An Evening With Ben Harper & Charlie Musselwhite At The Grammy Museum

The second collaboration between Ben Harper and Charlie Musselwhite (after their Grammy winning debut, Get Up!), is out today, and there was a performance and conversation Wednesday evening with the two bluesmen at The Grammy Museum to celebrate their brand new album,  No Mercy In This Land.

It was the eve of the new John Lee Hooker Centennial exhibit opening at The Grammy Museum, which was fitting, as Hooker was the one who introduced Harper to Musselwhite, and a good portion of the interview was spent discussing the legendary Mr. Hooker. I was fortunate enough to be seated next to Hooker's daughter, Zakiya ("Z"), who told me that she would be performing herself the following night at the opening. Grammy Museum Executive Director, Scott Goldman, hosted and moderated the event, and introduced Harper and Musselwhite, who came out to a warm reception, and in turn introduced their backing band - Jason Mozersky on guitar, Jesse Ingalls on bass, and Jimmy Paxson on drums. Harper explained that "The way we made this album was the same as in a circle like this, just in a different room," and they dug right into the opening and title track, "No Mercy In This Land." It's a swampy, traditional blues number that finds Harper and Musselwhite sharing vocal verses and trading licks on their guitar and harmonica respectively. The intimate audience loved it, and Musselwhite cracked, "Don't forget that we have a million dollar dance floor down here!", indicating the tiny space in front of the stage, but found no takers.

"I Found The One" was more fun, an upbeat one with old school rock and roll riffs (derived straight from the blues) and rim shot drums, on which Musselwhite's harp really shone. He is THE master of harmonica, and after its tight ending, the room erupted in applause. The next one found Harper sitting down with his trademark Weissenborn, which garnered its own applause just for being taken out (Grammy Museum events in the Clive Davis Theater tend to bring out the real music aficionados). "I know better than to not check in with my Captain before lift-off," cracked Harper to explain the tune discussion that happened before they got down with "The Bottle Wins Again". This one is a real toe-tapper, for real. I looked around at my immediate area, and every single foot I could see was tapping away - mine included. "Broken hearts and broken dreams, turns out they weigh the same" is an example of the blues Harper must have had while writing this one, and his lap steel wailed away right into another tight ending. It's great stuff. They're not really breaking any new blues ground, but they are certainly shoring up the blues foundation, making sure it lasts beyond their generations.

"Nothing At All" found Harper at the piano, and it was my favorite tune of the evening. A slow, dramatic number full of the minor notes that are a weakness of mine. It featured a subtle and sensuous harmonica solo from Musselwhite, and this one was the standout for me. Sure, because it's beautiful, but mainly because it sounds different than the typical 1/4/5 chord changes that traditional blues is known for.

When the clapping died down, it was time for the interview portion of the evening. Goldman brought up the fact that the Hooker exhibition was opening the next night, and that Musselwhite heard Harper opening up for Hooker in 1993, and said of that night, "I heard the blues in Ben's guitar playing, and that got my attention. We met good." Harper said of Hooker, "What comes to mind about his music was the deepest ease. And his grace - he gave me an opening gig before my first album had even come out." Musselwhite added, "I learned from John Lee that you get your money up front!" - to much laughter. Musselwhite is a pretty funny cat, cracking up the audience the whole time.

The obvious good friends talked of how their music deepened by being on the road together to promote Get Up!, and how their shared collective musical information made this new album even more possible - and necessary. "Charlie makes me exceed myself. He pushes me to go places I could not go myself," explained Harper, with tangible admiration for his friend and mentor. He added, "Charlie's harmonica steeps the music deep into the ground AND gives it flight. We're not re-inventing the blues, we're re-invigorating the blues. The blues has to shape-shift to stay vital."

Musselwhite returned the admiration, saying, "This relationship works because we're kindred souls, searchers, and lifelong learners seeking the heart of things." - and the music shows this off, absolutely. Harper's mother, Ellen Chase-Verdries, was in the audience, and Harper shared stories about the making of their own collaboration, Childhood Home, and about how he used to trash her records by playing them to death. He finally got his own turntable and records "The little white Radio Shack one, remember, Mom?", and soon was listening to Hendrix ("Probably because we had matching afros, I had no business liking Jimi at 8 years old!) and The Who. He shared an anecdote about his mother coming home from work one day to find that a very young Ben had decorated his white bedroom walls - in Sharpie - with an entire The Who concert drawing covering three walls. She just shook her head and walked out. Kids.

