It’s a fabulous record that recalls masterful works by Marvin Gaye, Stevie Wonder, and Bill Withers. For his solo work, Jones looks to classic soul and R&B, but it steps away from dance-floor material for music is a celebration of rootsy soul, gospel, rock, and jazz. That record was an homage to 1970s-era smooth R&B and disco-flecked disco. They followed up with two more studio releases and a live album, their latest being 2021’s Private Space. The Louisiana native has been making music with his bandmates for over a decade, meeting in the early 2010s in Indiana, paying their dues, and assembling material for their 2016 debut, Durand Jones & The Indications. I think a lot about Gil Scott-Heron's "H2Ogate Blues" and how much it maps onto today.Stepping away from his band, Durand Jones & The Indications, Durand Jones has proven his star power and charisma on his solo debut album, Wait Til I Get Over. I think that this year will affect things to come for a while, as so many past past moments of political chaos and other kinds of chaos have been reflected in folklife, whatever form you define it. Because you've been in New York, which has been so affected by the pandemic, do you think that's going to make its way into your music in the future?ĭurand Jones & the Indications, we're starting our next album, this weekend and we definitely have a couple of moments on there that were born from what we all shared and went through together this year.
I wonder about what art is going to look like after this period. But it's also been a time to take stock of what the last few years have been. Especially because the kind of music I make is pretty widely across the board: Maybe it's not your number one thing, but generally people don't hear soul and soul-adjacent music and go, "Oh my God, I can't stand this." So yeah, not playing shows has definitely made me feel disconnected. Being able to travel and meet people all over the world, I'm so thankful to have had that opportunity because I feel like it's helping me expand my perspective and understand other people's perspectives. How has it been not touring, not doing live music? It's an issue I think a lot about, and stress out a lot about. It's classic gospel sort of imagery - the train is at the station, you can hear the diesel humming and we can't afford to miss it. "Ride With Me" is another climate change song. But it's also all of us in this moment of relentless, 'Yo, can I catch a break? Please?' But we have to keep marching forward and waking up the next day and going back at it. I wrote it to be heard almost from the perspective of Mother Earth - like, I'm on fire, I can barely keep it turning. "Bad News" was written two Novembers ago, but I think it's only gotten more timely as release day was approaching. Can you tell me what " Bad News " is about? There's one song in particular I want to listen to, which reflects a lot of what we've been hearing lately. I think that's the working dynamic at Easy Eye, Dan Auerbach's studio - everybody working together to make things happen. That's because you have people who are listening first and reacting, letting other people set the tone and doing what needs to be done in response.
A bunch of stuff on the record, musically, you'll hear happen on the two : Like, one, boom. I think everybody, both old and young, brought such sensitivity and empathetic playing. Tell me about that dynamic and what they brought to the album. You brought in a wide range of musicians to record: members of the Memphis Boys, who backed icons like Dusty Springfield and Aretha Franklin, but also some younger artists.
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