Arturo Riera

Arturo Riera

For many people, Jools Holland sounds like something familiar, and when they manage to trace it to something people usually remembers “Later With Jools Holland” which is a TV show from the UK hosted by Jools Holland, and focuses on bringing different artists and bands at the same time to perform live.

It’s a concept which is has managed to remain fresh since 1992, it features around five bands and an audience of around 300 people.

Young Holland

However Jools Holland is also a very succesful and talented musician. Before the show, Jools Holland or Julian Miles Holland already made a career as a pianist, playing from the age of 8.

In 1974, Holland joined Squeeze as their keyboardist, and released their first EP in 1977 (Packet of Three), and their first LP the next year. The band was very succesful, with hits such as “Take Me I’m Yours” and “Bang Bang”. Both songs were composed by Chris Difford and Glenn Tilbrook.

That year, Holland released an EP called Boogie Woogie ’78, which showed a side of him that focused more on R&B, and jazz. After that his solo career flourished and eventually left the band. He occasionally came back to the band but his solo career was very well established as well as his career as a TV host, first in “The Tube”, and then “Later With Jules Holland”.

Holland

Music and Shows

In an interview with “ukmusicreviews” Jools Holland spoke about his career and the show:

If I had to push you what has been the highlight of your career so far?

Well I suppose that would have to be this moment now we are chatting (laughter). A friend of mine once told me that the great gurus always say that if this does this and that does that then tomorrow will be the best day ever. However, I always think that paradise is now. I also get a great feeling whenever we play next. I suppose that if I was to look back and pick out one thing it would most probably be a small moment on stage when I feel totally connected with the audience at that one moment in time. It’s great when you see that they are feeling the music as you are and they are tapping their feet and moving in time to the music that you are playing.

That is the highlight for me. Being at one with a load of people who are getting the music that you are playing. You can’t ask people to love the music that you are playing unless you love the music yourself. That oneness with the people has been the highlight for me. That was a rather longwinded answer I’m afraid Kevin but I’m sure that you will understand what I am saying. If you can put that into one sentence, well done (laughter).

Later… with Jools Holland has now been on the TV for forty-two series. When you aired the very first series could you ever imagine yourself still doing it in 2016?

No not at all. If you had said to me when you and I bumped into one another backstage at Milton Keynes Bowl when I was trying to settle the argument between Sting and Tom trying to get Tom’s quid back with the help of UB40; if you had appeared to me in a strange veil informing me that you could show me the future and then have taken me into a tent, and you had told me that I would be running a big band consisting of twenty people that would tour all over the world and I would also have this TV show, I would have thought that’s not what I am planning. As they always say if you want to make God laugh then tell him your plans. Things just happen sometimes.

I am really pleased with the way that things have turned out and I am really pleased because I love what I do. I love the music we play but I would never have dreamed that would be the way that things were going to turn out for me. That also goes for Later…I presented The Tube for five years and that seemed forever when I was twenty. After that we started doing Later…and I thought that it was fun and that it would probably last for three series. The longer that it stays on TV it gets harder to believe. I also think that we have been fortunate to have some of the greatest artists in the world, sometimes at the beginning of their careers and sometimes at their last performances.

There is a very interesting aspect about how music can work in unexpected ways, even if there are connections with a show’s host and a performer, it’s a bit strange to be a musician and later find out that you’ll be very well known TV host because of that same musician side.

In the end Jools Holland is a musician, and every now and then he play the piano with his guests and manages to make the experience even greater with his talent.

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For any kind of performers, there is room for mistakes, and some arts are more gentle about it than others depending on the context and the particular feeling that is being comunicated.

In music, mistakes have the potential of being quite magical, wether it is during composition or a live performance, there is something about it that moves the way music works in an unexpected fun way that a planned performance cannot replicate. Of course it also depends on the type of music. When it comes to classical music and in some cases jazz, perfection is key in order to deliver a great performance.

This magic of mistakes can happen either in a live performance or during a recording. The basic idea is that a mistake can bring more feeling to the music or even sounds that were not intended to be there in the first place.

Live Performance Mistakes

Live performances ara filler with mistakes, and sometimes what defines a great performer is not how perfect the music is being played but how the musician is able to keep going despite the adversities.

It’s also important to know the origin of the mistake, if it’s just lack of practice and expertise, it can hardly be magical, but there is one common example, which is laughter. When musicians play and there is a clear connection and chemistry, fun things are bound to happen, and this feeling is passed on to the crowd. However that’s when the mistake happens, laughter can make someone make a mistake or a singer fall out of tune, but the idea of the magic mistake is that it doesn’t really matter, it even gives a feeling of “realness” to it.

