![]() That song provides a sweet contrast to the Jones showcases and pushes the band in a northerly direction with a sound closer to Smokey Robinson & the Miracles or the Whatnauts. Falsetto-equipped drummer Aaron Frazer takes a turn on the second side with "Is It Any Wonder," a ballad angling for placement on a Lowrider Oldies compilation. There's an appealing everyman quality to Jones, a skilled and poised vocalist who can project an extreme emotion without overexertion. Formed from friendships made while studying at Indiana University in Bloomington, Durand Jones & the Indications are a four-piece consisting of Aaron Frazer on. Hard grooves and aching ballads are handled in similarly precise and scholarly fashion, like the musicians are familiar with all tiers of mid- to late-'60s R&B, from the hits to the obscurities, whether they were released by Stax or unearthed by Numero. Their recorded debut was made with a 7" single consisting of the despairing belter "Smile" and the plump, somewhat Meters-like instrumental "Tuck 'n' Roll." Those two sides make up one quarter of the quintet's self-titled album. They started at a basement gig with Otis Redding covers, opted to forge ahead with original material, and found a home with Columbus, Ohio's Colemine label. Soul Revue, he sang again at the band director's urging and met the musicians with whom he formed Durand Jones & the Indications. Back home in Louisiana, he had wowed fellow parishioners with his voice, but he had become an accomplished saxophonist and enrolled in a postgraduate music program at Indiana University. You are more than able.Durand Jones hadn't the intent to front a retro-soul band when he moved from the Deep South to the Midwest. “I wish I could tell my younger self, ‘You don’t have to stick to the dreams people have for you. This is my story.”įor all the ways Wait Til I Get Over is a bracingly beautiful musing on the past, it equally honors his present and future as Jones has and continues to come into his own. ![]() I am a proud son of Hillaryville and I am proud to be a part of its legacy. “Through this process I’ve come to learn that I am a proud descendent of Longshoremen on the river, and sugarcane and rice farmers on the land - all in the deep rural south of Louisiana. Ultimately, Wait Til I Get Over is a study in Jones’s relationship to his roots: to a Black, country, barefoot childhood to the verdant Gulf South to his elders to his queerness. In James Baldwin’s novels and lonely diners. Of these songs, most of which were conceived as far back as 2014, Jones writes in the album’s liner notes that “They called out to me at truck stops. On Wait Til I Get Over, Jones leans into the vulnerability of his singular perspective, delivering something utterly distilled and potent. Taken as a whole, Wait Til I Get Over joins albums like Sound & Color, A Seat at the Table, and WE ARE as a mesmerizing new addition to Southern Black music, affirming Jones as a uniquely gifted artist and vanguard of the form.Īs one of the singers and principle songwriters of his band Durand Jones and the Indications, Jones’s professional creative efforts have been, for the most part, in aggregate. But most importantly, each track is an arc quite literally grounded in the story, the feeling, and the sound of what it means to go home. Jones lays us several courses and flavors of sound that are all distinctly Southern and Black rhythms heavy with raw, Delta grit bright exhalations of church spirituals even tender, cadent spoken word. Wait Til I Get Over is a veneration project an abstracted and contemporary oral tradition that passes story down from (and heaps homage upon) his hometown of Hillaryville, Louisiana. Hometowns have a way of keeping a part of you,” says Durand Jones, regarding his forthcoming solo debut album.
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