![]() I just thought that was so old fashioned, I would roll my eyes and just did not understand. I would go to one of those two churches and we would do these lining hymns and as a kid, I absolutely hated it. After the Civil War and during Reconstruction they started to build this community and the very first things they did was build churches and hotels and bars and schools and such just to be a sustaining community. This plantation had over 500 slaves and 10,000 acres of sugarcane in three sugar mills, where the slaves were also processing and packaging the sugar. The land was given to eight formerly enslaved men as a form of reparations after the American Civil War. I should give context and let the folks know that Hillaryville is a town of maybe about 500 folks. Whenever I was a kid, we would do lining hymns in church. Can you tell us the inspiration behind that song and then how it was recorded? It's a traditional gospel song that you sing with a very large sounding choir. The title track to the record is so beautiful. So this project, in many ways, was a way for me to shed light on a little bit of the rural south in Louisiana. And I think once I left and came back as a grown man, I realized that a lot of the traditions and things that made Hillaryville so special, were dying with the elders. ![]() I think because of the elders, the folks who saw Hillaryville in its height, and it's once pristine statue, it still held a certain air. Growing up in Hillaryville at the time, I didn't realize how special it was. You are more than able.Can you tell us a bit about what Hillaryville was like when you were growing up versus what it's like now? “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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