While it’s less common, sometimes improvisation can come from mistakes, all it takes is a single note outside of the plan. Of course it all depends on the energy between every band mate.

It’s also important to remember that most of these mistakes are magical thanks to the crowd, in the end a live performance is made by both the musicians and the crowd that listens, cheers and fuels all the emotions.

Recordings/Composition

Mistakes

Many legendary songs have something magical about them that was brought by a little mistake.

According to the awesome Beatles anomalies site “What Goes On,” “…it is widely written that fitting with the lyrics [“Woke up, fell out of bed…”] was only coincidental, and the alarm clock’s purpose was originally as a marker. Nothing more. A happy accident that was capitalised on, as the Beatles often did.”

sonicscoop.com

There was also:

On one of the overdubs, Ringo shifted position very slightly at the very end, causing his shoe to squeak. This happened, of course, just when the sound of a pin dropping could be heard! A cross Paul shot him a sideways glance, and from the look on his face I could tell Ringo was mortified. If you listen quite closely to the song just as the sound is fading away, you can hear it clearly, especially on the CD version, where there is no surface noise to mask it.

sonicscoop.com

During a recording and composition it’s different than the live performance in many ways, due to the time that a musician has to play around with the path given by the mistake. Sometimes you have an idea, and it gets improved by playing a note you were not supposed to but makes everything better. In this case there is time to really listen to that and turn the mistake into the sound that is supposed to be played.

The main take away from this is to let the music take the lead sometimes, and let the unexpected happen.

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Blues is one of the most established genres that music has to offer, and it has influenced countless legends of music in Rock, Jazz and many other genres. The truth is, that every genre has to come from somewhere, for blues, it came from North America, and it was black music to the core.

It all begins with ex slaves and family from slaves from the southern plantations in the United States, mostly in Missisipi, and it came together as a blend of different affrican music, drums, folk and country.

This was all around the 19th century.

When you think of the blues, you think about misfortune, betrayal and regret. You lose your job, you get the blues. Your mate falls out of love with you, you get the blues. Your dog dies, you get the blues.

Ed Kopp

While blues lyrics often deal with personal adversity, the music itself goes far beyond self-pity. The blues is also about overcoming hard luck, saying what you feel, ridding yourself of frustration, letting your hair down, and simply having fun. The best blues is visceral, cathartic, and starkly emotional. From unbridled joy to deep sadness, no form of music communicates more genuine emotion.

Ed Kopp

That was the hook of blues, the pure emotion and the energy it evoked which while it could be extremely personal at times, it was also the kind of music that would make you dance.

Pioneers: Son House

The blues started to solidify around 1920, with great artists such as Son House, who actually did not like the sound of guitars at first: ” “I didn’t like no guitar when I first heard it; oh gee, I couldn’t stand a guy playin’ a guitar. I didn’t like none of it.”

Eddie James House, Jr. was born on March 21, 1902, in Riverton, MS. He was not very fond of his time working in the plantations and was unhappy about many things that surrounded him including the guitar which he eventually picked up a the age of 25 because of his place in gospel, but wasn’t really into the blues after some incidents in his life which included killing a man and serving two years in jail.

After his release, he truly began his life as a blues man and until his death, he was the king of the blues, for some, he still is.

Jug Blues

There were many branches of music affected from the Blues around the mid 1920s and 1930s, from jazz, to gospel but one that gained a lot of popularity was Jug Blues, or Jug Bands, which were bands that used homemade instruments and regular instruments.

It was an interesting idea because sometimes many of these people with musical talent didn’t have access to radios or musical instruments, and this represents the fact that you could just tense a string on the wall and make music, use a sink as percussion, and of course jugs.

Chicago Blues: Buddy Guy

Blues

The blues is also al about feeling, and there are many great blues players and singers that were self taught, like Buddy Guy.

I’m self taught and used to playing music how I feel it. That’s the one way old blues guys from anywhere are the same. [laughs] For instance, a lot of people say they can’t play with John Lee Hooker because there’s no pattern, but I have no problem playing with John. You can hear in his voice when he’s getting ready to make a change because he plays it the way he sings it and sings it the way he plays it. You get a groove and play off that and change when you damn well feel like it. People think blues is all about 12-bar patterns, but it’s not like that and never was.

Buddy Guy

Buddy guy played with many big names, and became very popular because of his great talent playing the guitar which was both agressive and full of that blues feeling.

At this point blues had was beginning to earn the spotlight, and Chicago was the place to enjoy this type of pure honest music that came from Mississippi and New Orleans, along with Punk, but that’s another story.

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