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I did an interview with my dude, Chris and he just posted it on his music blog; go check it out!

cng9590:

Jazz Funeral is a one man band comprised of Paul Adler. Originally, Paul Adler played under the name of Wolves. Wolves was more of a pop rock project that Paul basically started just to show he could play as well as any of the other more well known bands out there. Eventually, his writings became more personal and more mature. The resulting product was a completely new sound and a new name. Now being known as Jazz Funeral, Paul is playing a style geared more towards a mix of jazz, folk, alternative, and yes the occasional hint of pop rock. His lyrics are more about himself and his life story. This album is a more personable album than most albums out there. If you take a look at the meanings Paul gives for each song you notice that not only does he throw himself into each song but he also throws mankind as a whole into them. His songs encompass daily life for the average human being and all the struggles, strife, turmoil, addictions, and philosophies that apply to the average human. As for his new sound, it does his lyrics justice. His self-titled album is truly a masterpiece. His sound has matured along with the lyrics. The way he changes each songs sound helps to tell the stories hidden within the words and set the mood for each track. I can honestly say this album is one of the best albums I have heard to date that is more melodic but at the same time upbeat every now and then. What really sets Paul apart is a lot of solo artists these days just stick to their one instrument they can play and base their album on that or they have a back up band to record with them but Paul plays nearly if not all the instruments on his album. He really showcases his musical skills through every instrument he plays. He also emphasizes his vocals and how they have matured since Wolves. I do not know many bands/artists that could do or even attempt what Paul has done under the name Jazz Funeral. The saddest part is that not many people even know he exists let alone his music. He deserves so much more gratitude for the music he is delivering us. We as a fan based community need to help Paul out and really post the link to his album everywhere and really get this unique artist out there. I will post all of his links at the end of this interview. Share the word about Jazz Funeral to all your friends and family. Bring the gift of true musical talent out from the shadows and into the light of the world. So if your looking for something new, different, and amazing, then check out Paul’s music over at Jazz Funeral, download his album for free, and share it with everyone you know. This is one album that is a must have for any true music lover out there. Turn off your metal, screamo, punk, whatever it is you are listening to and turn up the JAZZ FUNERAL.

 

Q: Where did the name Jazz Funeral come from?

A: A jazz funeral is a New Orleans tradition, by which a deceased member of the community is thrown a party or a parade instead of a traditional, somber funeral ceremony. Essentially, it’s a celebration of that person’s life. There’s a line in one of the songs on the record, “Haven, Not Heaven” that goes “I want a jazz funeral while I’m still alive,” meaning I—and to some extent everybody has this, I think—have this somewhat selfish need to see myself and my art, be it writing or music, validated while I’m still here and present. There’s this stereotype of the artist that only becomes recognized after they die; I tend to keep more toward the existentialist side of things, philosophically speaking, so I think any validation needs to come while you’re alive and you can appreciate it.

 

Q: What made you decide to change your style from when you were known as Wolves?

A: I was in London when the change happened and I honestly don’t know if it was the environment or the music I’d been listening to lately, but something made me realize that I didn’t need to play pop-punk or use the same musical conventions I’d been using previously. Wolves was a pop-punk project, through and through, and it came from the really egoistic need to compete with all these sub-par bands I’d been seeing. Essentially, I thought that I could “do it better with one arm tied behind my back” and with Jazz Funeral, I guess I just grew up a little.

 

Q: Where did you get your start in music?

A: I’ve been playing music since about age eight; I started off playing drums, picked up the violin, dropped the violin, and pursued a classical education. 

 

Q: What instruments do you play?

A: I’m a classically-trained percussionist, meaning I can hang on anything you’d find in the percussion section of a symphony orchestra—snare drum, tympani, mallets, auxiliary percussion, etc. I started out playing music on drum set and still play almost every day; I used to take a lot of lessons and compete on jazz drums. In addition, I can play guitar and bass.

 

Q: What made you decide to become a solo artist?

A: I went to school at the University of Maryland, which is about three hours away from where I live in New Jersey, so I didn’t really have the luxury of being able to bring instruments with me. Also, Maryland was a veritable “bro” school, so it was tough finding kids who played the same kind of music as me. I was in a band for a while, but I had all these songs I kept writing on guitar and I wanted to put them to use.

 

Q: What is it like being an artist who plays every instrument in his music?

A: It’s fun and it’s really easy, as far as writing and recording. It’s tough when I try and play a live show with a band, however, because I tend to get really picky when I’m teaching other people my songs.

 

Q: What was the thought process behind your new album?

A: I just wrote what I felt, musically and lyrically. I started writing in London, September 2009 and finished up in the studio, February 2011. During that time, I was finishing up my English degree at the University of Maryland and I had already finished my major requirements, so I got to take a lot of low-effort, bullshit classes. I used all the free time I had because of my easy class schedule to smoke a lot of pot and spend at least a few hours a day, writing in my room.

 

Q: Can you give us a brief track-by-track explanation of each songs meaning?