Musselwhite was also an avid record collector of every genre imaginable ("Flamenco is some bluesy stuff!"). He joked that "'My baby left me' is a worldwide phenomenon - or 'She came back and it was worse'." Everyone laughed at that one. Haha. Harper added that he will say to Musselwhite something like "Have you heard the Furry Lewis song 'Turn My Money Green'?" and Musselwhite would answer, "Oh, I KNEW Furry Lewis." As a nod to his own wide appeal, Harper humble-boasted, "I promise you, I'm the only human being that has opened for Pearl Jam AND John Lee Hooker." He's probably right.

The majority of No Mercy In This Land was recorded live, and Harper explained that after being asked "When are you going to work with Charlie again?" in every language around the world, this record had to happen, and "I want to work with Charlie as much as I can from here forward." Watching them play together - and crack each other up constantly - you can see why. Goldman asked, "Is there more to come?" to which Musselwhite drolly replied, "Well, this one isn't even out yet ...", earning more laughter (but it IS out now!). Harper spoke to how he comes up with songs, mocking himself by saying "I'm just channeling - shut the fuck up - don't act like you know songwriting ... but silence doesn't make a good interview." After a decades-long and successful career, I think it could be time for him to hang up the faux-humility, as you probably DO know songwriting if, as he said, he's opened for both Pearl Jam and Hooker. Just saying.

When Goldman asked Musselwhite why he chose the harmonica, he answered, "It's the only instrument that you can't see what you're doing. It has a voice-like quality, and I feel like I'm singing without words, breathing the music." He talked about hanging out in Chicago ("Coming from Memphis, I already knew how to drink!") and watching Muddy Waters. A waitress (whom he may or may not have had a thing with) told Waters to check him out, and from then on he would be asked to sit in with "Mud" whenever he was in the audience, "And that was my ticket out of the factory!" Goldman followed up by asking, "What makes a deep player?" to which Musselwhite retorted, "That's a question that if you have to ask it, you probably won't get it." Burn. He quickly added, "Deep blues has the most feeling. It comforts you." After being kind of dissed, Goldman turned to the audience to see if anyone had better questions. One lady asked Musselwhite if he was familiar with Turkish blues - and of course, he was. Zakiya Hooker stood up and greeted her Dad's old friend, Charlie, and invited them to the Hoooker exhibition, and the respect given her from both was clear. As I was next to her, I raised my hand and asked that since they both have talked a lot about who inspired them and gave them their shots, was there an up and coming musician that they would like to inspire or give a shot to? Harper replied, "I paid mine forward permanently with Jack Johnson.", revealing uncharacteristic maybe jealousy and for sure selfishness (alluding to the fact that he initially gave Johnson a boost, and has been surpassed by Johnson in both sales and fame). I was rather taken aback, as Harper is usually known for his activism and helpfulness, but maybe that was a younger Harper's unjaded idealism. Regardless, he is where he is in a great place today, affirming that and concluding by saying that "My Grammys are cherished like nothing else."

The duo returned to their instruments for an unaccompanied version of "Trust You To Dig My Grave", where just when you think it's about the trust that these two clearly have for each other, Harper sings about "Don't want to be your first lover, I want to be your last", implying a different kind of relationship being sung about. Whoever it's about, it's good, and the friends and musical partners gave each other a big thumbs up at its conclusion. I give No Mercy In This Land a big thumbs up, and this insightful evening of music and conversation at The Grammy Museum gets BOTH thumbs way up. Any chance you get to attend ANY program at The Grammy Museum should be taken, as you always come away from it feeling more knowledgeable, and grateful that music programs such as theirs continue to exist in this crazy world. Perhaps there maybe IS a little mercy in this land after all.

Thank you to the wonderful Grammy Museum for all that they do, and to Ben Harper and Charlie Musselwhite for giving us the blues - in a good way.

*Photos courtesy of Alison Buck/Wireimage.com for The Grammy Museum

Mr. Harper's Opus - Ben Harper Plays The Walt Disney Concert Hall

In the final show of Ben Harper's fall solo acoustic tour, he single handedly brought down the Walt Disney Concert Hall in Los Angeles. One guy. A whole bunch of instruments. A completely rapt (and totally diverse, from race to age to gender) audience. You know it's going to be good when there's a standing ovation just because someone walks on stage.

