The Preservation Hall Jazz Band So It Is LP Sub Pop Records Scratch & Dent (Vinyl)
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& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Vinyl LP Reissue! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; At a moment when musical streams are crossing with unprecedented frequency, its 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 Citys 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. & lt;br & gt; & lt;br & gt; So It Is (2017) finds the classic Preservation Hall Jazz Band sound invigorated by a number of fresh influences, not least among them the bands 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 Obamas diplomatic opening suddenly allowed for a more extensive journey than had originally seemed possible. & lt;br & gt; & lt;br & gt; 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 bands storied history. 'So It Is' is now back in print on vinyl via Sub Pop, which signed Preservation Hall Jazz Band in 2018. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; Vinyl LP & lt;br & gt; & amp;bull; Limited time full album download code & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. So It Is & lt;br & gt; 2. Santiago & lt;br & gt; 3. Innocence & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. La Malanga & lt;br & gt; 2. Convergence & lt;br & gt; 3. One Hundred Fires & lt;br & gt; 4. Mad
Calexico & Iron & Wine Years To Burn LP (Vinyl)
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& lt;p & gt; & lt;strong & gt;Grammy Nominated Album On Vinyl LP! & lt;/strong & gt; & lt;/p & gt; & lt;p & gt; & lt;strong & gt;2020 Grammy Award Nominee: & lt;/strong & gt; & lt;br & gt;
& amp;#8226; Best American Roots Performance: Father Mountain & lt;br & gt;
& amp;#8226; Best American Album: Years To Burn & lt;/p & gt;
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& lt;p & gt;Calexico and Iron & amp; Wine first made an artistic connection with In the Reins, the 2005 EP that brought Sam Beam, Joey Burns and John Convertino together. The acclaimed collaboration introduced both acts to wider audiences and broadened Beam's artistic horizons, but it was the shared experience of touring together in the tradition of Bob Dylan's & quot;Rolling Thunder Revue & quot; that cemented their bond. Their roads diverged in the years that followed, but they kept in touch and cross-pollinated where they could. Although they often talked about rekindling their collaboration in the studio and on the stage, it wasn't until last year that their schedules aligned.
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Years to Burn can't help but be different from In the Reins. Back then, Calexico entered the studio with a long list of previous collaborations (first in Giant Sand, then backing the likes of Victoria Williams and Richard Buckner), but wondering if Beam's material was so complete and self-contained that it lacked a way in. Beam had been intimidated by Calexico's virtuosic playing and their deep comfort in an encyclopedic array of styles. Those fears were dispelled quickly. Calexico was bowled over by Beam's many talents: & quot;The arranging, the writing, his sense of rhythm, the quality of his vocals--and then there's the experimental side of Sam, & quot; Joey says. & quot;They were the perfect band at the perfect time for me, & quot; Sam adds. & quot;I loved all their different sounds. They're musical anthropologists, not regurgitating but absorbing what they discover. & quot; Beam, Burns and Convertino reconvened in Nashville for four days of recording in December 2018. Nobody was keen to retread old ground. The change of venue--In the Reins was tracked in Tucson--was one part of the effort. Together with steel guitarist Paul Niehaus, Calexico trumpet player Jacob Valenzuela and frequent Beam cohorts Rob Burger (Tin Hat Trio) on piano and Sebastian Steinberg (Soul Coughing, Fiona Apple) on bass, they settled in at the Sound Emporium, a fabled studio founded in the sixties by Cowboy Jack Clement.
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An added ingredient was Grammy-winning engineer/co-producer Matt Ross-Spang (Margo Price's Midwest Farmer's Daughter, Al Green, Jason Isbell's Something More Than Free). As on In the Reins, Beam took the lead on songwriting for Years to Burn, but Burns added one of his own in the end. They took differing approaches: Sam shared meticulous demos ahead of time and was ready with arrangement ideas and instrumental parts, while Joey came in with concepts and an eagerness to improvise. & quot;Life is hard. Awesome. And scary as shit. But it can lift you up if you let it, & quot; Sam offers. & quot;These are the things Joey and I write about now. And the title can encapsulate a lot of things. 'Years to Burn' could mean you're cocky, you've got it made. Or, our life is ours to burn, to be inspired. Or you're burned by life, brutalized. It's an ambiguous title, because life is complicated. & quot; & lt;/p & gt;
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Both acts are stronger for having worked with each other.
