, the name still had a certain amount of marketability, and in the late 1960s the Mar-Keys name was used whenever horn players Andrew Love and Wayne Jackson (later known as the Memphis Horns) teamed with Booker T. & the M.G.'s in live performances. The two groups shared billing on a live album in 1967, Back to Back , from

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