Jules Leyhe - From Jeff Beck Fan to Slide Guitar Star

"Welcome to The Trout Show, your spot for laid-back chats with incredible musicians! Today, we’re hanging out with Jules Leyhe—a slide guitar master who’s been obsessed with the six-string since his pre-teen days, inspired by the legendary Jeff Beck. From tearing up stages to dropping knowledge in his YouTube master series, Jules is a name you need to know. Settle in as we explore his journey, his influences, and what fuels his sound!"

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Transcript

Today on The Trout Show, listeners meet Jules Lehi, a slide guitar maestro who's been chasing
riffs since his preteen years, inspired by the one and only Jeff Beck. His rocked stages
with blues legends and now shares his skills through his YouTube master series. Fans and
musicians alike can settle in as The Trout Show dives into his journey, his influences,
and what drives his killer sound. And now here's The Trout's interview with Jules
Lehi.
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What's your degree in?
Guitar performance. Performance degree.
Which was just the classes I took included Jeff Beck Lab. There was a lab where the most
in-depth study of breaking down his solos, his techniques, learning. It's funny because
at the first day of class I figured, gosh, I'm excited for everything we're going to
learn here, but I just hope at some point maybe the final will be because we've been
it as lovers.
That's one of your favorite ones.
And what do you know? The first class we learned is because we've been it as lovers.
So that's just an example of what one semester was like and there were four years of school
there. I was there from 2008 to 2012. And now that it's 2025 and that's 13 years ago,
I still implement and use everything that I learned at school. And just really great
to be in this melting pot of really talented young people, all kind of chasing their genes,
figuring out what their voices are on their various instruments, all doing that together
at the same time. That was an experience kind of unlike any other, you know, it was
really amazing being there.
Do you remember the first song you heard Jeff Beck play? Or was your one of your first
experience with him?
Yeah, great question. So the first time I saw him was it was 2001, I believe, and it was
with Jennifer Batten.
Oh yeah, I remember those. Yeah, the other guitar player, yeah.
Yeah, yeah. And that was just like a kind of melt your face. Like, you know, it was
like a really loud show. Yeah, super kickass, loud band. And this was at the Warfield in
San Francisco. And so I went in and I was like 11 years old and holy cow, I just couldn't
believe the experience. So he was playing things off of the, you had it coming record.
Who else? Yeah. You know, like, I think the very first thing that I ever heard him play
was they came out and they played what Mama said. Oh, it's cool too.
And it's really cool. It's just like, you know, it's like this rock and roll guitar from
the future. Yeah, because she's the one that I don't know if she did it on recording, but
live she did the da da da da da da da da da da da da da da da da da da da da da da
part one.
Exactly. So, you know, it's this just like crazy. And then he comes out and he's like,
you know, doing his really cool kind of it's basically like souped up rockability. You know,
he's really doing that like souped up rockability stuff, like like with just a super
charged rock and roll guitar sound that, you know, blew my little 11 year old mind just
I could I was just like, so that was my first experience. And then the second once I got
hip to him and I just started listening to all of his records, my dad and I went and
saw Jeff Beck open for BB King at the Concord Pavilion, which is about like 45 minutes east
of San Francisco, you know, and I still remember that night that was like, that was one of
those like, Oh, wow, you know, this intense amazing thing is going to happen. I knew
what I was getting myself into and then got my mind's blown that night by both Jeff Beck
and I was going to say you got both the best of both worlds here being a blues guy with
the BB King and I still play we when I last band we were always playing thrills gone.
I'd always change it around a little bit. And the famous BB box on the guitar, not very
many people can replicate. They can try. But he is kind of like Martin Offload. They got
that thumb thing going on. And I know how many times I used to watch the Ronnie Ronnie,
what's that place in the on the Scott's Ronnie Scott's doing all those things where he slides
up in the sound and going, how does he do that? And remind me of Hendrix, because people
are like always talking about I couldn't. We don't know. Right. But you, you're kind
of like me, you like that, but you also are a blues guy. I mean, you play slide, you're
phenomenal slide player. And what was the diversions was that was the blues first. And
then you kind of went to the rocker. What was kind of that kind of thing for you?
