The Bones of J.R. Jones

Fri Sep 24 2021 at 09:00 pm to Sat Sep 25 2021 at 12:00 am UTC-04:00

Johnny Brenda's | Philadelphia

Johnny Brenda's
Publisher/HostJohnny Brenda's
The Bones of J.R. Jones The Bones of J.R. Jones with Tall Tall Trees at Johnny Brenda's in Philadelphia
About this Event

*Proof of Covid-19 vaccination required for entry*

*Attendees are encouraged to wear masks while not actively drinking*

8PM - Doors

9PM - Tall Tall Trees

10PM - The Bones of J.R. Jones


THE BONES OF J.R. JONES


When Jonathon Robert Linaberry needs a break from city life, he goes Upstate, near the Catskills, to renovate a little farmhouse he purchased a couple of years back. As he pours himself into his work, J.R. doesn’t think about texts, email, or even his music, which he performs solo under the moniker The Bones Of J.R. Jones. His only focus is the house.


“That’s been an amazing emotional outlet for me,” he says of his periodic retreats. “To kind of sustain myself after coming from the road and getting back into the grind of the city, to have this, for lack of a better term, Shangri-La.”


In a sense, recording and touring as The Bones Of J.R. Jones is its own form of isolation. But you wouldn’t immediately think so: As a one-man band, J.R.’s project, which fuses a moody blend of soul, blues, roots, and Americana, sounds enormous both on record and live in concert. That’s because J.R. plays—and has grown accustomed to playing—every instrument by himself.


He’s happy to report, though, that he’s a lot less solitary on his third full-length album, Ones To Keep Close. In addition to workshopping the 11-track album with producer and good friend Rob Niederpruem at Hyperballad Music in Brooklyn, J.R. also called on soul-psych luminary Nicole Atkins, who guests on the album’s jangly lead single, “Burden.”


“I played a show with [Nicole] in Philadelphia a few months back, and we totally hit it off,” says J.R. of how they met. “It was the first time I ever got to see her live. She’s amazing live, and I guess she liked what I was doing, so we kept in touch. I approached her with this idea of doing a duet, and she agreed!”


It’s fitting then, that “Burden,” a quick-footed tune about the emotional isolation that comes with touring as a one-man band, would be performed by two people.


“‘Burden’ comes from a spot of catharsis,” says J.R. “I tour a lot by myself, and it’s tough doing it by yourself, being alone all of the time. The whole idea of ‘Burden’ was having that person to share that with. Kind of like misery loves company. Having someone be there. To be your rock. No judgement, just I’m here for you.”


J.R. even gathered more bodies in the studio itself, hiring musicians with whom to record and bounce ideas off of. On the gritty “I See You,” J.R. worked with his session percussionist to pick up the pace from a slower, “swampier” drawl to an 180 BPM “swagger.”


“It was one of those moments where someone gives you a fresh perspective on something,” recalls J.R. “I was working with a drummer named Ian Chang, and he and Rob had this moment where they were like, what can we do with this? How can we make this as meaty and rocky as possible? And ‘I See You’ was birthed out of that. I love the song. It’s one of my favorite tracks on the record. It’s so in your face, compared to some of the other stuff I do.”


Another favorite of J.R.’s is the minor-key garage-blues romp “Know My Name,” which the singer points to as harkening back to his personal tastes the most. “I listen to a lot of soul, a lot of old blues,” he explains. “Obviously there’s a lot of garage-rock influence. The old soul, like,

Sam Cooke and Bill Withers. Lee Fields. Even Charles Bradley. There’s still for me, the roots, which is, R.L. Burnside. I try to incorporate all of that.”


Finally, Ones To Keep Close wouldn’t feel complete without the redemption-themed “Sinner Song,” a softly strummed, slow burn that eventually reaches a quiet crescendo with scratchy strings and J.R.’s murmuring hum. “I somehow feel like the softer, more low-key songs on the record always end up being my personal favorites,” he says. Maybe because it’s a track that I’m the most intimately or personally invested in.”


Even as insulating as solo musicianship can be, J.R. finds comfort in reflecting on how much The Bones Of J.R. Jones has grown in the last year. The project is like that house in the Catskills—constantly evolving. In addition to recording with Niederpruem and a backing band, this album marked the first time J.R. felt able to adequately flesh out his ideas in the studio without feeling rushed.


