Chords for Cha Wa - Interview Before "Chapters"
Tempo:
96.275 bpm
Chords used:
G
B
Bb
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
[B] Yeah, Get On Out The Way, another tune from Chawa here on WNCW.
And it's another song that's on their new release, Spy Boy.
We just got it here at WNCW, so you can guarantee we'll be playing it.
Get On Out The Way, that one, looking at the liner notes, written by Peanut.
Yeah, Spy Boy.
Who's that?
Who's that?
He's another Mardi Gras Indian.
He's a spy boy for the Black Feathers, Mardi Gras Indian tribe.
All right, the Black Feathers.
All right, cool.
You're the Golden Eagles. Yeah.
Right on.
And
Yeah, Black Hatchet.
He's from Black Hatchet?
Yeah.
All right, cool.
Talking about Spug there on the sousaphone.
Clifton Spugsmith.
Spug.
I haven't heard of the Black Hatchet Indian tribe.
Smaller, not as out there as the Golden Eagles?
[Bb]
Don't be starting a war in here.
Well, Nightwolf Black Hatchet just was formed two years ago.
Oh, okay.
So we have about 30 [Ab] Indians in our tribe.
Yeah.
That's all we can.
They're no joke.
Yeah, no joke.
They're an army.
They're an army.
All right, cool.
Well, like we were saying before that song, when you say Chihuahua, you're announcing
yourself and it's all in, I don't know if good, clean fun's the right way to put it,
but just like, hey, let's have some fun.
Let's party.
And we're bringing ours to show what you got.
The rising tide raises all boats, so you all rise up together.
And that's when you say, get on out the way like we just did.
Okay, yeah.
Yeah.
On the back there, I can't see him.
He's hiding [G] behind a board of ours here, but we have the drummer here, Joe Jolini.
He's a founder.
And if you're mic'd up and you can talk about this band, Chihuahua, because you kind of
helped found the band, didn't you?
I did, yes.
[N] Yeah.
Back a few years ago, you went to Berkeley School of Music.
Yep.
I graduated from Berkeley College of Music.
So that just meant that I didn't get a national touring gig good enough to quit school like
everybody else did.
Yeah.
I had to wait to start my own band.
We all get through it, find it through different paths, I guess.
We've had a lot of folks from the Berkeley College of Music come through here, and yeah,
they all seem to get involved in such a different path.
Members of Lake Street Dive or members of some real kind of new grass or bluegrass-oriented acts.
This might be the first one to have such a great New Orleans presence.
And you, Joe, you're not from New Orleans, but you kind of got there as fast as you could,
I guess, as they say.
Yeah.
I'm a transplant, admitted transplant.
But when I got to New Orleans for the first time, my dad took me down and I was 18.
And as soon as I touched the ground, I felt like I had lived there in another life or
something like that.
It just felt like home to me.
Yeah.
Yeah.
That's a feeling that we often get.
I'm glad to hear your story, Joe, because you all that are from there, this is the case
with a lot of us way up here in the mountains of North Carolina and elsewhere around the country.
There are a lot of people that really feel this strong bond with New Orleans, but we
also may feel like we're far removed from it.
But yet when we go there, it's like, this feels familiar.
This feels right.
This feels the way cities should be.
Well, it's where it's literally the cradle of American music.
So everything started in New Orleans.
The drum set started in New Orleans.
Jazz music, ragtime, Mardi Gras Indian music, rock and roll.
The first rock and roll was recorded at J&M Studios by Cosmo Matassa.
Brass bands, funk bands, bounce music.
I'm sure I'm leaving some stuff out.
And then there's Western Louisiana that has Cajun and Zydeco.
It's really like, it's kind of a cliche to say that it's a gumbo, but it's a gumbo.
Yeah.
Yeah.
I'm going to say your statement again, because it is not an overstatement.
New Orleans is the cradle of American music.
Now folks might dispute it, debate it, and that's cool.
They're wrong.
But they're wrong?
Okay.
All right.
I don't know.
Just a few miles from here, Spindale is where Earl Scruggs is from and Snuffy Jenkins.
Anyone?