I really appreciate that question because you know, a lot of itches that I have are
scratched by Jeff Bex playing and the like I mentioned, you know, he has this great, he
has all these angles and sides. There's obviously the whaling pyrotechnic, you know, really exciting
guitar, like just spectacular fireworks show that he can put on. But then the finesse and
the dynamics and the control, the specificity over, you know, if he's doing playing with
the harmonics, he can actually play melodically and not just go, you know, wow, he can play
these beautiful melodies and have total control over the whole thing the entire time. And that,
to me, you know, I really grew up listening to and soaking in the blues vernacular and
starting with like the early acoustic blues, like the Alan Lomax field recordings of like
like some of the earliest recordings and evidence we have of, you know, guys playing like a resonator
with a whatever they use for a slide. Who knows? Who knows? And so that was really what I grew
up loving. And so once once I discovered Jeff, it was like, whoa, this, this certainly brings a
lot of these a lot of those elements, you know, he's obviously a pioneer of the early rock and roll
guitar sound. And so I just felt like, wow, this has like the most of sort of what he does for like
the Venn diagram of things I'm interested in. It's all here in such a unique, fantastic way. And then
so I was just into it. But then once I did things like that Jeff Beck lab in school,
like, Oh, hey, I'm not just interested in this, but it's actually becoming part of how I play. And,
you know, once you study guys like Dwayne Allman, BB King, Jeff Beck, Jimmy Hendricks,
and you just keep playing and you play, you know, between playing live, recording your own stuff,
recording other people's things, being in other people's bands. And you know those,
the tradition of how guys like Jimmy Hendricks play Red House or how Jeff Beck plays brush with
the blues, you know, kind of similar tunes, but very different ways of approaching the same thing.
It sort of seeps into and becomes how you end up sounding. And, you know, I've been playing
about four, I've been playing for about 20 years now. And I have gone down, I'm like a rabbit hole
guy. Like I definitely have gone down the Mark Nothler, rabbit hole, Jeff Beck, Jimmy Hendricks,
you know, Dwayne Allman, you name it. But, but impacting how I play and just kind of like how
I kind of come out the other side has been a big. It's not just fun and fascinating to obsess over
something. It's like, it's like data collection and informing my trajectory each step of the way.
Nobody did that more than Jeff for me personally, I'd say, you know.
But you, you, you obviously studied, I was watching your Instagram earlier today and, and some of the,
the great artists of old, you know, I just did a little podcast on, I have two parts of a podcast
where I take this. And then I started to know them this year called vinyl, the viral, where I talk
about the music industry, how things got like, where the microphone come from and where did,
you know, they used to have, who did the first recording. And I just got through talking about
Robert Johnson and all these people that were influenced and you're like, because
where I started and people know this from me is I, I grew up listening to, I was a Beatles guy,
I was old enough to beat zero. But when the stones came out with Little Red Rooster, I went,
what's this? And I see, who's Helen Wolf? Who is so and so? And I'm like, who are these people?
And that, and then I became attracted by the fact that they had a lot to say, but didn't say much
when they did it, whether they were singing or whether they're playing their guitar. And I thought,
wow, that's, that's pretty deep right there when you can do that. And then you start the grace,
like Eric Clavon, all these people end up starting with the blues, a lot of them did. And you talk
about, I was talking about Billy Gibbons earlier, that's all blues based stuff. But when you,
like you said, I think the thing about what you're doing is you're kind of a professor of the music
industry. When did you pick up your first guitar? How old were you?
Well, I'm 34 now and I started when I was about 13. So 21 years ago, you know, that guitar life
can get a beer at this point. It's that old. So when did you decide though that you wanted to
do it for a living? Good, you know what? That's a, that's a great question. I didn't really ever
give myself another option. I was so obsessed from the first time. I, I literally was like,
this within about six months, my dad always tells me this story. I'm walking around my home.
And I hadn't been playing for five years, 10 years. It was like, you know, six months in. And I
said to my dad, I just looked at him and just said, dad, what would I do if I didn't play guitar?
You know, like, like this, like, my God, I finally found my thing. And now here I am 21 years later.
