With Beanland: Rising from the Riverbed, Scotty Glahn and Kutcher Miller have distilled the essence not only of a hot jam band but of a special milieu. Art fares best in an open forum, and in the 80s and early 90s no freer field could be found than in Oxford, Mississippi, where a variety of thriving businesses supported an eclectic marketplace for invention that Mississippi will never see the likes of again. In those halcyon days, Willie Morris, Barry Hannah and Larry Brown contributed their literary wattage to an arts scene already illuminated the bright musical lights of the Hilltops/Blue Mountain, the North Mississippi Allstars and, of course, Beanland. It was a heyday of the muses; throw in a couple of Jere Allen’s brilliant brushstrokes, and you have nothing short of a red clay Parnassus.
Rising from the Riverbed attempts to and largely succeeds in capturing the freewheeling, lackadaisical and somewhat dissipated spirit of that time and place. This achievement proves to be somewhat of a drawback, however, since the result is a roman à clef best appreciated by those who were there then and know or knew members of the cast of characters. It’s an insider’s view into a seminal period in the cultural life of Oxford. Interviews add to the film’s appeal (Barton made the cut). Nostalgia is not a bad thing, especially when it’s worked out so carefully and lovingly. Allow me to tip my hat to Glahn and Miller not only for recognizing Beanland as worthy of a broader stage, but also their foresight in documenting a very special time in a very special place.