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NOVEMBER 2012 ISSUE MMUSICMAG.COM NOVEMBER 2012 ISSUE MMUSICMAG.COM Q&A wanted the songs to work around him. But What guitars did you play on the album? It’s taken me 43 years to earn a seat at the the truth is there isn’t a blues song in the HARPER: One of my main instruments was table with Charlie. world that wouldn’t work in that way. That’s a National Silvo. It’s a rare small-bodied a big, big target. National electric-acoustic. Only a few were What did you learn from this project? made. All the slide guitar solos were done HARPER: I noticed myself becoming a What was recording like? using that. I also used my go-to lap steel, the different musician on this album. As a player, MUSSELWHITE: It was all live in the studio. 1920s Weissenborn. As a band, we sort of my phrasing was different and I noticed a I don’t recall any overdubbing. There were made a pact that we wouldn’t bring anything different vibrato. There was a different kind some girls who added vocals, but none of the into the studio that was dated later than 1971. of care I was putting into the notes, a care basic tracks were overdubbed. I just grabbed For songwriting, besides the Weissenborn, that wasn’t there before. And that was true all my harps and went in. Ben had the songs I’ve got an old Martin acoustic. When I of my singing as well. I found myself singing already written. They were serious and from write on electric, I’ll plug in an old Strat from a place within me I didn’t know existed. the heart. There was nothing frivolous about and run it through a Fender Tweed Deluxe. It was genuine growth. them, although that doesn’t mean they can’t be fun. I love music that has depth Do you have a favorite harmonica? How does today’s blues scene compare and feeling and substance. A lot of Ben’s MUSSELWHITE: The brand I use is Seydel. to your Chicago days? tunes—especially on this new album—are A lot of people have never heard of them, MUSSELWHITE: When I first started blues, but they’re not exactly like old blues. but they’re the oldest harmonica company in playing, you didn’t have anything like what They have the spirit of the blues, but it’s as if he’s found a new way to be traditional. HARPER: Wow, I don’t know exactly how we accomplished that, but if Charlie says it happened—well, he would know. It was a true group effort, bringing the songs to life. I came to the table with maybe half the songs fleshed out, and Charlie and Danny Clinch the band and I fleshed out the other half on the spot. I hope they reflect a modern sensibility and sensitivity to the blues, as Charlie says, but with deep roots and a Ben Harper, Charlie Musselwhite connection to the past. BEN HARPER & What’s the secret to great chemistry? MUSSELWHITE: It has to do with similarities in how you feel and think about things. When CHARLIE MUSSELWHITE Danny Clinch you come across someone who reacts to life in the same way you do, you tend to play Two generations connected by the blues showcase their musical chemistry well together. You feel it and you see it in one another’s eyes. You sort of look at one BEN HARPER SPEAKS FOR MANY WHEN dates back to 1997, when the two joined of how I felt sitting in with people in the old another, like, “Oh yeah, this is it.” The whole Ben Harper, Charlie Musselwhite he gushes about Charlie Musselwhite. “He’s forces backing blues legend John Lee days,” says Musselwhite, “how exciting it band was like that. We had a great rapport. connected to everything that means anything Hooker for a studio session. Harper’s career was to be around people like Howlin’ Wolf HARPER: I don’t use words like “kindred” too to me, musically,” says Harper. “Mississippi was just taking flight while Musselwhite was and Sonny Boy Williamson. These sessions often but I would in this case. We recognize the world—older than John Hurt, Muddy Waters, Lonnie Johnson— an accomplished vet. Hooker detected had that same power and magic.” Harper something special in one another. John Lee Hohner. Seydel still ‘It’s taken me 43 years to he was there and knew them all. I just hope sizzling chemistry between the two. “John and Musselwhite sat down to give us more saw it in us first, and then we recognized it makes harmonicas he doesn’t get tired of me asking him Lee said we should do more together,” details on those magical sessions. in one another right after that. Charlie and I by hand in Germany. earn a seat at the table to tell me stories.” recalls Musselwhite. “Ben and I felt it, too. have been talking about making this record They have the right A central figure in the Chicago It seemed so natural, the way we sparked Did you write with Charlie in mind? for 15 years. We never gave up on it. tone, the right feel— with Charlie.’ –Ben Harper blues scene in the ’50s, ’60s and ’70s, off one another.” HARPER: He’s the measuring stick, and they’re airtight. the harmonica virtuoso collaborated with Fast-forward 15 years, and Harper whenever I write. I was raised on his music. What makes the harmonica so soulful? They’re also real tough. everyone from Howlin’ Wolf to Little Walter and Musselwhite have done just that. Whenever I write a blues song I think, MUSSELWHITE: A lot of harmonica players we have today. You couldn’t even read about to Sonny Boy Williamson. The Mississippi Get Up!, recorded at Carriage House “WWCD: What would Charlie do?” He’s come from a blues background, and blues Why did it take so long? the blues. Today we have blues festivals and native has also recorded some of the blues’ Studios in Silver Lake, Calif., finds the two been that influential creatively. When I was is all about feeling. Tone is also important. HARPER: It was the universe’s way of blues societies all over the world. There most acclaimed albums. locked into simmering roots-based grooves choosing the material for this record, Charlie That’s where the meaning lies, and where the letting me know I wasn’t ready. I had to are blues cruises, and local blues bands Harper’s friendship with Musselwhite that mix past and present. “It reminded me was always at the center of the circle. I feeling is. You can take the greatest solo in grow into it. Charlie was already there, but everywhere. Of course, I sure miss the the world, and if the tone isn’t right you’re not I had to catch up to him. I could give you guys I knew. There will never be another going to say much with it. The notes won’t lots of reasons—busy schedules, family Muddy Waters or Howlin’ Wolf or Big Joe come to life. With the right tone, you can obligations, responsibilities to other bands— Williams. But there are people playing today ‘It seemed so natural, the way we sparked off one say a lot with very few notes. Three notes, and I suppose that’s all true. But it’s also who are making great statements with another.’ –Charlie Musselwhite played with a killer tone, can say more than true that I had to live through some things their music and lyrics. a hundred with feeble tone. to get to a place where I could tap into this. –Russell Hall 24 25 M mag 24_cs6.indd 24 1/14/13 12:02 AM M mag 24_cs6.indd 25 1/14/13 12:02 AM.

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