I've got a daughter and I'm supporting my family, you know, with music and everything. So I really
have been committed kind of since day one. But no, that's a great question. There, there weren't
six different options. And then well, guitar ended up winning out. It was like, I'm doing this,
baby. I, I, that's it. You know, that's one of the things I love teaching about is taking these,
you know, countless, I mean, I have, here's my slide. I have spent thousands of hours with it
frustrated by it playing on stage. You know, I mean, I don't know, I've been playing for 20 years
in front of people too. And that means that there were bands that I was in where
one of the lead singers in a band that I was in about 15 years ago would put me up on a chair
in the middle of, you know, a room full of people. And I would take like a 10 minute solo
on the like D to C to G chord progression. And you know, I just cut my teeth like learning how
to make that work and not just go, okay, I've got two licks, you know, and now you've heard them.
And I have eight and a half minutes on this chair. You know, it was those sorts of experiences,
which are now, you know, in my past, they're, they're a good 15 years ago. So I've, I really try to
take all of the experiences that I've had and give everybody the most efficient way of, you know,
bottle that all up into something that I can take and give to you so that you don't have to
spend all the time learning the thing that I'm teaching you right now. And essentially just,
you know, that's the coolest thing about blues music to me. And I have this great phrase that
a friend of mine, this great slide guitar player, Johann Borg, he and I were talking specifically
about Ry Kooter. And he said, you know, there's the thing for him, and he coined this phrase that I
love is the blues per note. And somebody like Ry, you know, he plays one note, and it'll just like
give you goosebumps. And Jeff Beck obviously is in that category too. He could just, you know,
he's got that potential any moment he could just play one little note. And he could either kick
your ass with one note really hard, or he could draw you in and really pull those. But you know,
just that control and the depth with literally one note is that that is something that's been a
goal of mine, whether it's with slide or with, you know, my fingers or whatever. But that's sort
of playing and not going, well, one day I'll play fast enough so that I, you know, that's never
really been, I like to play kind of fast sometimes. But that's not what I'm focused on. It's a much
deeper, you know, the best bluesy guys like, they aren't, they aren't like flexing their big muscles
at you. That's not what makes it great. You know, it's something much more difficult to put your
finger on. So I feel like that's something that I've just always been that's been forefront of my
mind. And at Berkeley, especially where there's a lot of hot dogging going on. There's a lot of
let me strut my stuff. I practice 12 hours a day. Can't you tell? You know, and so I was kind of like
not of that mindset, which was a really nice, you know, just a nice way to go into a place like that
and come out being a sure that yeah, I don't need to play a gazillion notes to make my voice heard
or anything. That's not what's going to work for me. So, you know, there's a lot of like,
mind stuff that happens, obviously that the chops and everything have to do with it. But it's really
a small part. It's more about like, yeah, you know, what you said something earlier about these guys,
like Derek Trucks and Jeff and everything and all these folks that I think of as masters. And
this goes beyond just musicians, but you know, Vincent Van Gogh or just just people like that
where we go, oh, well, they're a master. And maybe to me, I think, well, yes, they are. But those
masters are just displaying their curiosity on full unapologetic display for us. And we're a part
of it. And it comes across as their mastery or something that they're done with or complete with.
But in fact, if you talk to them, Jeff Beck, he would go, oh, no, yeah, I'm working on this thing.
I'm always shooting for the future. And so that's something to me. I feel like I've picked up on
Miles Davis. He wouldn't say I've mastered it and I'm done. He's curious. He's chasing something,
you know. And so to me, that's what I've picked up on on all of my biggest inspirations and heroes.
They're never done. This is never something you're done with. So that is like the time out drive
or being inspired to keep going all the time. That keeps me inspired to just continue to be my best,
continue to, you know, if there's a spark for a student, give them something that's going to make
them go, wow, Jules, you wouldn't believe it. This, that, and the other. And I just smile and go,
that's, you know, there you go. That's that's the payoff. That's the payoff. Yeah. Yeah. And that
pays off for me as well, of course. So that's just a little bit of like, you know, inspiration,
drive the sound. Like what the heck are we doing with this? It can, you can pick up your guitar
and feel like not playing that thing ever again sometimes because it's frustrating, you know.