That Disney stage creates kind of an in-the-round experience, as they fill the seats behind the stage as well, and all the seats seem to be good. People chatted about how many times they'd seen Ben Harper play, what they hoped he would play, if they'd heard his latest album with Charlie Musselwhite, if they'd seen him skate ... as genteel chamber music played and the seats slowly filled with lagging Angelenos.

Then the lights went out, and Harper came out to a thunderous ovation before one note had been played. Ever gracious, he accepted the love with wide waves, then sat down and picked up a banjo. All got quiet quick and WE LOVE YOU, BEN! Harper played a beautiful new instrumental, "The Long Road Home." The way the rolling notes of the banjo filled the acoustically perfect hall let us know this was going to be one night to remember. And that Ben has SKILLS.

"I was just talking with a friend and realized that this is the 20th anniversary of this next song. He asked me what I was going to do for that, and I said, 'I'm going to play it at Walt Disney Hall!" Loud cheers for that, of course, and "I was just sitting on a porch in Echo Park and out it tumbled." And out tumbled, "Welcome To The Cruel World" played on Harper's trademark Weissenborn guitar. Beautifully. It cannot be overstated how GOOD his instruments and voice sounded in this building ... like they were made for each other.

"People have to respect something in order to listen to it, which is the problem the government is having ... Government shut-downs?! When you have 20 million people without health care charging the White House, then you're really going to have a government shut-down!" Shades of the activist Harper were on display I LOVE YOU, BEN! as he lit into "Excuse Me, Mr." on his electric Fender, playing his pedals to strong effect in that space. That led into a story about meeting Lou Reed when they both played Carnegie Hall. Reed liked Ben's guitar so much that night that Harper sent it to him in the mail the following week. "If you want a New Yorker to not trust you, try to give them something!" Reed reciprocated and sent one of his own guitars back to Harper, of which a friend said, "Man, that looks dangerous.... This is for Lou." Lou got "Fight Outta You" - and so did we. He left it open for people to sing along at the end, which no one really did - except for the guy right next to me. Horribly, and off-key, and to every song. *Note to all: People are there to hear the artist they love play the songs they love - not your shower singing. Unless it's a sing-along, please never do that. Thanks.

Droves of people swarmed in during the applause, prompting Harper to remark, "I tried to make it by 7:30 on a Monday once in Los Angeles," making people laugh, but also noting the interruption. (There was Clipper game traffic, but still.) "Roses From My Friends", "Another Lonely Day", and "Diamonds On The Inside" were all played on acoustic guitar, all classics with the lovely ending flourishes that he puts on songs, and a humble wave in thanks.

BEN, I LOVE YOU! As Harper acknowledged yet another distracting, attention-needing shout-out, he said, "I love you too. As I've gotten older, the yells have gotten lower in octave ... which I think has followed the upward mobility of gay rights. In '94, you should've seen my black ass singing 'Mama's Got A Girlfriend' in Virgin Records. Now it's all 'I love the gays'. Yes, I'm Black. I'm a mixed bag, a mutt .... but once you've been racially-profiled and harassed by the cops enough, the 20th time, they pull you over and say, 'Mr. Harper, here's your Black Card." That became a story about how bookers would want to put him on bills with the Bad Brains or Living Color ... "You'd be amazed what Black people listen to ... I went to a P.E. show and it was all white folks!" That P.E. show became a riot with midgets running after them ... "Why is everyone running from midgets? Midgets will kick your ass ... You never see 'em coming!" This story never quite came in for a landing because Harper cracked himself up, and then said, "The talking bit I don't quite have down."

Harper said the highest honor is when his music is used in church, as many people have used his songs in their weddings, funerals, births, etc, though he said it can be a little daunting "When you say something at 20 that you may never say better." The tone quickly turned to romantic as he played a lovely acoustic "Forever". MY GIRLFRIEND AND I LOVE YOU, BEN!!

"You didn't come here for a course on racial relations, did you? (Yes, maybe we did.) Race is a smokescreen for the truth, which is we're all free to hate each other equally. (laughs, but I prefer love.) If they realize who they let in here and kick us out, we'll all meet on the court house steps and finish up over there." Had that happened, we all would have followed, happily. Anywhere, really.