A: Absolutely:

 

 1. Marché Funebre (Introduction)- this track is the intro to the album and uses the Pachelbel’s Canon chord progression over a “second line” New Orleans march beat; there are also iterations of some lyrical themes, found throughout the rest of the record. The title of the track translates to “Funeral March” and is meant to literally sound like there’s a jazz funeral taking place.

 

2. Foxholes- this track is sort of an exposition to the record; it’s got a bit of autobiography and a bit of philosophy thrown in. The chorus essentially means that people cling so fiercely to their beliefs and their faith; “will you get an answer or will I?” kind of insinuates that my non-belief is just as valid (or invalid) as your belief.

 

3. Hymn- this song was meant to be a hymn in a more literal sense, meaning that it actually sounds like a church hymnal, except it kind of attacks the security of religious belief. Again, there’s a bit of autobiography thrown in.

 

4. Coping- superficially, this song is just about drinking. However, on a more figurative level, it’s about the ways we cope with living, how we kill ourselves and self-destruct in the face of our own self-conception.

 

5. Sati- the title of this song is an allusion to a Hindu funeral ritual, during which a widow jumps on the funeral pyre of her deceased husband and self-immolates. This might be the most literary track on the album; the chorus, “You can be my albatross/ and I will be your ragged claws,” is a dual allusion to both Coleridge’s “The Rime of the Ancient Mariner” (the albatross) and TS Eliot’s “The Love Song of J Alfred Prufrock” (the ragged claws). Really, though, this song is about girls, and one girl in specific that I had serious feelings for while I was at U Maryland.

 

6. Wolves- this song is about me, reproaching myself for whining about everything and generally making excuses for all the shitty things that happen to me. At the end, though, I kind of reconcile with myself and tell myself to chill out.

 

7. Haven, Not Heaven- this song is the climax of the album, the “death scene,” if you will. The first verse is the actual death, the second is sort of a resolution, and the chorus represents a lot of the overarching thematic ideas of the record. The huge, epic outro is the true climax of the record.

 

8. The Shakes- this song is a point of calm in the album that comes after the frenzied ending of “Haven.” It’s kind of a defense of substance abuse, while delivering a statement on human existence. People are so worried about dying; there’s nothing we can do to stop it, though. We have to accept it and realize, much like the oft-quoted sentiment, that everyone has their own respective existence, we’re all fighting a hard battle.

 

9. Peasant Blues- this song has got a little bit of everything in it, but it’s mostly about being desperately lonely and generally upset with everything.

 

10. Absalom!- this is a transitional song, the lyrics being a metaphor for abandoning your life. It fits into the plot structure of the album and sets up the denouement.

 

11. Prayer- even though this song is instrumental, it’s supposed to represent a moment of calm resolution.

 

12. Rosary Beads- this is the denouement, or resolution, of the record. Everything kind of gets wrapped up here, from my own personal conflicts to my broader philosophical musings. The chorus basically means: we all exist, we all go through shit, but it’s more productive to believe in yourself than subscribe to some bullshit religion or structured system of belief. At the end, I try to step back and put things in perspective by basically saying that while my posturings are all well and good, they don’t matter in the grand scheme of things; we’re going to progress and move on, no matter what I have to say.

 

13. Rosary Beads (Reprise)- this is just a wrap-up of the album, reiterating the resolution that “we’ll all find peace, somehow.”

 

 

Q: What was it like recording with current and ex label mates and even your label owner?

A: It was nothing but straight-up fun! I’m not super involved with the rest of the artists on District Kills Records or Asava Music Group but I have a few friends in those bands and they were more than happy to help me out. As for Mike Hogan, the kid is one of my best friends in the world and he’s always welcome to contribute to my work.

 

Q: What is the meaning behind your new album’s artwork?

A: I could bullshit you and get super literary and claim the flying drum and wall of records represent a confluence of modern musicality or some nonsense like that but really, I just like that record wall. It’s in my basement and I think it’s a cool background. I have a photographer friend who wanted to do the album and I was pretty much just like, “hey man, let’s just shoot at my house and toss some instruments around.”

 

Q: Is there any plans for turning your album into a physical release?

A: I don’t want to drop the record physically. As it stands, most labels are phasing out physical releases and CDs altogether and in my opinion, releasing a record physically is a complete waste of money.

 

Q: Was the response to your new album all you expected it to be?

A: I was really underwhelmed by the response to my record. I haven’t had a lot of time to do self-promo, but I thought people would pay more attention to it. I hope people pay more attention to it. I put every fiber of my being into this album and it really hurts to see it dying on the vine, so to speak.

 

Q: What was it like recording your first ever video for “Coping?”

A: It was a joke. My friend Josh, who is an amazing cinematographer, just showed up at my house one day and shot the video in my living room in three hours. We’d been planning on shooting the video for a few weeks but we had no concept to start. Also, we had to rush the shoot because I was leaving for Europe the next day. I’m amazed it came out as well as it did and I have no one but Josh to thank for that.