For sure. But but that's that's kind of a sign that you're you know, you care and that you're not
just, I just I'm done. You know, that's I've never felt that way about it. You know,
well, there's times that I don't play it for a while, you know, day or two, but I'm constantly,
I think I think what you're saying is that Jeff Jeff was a prime example of that was they're never
happy, you know, and and people like back. And there are other people like that you've played
with buddy guy. I saw you on stage with buddy. I know I know his guitar to kind of court now.
And and he's like you always he's about more years on his life, but he's always trying to get new
talent. The opportunity to shine. What's your goal? I mean, obviously you're doing pretty well with
your channel and all that stuff. But what's your kind of your long term goal as far as
you know, playing more or getting promoting it or something like that?
Great. Great question. So I'm actually getting I'm really excited to be launching the online
Jules Academy, the online Jules guitar school. I've kind of outgrown teaching people one by one.
I still have some time for private lessons and you know, some people who are really dedicated and
who really love all my videos and just things that I do. So it's not 100% stopping, but simply put,
I have a nine month old daughter now. And the channel my YouTube channel has grown and my
just general social media following has grown enough so that there's there's demand for an
online school where it's like group classes. I have some I have some master classes available
right now. I have a Derek truck slide master class. I saw that. Yeah. A modern blues guitar master
class, but we will coming out very soon is a Jimmy Hendrix, a Steve Ray Vaughan, we have a Jeff
Beck, we're working on just kind of this whole offering of like the whole everything that I have
here. So so I do love teaching and I love to I love playing. Oh, exactly. That's always sitting
there. Exactly. So so my online guitar school being up and running very soon, like in the
next couple of months, if anybody out there is curious as to what my courses look like,
you can check out the ultimate slide master class, a two hour free YouTube video. And this one,
it's it's really cool. The comments have been so generous and so kind. Oh, a comment we get a
quite a bit on that video you can see is this is like the best slide guitar lesson on the internet.
And they're they're like a hundred people saying that. So we have a bunch of really great feedback
on this one video. And that's that's the level of production value and instruction and everything
of my other courses. So if anyone's curious to see, you know, what that might look like,
I direct them there first. But then my YouTube channel is just filled with videos of me teaching
at home. It looks a lot like this. A lot of videos here. Yes. Yeah. Performances. I've done like the
National Anthem at the A's and the Giants. So there's a you do the Jimi Hendrix version or the slide
version. You know, that's a that's a great question. I've done a slide version mainly, and it's a
really cool way of sort of paying homage to, you know, all of my heroes, but having my own sort of
unique lane or way of playing it. That's, you know, not too copy caddy. And yeah, that's been just a
really, really cool, great gig, really fun gig that I've had the last few years. I'm actually
going to do it this Sunday at the Oakland Arena here for Monster Jam, which is like the Monster
Drop. So it's super fun. You know, I've like become the guy they call for that, which is just great.
Well, and I noticed that you use what was the amps that you use?
Well, I have a. I know you did talk about Dumbo for a while. I did say comments about Dumbo. Yeah.
But that's right. You were doing some you were using some fenders, where you are using fenders.
Yeah, I've been really loving this Fender 5E3 tweed circuit that was just actually made for me by a
new friend that I've made. Oh, this thing is fantastic. And then over here is a 68 super reverb.
And man, I mean, if you have a strat or anything like that, you know, a classic super reverb is
just fantastic. I also have a Princeton reverb back over here behind the camera. And then I have
a like one 12 in it. The Princeton is 110. Yeah, 110. And I've had some mods to them where they
just are singing their like rain clear as a bell. And then I have a two rock bloom field drive
as well. That's what I was thinking about. I saw that. And that's a beautiful amp. I mean,
between those four right there, I also have sitting behind me, but a speaker has been taken
out of it, a really nice deluxe reverb. But you know, I'm generally Fender family, like,
I love the Marshall and boxing and you know, they're orange. I mean, they're a bunch of great
amp things. But for me, my voice has really been in like home for me is like kind of the Fender
realm of, you know, amps. And are you I know, you've done some stuff, but you really haven't put
it out that much. Do you like doing studio work? Do you want to put an album out or that's something
in your future? Yeah, good question. You know, I have like, I have a bunch of EPs and albums that
I made in my 20s that were basically excuses for me to use the new gear I got or just something like
it's not a pop record that was ever going to become, you know, it was purely for me to grow
in my artistry and figure out what, you know, try something like one of my records. And actually,
I have some of the album covers up here on this very colorful wall. Like, I got a DL for, which is
like the big green line six delay. Yeah, yeah, yeah, yeah. And an IBO. And I just went to town,
it inspired, it was like this whole direction that I had where, okay, I'm going to just make,
you know, some wacky tunes and go down this path for a little bit. My IBO was sitting on top of
Marshall. Uh huh. We just a great, what a cool. It's it's fun to use. Yeah. Yeah, you know, and so
there was kind of like giving myself a thing to work on. I'm actually very eager to make a record
now. I've been like really wanting to make a new record with my new pieces of gear that I've
picked up recently. And just like kind of now that I would take it more seriously in the making it
something a little more accessible, I've the coolest part about doing anything self-indulgent and not
worrying about it succeeding or working is that now I've done that. And I know more of what I would
really like to make that would actually probably check off those boxes of being artists, you know,
artistically exciting to me, but would actually be something that the world would like to hear too.
