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Topic: Jules Ah See error? |
David Matzenik
From:
Cairns, on the Coral Sea
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Posted 27 Aug 2020 11:51 pm |
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In his famous recording of the Hula Blues, Jules plays 31 bars before going into the Bridge. Bar 31 is a lone F chord. In the second round, he plays 32 bars, adding another F chord before the Bridge. Did he make a mistake the first time around, or am I missing something? If I miscounted, so did Stacy Phillips in his transcription. Its hard to believe the band just breezed through an error.
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Don't go in the water after lunch. You'll get a cramp and drown. - Mother. |
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Mike Neer
From:
NJ
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Posted 28 Aug 2020 5:43 am
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I wouldn’t call it an error, I would call it a conscious choice he made and everyone was onboard with.
Reminds me of a Billy Gibbons anecdote about Lightnin’ Hopkins. He said one time he was playing the blues with him and Lightnin’ didn’t change chords, so he said “Aren’t we supposed to go to the IV chord there?†And Lightnin’ responded with “We change when Lightnin’ wants to change.†Not exact quotes but close enough.
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Links to streaming music, websites, YouTube: Links |
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Bill McCloskey
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Posted 28 Aug 2020 6:24 am
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"“We were playing a traditional blues and we all went to the second change, but Lightnin’ was still in the first change. He stopped and looked at us. Our bass player said, ‘Well, Lightnin’, that’s where the second change is supposed to be, isn’t it?’ Lightnin’ looked back and said, ‘Lightnin’ change when Lightnin’ want to change.'â€"
https://sixstrstories.com/2012/03/15/this-historic-day-in-music-lightnin-hopkins/
I common problem for those of us who have "jammed" with people who are used to playing solo. |
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David M Brown
From:
California, USA
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Posted 28 Aug 2020 8:54 am
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| Bill McCloskey wrote: |
‘Lightnin’ change when Lightnin’ want to change.'â€"
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This is the way i heard it in Louisiana circa 1980. |
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Jim Mckay
From:
New Zealand
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Posted 28 Aug 2020 11:32 am
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Wouldn't get to screwed up with theory ie. how many bars etc. If its played from the heart, sounds right and played by the best. Then it is right. 
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Canopus d-8
Excel Jerry Byrd frypan
T-8 Stringmaster |
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David Matzenik
From:
Cairns, on the Coral Sea
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Posted 28 Aug 2020 12:26 pm
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The band seem to breeze right through like that's the way they always did it. So here's my next question: Does anyone else play it like that?
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Don't go in the water after lunch. You'll get a cramp and drown. - Mother. |
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Blake Hawkins
From:
Florida
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Posted 28 Aug 2020 5:12 pm
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Check out Eubie Blake, He was a famous Piano Player and known for his special style. When critics said he was wrong.
He said in effect: "That is my arrangement. It is the way I play it. |
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Bob Watson
From:
Champaign, Illinois, U.S.
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Posted 28 Aug 2020 6:29 pm
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| May dear friend, John "Pops" McFarlane, spent a few years playing bass for Luther Allison. He said that Luther didn't always play the songs the same way, and that you'd better be there with him on whatever chord he was playing. |
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Jean-Sebastien Gauthier
From:
Quebec, Canada
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Posted 29 Aug 2020 3:06 am
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| I notice that to when playing along this recording but didn’t when just listened it. What I think is that’s a mistake but the band is so good that instead of hesitated they all skipped the bar. That’s a very good band that really listen and play for the song! I guess that Jules was so confident about the band that he know they will follow so he didn’t even mind and just continue with confidence. |
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David Matzenik
From:
Cairns, on the Coral Sea
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Posted 29 Aug 2020 3:46 am
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Yes, the more I think about it, I cannot imagine Jules saying to the band, "Aesthetically I think the first round should only use one bar of the F chord, but we will shift back to two bars second time through."
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Don't go in the water after lunch. You'll get a cramp and drown. - Mother. |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 30 Aug 2020 8:08 pm
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I love playing old songs with quirky changes, extra beats. It's fun when everybody knows the song. I sometimes play with a guy that does that. I know his ways and I like to watch others reactions while I pretend everything is normal.
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LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro |
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Nic Neufeld
From:
Kansas City, Missouri
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Posted 31 Aug 2020 4:21 am
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Some of the old Hawaiian songs (particularly those in 'olelo) seemed to revel in that style, with simple chord changes harmonically, but unexpected verse lengths with vamps. You get so used to 16 bars sometimes that it throws you...particularly with vamps. There's a few my teacher has thrown at me (On the Slopes of Mauna Kea was one), and the one that got me initially was Kaimana Hila...12 bars but with a 2 bar vamp in between so its basically 14 bars. Not saying that's in play here, but I feel like your mainland composers felt a tiny bit more strict about conventional lengths for verses and choruses. As for Jules,  , he can play it as he likes, he'll get no argument from me! 
_________________
Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me |
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Dustin Rhodes
From:
Owasso OK
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Posted 2 Sep 2020 5:57 pm
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| It's interesting to me when styles are slightly less rigid in form. I love how in Norteno music they will tag a solo for as long as they want. |
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