When Gus Thornton's Momma showed him the Christmas catalogue he told her he wanted the $3 Lone Ranger and Tonto guitar. Little did he know then that nearly sixty years later his choice would lead him being on the Legends Stage at the National Blues Museum with David Dee where both were honored for "Keeping the Blues Alive."  

The September 8, 2017 recognition event was part of the museums Howlin' Friday show that featuring George Brock who received the first "Keeping the Blues Alive" award last April. Dion Brown, Executive Director of the NBM, says: "We started this award as a way to recognize the invaluable contributions of our local musicians to blues music. At the same time, we recognize it takes more than a front person to keep the blues alive and we intend to honor those folks too." Gus Thornton, Marquise Knox's bassist and one of premiere players in the country, provides a perfect example. 

Thornton isn't a frontman, never has been. But he is a bass man and in Marquise Knox's words "a bedrock, my bedrock." His longtime bandmate in Kim Massie and the Solid Senders, guitarist Steve Martin, agrees: "Bass players in general don't get credit. They're in back. That's the way it is. But, you sure notice when they're not there because the bottom falls out. The bass is the glue that holds a band together." B.B. King knew that. His daughter, Shirley King, says, "Look at the pictures. My Daddy always kept the bass player next to him. He said 'the bass was the most important instrument for keeping the music together.'" 

 

Learnin' the Licks 

Influenced by Memphis, Motown and the Beatles on their home radio, Gus's career started out with living room concerts with his brothers and sisters and writing a song, "Cincinnati Blues." The only problem was the guitar wasn't tuned properly, he didn't know how to play and he played it upside down. By middle school, a real acoustic guitar, picks, and Webb Pierce and Homer and Jethro albums became part of the self-learning process. Gus says, "I learned hip country music." Lessons from Dan Jones at Sonny Shields music store in East St. Louis also helped. 

An attempt to play in the junior high l band didn't work out. They didn't need guitars. He was told he didn't have an embouchure for trumpet. He wanted to try sax but they said he would have to learn clarinet. "Clarinet," Gus says, "No way I was doing that. The clarinet section was all girls." He quit the school band and looked for other outlets. 

Playing with friends became one of those outlets but when they went to form a band there was a problem. Like most kids they all started out on guitar so they found themselves with three guitars and no bass. Gus became the bass volunteer picking out the notes on four strings of his guitar. Turns out it was a pretty smart move. 

The other outlet was a gospel group he joined at 14. The Illinois Special recruited Thornton, who when he told them "I'm not that good," responded "that's okay, we'll teach you." And they did according to Gus: "They helped my ear out by having to listen to harmony, the lead singer and understanding changes and how to hear them." 

 

From Young Disciples to Albert King

The road to Thornton's success came in 1968 during high school when the auditioned at the South Side Center in East St. Louis for the Young Disciples. This legendary model cities program (1967-72) was developed by Allen Merry a woodwind player who had toured or recorded with Curtis Amy, Ray Charles, Hank Williams Jr., and Little Richard. It was designed to help keep kids off the streets in the troubled times of the late '60s but it became much more. It became an opportunity for kids to tap and develop their talents in a mini Motown.   

Merry exposed kids to all kinds of music. Thornton says, "We got it all -- Motown, Memphis, Big Band -- I saw Stan Kenton, Ray Charles, James Brown and more." The 80 members of the Young Disciples had multiple singing, dance, music groups and even a comedy act. They learned how to perform, book shows, manage, wire equipment, start a record company, and make records even booking time at Sun Studios in Memphis. 

Gus's first record credits come from those days as he performed as part of the rhythm section backing up various groups like Primes, the Primettes (after the Motown groups), the Debonaires and the Debonettes, The Georgettes, the Gents and the Meditations. It was an exciting time that included teenage friends like Renee Smith, Marsha Evans, and Sharon Clarke all of whom later worked with Oliver Sain. 

The Disciples came to an end in 1972 and Gus took his Fender Precision to form his own band, F Troop and later the Free Spirit Band which included Oliver Johnson a horn player. Johnson got a job with Albert King's band ('75-'81) when that Free Spirit broke up. Thornton would go with him by to watch them practice. He had met Albert during the Disciple days. In 1977 King asked him to join the band for a West Coast trip. Gus thought, "I want to see California and there's knee deep snow here," so he went.  

