The Preservation Hall Jazz Band usually performs nightly at Preservation Hall in New Orleans, and tours around the world over 150 days a year. Hurricane Katrina, however, forced Preservation Hall to close through the fall and winter of 2005, and the building remained shut until April 2006. The band continued to tour while the hall was closed.
Art dealer Larry Borenstein opened an art gallery in a building he called Associated Artists Studio in 1961. This evolved into Preservation Hall. A young tuba player, Allan Jaffe, ran the hall and organized tours for the musicians who often performed there, naming the band after the venue. The late Allan Jaffe was often in the Preservation Hall band; his son string bass player Ben Jaffe often is now.
The group has been touring the United States for more than 25 years. The Preservation Hall Jazz Band seek to preserve music evolved in New Orleans, and to bring it to contemporary audiences.
In 2006, the band was awarded the National Medal of Arts.
Current members include: Lucien Barbarin (trombone), Mark Braud (trumpet), Frank Demond (trombone), Charlie Gabriel (clarinet & saxophone), Ben Jaffe (bass & tuba), Leroy Jones (trumpet), Joseph Lastie, Jr (drums), Carl Le Blanc (banjo), Freddie Lonzo (trombone), Clint Maedgen (vocalist & saxophone), Rickie Monie (piano), Walter Payton (bass), Shannon Powell (drums), Mari Watanabe (piano)
A partial listing of the musicians who have played under the Preservation Hall Jazz Band name includes:
* Kid Thomas Valentine - trumpeter
* Punch Miller - trumpeter
* De De Pierce - trumpeter
* Percy Humphrey - trumpeter
* Kid Sheik Colar - trumpeter
* Louis Nelson - trombonist
* Jim Robinson - trombonist
* Frank Demond - trombonist
* George Lewis - clarinetist
* Albert Burbank - clarinetist
* Willie Humphrey - clarinetist
* Raymond Burke - clarinetist
* Joseph Rochambeau - pianist
* Billie Pierce - pianist
* "Sweet Emma" Barrett - pianist
* Jeanette Kimball - pianist
* Sing Miller - pianist
* Alcide "Slow Drag" Pavageau - bass
* Narvin Kimball - banjo
* Emanuel Sayles - banjo
* Josiah "Cie" Frazier - drums
* Walter Payton - bass
* Clint Maedgen - saxophone, clarinet, vocals
* Shannon Powell - drums
Lonesome Road
Preservation Hall Jazz Band Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Before you travel on.
Look down, look down that lonesome road
Before you travel on.
Look up, look up and greet your maker,
For Gabriel blows his horn.
Travelin' down that lonesome road,
Look down, look down that lonesome road
Before you travel on.
Weary totin', it's such a load,
Whike I'm travelin' down, travelin' down that lonesome old road,
Look down, look down that lonesome road
Before you travel on.
The song Lonesome Road by Preservation Hall Jazz Band is a melancholic piece that speaks to the hardship of life’s journey. The lyrical repetition of “Look down, look down that lonesome road” and “Weary totin’, it’s such a load” emphasizes the weariness and burden of the traveler on their lonesome road. The lines urge the traveler to slow down and take stock of their path before moving forward, to look to the heavens and recognize the presence of their maker, as Gabriel’s horn announces the end times.
The song speaks to themes of struggle and perseverance through life’s challenges. The “lonesome road” represents the journey of life, the “load” is the burdens carried throughout that journey, and Gabriel’s horn is the reminder of the ultimate destination for all travelers. The repetition of the lines throughout the song reinforces these themes, and the simple melody and somber tone reflect the gravity of life’s journey and the importance of reflecting on it.
Line by Line Meaning
Look down, look down that lonesome road
Look at the rough path ahead before you proceed with your journey.
Before you travel on.
Before you continue moving forward.
Look up, look up and greet your maker,
Acknowledge your faith and greet your creator.
For Gabriel blows his horn.
This is a sign that the end is coming soon.
Weary, totin' such a load,
Feeling tired and carrying a heavy burden.
Travelin' down that lonesome road,
Going down the path filled with loneliness and solitude.
Look down, look down that lonesome road
Reflect on the path ahead and consider the challenges it may present.
Before you travel on.
Prior to continuing to travel down this path.
Weary totin', it's such a load,
Tired and feeling weighed down by the burden.
Whike I'm travelin' down, travelin' down that lonesome old road,
Even though I am travelling down this isolated and lonely path.
Look down, look down that lonesome road
Again, taking a moment to consider the difficulties in front of you.
Before you travel on.
Before going ahead and facing those difficulties on this journey.
Lyrics © NATHANIEL SHILKRET MUSIC CO. , Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Warner/Chappell Music, Inc.
Written by: JIMMY CARROLL
Lyrics Licensed & Provided by LyricFind
L.V the Truth
on Rattlin' Bones
The lyrics of Preservation Hall Jazz Band's "Rattlin' Bones" is a spooky tale about the supernatural phenomena that takes place in St. Josephine, a part of New Orleans. The opening lines of the song act as a warning to those who might wish to visit the place as it is plagued with rattling bones that make a frightening sound. The singer suggests that the sound is not coming from any ordinary source, but from the bones of the dead who have risen from the grave and started walking around.
As the song progresses, the singer presents himself as a witness to the terrifying events that take place in the graveyard. He admits that initially, he did not believe in the stories about the rattling bones. However, after spending a night in the cemetery out of a dare, he saw the horrifying sight of the dead rising from their graves. The chorus is an ominous warning to those who might venture near the St. Josephine graveyard, with the rattling bones creeping up behind the headstones, effectively sealing the fate of any curious visitors.
Edit: Others argue that a deeper meaning hides between the lines. It has been said that homosexuality was a heavy taboo around the turn of the century. Evidence shows that the occasional (sexual) encounter was not uncommon in graveyards, at night. Many young men sought hidden corners of the city so they could get their "bones rattled." Hotels were reserved for "Socially Acceptable" Folks. So if you didn't want to see anyone's bones getting rattled, it's best to visit a graveyard during appropriate visiting hours.