“Every time I’d gone into the studio prior to [this record], it’d be like, ‘Okay, we have five days… this is what it’s costing for five days… let’s just bang out whatever nuggets of ideas we had, and that’s the album—good or bad, no cohesiveness, no common thread,” J.R. says. “This was the first time I was able to be a little more thoughtful and slow it down a touch and write songs for that moment and bring them into the studio and develop them.”


The result is a crisp, expertly produced collection of stomp-along songs that evoke a vivid spectrum of feeling: pain, fear, excitement, joy, longing, regret.


“I had this perspective of what I wanted this album to be, which is a studio moment,” he continues. “Knowing myself well enough, I had the perspective of the prior two albums, and how they felt a little mish-mashed. And so having the studio as a goal to work these songs toward was the main impetus… I’m totally proud of the album and what we produced.”


TALL TALL TREES


Tall Tall Trees is the pseudonym of songwriter and multi-instrumentalist Mike Savino. Moving to New York in the early aughts with aspirations of being a bassist in the city’s vibrant jazz and experimental music scene, Savino soon switched his focus to banjo and writing songs, resulting in the eponymous 2009 debut, Tall Tall Trees. In the decade since, Savino has toured non-stop, pioneering a world of psychedelic electric banjo music, captivating audiences with his loop-based one man shows, as well as alongside frequent collaborator, Kishi Bashi.

A Wave of Golden Things, his fourth studio album, opens with the distant crow of a rooster and takes off in a dust cloud of swirling banjo, drums and bass. The lead off track, “The Wind, She Whispers,” quickly evolves from a droning mountain melody into full-blown banjo funk, setting the precedent for an album of unexpected turns. Though the banjo is heavily featured, the influence of Pink Floyd, and Cat Stevens can be felt as much as banjo mavericks Earl Scruggs, and Bela Fleck.

Savino, who self-records and produces his music, abandoned the heavily-layered textures of 2017’s Freedays for a more organic, stripped-down approach, leaving his distinct voice and thoughtful lyrics as the centerpiece. Despite the sparse arrangements, Savino still manages to evoke the sonic imagery and pastoral landscapes that have often been hallmarks of Tall Tall Trees albums. Each of the eight songs that make up A Wave of Golden Things suggest a world unto itself, from the cosmic country-tinged, “Ask Me Again,” to the sprawling underwater lullaby “Deep Feels.”

Opting for an immersive experience over a traditional studio, Savino set up residence and a mobile recording rig on a hemp farm in the Appalachian mountains outside of Asheville, North Carolina, where he now resides. Recorded in just under three weeks, with much of it arranged on the spot, the album maintains a sense of immediacy, celebrating raw performance over perfection. “I’m giving up on my expectations, let them go and see where it takes us,” Savino sings on “Expectations,” almost seeming to revel in this experimental process.

Savino’s voice, left unadorned, can be simultaneously gentle and strong, at times sage-like in delivery. On the album’s closing title track “A Wave of Golden Things,” his soft spoken meditations on mental health reflect a new maturity in his song craft and singing. As the song develops, Savino’s voice gains confidence and his whisper becomes a fragile cry, neither full-throated nor fully secure, but at home in a warm bed of upright piano and echoing tape delay. “We all need a little peace and love right now,” he sings as if he’s at the end of his breath.

Reflective of the dark and challenging times of today, Savino’s message is ultimately one of hope and finding peace of mind in the chatter of the modern world. The last chorus reaches towards a transcendent beauty in the darkness, and makes a promise: “a wave of golden things, it waits for you.”


In accordance with Philadelphia's citywide mandate, attendees will be required to show proof of Covid-19 vaccination for entry to all Johnny Brenda's events. Please note that negative PCR / antigen test results will not be accepted. We ask that you bring your vaccination card, a copy of your vaccination card, or a legible photo of your vaccination card on your phone. Full vaccination must be completed at least 14 days prior to the date of the event. If you are unable or unwilling to provide proof of vaccination, we will refund your tickets in full. Please feel free to e-mail us at [email protected] with any questions or concerns.

All Johnny Brenda's events will be presented in accordance with city & state guidelines and requirements as of the date of the event, which could include changes to capacity, attendance prerequisites, procedures, and other protective measures. Any updated protocols will be included in your ticket reminder e-mail closer to the event date.

Event Venue & Nearby Stays

Johnny Brenda's, 1201 N. Frankford Ave, Philadelphia, United States

Tickets

USD 15.00

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