The rehearsals were cool but onstage everything went off the rails as Albert showed a side that many musicians had seen: "King was yelling at me onstage. I couldn't do anything right. He was saying, 'I'm gonna pull the trigger (fire him).'" By Chicago Gus thought it was over and he planned to quit but he says, "Albert got nicer the closer they got to home. So I decided to stay a few more weeks." It turned into years of traveling the US and Europe. He became close friends with King and another young guy who used to come and jam with them, Stevie Ray Vaughn. Those relationships would prove pivotal in coming years.  

 

In Demand 

In 1979 another bass player, Frank Dauber, joined the band. He also was a bus driver, mechanic and brought his own band. Gus was appointed the road manager which taught him money management and booking skills but he became a part time player. He eventually left the band and came home. It turned out to be a good move. He began freelancing and found he had become established. Everyone wanted Gus Thornton. He had the chops and the rep after touring with one of the greatest blues talents in the country.  

In 1983 Albert King asked him to return to the band. Again, what Gus thought would be a few weeks turned into years and three albums: San Francisco 83, I'm in a Phone Booth, Baby and In Session (with Stevie Ray Vaughn). Over the next two decades he would record with the best in the business including: SRV and Blues at Sunrise with Stevie Ray Vaughn, Two Fisted Mama with Katie Webster, two albums with Johnnie Jonson -- Blue Hand Johnnie and Johnnie Be Eighty! And Still Bad, and Can't Stop Now with Kenny "Blues Boss" Wayne. He has more than 25 albums to his credit with the new Marquise Knox release Black and Blue being the latest. 

It was the early albums with King that Thornton says "taught me how to make real records by getting closer to the actual production and learning how to do professional photo shoots." He says "friendship with Albert and Stevie, jamming with Stevie's band and meeting other famous musicians" are all part of his special memories of those times. 

 

You Gotta Have Heart

Thornton is a guy that gets all the good adjectives -- nicest, kind hearted, sweetest, friendliest, calm, cool, laid back, easy going, effortless, encouraging, etc. Marquise Knox says that every time he tells Gus "you're too cool," Gus says, "No, I'm just careful." 

He has a soft spot for young musicians like Marquise when he was a kid and the up and coming Matt "The Rattlesnake" Lesch. Matt was star struck when Knox invited him to sit in with the band four years ago. "I knew Gus was the guy on In Sessions and I still watch it. I asked him for an autograph and he asked me for mine. We have stayed in touch ever since."

Don't let the descriptions fool you. There is a tenacity and focus in his seemingly effortless playing style and as Steve Martin puts it a personal "strength in the face of diversity." St. Louis saw the latter when he suffered a stroke onstage at the 1996 Big Muddy Blues Fest. When the EMT's arrived Gus realized, "I couldn't tell them where the pain was. I couldn't talk. I couldn't point. Half my body was paralyzed." Their quick actions helped save his life. However, it was the beginning of a long journey to a 2011 heart transplant. 

Today he works in support of heart research. One of his fellow transplant patients who works with him is an old Disciples alumnus, Sharon Clark. They have played fundraisers together to raise money for the research. He also remains close to the family of his heart donor Anthony "Tony" Mather.  Just prior to appearing at this year's Big Muddy he held an emotional reunion with them in Wisconsin. Thornton is still overwhelmed and grateful to St. Louis Blues Society Mission Fund and the blues community for their support though his heart related health issues. 

Gus came back from the transplant to rejoin the Kim Massie and the Solid Senders. A couple of years later Marquise Knox asked him to become part of his band. He had known and admired Gus since he was a kid. Gus had encouraged him because he wanted to pass the torch and keep the blues alive. It was a great match. The band, which includes Matt Lawler (guitar) and Michael Battle (drums), all say, "we are a family." They look out for Gus on road trips making sure he gets the appropriate rest and has comfortable arrangements for long drives.   

There is a symmetry in seeing Thornton with Knox. Gus started as the talented young guy playing with the old pro, Albert King. Now the tables are turned. He's the old pro working with the talented young gun. Their love and respect for one another was obvious on the Legends Stage. As Knox puts it at the ceremony: "Gus is living history. He is a legend and it is time he got the recognition he deserves. I hope I'll be as good as a man as those I've learned from, David Dee and Gus Thornton." 

There was a lot of blues history jamming on stage following the ceremony. Gus and David Dee joined George Brock for a rousing rendition of B.B. King's "How Blue Can You Get." Then Marquise came up taking Matt Leach's guitar for "Two Trains Running (Still a Fool)" and "Walkin' the Dog" while Ben Wells, Tommy Bankhead's drummer, kept the beat. Gus was there playing his style of "being in the groove, not getting in the way," and loving every minute of it.  

