I gave a lecture at UNC-Wilmington’s school of education the other day, and after I was done I decided to stay off I-40 and take a slightly longer, but more scenic route back home.

I took the bridge over the Cape Fear, then crossed Eagle Island and headed north on 421 until I could cut west on 53.

I crossed the Black River at Beatty’s Bridge, then turned north again on 210.

I followed 210 through the wild, beautiful countryside that runs along that south bank of the Black, one of my favorite parts of Sampson County.

After I passed the Peters Creek Baptist Church, I took a right on 242 and drove up into Roseboro and then into the little town of Salemburg– and that’s when I saw the mural: the legendary bass player Willie Weeks, bigger than life.

That’s right, the Willie Weeks that played the famous 3 and 1/2 minute solo on Donny Hathaway’s classic Live album back in 1972.

The Willie Weeks that has worked with Aretha Franklin, Stevie Wonder, and Eric Clapton.

The Willie Weeks that has recorded or toured with Etta James, Isaac Hayes, George Harrison, Bo Diddley, Wynonna Judd,  Vince Gill, David Bowie, Joan Baez, Alicia Keyes, Keb’ Mo and the Rolling Stones.

And that’s just a few of the musicians he’s backed in a half century of playing the bass guitar professionally.

I thought the mural was a wonder– and the surprise of it, there in Salemburg, in Sampson County, made it even more special.

I thought the mural somehow meant more in a little town like Salemburg, where it really stood out and was the only public art for miles around.

Seeing the mural really was a delight. The sight of it made me want to walk around Salemburg and just soak up being in a town that would have a big, beautiful mural of an artist like Willie Weeks.

* * *

I did a quick little bit of historical research standing there on Salemburg’s main street.

I learned that Willie Weeks was one of Salemsburg’s native sons. He was born there in 1947 and grew up listening to pop, country, and R&B on the radio– and gospel music at church.

When he was 12 years old, he began playing guitar and singing in a local gospel group. By the 1960s, he was playing bass all over the country. In the early ’70s, he was a regular in Donny Hathaway’s band.

This is a nice YouTube clip of a Willie Weeks’ bass solo from 2009. Eric Clapton is on guitar, Stevie Jordan on drums.

I found a quote from bass player Ryan Madora that does a good job of describing what is special about Weeks.

“Weeks is a groove machine. His timing is exquisite, as is the placement and duration of his notes. He is the glue of a rhythm section; knowing when to lay back and play on the far end of the beat or how to play slightly on top to give the band more momentum. A master of the “double hit,” he often adds swing to a song with two attacks of the same note (“one-and” or “and-one”).”

She goes on to say:

“This establishes a funky rhythmic pattern, leaving him room to play with note choice while maintaining a consistent groove for the band. His ability to combine the dead notes and string rakes . . . with equally clever harmonic movement, brightness, and articulation makes him one of the most eclectic and inspirational bass players.”

Besides being a stand-out bass player herself, Madora is a really interesting writer on bass players and the art of playing the bass. You can find her full article on Willie Weeks in the on-line magazine No Treble here.

* * *

With a little more digging, I also learned that the mural was the result of a project led by the Sampson Arts Council. Painted by muralist Scott Nurkin, the mural was unveiled just a few weeks ago at “Willie Weeks Day,” which was hosted by the Sampson Arts Council and the Town of Salemburg.

According to news reports, Willie Weeks himself was the guest of honor. Many of his family and friends attended the event, and apparently many a story about Weeks’ younger days in Salemburg was told.

The night also included homages to Weeks, a barbecue, and apparently a lot of music and a lot of fun.

I sure would have liked to have been there. But I thought it was still pretty great just driving through Salemburg and discovering this unsuspected gift to all who pass through the town.

These are tough times in America just now, for the arts and for so much else. I guess I appreciate it more than ever when I see our light, and our goodness, being held up high.

I left Salemburg, headed for home, the sound of Weeks’ bass coming out of my speakers, a bit of new lightness in my soul.