Photos by Brittanie Shey

​Not many modern bands can claim that the music they play spans more than 150 years in the annals of American history, but the Carolina Chocolate Drops's double sold-out shows last night at Mucky Duck oscillated smoothly between early 2000s hits and songs as old as "Dixie." And for a band who makes such frequent use of primitive instruments and early Americana music, the Chocolate Drops come together as a highly polished three-piece, even in spite of equipment problems. This group is so much more than just a string and jug band.

Like a lot of music, Aftermath first learned of the Carolina Chocolate Drops thanks to an in-depth Fresh Air interview with Terry Gross in advance of their trip to Austin for SxSW 2010. Previously, they played Houston at iFest 2008 and in the five years the band has been together (they met at a gathering for Black folk musicians) they gathered a sizable fanbase and tons of critical acclaim.

Both shows were sold out and standing room only last night, and the line to get in to the 9:30 performance stretched into the back parking lot of the Duck. When the band finally took the stage, Don Flemons promised the audience "We're gonna play you some good old-time material" before launching into fellow North Carolinian Etta Baker's tune "Peace Behind the Bridge." Several times throughout the night they played songs taught to them by Joe Thompson, the elderly black folk musician who helped school the trio in traditional string-band music.

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Photo by John Nova Lomax

Milton Martin downtown on the corner of Main and McKinney

Milton Martin spends his days blowing his soprano sax from his wheelchair in the bright sun at the corner of Main and McKinney, hard by the assemblage of broken dreams and frustrated town planning that is Main Street Square. Over an everyday assemblage of abject, bullyragging winos, hard-looking dudes with neck tats, and occasional cubicle slaves, Martin's sweet-toned soprano sax can be heard rising with its mockingbird-like, myriad variations on tunes like Bill Withers's "Ain't No Sunshine."

Tell Martin he's better than the average Houston street musician - and in actual fact, he's New York recording studio session quality -- and he'll not-so-humbly acknowledge that fact. He'll fix you with the hazel eyes that pierce you with their gaze from under his floppy black cap and say, "That's 'cause I'm not from here. That's why - I am from New Orleans.

"I'm actually tryin' to train some of these guys," he grouses. "Some of 'em can't even play 'Happy Birthday.'"

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