These prominent gigs were not as easy to come by in 1994 and Harper told a story about being fed by friends at Toi on Sunset, "Toi kept us ALIVE!", living on sugar cookies, and playing with a hat out at Venice Beach (somehow I doubt that one ...) and being late for a gig at The Mint. They got rear-ended at a stoplight on the way, and because he was the car in front and had to make the gig, he hit the gas and got out of there. "Bounced!" They arrived at The Mint just in time to hear the last song by Mazzy Star, "Fade Into You". He then sat at the piano and played that gorgeous song for us. Bless him.

The Weissenborn returned for an instrumental medley that showed just exactly what the Disney Hall can do.  "Mutt/All My Heart Can Take" were so resonant, so powerful, so just HOLY SHIT is he good, that when Harper slapped the strings with authority to end it, the crowd just erupted. I still have chills now writing about it. That was about to go right into the opening chords of the life-saving "Lifeline" when HAPPY BIRTHDAY, BEN! was bellowed (a month late) by a woman named Shawna (whose birthday is in December, we're all happy to know). Harper kindly returned the "Happy Birthday" and had an usher hand her his slide as a gift, and turned his chair to play to the back for her, with the condition that she return and have a similar conversation with Gustavo Dudamel (The L.A. Philharmonic conductor) during HIS show. Ha!

"After this long, all the shitheads are gone, and we all mean it," said Harper by means of introducing his next one on acoustic guitar, "Don't Give Up On Me Now." Judging from this night, he has absolutely nothing to worry about there. "You know, the laws are changing, there's a shifting of the tide, and I'd like to think I had something to do with helping certain laws become more liberal." He was on tour with reggae great (and one of my favorites) Damian Marley ("He's got his Black Card!") and Marley said, "(unintelligible rasta patois impression)" so I got my Jamaican interpreter and he said, 'Are you saying LIKE my fire or LIGHT my fire?" Harper smiled and said, "You know it's both!" and stood up walking around the entire stage singing "Burn One Down" to a delighted, totally on-board crowd that stood and cheered like crazy at the last chord, which ended the first set.

People stood and cheered until Harper returned and sat down saying, "2,500 of my closest friends!" He adjusted things and said, "Muddy Waters. John Lee Hooker. GNARLS BARKLEY!! began the shouting of names, but Harper's point was that "If they hadn't played with him yet, they KNEW him and wanted to play with him," to invite his most recent album's collaborator, Mr. Charlie Musselwhite out to join him!

Musselwhite sat down and opened his suitcase of harmonicas, Harper strapped on his Fender, and they proceeded to deliver us the real deal BLUES. "I'm In, I'm Out, And I'm Gone" showed how much these two coalesce their musicality together. "He came along and re-coded my genetics," was how Harper put it. They play off of each other seamlessly. "Don't Look Twice" had Harper switching to a jangly-stringed acoustic and together they completely FILLED the space with such amazing sound that at its end, Harper remarked, "I always wondered what it would sound like to be INSIDE a guitar. Now I know." I had been having the same thought before he said it. You were inside of and surrounded by every bent note.

"You Found Another Lover (I Lost Another Friend)" was soulful, mournful, legit blues, and then they played one "slated for Charlie and I's second record," LOVE YOU, CHARLIE! called "I Trust You To Dig My Grave". It's clear that these masters of their craft are having a total ball playing together, and it's extremely infectious as people clapped along and shouted like they were in a blues bar and not a symphony hall. Music this good will do that. Charlie and Ben left the stage to another standing ovation, richly earned.

Harper rewarded the fans with another encore, by sitting right down at the upright piano and playing a new one, "I'm Trying Not To Fall In Love With You".  This is a dramatic one, with lots of thundering chords and excellent as ever lyrics. "This is just a game of (there was a pause so someone had to yell FOOLS! - Thanks.) Everyone knows about his guitar prowess, but it was a surprise to many that he throws down such piano chops as well (And would probably tear up a bassoon or a washboard or ANYthing else too. Being raised in a folk music store will do that). Harper's voice was as soaring as the high ceilings and when he slapped the piano keys at song's end, you couldn't hear yourself even think how good it was, the applause was so deafening.