 

Q: What is the meaning behind the video for “Coping?”

A: We decided to have a therapy theme, since the song is basically about methods of dealing with living.

 

Q: When will your video for “Coping” be released and where can fans watch it?

A: It’s up on youtube now and on propertyofzack and on my tumblr: jazzfuneral.tumblr.com.

 

Q: How did you come to have your album streamed on WMUC 88.1, what was it like, and how did it turn out?

A: My friend Kyle had a show on WMUC when we were in college and he’s a big fan of my work and a great music fan in general, so he immediately offered to do an album stream as soon as I had the finished product. The stream itself was really fun; we just had a few beers in the studio and I answered some questions about the record and put on a playlist of my choosing. I think it turned out really well.

 

Q: What was it like being in the studio again and recording this new sound?

A: It was a really intense process. I wrote about ten pages of production notes before I got in the studio, so I really knew exactly what I wanted the record to sound like. I worked with two of my friends, Sean Killary and Nick Grieco, who are two of the most talented, up-and-coming producers in Boston right now. We worked ten to twelve hours a day for nearly a month straight, so things got pretty serious in the studio, in terms of the painstaking effort and attention to detail that went into the process.

 

Q: What made you decide to put your new album up for free and where can fans get it?

A: I put the record up for free so whoever wanted it could just download it. I wanted the free download to build attention and press. Fans can get it at  http://jazzfuneral.bandcamp.com

 

Q: What is it like being signed to AMG and how did you come to be signed?

A: Technically, I’m not really under contract with AMG but the owner and founder of the group, Mike Hogan, is an amazing friend and patron of my music. I’ve known him since before he started DKR/AMG and he’s always been more than happy to fund my projects, no questions asked. I owe the kid a serious debt, not just in financial terms, but because he’s a great guy who’s done nothing but believe in me from the very beginning.

 

Q: What was it like having absolutepunk.net come to you for an interview about the new album?

A: It was amazing and totally flattering. I mean, I don’t think a lot of people actually read the interview but it really meant a lot to me that one of my favorite music sites asked me to talk about my record.

 

Q: If you could play with any band/artist, who would you choose?

A: Brand New. Well, maybe like John Coltrane or Robert Johnson if we’re talking about like, any musician EVER. But yeah, Brand New. They’re my absolute favorite band and I know people say you should never meet your idols but I’d definitely be down to chill with Jesse Lacey.

 

Q: Is there any one song you love to play the most or has the most meaning to you?

A: I think I like playing “Coping” the most, although every song on the album has a really intimate meaning for me.

 

Q: What is a typical day for you like?

A: Right now, I’m living at home in Jersey and studying for the LSAT so I usually wake up, study for a couple hours, then try to write something, like a review for propertyofzack.com or a think-piece to submit to Thought Catalog. At night, I always watch Jeopardy, then I usually just smoke a bit and hang out with my friends.

 

Q: What can fans expect when they attend one of your shows?

A: Nothing. I don’t really have the luxury of being able to find a full-time band to perform the record so when I do play, it’s usually at an open mic or a small acoustic show. Fans can expect me to be drinking onstage and spouting bullshit in between swigs and songs.

 

Q: Have you had to overcome any obstacles along the road?

A: Lately, no, because I haven’t toured behind Jazz Funeral. I did a stint on Warped Tour last year with the District Kills Records crew and that was a veritable death march—breakdowns, fights, substance abuse, indomitable heat, van living, etc. It was fun as hell, but I’ll never, ever tour like that again.

 

Q: Are there any big plans for you in the near future?

A: I’m trying to get into law school but I don’t really know if I want to give up another three years of my life just to get another meaningless piece of paper. I’m also trying to find a real-ass job. I wish I could just write and play music for a living but sometimes things aren’t that simple.

 

Q: Who would you like to thank for helping you all along the way of your musical career?

A: My parents, my friends from home, college, Boston, and New York, Nick Grieco and Sean Killary, and Mike Hogan and the rest of my DKR/AMG family.

 

Q: If you could request anything from your fans, what would it be?

A: Money, drugs, and whiskey. Nah, just kidding. If I could ask what few fans I have for anything, I’d ask them to tell people about the record, to spread the word and help me get the most important thing I’ve done with my life some modicum of attention.

 

Q: Do you have any tips for aspiring artists?

A: Charles Bukowski’s epitaph reads “Don’t Try,” meaning that the creative process shouldn’t be over-thought and should come naturally. I agree with this, to some extent. I’d advise people to do something original and to avoid familiar conventions and ways of playing or creating. I’d also advise aspiring artists to have some sort of fallback plan, as far as career options go.

 

Q: Do you have any last words for the readers?

A: Go listen to my damn record! (please)

 

Links

Facebook: http://www.facebook.com/pages/Jazz-Funeral/143562722385937

Tumblr: http://jazzfuneral.tumblr.com/

Album Download: http://jazzfuneral.bandcamp.com/

Youtube: http://www.youtube.com/user/JazzFuneralBand

 

-Chris Guerreri