And I could actually tour and promote. That's definitely totally on the, like in the next, you
know, I'd say one to two years, something that I want to put out for sure. What's what's the,
average age of people that you get to see that come to you? Are they all over the place or
you know, good question. You know, it's a mostly older than me crowd. I was wondering. And it's
funny because I get asked the same thing all the time, which just, you know, I mean, people are
always really kind, really appreciate that I'm, you know, that I'm a blues lover who's keeping this
thing going in the way that I am. And they respect that. And then they're always, after
being excited and everything's like, how did you, how did you get into this, you know, and the person
always usually, well, I mean, I've just experienced this so many times because back when I saw,
you know, muddy waters in Chicago and the person's 80 something or whatever, you know, and they
were, but, but Matt to see somebody young like you doing this, I can't tell you how excited it
makes you feel. So I've been really, it's, it's an honor. I mean, I've got these great pictures.
Right now I'm looking at some pictures of me with Taj Mahal, BB King, Guy and Jimmy Vaughn,
Les Paul, all right on my little wall here. And I'm super honored that I've ever met those people.
They showed me anything, had me up on stage with them to perform. Did you get to meet Les before
you died? Yeah, I did. I did. Did you see him in the, in the ridium or was it exactly where?
Yeah. Yeah. And my, I went with my dad and my dad told Les, he said, sir, my son here saved up
all of his money and he bought a Les Paul, you know, and I was like 12 or 13. And Les put his
hand out to shake. And my dad said, he has a cold, I don't think you want to, and Les looked at me,
he put his hand out, just shake my hand, you know, right on young man. And, and Les did not pass away
right then. I had nothing to do with him. But, but, um, then Les signed the picture for me. He
ended up signing. So I have this great picture of Les and I up on the wall that he signed for me.
But yeah, all these people, I end up. You get to meet your heroes. I've met my heroes and given
them big hugs. And you know, they've, they've invited me back to play with them over and over.
Let me just show you this really quick. This is super cool. This is my family with buddy guy.
And you know, buddy loved it. And then this was before I played with your dad on your on buddies
left. Yeah, my dad and then my mom and sister over here. But you know, that's like the, it's not
just me playing up there by myself or anything. It's like, no, come, come meet me, take a picture
with your family. You know, I can. When you, what's your favorite? Do you play an E or do you play an
E mostly? Do you like playing the E opening? Yeah, for slide. I know Derek plays an open G all the
time. That's all he plays in. I like open E a lot. That works really well for, you know, just like
the way that that's kind of like the language that I've really just makes the most sense to me and
works the best. I like open G a lot, but open E is preferable to me. Makes more sense to me.
Yeah, I watched Derek kind of going, okay, I know he's been doing this since he's 12. But I'm
thinking, okay, I'm going to have to transpose. That's not really okay. It's up here. It's not
here. But with the E, you know, an open E, you can figure it out pretty quick. As far as I'm.
Yeah, open E is definitely like, if anybody out there is going, boy, slide sounds cool.