INTO THE COLORS! came a request (that I don't recall being taken) from the balcony. "You wouldn't holler 'Mahler's 9th!' at Dudamel ... Let's respect the venue." Yes, let's. Instead, Harper played a lilting, folky-sounding version of "Steal My Kisses". He must have missed a note that I didn't hear, because he said, "Man, this is an unforgiving place." - meaning the acoustics, not the fans, who would forgive anything at this point.

Next came a special treat as Harper invited his Mother, Ellen, out to join him. They are working on an album together to come out THANK YOU, MOM! on Mother's Day next year, called "Childhood Home". They sat next to each other, she on acoustic, he on lap steel, to play a homesick for simpler times song called "City Of Dreams", written by his Mom. Simply lovely.

"This next song I've wanted to write my whole life, and I think I finally did," said Harper about the next one, "Born To Love You". Mother and Son harmonized so beautifully, as she sat behind him at the piano, singing and watching her child play. I have a lump in my throat and my eyes are welling now just at the memory of how heart-wrenchingly special it was.

 I had a health scare with my own Mother earlier this year, and listening to this song about the love between a Mother and child being sung together by such angelic voices meant - BORN - to sing together, it was just so touching. I was a melted puddle of love. And I was not alone. YOU DID GOOD, MOM! She sure did. She and Ben hugged and she left the stage with a gracious wave.

Harper remained to play LOVE YOU, BEN! "Walk Away", his crusher of a break-up song, that he made quieter and quieter at its end to illustrate the walking away out that door. So good. Then we got the beautiful "Amen, Omen", a clear crowd favorite (that the guy next to me knew just about every third word to) and BEST SHOW EVER! save for the yells, it was quiet enough for him to sing away from the mic.

"I want to go real slow. It's never slow enough when it's something you hold dear." PLAY ALL NIGHT! "Then I'm the guy that plays all night." I'LL BUY YOU A BEER! "I WILL play for beer." SKATE LIFE! "I will do Lazers, yes." I LIKE YOUR GUITAR! "Thank you for that." It died down just long enough for Harper to say, "You play all your life to get to exactly where you're standing. Thank you all from my heart. I don't want it to end." No one did. Especially not when he began the distinctive opening chords to "Hallelujah". I'm of the school that thought after Jeff Buckley covered Leonard Cohen's majestic classic, no one should ever even try again. Until last night. Harper makes it his own with the Weissenborn chords echoing all over the hall until I was all choked up again. You could hear a HAIR drop in there, so caught up in it was everyone. Soaring held high notes that made the joint erupt in appreciative yells, it was heart-swelling. Glorious, and the sound in there made it all the more Heavenly. There couldn't be a more apt title for a song - Hallelujah! OK, NOW no one should ever do it again. Another massive standing ovation, more than earned.

On a lighter note, Harper picked up a ukulele and strolled the stage un-miked, serenading each and every corner of the venue with "Suzy Blue". The line where he sings Misery loves a symphony... got a laugh (but don't be at all surprised when he DOES perform a symphony in there. He will.), and everyone clapped along, with the buoyancy that comes with knowing you wouldn't rather be anywhere else, and everyone in there feels the same way. THANK YOU, BROTHER!

After effusive thanks to the audience and his road crew, and shout outs to Stoner Park skater friends, and apologizing for it being a work night, but not wanting it to be over just yet, KEEP US UP ALL NIGHT! Harper sat down to play a sublime acoustic version of "Power Of The Gospel". Powerful, for sure. It was silent (for once) as the audience sat in recognition of the extreme talent and power of MUSIC - to bring us together. To heal. To bless. To rejoice! "Amazing" is real over-used these days, but somehow it's about the only word that fits. "What do you do, retire after a gig like this?!" an equally amazed Harper wondered as he said his thanks, waved and left the stage, with everyone wanting much more. Let us hope he never does retire. The world needs this music. I can't think of really anyone else who so fully embraces all kinds of musical genres with such ease, comfort and soulful grace and gives it to us with all he's got, every time.

Now that I'm home and thinking about it all and so happy to have been there to share that glorious evening, I can say what had spontaneously burst out of so many people that couldn't contain it last night ... LOVE YOU, BEN!

Thank you, Ben, on behalf of everyone who has been blessed to be a witness of your full of wonder music.