Banjo Great, Snuffy Jenkins?
No.
No.
They don't know him.
Well, I will say this, is that Congo Square was the epicenter of where all these different
tribes and people who were enslaved were able to practice their religious ceremonies on Sundays.
And they all came and gathered in Congo Square.
It was the only place in the country that allowed people that were enslaved to do that.
And all the slaves from the Caribbean and from Africa and from South America, they all congregated.
The dark history about New Orleans is that it was the biggest slave port, I think, in the world.
And all those people came with all their joy and sorrow and all their dreams.
And they came and they practiced, prayed to their Holy Spirit or whatever it was in Congo Square.
And all those things came about very organically.
And if that happened anywhere earlier than that, I guess that's probably up to an ethnomusicologist.
But I think for all of us, New Orleans is the cradle of American music.
Yeah.
It's a dark history.
It's a tragic history.
And it's also quite an inspiring history when you think about it, the odds that you listed there.
And then yet, look what's risen up, this remarkably persistent triumph in New Orleans culture
from the events way back then through Katrina a few years ago.
And look, it's still strong.
And every once in a while, we get a taste of it here, way even in the mountains of Western
North Carolina, where Chawah is visiting us today live on WNCW, playing tonight at the
Boone Saloon and tomorrow at Founders After Five in Johnson City, Tennessee.
And Joe, thanks for sharing that.
And I imagine you learned a lot of it at the Berklee College of Music, but you really learned
it upon moving to New Orleans and falling in with these guys and learning the history
more organically and firsthand.
The first gig that I ever got hired for in New Orleans, I was out, I was fresh out of
Berklee and I thought I was some sort of hotshot.
And the bass player comes up to me and goes, oh yeah, okay, so you're new to town.
I said, yeah, I just graduated from Berklee.
I'm so excited with myself.
And he was like, cool, don't play any of that stuff on this gig.
So yeah, Berklee was an education and I learned a lot about music theory and a lot of different
amazing lessons there.
But New Orleans is the original school.
Yeah, yeah, for the real education.
Cool.
Chawah here live on
[B] Yeah, Get On Out The Way, another tune from Chawa here on WNCW.
And it's another song that's on their new release, Spy Boy.
We just got it here at WNCW, so you can guarantee we'll be playing it.
Get On Out The Way, that one, looking at the liner notes, written by Peanut.
Yeah, Spy Boy.
Who's that?
Who's that?
He's another Mardi Gras Indian.
He's a spy boy for the Black Feathers, Mardi Gras Indian tribe.
All right, the Black Feathers.
All right, cool.
You're the Golden Eagles. Yeah.
Right on.
And
Yeah, Black Hatchet.
He's from Black Hatchet?
Yeah.
All right, cool.
Talking about Spug there on the sousaphone.
Clifton Spugsmith.
Spug.
I haven't heard of the Black Hatchet Indian tribe.
Smaller, not as out there as the Golden Eagles?
[Bb]
Don't be starting a war in here.
Well, Nightwolf Black Hatchet just was formed two years ago.
Oh, okay.
So we have about 30 [Ab] Indians in our tribe.
Yeah.
That's all we can.
They're no joke.
Yeah, no joke.
They're an army.
They're an army.
All right, cool.
Well, like we were saying before that song, when you say Chihuahua, you're announcing
yourself and it's all in, I don't know if good, clean fun's the right way to put it,
but just like, hey, let's have some fun.
Let's party.
And we're bringing ours to show what you got.
The rising tide raises all boats, so you all rise up together.
And that's when you say, get on out the way like we just did.
Okay, yeah.
Yeah.
On the back there, I can't see him.
He's hiding [G] behind a board of ours here, but we have the drummer here, Joe Jolini.
He's a founder.
And if you're mic'd up and you can talk about this band, Chihuahua, because you kind of
helped found the band, didn't you?
I did, yes.
[N] Yeah.
Back a few years ago, you went to Berkeley School of Music.
Yep.
I graduated from Berkeley College of Music.
So that just meant that I didn't get a national touring gig good enough to quit school like
everybody else did.
Yeah.
