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Idiot that I am. What I could visualise was in fact Mike Vernon’s sleeve notes to the Blue Horizon LP, “The 1968 Memphis Country Blues Festival” (7-63210). This is his general introduction:

Annual Blues, Folk and Jazz Festivals are now fairly common events throughout both Europe and the United States. Some have a larger percentage of Blues content than others. In Europe, the annual National Jazz Federation Festival, held in the London area, commands much respect, as does the Antibes Jazz Festival held in France. In America, the Newport Folk Festival, as it is now designated, is the major light and event of the year. B ut many small organisations, mostly headed by record collectors and fans, have been operating small-scale music festivals in localised spots. The Memphis Country Blues Society. have for the past three years, presented a blues-orientated concert at the Overton Park Shell in Memphis, Tennessee. The main ingredient has been country blues with added flavour afforded by local white blues and jazz musicians. Regular appearances have been made by Furry Lewis, Bukka White, and Nathan Beauregard. On other occasions Fred McDowell, Joe Callicott and the Reverend Robert Wilkins have appeared: support on all occasions having been given by Sid Selvidge, the Electric Blue Watermelon, the Insect Trust and a local jazz musician, Trevor Koehler and his group. On all three occasions the performances have been recorded by a local operator, Margaret Tucker of Century Sound; in 1966 and '67 at the request of the Memphis Blues Society, and in '68 at the request of Blue Horizon and Sire Records.
Having flown some four thousand miles to supervise the recordings, my recollections of the Festival are those of pandemonium. We suffered heavy rain in the afternoon but luckily all was well enough by seven in the evening. The banked seats fronting the 'Shell' were filling; the heat, stifling. Everything appeared to be ready. The portable equipment had been long since installed and tested.

And here’s what he has to say about Nathan (which ain't much):

Nathan Beauregard was the first solo artist to perform. His age has been estimated at a meagre one hundred and two—at least I was able to discover that his nephew, Marvin, who leads the blind Nathan around, is just seventy-three years of age. But for all his years, Beauregard's command of the guitar is quite incredible. His voice has a high piercing quality, again belying his years—although, understandably, his diction is not all it was. It seems amazing that no-one should have recorded this unique artist before and therefore his two selections here will be welcomed by many; especially by the Memphis collectors, whom I know have a very warm spot for this remarkable old man.