For Fat Man Preservation Brass & Preservation Hall Jazz Band

• 1 Indian Percussion Intro 00:51
• 2 Bagatelle 05:07
• 3 Lucky Dog 03:21
• 4 Hot Sausage Rag 04:51
• 5 That Dada Strain 04:01
• 6 Big Chief Coming (Interlude) 00:45
• 7 Slide Frog Slide 04:25
• 8 Climax Rag 03:35
• 9 Bill Bailey Won't You Please Come Home 04:59
• 10 Careless Love 03:29
• 11 Medley 06:30
• 12 Fiyaya 00:39
• Total Runtime 42:33

Info for For Fat Man

BOOM Es ist das erste, was Sie hören, das erste, was Sie bemerken. Ein Bassdrum Strike so hart und schwer, dass der Klang für Blöcke trägt. In der Tat spüren Sie es wahrscheinlich, bevor Sie es tatsächlich hören. BOOM BOOM Ein unteres Ende, das so tief ist, dass es jeden wissen lässt: Die Band ist auf dem Weg. BOOM BOOM BOOM Und bevor Sie sie überhaupt sehen können, können Sie sie hören, die den Weg freimachen: Engeltrompeten, Teufelsposaunen, Ratten-a-Tat-Snares, pulsierende Tubas und in der Mitte des Ganzen, der Anker, der Fels, die Schwerkraft, die verhindert, dass sich alles dreht und in den Weltraum fliegt, die Basstrommel. Der stetige Beat, der die Grundlage für jede Leistung legt, die die Messingband vollbringen kann. Der Beat, der das langsame und ehrwürdige Tempo für einen Spaziergang der Erinnerung in Richtung Friedhof setzt. Der Beat, der den Rhythmus des fröhlichen Tanzes an der Ecke diktiert. Der Beat, der Hintern in Bewegung setzt. Dieser Bassdrum-Beat ist der Herzschlag von New Orleans, dem Organ, das das Blut durch die Arterien und Adern unserer Stadtstraßen drückt, und das größte und stärkste Herz war Kerry "Fat Man" Hunter.

Als die Bassdrum über seine Schultern geschnallt wurde und die Schlägel in seinen Händen waren, ließ er sie wissen, laut, stolz und unbestreitbar war sein Stil, und es ist dieser Stil, der das Herzstück von For Fat Man ist, der neuen Aufnahme von The Preservation Hall Brass. Das Album wurde von der Gründung bis zur Fertigstellung von Preservation Hall Kornetspieler Kevin Louis geführt. Er wollte festhalten, was am Montagabend in der Halle vor sich ging, und von Anfang an war Fat Man der Schlüssel zur Aufnahme. Gleiche Teile Erinnerung, Dokument und Party, For Fat Man war nicht dazu gedacht, diesen Titel zu tragen. Kerrys frühzeitiger Übergang während des Karnevals ist leider aber unwiderruflich ein Teil der Geschichte dieser Schallplatte, die als Feier begann, wo die Brassband-Tradition in Preservation Hall war und wohin sie geht. Und Gott sei Dank endet die Geschichte nicht. Das Leben, wie jedes gute Messingband, hält in Bewegung. Diese Schallplatte ist ein freudiges Glied in der Kette, das die Geschichte von New Orleans und seiner Musik ist. Es ist für die Vorfahren, für die Kultur, für die Menschen auf der Straße, für diejenigen, die trauern und diejenigen, die feiern und alle irgendwo dazwischen. Diese Schallplatte ist der Klang dieser Kette, dieses Herzschlags, dieses Rhythmus. That sweet and thunderous BOOM. Und es trifft so hart, dass der Fat Man es wahrscheinlich im Himmel hören kann.

Preservation Brass & Preservation Hall Jazz Band

Preservation Brass & Preservation Hall Jazz Band
At a moment when musical streams are crossing with unprecedented frequency, it’s crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle, and resurface, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history.

PHJB marches that tradition forward once again on So It Is, the septet’s second release featuring all-new original music. The album redefines what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city’s Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.

So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band’s 2015 life-changing trip to Cuba. A visit to the island, so integral to the evolution of jazz and New Orleans culture in general, had long been in the works when President Obama’s diplomatic opening suddenly allowed for a more extensive journey than had originally seemed possible.

“When the restrictions were lifted,” says bandleader/composer/bassist Ben Jaffe, “It was no longer just about going down there and playing a concert. We were able to explore a bit more, which profoundly impacted the band not just musically but personally. In Cuba, all of a sudden we were face to face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one – we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.”

Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band’s storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city’s famed second-line parades. “I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate,” he says. “I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.”

For those wary that a band with the rich history of the PHJB is tackling new material, Jaffe is quick to point out that Preservation Hall – which his parents, Allan and Sandra Jaffe, founded in 1961 – was never meant to be a museum. At its beginnings it broke racial boundaries to present the living legends of New Orleans music, living links to the origins of jazz. Today, with a band whose ages range nearly 60 years, the mission remains the same: to pass on the traditions while continually revitalizing it with new blood and fresh ideas.

“I see it as something that’s necessary for the evolution and survival of New Orleans music,” Jaffe says. “Interpreting the repertoire that’s been around for a hundred years is one thing, but the challenge is to keep that repertoire and those traditions alive while at the same time being honest about who you are as a musician, allowing all of your musical influences to be reflected in what you create.”

While that’s always been a key component of the PHJB, whether at their world-famous French Quarter home or on stages around the world, it took on a renewed urgency in the aftermath of Hurricane Katrina. “When something that catastrophic happens in your life,” Jaffe says, “it becomes important to understand and focus on the things that are most important.” The band began charting a new path with the release of That’s It!, their first album of original material, in 2013. So It Is continues and significantly expands on that expedition.

The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. The album’s seven new pieces of buoyant, window-rattling funk find common ancestry with the Afro-Cuban sounds that the band heard in the streets of Havana (witness the NOLA-meets-Cuba bounce of “La Malanga”), Fela Kuti’s Nigerian funk and the entrancing melodies of Ethiopian jazz (most evident on the sinuous “Innocence”), the passion of envelope-pushing ‘60s jazz and soul pioneers, and the intense grooves of their modern Coachella counterparts – then filters them all through a Crescent City lens to emerge with something that compels the listener to move.

“When we play music, the barometer for us as a band is whether the locals are reacting,” Jaffe explains. “In New Orleans we play music for dances and parades, funerals and church. It’s important to us to make music people connect to, that people dance to, that people really feel, emotionally and physically. That’s the tradition we grew up with, that’s what we know.”

This album contains no booklet.