Ben Harper and Charlie Musselwhite Get Up! Stax Records For Ben Harper, the blues have always been within arm’s reach. His latest collaboration with bluesman Charlie Musselwhite, Get Up!, finally

Ben Harper and Charlie Musselwhite
Get Up!
Stax Records


For Ben Harper, the blues have always been within arm’s reach. His latest collaboration with bluesman Charlie Musselwhite, Get Up!, finally allows Harper the time and space to deal with the blues—on his terms. The two players first met during a session with boogie-king John Lee Hooker more than a decade ago and have been occasional collaborators since. Both Harper and Musselwhite seem to have a profound effect on the other. The gritty and soulful sound of Musselwhite’s harp adds authenticity to the group, while Harper’s songs give “Memphis” Charlie more than a 12-bar form to explore.

And explore he does. Covering the bases from jazz and blues to more folkloric sounds, Musselwhite pushes Harper and his band in a way that really demonstrates why chemistry is so important when it comes to collaborative projects. Their groove is in full force on “I’m In, I’m Out, and I’m Gone,” where Harper channels John Lee with a stream-of-consciousness lyric that fits perfectly with the stomping shuffle groove. On this album, substance and feeling are placed above flash and polish, which is a rare thing these days, but entirely necessary when it comes to the blues.

Must-hear track: “I Ride at Dawn”

Rig Rundown: Adam Shoenfeld

Whether in the studio or on solo gigs, the Nashville session-guitar star holds a lotta cards, with guitars and amps for everything he’s dealt.

Adam Shoenfeld has helped shape the tone of modern country guitar. How? Well, the Nashville-based session star, producer, and frontman has played on hundreds of albums and 45 No. 1 country hits, starting with Jason Aldean’s “Hicktown,” since 2005. Plus, he’s found time for several bands of his own as well as the first studio album under his own name, All the Birds Sing, which drops January 28.

Read More Show less

Diatonic sequences are powerful tools. Here’s how to use them wisely.

Advanced

Beginner

• Understand how to map out the neck in seven positions.
• Learn to combine legato and picking to create long phrases.
• Develop a smooth attack—even at high speeds.

{u'media': u'[rebelmouse-document-pdf 13574 site_id=20368559 original_filename="7Shred-Jan22.pdf"]', u'file_original_url': u'https://roar-assets-auto.rbl.ms/documents/13574/7Shred-Jan22.pdf', u'type': u'pdf', u'id': 13574, u'media_html': u'7Shred-Jan22.pdf'}
Knowing how to function in different keys is crucial to improvising in any context. One path to fretboard mastery is learning how to move through positions across the neck. Even something as simple as a three-note-per-string major scale can offer loads of options when it’s time to step up and rip. I’m going to outline seven technical sequences, each one focusing on a position of a diatonic major scale. This should provide a fun workout for the fingers and hopefully inspire a few licks of your own.
Read More Show less
x