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Thanks Ricky! This was the best explanation I have seen for this.

Ricky, great informative video. Good closeups. Thanks for posting.

Cool video Ricky. thanks ;-)

looking for good tuning on draw reeds is easy since no condenastion,haha. octaves, thirds, fifths. but blow reeds.....Andrew Arzajac uses warm air by a hairdryer. and Joe Filisco mentioned: no instrument ever is in perfect tune. love your work❤❤❤❤

Charlie McCoy is so good. Thanks for posting this

Cool class loived it thanks! 😃

Thanks Ricky! Fun as anything.

Thx!!

Ty for the vids

Excellent lesson and the tab is very useful. Thank you so much!

Thank you 😊

Cheers Sir!

Ricky. Nice to see you back with another great harmonica topic/ tutorial. I've always enjoyed Steven Tyler's harmonica playing. I think he's a great player because he seemingly knows how to use his instrument, and make it an integral, and interesting musical partner within his/ the bands music structures. Tyler to me shows less can be more on the harmonica.

you make it seem so effortless. I need to practise more. thks for thiis.

CZcams where has this channel been? This made my day. thks greatly.

Merci 🎉

Thanks - A clear explanation!

Thank you for you doing what you do! Mr. Cool!!!

Thank you ! Please some Cotton!!

I dig these saxoharmorhingny!🎉

Cheers !!!

Brilliant stuff Ricky 👏 (saved it to my playlist this time !)

Thank you mate! That was nice, yes, I love Al Wilson!

Cheers !

Very nice! Thank you

Originally recorded by Kelly Gordon

Thanks. Great video , where do you get those big Key labels? Thanks

Thanks for showing us a good lick cool. Flattop checks out 😎

I’m a closet Supertramp fan 🤣

Great rendition !

Good points

Cheers !

Ricky Cool. Great video and important points to ponder. Like you mention it depends on what one wants to achieve. In the case of this beautiful song with such poignantly beautiful and meaningful lyrics, I agree with a playing approach of subtle/softly- (pianissimo). In such a song I feel a subtle vibrato can add feeling to the emotions of the touching lyrics, and meaning of the song, ( expressing more with less).

I might just have to dig out my long neglected Hohner and give this a try!

I play it almost every day!

Being a guitar player for over 45 years I’ve gotten over “the right way” to play something. Just play what feels good and/or sounds right to you.

Ricky Cool. Awesome informative tutorial, and great playing examples by you. Thanks for your generous time and informative music knowledge developing your teaching tutorials. Very much appreciated.

Merci !🎉

Another excellent short video, Ricky!! Thanks you!

You should watch Sonny Terry and brownie McGee on Midnight Special with Ann Murry…great stuff

Ricky Cool. I think the answer as to what playing of this tune "Juke" or any tune mattering depends on one of two approaches, and maybe a 3rd, a mixture of both one and two, just for the complete eclectic approach to one's playing and creative approach. So, #1, is if we want to emulate "Juke" as Little Walter played it, including the neauaunces for example as Walter played it- depending on the alternate take(s) one is studying, it is important/matters to play the tune in its entirety as Walter played it. So, play it with 3-6, and 6-9. Have both versions in the tool box if Walter had alternate takes using the different octaves. However, #2 approach considering the penchant Little Walter seemingly had for playing a tune in alternate ways/versions using creative pioneering aporoaches to improvisation, and phrasing etc, seems to suggest it doesn't matter/ not important to play the exact same way each time, and a cookie cutter approach is to be avoided. So changes to the phrasings, or substitute notes octaves/splits is being creative. It's the creativity that matters. What is important is whatever approach is used by the player is that the song sounds good, and the player is feeling it. Alternatively, #3 is if we as players can take a lesson from Little Walter and the many, many alternate versions of his songs, and the thought that " Little Walter didn't play the same song twice the same way"(as some folks say), we as players could possibly conclude that it is both important and not important, it matters, but doesn't matter, that we adhere to the original version, depending on what we're trying to accomplish as players regarding "Juke" for example, or any other tune. Therefore, in my humble opinion, and using Little Walter's many alternate takes. It's better to take an eclectic approach to, (in this case) following Little Walter's song examples, and Walter's "Juke" regarding octaves, and play it in some parts as Walter played it, and in other parts be inspirational, innovative, improvisational with an added spoonful of one's own feelings. Thus, we adopt a new version of an old version similar to Little Walter's numerous takes on many of his songs. For me both octave versions sound great, and it's great practice for landing on that 6-9 and having both versions to play, One takes the low range road, one takes the high range road, and we'll both end up at the turnaround together, and with alternate routes of playing we'll not be boring. Two different octave of 3-6 and 6-9 is nice alternate musical scenery. Lastly Ricky, until your tutorial here I never realized the 6-9 was used in "Juke." Thanks for the schooling, and opening my ears wider.

It don’t matter

Great idea for a video 👍🏼- the mystery of the Juke lick! I think Walter deliberately played things obscurely sometimes, so people couldn’t steal his licks!

It matters to me if it’s a very special technique

1:45 agree for the 6-9. Sounds cool!

1:01 😮😮😮 wow!

Not enough views for such great contents.😢

Splendid! Thank you!

Nice! All pucker playing?