I had to wait to start my own band.
We all get through it, find it through different paths, I guess.
We've had a lot of folks from the Berkeley College of Music come through here, and yeah,
they all seem to get involved in such a different path.
Members of Lake Street Dive or members of some real kind of new grass or bluegrass-oriented acts.
This might be the first one to have such a great New Orleans presence.
And you, Joe, you're not from New Orleans, but you kind of got there as fast as you could,
I guess, as they say.
Yeah.
I'm a transplant, admitted transplant.
But when I got to New Orleans for the first time, my dad took me down and I was 18.
And as soon as I touched the ground, I felt like I had lived there in another life or
something like that.
It just felt like home to me.
Yeah.
Yeah.
That's a feeling that we often get.
I'm glad to hear your story, Joe, because you all that are from there, this is the case
with a lot of us way up here in the mountains of North Carolina and elsewhere around the country.
There are a lot of people that really feel this strong bond with New Orleans, but we
also may feel like we're far removed from it.
But yet when we go there, it's like, this feels familiar.
This feels right.
This feels the way cities should be.
Well, it's where it's literally the cradle of American music.
So everything started in New Orleans.
The drum set started in New Orleans.
Jazz music, ragtime, Mardi Gras Indian music, rock and roll.
The first rock and roll was recorded at J&M Studios by Cosmo Matassa.
Brass bands, funk bands, bounce music.
I'm sure I'm leaving some stuff out.
And then there's Western Louisiana that has Cajun and Zydeco.
It's really like, it's kind of a cliche to say that it's a gumbo, but it's a gumbo.
Yeah.
Yeah.
I'm going to say your statement again, because it is not an overstatement.
New Orleans is the cradle of American music.
Now folks might dispute it, debate it, and that's cool.
They're wrong.
But they're wrong?
Okay.
All right.
I don't know.
Just a few miles from here, Spindale is where Earl Scruggs is from and Snuffy Jenkins.
Anyone?
Banjo Great, Snuffy Jenkins?
No.
No.
They don't know him.
Well, I will say this, is that Congo Square was the epicenter of where all these different
tribes and people who were enslaved were able to practice their religious ceremonies on Sundays.
And they all came and gathered in Congo Square.
It was the only place in the country that allowed people that were enslaved to do that.
And all the slaves from the Caribbean and from Africa and from South America, they all congregated.
The dark history about New Orleans is that it was the biggest slave port, I think, in the world.
And all those people came with all their joy and sorrow and all their dreams.
And they came and they practiced, prayed to their Holy Spirit or whatever it was in Congo Square.
And all those things came about very organically.
And if that happened anywhere earlier than that, I guess that's probably up to an ethnomusicologist.
But I think for all of us, New Orleans is the cradle of American music.
Yeah.
It's a dark history.
It's a tragic history.
And it's also quite an inspiring history when you think about it, the odds that you listed there.
And then yet, look what's risen up, this remarkably persistent triumph in New Orleans culture
from the events way back then through Katrina a few years ago.
And look, it's still strong.
And every once in a while, we get a taste of it here, way even in the mountains of Western
North Carolina, where Chawah is visiting us today live on WNCW, playing tonight at the
Boone Saloon and tomorrow at Founders After Five in Johnson City, Tennessee.
And Joe, thanks for sharing that.
And I imagine you learned a lot of it at the Berklee College of Music, but you really learned
it upon moving to New Orleans and falling in with these guys and learning the history
more organically and firsthand.
The first gig that I ever got hired for in New Orleans, I was out, I was fresh out of
Berklee and I thought I was some sort of hotshot.
And the bass player comes up to me and goes, oh yeah, okay, so you're new to town.
I said, yeah, I just graduated from Berklee.
I'm so excited with myself.
And he was like, cool, don't play any of that stuff on this gig.
So yeah, Berklee was an education and I learned a lot about music theory and a lot of different
amazing lessons there.
But New Orleans is the original school.
Yeah, yeah, for the real education.
Cool.
Chawah here live on
Key:
G
B
Bb
Ab
G
B
Bb
Ab
_ _ _ _ _ [G] _ _ _
_ [B] _ _ _ _ Yeah, Get On Out The Way, another tune from Chawa here on WNCW.