And I don't know the difference. I'd recommend that you start an open E and that that ultimate
slide masterclass video is all in open E. So, you know, if it and I mean, just it's a cool thing
to steer anybody towards. It's free. It's two hours. It's a great way of getting into this new style
of playing. But yeah, if you know, if you're going to start with one, I'd start with open E. It'll
probably, like you said, it's more intuitive. You know, you can get further quicker, easier with
less headaches. Yeah, it's kind of true. Yeah, you ever have to raise your strings up or you
just leave them in that normal high throat? You play raise them up before you play. Great question.
Just a little bit like I don't used to play with high action when I'm playing slide. And it's
funny as soon as as soon as I played with lower more normal action, I realized, Oh, wow, I was kind
of doing that. I was overcompensating, but really it's best to have pretty normal action and just
get used to a lighter touch with your slide. But there's all sorts of cool stuff you can do,
like fretting behind the slide to make different voicings you can play like sunny land.
Does that always? 100% sunny land with territory, you know. So, that's also why I'd recommend putting
the slide on your pinky. If you do it on your ring finger and Derek Trucks and Dwayne Allman
both played on their ring finger, you know, that's not a problem. But if you're new to it,
it's advantageous to start on your pinky because there are the other, yeah, there's all this stuff
you can do behind the slide. So I would encourage anybody to try starting with your pinky. It feels
weird either way at first. So, you know, it's kind of, if it's all the same to you, go like this with
your pinky later on, you know, you'll be glad you did. You know, and it's like to me, it's like
learning another language. Definitely. Did you? So when you talk about Jimmy, do you tell everybody
to turn it down a half step or you just say play an E and try to do it or what do you do?
Well, you know, good question. So one thing about that and I have my strat here, you can see I have
the reverse headstock neck, right? Just like you planned it upside down, yeah. Exactly. And there's
a really cool thing about that. One thing is that, so this is my little string, my first string,
and you might not hear that. And what is it? Nine or 11? What is it? These are actually
nine's. Nine's okay. They're nine. So what I've found as kind of like a magic Jimmy thing
is with that reverse headstock, what it does is that now my, what would usually be the low E tuning
note is actually the high E right here. And what that means is that the high E string,
and then therefore the B string and the G, they actually go a shorter distance to the tuning
egg. Right. To the next one. So when you're, when you're bending up on any of those notes,
it's easier than it would be if you were, if you were going, if the string was tuned all the way
down here. Oh, wow. And so between playing a lighter set of strings, which gives you that really
nice, chimey, shimmery, wind-cries, merry, you know, like a martial plexi, you know, strathrough, plexi,
these big things. So now you start adding up these small details, like the reverse headstock,
the lighter strings, and then you go, Oh, whoa. Okay. Now it feels more like what Jimmy's probably
felt like. And then when you turn it half step down, it's easier than you. It's absolutely.
And I don't know, I've never read, and I got a privilege of interviewing the director,
producer of his, his movie that came out last year about electric lady. And I'd love to interview
Eddie Kramer if he's still around. I know he is. But I've never asked anybody, and I should
ask Eric when I was talking, why did you turn it down a half step? Maybe for that reason.
Yeah. And easier to bend. Yeah. A couple, one thing that I've heard about why he tuned, well,
so in a trio setting, it just simply fills out the space a little more to tune down a little bit.
And what it also does is it helps Jimmy, who was kind of a shy singer. It helped him not have to
reach as high for the notes. So, you know, between sort of thickening and fattening up the sound of
a trio. I mean, it gives simply more power. So the power trio. And then also making a key,
like if he's playing in G or A, now it's just it's not as high. So those are a couple of reasons
that I've heard. And you know, it's funny too. I just kind of like how E flat sounds.
You know, and I should tune one of mine down because I do like playing it there.
Because it's me and I'm a bender and a vibrato guy. You know, so yeah, the feel for it really does
lighten the load on your hand. You can just simply dig in more. You can like put more vibrato,
bend the note and then keep, you know, that's how Jimmy does all those squirly bends, where it's
like, wow, it's going way up there and controlling it this way. The strings are lighter and they're
tuned a little lower. So it's like, have at it, you know, that's, that's a big part of it actually.
It's funny because it might seem like we didn't talk about much right there. But those few things
tuning down a half step with lighter strings on a strap. If you can do the reverse head sock thing,
that's not a game changer. But you do feel the difference and it does matter. But yeah,
so those are actually like pretty insightful. You know, that's actually like three or four kind
of big things that get you closer to sounding like Jimmy right there, you know,
it's a great thing for us is we have those people to look up to.