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-Pitchfork
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& lt;h3 & gt;Selections & lt;/h3 & gt;
& lt;h4 & gt;Side A: & lt;/h4 & gt;
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& lt;li & gt;What Heaven's Left & lt;/li & gt;
& lt;li & gt;Midnight Sun & lt;/li & gt;
& lt;li & gt;Father Mountain & lt;/li & gt;
& lt;li & gt;Outside El Paso & lt;/li & gt;
& lt;li & gt;Follow The Water & lt;/li & gt;
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& lt;h4 & gt;Side B: & lt;/h4 & gt;
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& lt;li & gt;The Bitter Suite (P & amp;#225;jaro / Evil Eye / Tennessee Train) & lt;/li & gt;
& lt;li & gt;Years To Burn & lt;/li & gt;
& lt;li & gt;In Your Own Time & lt;/li & gt;
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The Preservation Hall Jazz Band That's It! LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Vinyl LP Reissue! & lt;br & gt; Features Backing Vocals by Jim James on & quot;I Think I Love You & quot;! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; At a moment when musical streams are crossing with unprecedented frequency, its 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 Citys 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. & lt;br & gt; & lt;br & gt; Preservation Hall Jazz Bands Thats It! (2013) is an eclectic album that draws on the collective experience of players nurtured in the New Orleans tradition but determined to build something fresh and exciting on that foundation. It marks an important milestone in PHJB Creative Director Ben Jaffes crusade to carry forward the Halls original mission while making it relevant to todays audiences. & quot; For his part, co-producer Jim James (My Morning Jacket) is convinced that the PHJB has a future as vibrant as its past: & lt;b & gt; & quot;The music will speak forever, & quot; he says. & quot;Will people stop listening to Beethoven? Will people stop listening to Bob Dylan? Will people stop listening to the Preservation Hall Jazz Band? & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Preservation Hall Jazz Bands Thats It! (2013) is an eclectic album that draws on the collective experience of players nurtured in the New Orleans tradition but determined to build something fresh and exciting on that foundation. It marks an important milestone in PHJB Creative Director Ben Jaffes crusade to carry forward the Halls original mission while making it relevant to todays audiences. & quot; For his part, co-producer Jim James (My Morning Jacket) is convinced that the PHJB has a future as vibrant as its past: & quot;The music will speak forever, & quot; he says. & quot;Will people stop listening to Beethoven? Will people stop listening to Bob Dylan? Will people stop listening to the Preservation Hall Jazz Band? & quot; & lt;br & gt; & lt;br & gt; That's It! is now back in print on vinyl via Sub Pop, which signed Preservation Hall Jazz Band in 2018. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; Vinyl LP & lt;br & gt; & amp;bull; Limited time MP3 full album download code enclosed & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Mark Braud, trumpet, backing vocals & lt;br & gt; Charlie Gabriel, clarinet, tenor saxophone, vocals & lt;br & gt; Clint Maedgen, tenor saxophone, baritone saxophone, vocals & lt;br & gt; Freddie Lonzo, trombone, vocals & lt;br & gt; Rickie Monie, piano, backing vocals & lt;br & gt; Ronell Johnson, tuba, piano, vocals & lt;br & gt; Ben Jaffe, tuba, string bass, banjo, percussion, backing vocals & lt;br & gt; Joe Lastie Jr., drums, backing vocals & lt;br & gt; Jim James, backing vocals on & quot;I Think I Love You & quot; & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. That's It! & lt;br & gt; 2. Dear Lord (Give Me The Strength) & lt;br & gt; 3. Come With Me & lt;br & gt; 4. Sugar Plum & lt;br & gt; 5. Rattlin' Bones & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. I Think I Love You & lt;br & gt; 2. August Nights & lt;br & gt; 3. Halfway Right, Halfway Wrong & lt;br & gt; 4. Yellow Moon & lt;br & gt; 5. The Darker It Gets & lt;br & gt; 6. Emmalena's Lullaby
Lael Neale Acquainted With Night LP (Color Vinyl)