And it's another song that's on their new release, Spy Boy.
We just got it here at WNCW, so you can guarantee we'll be playing it.
Get On Out The Way, that one, looking at the liner notes, written by Peanut.
Yeah, Spy Boy.
Who's that?
Who's that?
He's another Mardi Gras Indian.
He's a spy boy for the Black Feathers, Mardi Gras Indian tribe.
All right, the Black Feathers.
All right, cool.
You're the Golden Eagles. Yeah.
Right on.
And_
Yeah, Black Hatchet.
He's from Black Hatchet?
Yeah.
All right, cool.
Talking about Spug there on the sousaphone.
Clifton Spugsmith.
Spug.
I haven't heard of the Black Hatchet Indian tribe.
Smaller, not as out there as the Golden Eagles?
_ [Bb] _
_ Don't be starting a war in here.
_ Well, Nightwolf Black Hatchet just was formed two years ago.
Oh, okay.
So we have about 30 [Ab] Indians in our tribe.
Yeah.
That's all we can.
They're no joke.
Yeah, no joke.
They're an army.
They're an army.
All right, cool.
Well, like we were saying before that song, when you say Chihuahua, you're announcing
yourself and it's all in, I don't know if good, clean fun's the right way to put it,
but just like, hey, let's have some fun.
Let's party.
And we're bringing ours to show what you got.
The rising tide raises all boats, so you all rise up together.
And that's when you say, get on out the way like we just did.
Okay, yeah.
Yeah. _
_ On the back there, I can't see him.
He's hiding [G] behind a board of ours here, but we have the drummer here, Joe Jolini.
He's a founder.
And if you're mic'd up and you can talk about this band, Chihuahua, because you kind of
helped found the band, didn't you?
I did, yes.
[N] Yeah.
Back a few years ago, you went to Berkeley School of Music.
Yep.
I graduated from Berkeley College of Music.
So that just meant that I didn't get a national touring gig good enough to quit school like
everybody else did.
Yeah.
I had to wait to start my own band. _
We all get through it, find it through different paths, I guess.
We've had a lot of folks from the Berkeley College of Music come through here, and yeah,
they all seem to get involved in such a different path.
Members of Lake Street Dive or members of some real kind of new grass or bluegrass-oriented acts.
This might be the first one to have such a great New Orleans presence.
And you, Joe, you're not from New Orleans, but you kind of got there as fast as you could,
I guess, as they say.
Yeah.
_ I'm a transplant, admitted transplant.
But when I got to New Orleans for the first time, my dad took me down and I was 18.
And as soon as I touched the ground, I felt like I had lived there in another life or
something like that.
It just felt like home to me.
Yeah.
Yeah.
That's a feeling that we often get.
I'm glad to hear your story, Joe, because you all that are from there, this is the case
with a lot of us way up here in the mountains of North Carolina and elsewhere around the country.
There are a lot of people that really feel this strong bond with New Orleans, but we
also may feel like we're far removed from it.
But yet when we go there, it's like, this feels familiar.
This feels right.
This feels the way cities should be.
Well, it's where it's literally the cradle of American music.
So everything started in New Orleans.
The drum set started in New Orleans.
Jazz music, ragtime, Mardi Gras Indian music, rock and roll.
The first rock and roll was recorded at J&M Studios by Cosmo Matassa.
_ Brass bands, funk bands, _ bounce music. _
I'm sure I'm leaving some stuff out.
And then there's Western Louisiana that has Cajun and Zydeco.
_ It's really like, it's kind of a cliche to say that it's a gumbo, but it's a gumbo.
Yeah.
Yeah.
I'm going to say your statement again, because it is not an overstatement.
New Orleans is the cradle of American music.
Now folks might dispute it, debate it, and that's cool.
They're wrong.
But they're wrong?
Okay.
All right.
_ I don't know.
Just a few miles from here, Spindale is where Earl Scruggs is from and Snuffy Jenkins.
Anyone?
Banjo Great, Snuffy Jenkins?
No.
