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All too often, benefit albums exploit a tragedy in order to peddle lousy and terrifically corny tunes to the general public. Or, in the case of Live 8, a cavalcade of established and financially stable artists come together, on several different continents in the name of philanthropy, to see their personal album sales soar in the following weeks.
Fortunately “Preservation” does not succumb to this pattern. The album, released on Feb. 16, seeks to benefit Preservation Hall and its accompanying music outreach program in New Orleans. Founded in 1961, the venue originally served as a rehearsal space for aging jazz musicians. Throughout the following decades, the Preservation Hall Jazz Band formed in order to extend a charitable hand to the youth of New Orleans, providing music lessons to emphasize the importance of community, culture and legacy. In post-Katrina New Orleans, the organization has faced obvious challenges mainly involving building maintenance stemming from a lack of donations. However, “Preservation” is the most promising, practical and original solution to a problem plaguing New Orleans as a whole: the disintegration of jazz.
A diverse array of artists, ranging from Merle Haggard to Ani DiFranco, banded together to craft the compilation. The project is primarily composed of established southern hymns, revitalized through every artist’s take on each individual tune. The current Preservation Hall Jazz Band accompanied every musician. Moreover, each musician traveled to New Orleans specifically for the purpose of recording the album in Preservation Hall. Because of this, the project contains a noticeable unity often absent in other compilations.
Benefit albums often run the risk of becoming patchwork projects, each track being recorded in several different studios across the country or even on different continents. On “Preservation,” however, it is clear that each artist is devoted to maintaining the album’s premise, making the project not only unified but strikingly authentic.
Each of the 19 compositions contain a distinct southern swing, relying heavily on Dixieland brass, a completely acoustic rhythm section, and the occasional bluegrass banjo or fiddle. The album commences with Andrew Bird’s rendition of “Shake It and Break It,” easily a standout track. Bird immerses himself in violin, mandolin, muted trumpets and even whistling, proving that jazz is an accessible art form for every generation.
The next two tracks continue the project’s promising start. “Between the Devil and the Deep Blue Sea” has been covered and reinvented by a multitude of classic and contemporary artists, ranging from George Harrison to Dr. Kickbutt’s Orchestra of Death. Paolo Nutini carries on this tradition, crooning his vocals over a subtle tuba and a surprisingly pleasant clarinet. In true Tom Waits fashion, “Tootie Ma Is a Big Fine Thing,” includes raunchy brass and that oh so charming inane babbling he’s known for.
Perhaps the most refreshing quality about “Preservation,” is that despite its status as a compilation, the project reflects the true essence of another disintegrating art form, the album. “Preservation” begins with up-tempo tunes, gradually experiences a decrescendo, and shifts into couples-only dance territory. This is most apparent in the album’s last three tracks. Appleton’s own Cory Chisel lends his vocals on “Some Cold Rainy Day” while Buddy Miller busts out “I Ain’t Got Nobody.” The closing track, “La Vie En Rose,” performed by Angelique Kidjo and Terence Blanchard, solidifies the French heritage of Louisiana, ironically ending the album with the start of jazz music, French roots.
“Preservation” is a legitimate find that does not come around often. The project does not contain a distinctly weak track. The album is truly original and innovative; it has the artistic substance and integrity to bring back honest music in the next decade.
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