Definitely, definitely. And you've had the privilege of playing with some of them.
You know, that makes a big difference too, because it's like, you don't get on stage if you suck.
No, that's yeah, yeah, definitely something that, you know, I feel super. I mean, I said it earlier,
but I'm beyond honored to have some of these, you know, the people I've shared the stage with
and who have invited me back and, you know, the buddy guy types. You know, I don't take that
lightly. It's really an honor and a privilege and just really cool to not just have as a nice thing
to remember what happened one time, but actually be a huge part of my life and what I teach people
and experiences I have to draw from that, you know, are now literally how I make a living and
everything. So it's all really cool. I mean, yeah, it's just a thrill to live in those memories
and like they matter in a lot of ways beyond being sentimental for sure, you know.
Yeah, I just wonder if people like Beethoven, the people who followed him goes,
did you get to meet Beethoven? Oh, yeah. Yeah.
Right. Right. Right. Did he play the ninth for you? Yeah.
Yeah. Yeah. Yeah.
Did he show you the keyboard on the harpsichord? He played, yes, he did. I mean, you think about
that, but we have an opportunity. I missed that. My friend I had lunch with today goes, where is
Rock? Why don't we have any more Rock and Roll? And I had to get my lesson music industry today.
Yeah. And I said, no. So people like you that keep it going. And I think there's always going to be
a need for what you do. Because as I can't say it enough, you're very talented at what you do.
Thank you. And it means you have to be especially, I can't teach people. I don't have the patience
for it. And you know, I mean, it's different when you do a video and you're doing, hey,
there's run this back. I'll run it back. But when you're sitting or talking to them,
you got to have a patient to chose because you have to remember I started everybody starts out
the same place. Definitely. That's absolutely the case. Yeah. I appreciate all the kind words.
I really do man. Thank you. Well, it's not on your agenda next. You're making more videos soon
or you got to be playing out or what's up? Yeah, I'm actually a super exciting thing is happening
right now. My my business partner, Nico, who shoots all my videos. I was going to ask you to do that.
Yeah, Nico Soto-Meyor shoots all my videos and he and I are business partners. We're just about
to rent out a really beautiful studio where we can because we shoot a lot of my stuff right here,
which is actually in my apartment. This is one of the two bedrooms at my home.
But we're going to move this operation to a studio purely for making courses,
making YouTube videos, having people over for interviews, just everything, all things video
and music, teaching clinics. We're just about to move into this place like I think next week,
actually. Have you got a name for it? It's called Moon Landing. We kind of like it.
Nico has his own business called La Luna Productions, which is the moon. So we're like,
you know, moon landing, La Luna. It's something about the moon. We feel like we're finally landing
on the moon at the right time here, you know. Well, that shows to me that you're doing pretty
well if you're in the studio and everything's going well. Yeah, thanks, man. It's definitely
headed the right way and we just want to grow everything, you know, get the get just more people.
The coolest thing I love about all of this is just connecting with people about something that
means a lot to all of us. And you know, teaching is just such a cool tool to, you know, none of
us are ever done teaching or learning or anything. So that's what this is just like, every day is
a new opportunity to meet someone really cool, get inspired by or inspire someone you just never know.
And yeah, so this feels like a launching off pad for, you know, the future of my channel and just
business and who knows where it's going to take us. But that's kind of what's next.
Well, that's it for this episode of The Trout Show. Thank you so much for stopping by. We appreciate
it very, very much. A very big special. Thank you to Jules Lehi for coming by and talking about his
incredible town that is a slide player. And we wish him all the luck in the world as he continues
down his musical journey. For more information about Jules, just go to his website at Jules
Lehi Music. That's J-U-L-E-S-L-E-Y-H-E music.com. Jules Lehi Music.com. Also, once again,
David Smith from Edward Jones, thank you for continuing to support our channel.
Remember, for more information about The Trout Show, just visit our website at thetroughtshow.com,
everything's there, music, podcast, anything you need to know about this trout show channels.
So the next time people remember what I always say, it's only rock and roll.
But gosh darn it, I love it. See ya!