No.
They don't know him.
Well, I will say this, is that Congo Square was the epicenter of where all these different
tribes and people who were enslaved were able to practice their religious ceremonies on Sundays.
And they all came and gathered in Congo Square.
It was the only place in the country that allowed people that were enslaved to do that.
And _ _ all the slaves from the Caribbean and from Africa and from South America, they all congregated.
The dark history about New Orleans is that it was the biggest slave port, I think, in the world.
And all those people came with all their joy and sorrow and all their dreams.
And they came and they practiced, prayed to their Holy Spirit or whatever it was in Congo Square.
And all those things came about very organically.
And if that happened anywhere earlier than that, _ I guess that's probably up to an ethnomusicologist.
But I think for all of us, New Orleans is the cradle of American music.
Yeah.
It's a dark history.
It's a tragic history.
And it's also quite an inspiring history when you think about it, the odds that you listed there.
And then yet, look what's risen up, this remarkably persistent triumph in New Orleans culture
from the events way back then through Katrina a few years ago.
And look, it's still strong.
And every once in a while, we get a taste of it here, way even in the mountains of Western
North Carolina, where Chawah is visiting us today live on WNCW, playing tonight at the
Boone Saloon and tomorrow at Founders After Five in Johnson City, Tennessee.
And Joe, thanks for sharing that.
And I imagine you learned a lot of it at the Berklee College of Music, but you really learned
it upon moving to New Orleans and falling in with these guys and learning the history
more organically and firsthand.
The first gig that I ever got hired for in New Orleans, _ I was out, I was fresh out of
Berklee and I thought I was some sort of hotshot.
_ And the bass player comes up to me and goes, oh yeah, okay, so you're new to town.
I said, yeah, I just graduated from Berklee.
_ I'm so excited with myself.
And he was like, cool, don't play any of that stuff on this gig.
_ _ _ So yeah, Berklee was an education and I learned a lot about music theory and a lot of different
amazing lessons there.
But New Orleans is the original school.
Yeah, yeah, for the real education.
Cool.
Chawah here live on
_ [B] _ _ _ _ Yeah, Get On Out The Way, another tune from Chawa here on WNCW.
And it's another song that's on their new release, Spy Boy.
We just got it here at WNCW, so you can guarantee we'll be playing it.
Get On Out The Way, that one, looking at the liner notes, written by Peanut.
Yeah, Spy Boy.
Who's that?
Who's that?
He's another Mardi Gras Indian.
He's a spy boy for the Black Feathers, Mardi Gras Indian tribe.
All right, the Black Feathers.
All right, cool.
You're the Golden Eagles. Yeah.
Right on.
And_
Yeah, Black Hatchet.
He's from Black Hatchet?
Yeah.
All right, cool.
Talking about Spug there on the sousaphone.
Clifton Spugsmith.
Spug.
I haven't heard of the Black Hatchet Indian tribe.
Smaller, not as out there as the Golden Eagles?
_ [Bb] _
_ Don't be starting a war in here.
_ Well, Nightwolf Black Hatchet just was formed two years ago.
Oh, okay.
So we have about 30 [Ab] Indians in our tribe.
Yeah.
That's all we can.
They're no joke.
Yeah, no joke.
They're an army.
They're an army.
All right, cool.
Well, like we were saying before that song, when you say Chihuahua, you're announcing
yourself and it's all in, I don't know if good, clean fun's the right way to put it,
but just like, hey, let's have some fun.
Let's party.
And we're bringing ours to show what you got.
The rising tide raises all boats, so you all rise up together.
And that's when you say, get on out the way like we just did.
Okay, yeah.
Yeah. _
_ On the back there, I can't see him.
He's hiding [G] behind a board of ours here, but we have the drummer here, Joe Jolini.
He's a founder.
And if you're mic'd up and you can talk about this band, Chihuahua, because you kind of
helped found the band, didn't you?
I did, yes.
[N] Yeah.
Back a few years ago, you went to Berkeley School of Music.
Yep.
I graduated from Berkeley College of Music.
So that just meant that I didn't get a national touring gig good enough to quit school like
everybody else did.