Yes, it was a night to be remembered for a guy who has contributed mightily to "Keeping the Blues Alive" in St. Louis. Gus's humble response to the evenings accolades was to recognize his partner, Lisa Carr, his family and to offer up these words: "I have always tried to treat others the way I would like to be treated. It would be a better world if we all treated each other that way." Amen, brother.

Click below to see Bob Baugh's photographs of the event.

"Keeping the Blues Alive" Award Ceremony for David Dee and Gus Thornton at the National Blues Museum, September 8, 2017

 

Andy Novara has been a staple of Folk School of KDHX for the past 5 years. An accomplished guitar, banjo, and mandolin player, Novara uses transcription improvisation and attention to fundamentals as a technique in his performance and instruction technique.

His current band, River Bend Bluegrass is playing The Stage at KDHX on Saturday, September 9.

Andy took time for a chat with Keith Dudding, host of KDHX’s Down Yonder for a discussion on his history, learning and instructional style, and the foundation of River Bend.

Keith Dudding: Full disclosure, I have taught at the Folk School since they opened its doors, but this is the first time that you have been the Program Coordinator.

Andy Novara: Yes.

KD: Tell us a little bit about the Folk School and give us a little history.

AN: I started working at the Folk School about five years ago. This was great for me because it was finding that actual outlet for my interest in bluegrass and old time music, plus the teaching aspect of it. It's very rare that you can kind of find these type of two situations going together. In other words, there's a lot of teaching opportunities, but not so much in the field that I enjoy to play in, in bluegrass and old time, things like that.

KD: Well, since you bring it up, let's review your musical history and how you came to be a bluegrass ... I've heard you play many occasions. You got skills, and you share that through your teaching. What was your first instrument?

AN: It went between guitar and banjo. They're all kind of simultaneously at the same time. I went through a rock phase like anybody else did. But the main instrument, I would say, probably guitar. It was when I really started getting into music it was guitar.

KD: The first music you tried to play on guitar was rock and roll, or what was your-

AN: Oh, man. No. Well my mom actually taught me "Sunshine of Your Love" riff. I don't know if that counts as your first.

KD: Way to go, Mom!

AN: I know. I always give her credit for that, but I think when I first started out I was into Stevie Ray Vaughan. He was, in my mind, as the greatest of all time.

KD: When was your first introduction to bluegrass music that you recall?

AN: Actually, around that same time, my father was an official wildlife biologist. I was working on a refuge for summers. The first exposure to that was there was a man named Dave Prosser. I bet you know his brother, Zane.

KD: Zane, I know Zane. Of course, yeah.

AN: Dave is an outstanding banjo player and he'd always have Flatt and Scruggs going in the truck. I first heard that through him and got the inkling of this style of music. It was through him, working and hearing that music and watching him play banjo. I took a couple lessons from him and hung out at his house. The whole bit. That's really where I got started in bluegrass music, through him.

KD: Pursuing it ever since and playing at a very high level, if I may say.

AN: I appreciate it.

KD: Well, since you mentioned taking lessons, are you self-taught, essentially, on all your instruments?

AN: I would say self-taught. But I'm always seeking out other players at festivals and things, show me a lick. There's a lot of local guys that have helped me out, Cecil Tinnon, Greg Silsby. He's great. All the local guys that I've picked things up off of.

KD: Now you share that through both teaching at the Folk School and other locations.

AN: Yeah, exactly. That's the idea with me teaching, is just sharing what I've learned from other people along the way.

KD: What’s your, I don't want to say a "secret" of teaching, but what have you found about ... You can play some very complicated stuff.

AN: Sure.

KD: You break down Tony Rice licks and work out solos, which that ain't easy...when people are up to a certain level of proficiency and they want to make that leap, what's the challenge? How do you help them get from where they are to where they want to be?

AN: At a higher level of proficiency, a lot of times what I like to do is just teach them how to listen to records.

KD: Really?

AN: It seems simple enough, but a lot of people don't dive to this subtleties of these old records. There's ways of repetitive listening. With today's technology you can even slow some of these things down to the point of where you can rip it and learn how to play it on your instrument. I think that's a huge thing because, I'd hear J.D. Crowe's stories of him learning all the Scruggs solos from records. Slowing the RPM down. It's nothing new.

KD: Just a little bit about the instructional approach of the Folk School--Because you were looking for an outlet, you found the Folk School 5 years ago. What's the school philosophy, or what makes it different than just taking private lessons from somebody like you?