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& lt;p & gt; & lt;strong & gt;Poetic Album On Limited Run Color Vinyl LP! & lt;/strong & gt; & lt;/p & gt;
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& lt;p & gt;It is the simple thing that is so hard to do. This is the paradox that musician Lael Neale has lived within throughout her development as an artist. It is the reason she became enthralled with poetry. Poems are a distillation. Lael says, & quot;This challenge
to winnow away what is unessential is the most maddening and, ultimately, rewarding part of writing a song. & quot; & lt;/p & gt;
& lt;p & gt;Lael's new album Acquainted With Night is a testament to this poetic devotion. Stripped of any extraneous word or sound, the songs are lit by Lael's crystalline voice which lays on a lush bed of Omnichord. The collection touches on themes that have been
thread into her work for years: isolation, mortality, yearning, and reaching ever toward the transcendent experience. & lt;/p & gt;
& lt;p & gt;Lael grew up on a farm in rural Virginia, but for nearly 10 years called Los Angeles home. Those years were spent developing her songwriting and performing in venues across the city, but the right way to record the songs proved more elusive. She says,
& quot;Every time I reached the end of recording, I felt the songs had been stripped of their vitality in the process of layering drums, bass, guitar, violin, and organ over them. They felt weighed down. & quot; & lt;/p & gt;
& lt;p & gt;In a moment of illumination the solution presented itself: do the simple thing. In early 2019, in the midst of major transition, she acquired a new instrument, the omnichord, and began recording a deluge of songs. Guy Blakeslee, who had been an advocate
for years, set up a cassette recorder in her bedroom and provided empathic guidance, subtle yet affecting accompaniment and engineering prowess. Limited to only 4-tracks and first takes, Lael had to surrender some of her perfectionism to deliver the
songs in their essence. & lt;/p & gt;
& lt;p & gt;The first song she recorded was & quot;For No One For Now, & quot; which calls to mind the agitated beat of driving fast on the freeway against the backdrop of the San Fernando Valley's bent palms. The song contrasts romantic idealizations with the banality of folding
sheets and toasting bread. It highlights her oft-thwarted attempts to enjoy the day to day while her mind wanders off toward the dream, the ideal. & lt;/p & gt;
& lt;p & gt;While Lael returned to her family farm in April 2020, Los Angeles is a player on this album, and & quot;Every Star Shivers in the Dark & quot; is an ode to the sprawling city, the outskirts of Eden. One can envision her walking from Dodgers Stadium to downtown, observing
strangers and her own strangeness but determined to find communion with others. & quot;Blue Vein & quot; is her personal anthem, a Paul Revere piece that gallops through the town as a strident declamation. It is an amalgam of thoughts, concerns, and lessons as she
nearly speaks the words, unmasked by flourishes, ensuring the meaning cuts through. & lt;/p & gt;
& lt;p & gt;Normally a morning person, Lael recorded most of these songs in the darkening of the early evening, and so became Acquainted With Night. & lt;/p & gt;
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Neale's sweet vocals and heavyhearted lyrics join with the cosmic-but-plastic sounds of the Omnichord and rusty four-track production for an otherworldly sound that drives home the loneliness and longing at the core of the songs.
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-Fred Thomas, AllMusic.com, 4/5 stars
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& lt;li & gt;Blue Vein & lt;/li & gt;
& lt;li & gt;Every Star Shivers In The Dark & lt;/li & gt;
& lt;li & gt;Acquainted With Night & lt;/li & gt;
& lt;li & gt;White Wings & lt;/li & gt;
& lt;li & gt;How Far Is It To The Grave & lt;/li & gt;
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& lt;li & gt;For No One For Now & lt;/li & gt;
& lt;li & gt;Sliding Doors & amp; Warm Summer Roses & lt;/li & gt;
& lt;li & gt;Third Floor Window & lt;/li & gt;
& lt;li & gt;Let Me Live By The Side Of The Road & lt;/li & gt;
& lt;li & gt;Some Sunny Day & lt;/li & gt;
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