Yeah.
I had to wait to start my own band. _
We all get through it, find it through different paths, I guess.
We've had a lot of folks from the Berkeley College of Music come through here, and yeah,
they all seem to get involved in such a different path.
Members of Lake Street Dive or members of some real kind of new grass or bluegrass-oriented acts.
This might be the first one to have such a great New Orleans presence.
And you, Joe, you're not from New Orleans, but you kind of got there as fast as you could,
I guess, as they say.
Yeah.
_ I'm a transplant, admitted transplant.
But when I got to New Orleans for the first time, my dad took me down and I was 18.
And as soon as I touched the ground, I felt like I had lived there in another life or
something like that.
It just felt like home to me.
Yeah.
Yeah.
That's a feeling that we often get.
I'm glad to hear your story, Joe, because you all that are from there, this is the case
with a lot of us way up here in the mountains of North Carolina and elsewhere around the country.
There are a lot of people that really feel this strong bond with New Orleans, but we
also may feel like we're far removed from it.
But yet when we go there, it's like, this feels familiar.
This feels right.
This feels the way cities should be.
Well, it's where it's literally the cradle of American music.
So everything started in New Orleans.
The drum set started in New Orleans.
Jazz music, ragtime, Mardi Gras Indian music, rock and roll.
The first rock and roll was recorded at J&M Studios by Cosmo Matassa.
_ Brass bands, funk bands, _ bounce music. _
I'm sure I'm leaving some stuff out.
And then there's Western Louisiana that has Cajun and Zydeco.
_ It's really like, it's kind of a cliche to say that it's a gumbo, but it's a gumbo.
Yeah.
Yeah.
I'm going to say your statement again, because it is not an overstatement.
New Orleans is the cradle of American music.
Now folks might dispute it, debate it, and that's cool.
They're wrong.
But they're wrong?
Okay.
All right.
_ I don't know.
Just a few miles from here, Spindale is where Earl Scruggs is from and Snuffy Jenkins.
Anyone?
Banjo Great, Snuffy Jenkins?
No.
No.
They don't know him.
Well, I will say this, is that Congo Square was the epicenter of where all these different
tribes and people who were enslaved were able to practice their religious ceremonies on Sundays.
And they all came and gathered in Congo Square.
It was the only place in the country that allowed people that were enslaved to do that.
And _ _ all the slaves from the Caribbean and from Africa and from South America, they all congregated.
The dark history about New Orleans is that it was the biggest slave port, I think, in the world.
And all those people came with all their joy and sorrow and all their dreams.
And they came and they practiced, prayed to their Holy Spirit or whatever it was in Congo Square.
And all those things came about very organically.
And if that happened anywhere earlier than that, _ I guess that's probably up to an ethnomusicologist.
But I think for all of us, New Orleans is the cradle of American music.
Yeah.
It's a dark history.
It's a tragic history.
And it's also quite an inspiring history when you think about it, the odds that you listed there.
And then yet, look what's risen up, this remarkably persistent triumph in New Orleans culture
from the events way back then through Katrina a few years ago.
And look, it's still strong.
And every once in a while, we get a taste of it here, way even in the mountains of Western
North Carolina, where Chawah is visiting us today live on WNCW, playing tonight at the
Boone Saloon and tomorrow at Founders After Five in Johnson City, Tennessee.
And Joe, thanks for sharing that.
And I imagine you learned a lot of it at the Berklee College of Music, but you really learned
it upon moving to New Orleans and falling in with these guys and learning the history
more organically and firsthand.
The first gig that I ever got hired for in New Orleans, _ I was out, I was fresh out of
Berklee and I thought I was some sort of hotshot.
_ And the bass player comes up to me and goes, oh yeah, okay, so you're new to town.
I said, yeah, I just graduated from Berklee.
_ I'm so excited with myself.
And he was like, cool, don't play any of that stuff on this gig.
_ _ _ So yeah, Berklee was an education and I learned a lot about music theory and a lot of different
amazing lessons there.
But New Orleans is the original school.
Yeah, yeah, for the real education.
Cool.
Chawah here live on