AN: Well, the school in general is the idea being that we get other students together. The Folk School, we have group classes with all different types of age levels and abilities and get them to play together. So, that's one of the most important things about music, I would think, is the idea of playing with other people as soon as possible. Having a common vision of how to progress forward as a group. I think that helps the learning, not to sound weird, but you're almost held accountable to your buddies in the classes. You gotta hold up your end of the bargain on this tune. We have showcase sessions where they actually perform in front of the public, so that's very interesting for students to try to get all the material worked up.

KD: And the listening part, I mean one on one it's like you and an instructor, and if it ain't you it's the instructor. But here if you're playing-

AN: Right, you listen to other people and you learn from your fellow students as well, it's not just the instructor. You might hear a great mandolin lick from some guy in your class and, hey can you teach me that. That's what I enjoy about it. I learn things from my students all the time. They bring in tunes that they want to learn, or different things I haven't heard. It's definitely a kind of group environment and that's what I really enjoy about the Folk School.

KD: In addition to the lessons and the classes on individual instruments, the Folk School also offers classes in ensembles.

AN: Yes, in ensemble groups, in other words we have bluegrass ensembles, we have country ensembles, we have Beatles ensembles, John Hartford ensembles going right now. So those are specialized classes dealing with a certain subset of music. So, the Hartford class, for example, would just be doing Hartford songs.

KD: In addition to the ensemble classes you also have the jam sessions.

AN: 3 times a month. They're on Saturdays and Sundays, they're held here at the stage or over at the Folk School, which is a great opportunity to learn it's open to the public, all ages and ability levels.

KD: As fine a guitar player as you are, and you are one fine guitar player. You don't play guitar in your own bluegrass band. That's because you got the other guy-

AN: Exactly, I got the other, great guitar player Dustin Greer, to take the reins.

KD: You guys are both majorly skilled. How do you decide who's gonna play guitar. Did you, rock paper scissors. Was it a coin flip-

AN: We flipped a coin, we flipped a coin.

KD: Because you are almost interchangeable apart from your styles ... I'm sure you could point out the differences. You must be able to sit back and go, wow, to either one of you.

AN: Sure. I always feel me and Dustin are kind of birds of a feather as far as our interests and our playing styles. But, Dustin's just an incredible musician and I'm lucky to play with him, weekly. So, I'm learning stuff from him constantly.

KD: Thing I like about your band is that, you guys could play away from the music or you could go out as far out as you wanted to. But, that's not the point. You guys are really, you're tied to the traditional sound and even so you play a lot of hot licks and a lot of great stuff. But, it's not like let's stretch it out and expand, it's like, let's execute the form.

AN: Sure. The idea of being with that band is trying to execute a well thought out show. In the vein of the Monroes, the Stanley Brothers, that type of thing. Having not too many jam outs. Everything is pretty structured as far as breaks and back ups and things like that. It's just the music that we like to listen to and it's music that we like to play so, we hope other people enjoy it as well.

KD: Playing The Stage here at KDHX on, I just looked at the sign, Saturday the 9th.

AN: Yes sir.

KD: I got it right. And something else coming up after that, I'm sure there is.

AN: There's a lot going on. We're playing at Picking on the Huzzah, a festival coming down late September. So, that should be fun playing in the resort area. We're just actually finishing up an album right now, getting it mastered. Final stages of that so we're pretty excited. I probably have that coming out sometime late Fall.

KD: Cool, well looking forward to hearing that and playing it on KDHX. Thank you for the visit and-

AN: Oh thank you.

KD: Thank you for your work as program coordinator at the Folk School and also your work in River Bend. Looking forward to seeing you at The Stage here on the 9th! Go see them, they're great!

River Bend Bluegrass perform at the Stage @ KDHX on Friday, September 9 at 8:00 p.m. Tickets available online.

 

Husband-wife duo Kagey Parrish and Laura Wortman combine their near-perfect harmonies and expert musicianship into one beautiful package. The Honey Dewdrops stay ever-mindful of their Appalachian roots while evolving musically and lyrically with their songwriting and playing. In advance of their performance at the Stage @ KDHX, Kagey Parrish of the Honey Dewdrops took time for a chat with Kelly Wells, host of KDHX's Steam-Powered Radio.

Kelly Wells: I’ve had the pleasure of listening to y’all since your early days and have enjoyed following your progression as songwriters and players. I especially love how you incorporate roots lyrics and styles into your playing and writing. When writing for an album, do you give equal focus to lyrics and melody/arrangement?

Kagey Parrish: I think so. What we want is for a song to come to life and sing in its own unique way, so that there’s a flow that catches both the lyrics, melody and arrangement -- that makes all of the elements of the song work together. The best way we’ve learned to do this is let the song shape itself. It’s a lot of listening and reacting in the moment to what we hear, and then adding on/subtracting/editing. Focus is one word for it, but it feels more like intuition, trusting the first thing that comes mind.  

KW: As a duo, do you write together, separate or both?

KP: Both. We’ve found that different songs call for different approaches.

KW: Your most recent album, Tangled Country was released in 2014. What is a current focus/project for the band?

KP: We’re working on new songs for a record and we’re playing a few them at shows now. We’ve always tended to work on new material in a live setting because it helps us know the songs a little better. The experience of putting the song on a stage and into the ears of an audience allows us to hear new songs in a different way than at home or inside a recording device. It also opens us up to conversations with others about the songs in progress, which can be very helpful.

KW: In roots music we can tend to talk a lot about our influences, siting old fiddlers, banjo players and guitar players that are obscure to all but the most devoted to the genre. Or perhaps we site folks we heard growing up. One of the greatest influences though, can be our peers. I’m curious, what contemporary musicians influence your music? Who impresses you with their own writing and playing?

KP: Recently we’ve been into Devon Sproule’s latest record The Golden String. She’s a pal from Virginia whose writing, singing, and guitar playing are very much all her own. She has a way with lyrics that are at once mysterious and familiar. And she sings them with a voice that is playfully beautiful and heartfelt, always graceful.

KW: Do you have a favorite song you like to perform?

KP: Our song "Hold Love" is always fun to play. It’s a two guitar song with both in a drop D tuning -- love the way guitars sound with the 6th string tuned down to D. The song has big improvisational section in the middle which is always fun to dive into and see where it goes. We’ve been doing John Reischman’s tune "Salt Spring" with guitar and mandolin and it has been a blast digging into the elegant movements of that one as a duet. Also, we’ve been playing Dylan’s "Don’t Think Twice, It’s Alright." It’s so much fun to put ourselves inside this incredible song. It never gets old.

KW: What do you each like to do outside of music that contributes to your music? A hobby perhaps, that rejuvenates you creatively?

KP: Laura is a backpacker / hiker, so she takes to the woods and mountains to come back to life. I like to cook -- nothing like a great meal to get the engines going again.

The Honey Dewdrops perform at the Stage @ KDHX Thursday, August 24 at 8:00pm. Tickets available online.

 

"It had been a little bit too long," says three-time Grammy Award winning singer, songwriter and guitarist Ben Harper about reuniting with his long-time band, The Innocent Criminals. After six years apart, the backing group, which includes bassist Juan Nelson, percussionist Leon Mobley, drummer Oliver Charles, lead guitarist Jason Mozersky and keyboardist/multi-instrumentalist Jason Yates, began rehearsing together again in 2015 to jump back in the studio. They released a new album, Call it What it Is, in 2016 and are currently touring in support, making a stop at The Pageant on September 11.

"Everybody was ready and had a lot to bring to the table. We personally had lived a lot of lives in the time that we stopped touring together," says Harper. "We never stopped being friends, but stopping touring. So with us getting back together, there was a lot to catch up on; but any grievances had already been aired at that point, which was nice. We were able to start again with a clear path."

Call it What it Is sounds like a classic Ben Harper and the Innocent Criminals record, a blending of styles from reggae and roots rock to folk and blues, anchored by the sound of Harper's ever-soulful voice and signature Weissenborn lap slide guitar. Harper has never shied away from addressing social issues like racism, classism and social justice in his music, and this album no exception, particularly the title track, which mentions the shootings of Trayvon Martin, Ezell Ford and Michael Brown by name, demanding, "Call it what it is -- murder."

About a year before recording the album, Harper released a video of an acoustic version of the song on YouTube and was taken aback by the response.

"Some people had their arms wide open for that song and some people ducked. It definitely taught me a lot about not only just the division in America, but the division within the people who listened to my own music," he says. 

"It being the record title has led the charge for that record. It was a title that certain people had second-guessed as so forward and demanding and speaking in absolutes in its own way; and for me, that's what punk rock is about. I'm not punk rock, but punk soul, punk folk, roots rock, protest music -- protest music that not only is just a song, but that makes you actually want to protest. It's only real protest music if it makes you want to protest. I just had to lead with it."

The heaviness of that opener is balanced with lighter tunes like "Shine," "Pink Balloon," and nostalgic "When Sex Was Dirty." Beautifully simple ballad "All That Has Grown" is just Harper's voice and lap slide without the backing of the band. 

Harper began his guitar career in his early teens. It was in his blood, so to speak. For more than 50 years, his family has owned the Folk Music Center Museum & Store in Claremont, Calif., where he grew up receiving a first-hand music education from his grandparents, parents and every musician who walked through the door. He knew early on that slide guitar, particularly the rare antique Weissenborn lap slides, would be his instrument of choice.

"I discovered the Weissenborns early. It was the sound of slide guitar period that spoke to me, and when I started reaching towards it to play at an early age, I felt like I could get around better on the slide guitar when it was on my lap," he says. "Because it was such an eccentric environment I grew up in, lap steel guitar and dulcimers and autoharps and guitars and instruments that were played on the lap were just normal to me."

"I'd see every instrumentalist that played a unique instrument come through my family's store. I'd see them playing lap steel guitar and regular bottleneck slide, and I'd hear flat pickers and finger pickers and shredders come in, so I really did have a lot to gravitate toward," says Harper. "But I definitely was pulled toward lap guitar and I played fretless guitar before I played guitar with frets. I didn't even care that guitars had frets until I was 18 or 19 years old." 

Raised in a family of musicians, it was the realization of a lifelong dream when Harper finally collaborated with his mother, songwriter Ellen Harper, to release an album of folk tunes in 2014 appropriately titled Childhood Home. Though she put her professional music career on hold to raise Ben and his two brothers, he says she continued to put pen to paper and keep writing songs. A collaboration seemed inevitable, but they never could find the time. 

"It was something she and I always talked about. It would be part of every conversation at every family holiday," he says. "We finally both had the time and we had the material. It surprised me how challenging it was to select the right material to do a duet record with your mom. You can't just do any old love songs, so it forced us to pick our material very carefully, which I'm proud to say that we did. It was a healing process in the only way that music is and I think you can hear it woven into the words and into the textures in that record." 

The year prior, Harper saw another dream collaboration finally come to fruition when he released the album Get Up! with one of his musical heroes, Charlie Musselwhite, which went on to win the Grammy for Best Blues Album in 2014. The effort was also a long time coming, he says. 

"I've been listening to Charlie all my life. Charlie Musselwhite is one of the pillars of the Blues and my family had not only a record collection, but a music archive, so of course Charlie was deeply woven into that. I first recorded with Charlie and John Lee Hooker on what was to be John Lee's last studio record, and from that, Charlie and I have just been lifelong friends."

The pair recently completed a follow-up album called "No Mercy in This Land" that they plan to release in March or April of next year. 

Outside of music, Harper has long been involved in various causes, backing up the social messages in his music with grassroots activism. Along with his wife, his most recent project was setting up the New Light Boys' Home in Khela-Ghar, India to provide the sons of women in prostitution the opportunity to grow up in a safe and secure environment and realize their full potential. The Harpers worked with CNN Hero Urmi Basu to creating the new home.

"She has had a girls' home for many years that is an institution in Calcutta. My wife and I came to the conclusion that we also needed to address the boys and give a place for the boys there. And so we took to building a boys' home there this year with Urmi," Harper says. 

"That is what I've been putting the majority of my focus into lately; but I'm always looking for a cause, because to me that is the purpose and the point of it all -- if you can reach outside your own life and at least even hold the door for somebody. It's all about holding the door." 

Ben Harper and The Innocent Criminals will appear with Hey King at The Pageant on Monday, September 11 at 8 p.m. 

 

Charles Stewart, better known as Chali 2na, has been one of the most recognizable voices in hip-hop for over two decades. Originally from Chicago, he spent his later youth in South Central Los Angeles, where he and high school friend Cut Chemist were originally part of a group called Unity Committee that lead to the formation of the iconic Jurassic 5. With a fluid, baritone flow, Chali 2na boasts a solo LP, a series of EPs and dozens of collaborations and feature parts with artists of many genres across the globe. Additionally, he was a founding member of the Latin-Funk band Ozomatli. A genuine creative, Stewart is also a passionate visual artist with extensive portfolios in spray-paint and photography. 

With a performance at the Atomic Cowboy Pavilion on Thursday, August 17, Chali 2na took the time to catch up on current projects and passions with KDHX's Wil Wander of Elevated Rhymestate.  

 

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