Sounds | Jack Schneider - Josephine
Ik blijf vandaag in de 'country' sfeer, maar dan eentje die een stuk meer richting folk gaat. Josephine klinkt voor mij initieel als een nummer dat de jonge John Denver geschreven en gezongen zou kunnen hebben, al gaat die vergelijking niet helemaal op natuurlijk. Schneider's nummer heeft ook wel iets tijdloos, een zachte touch en light heel aangenaam in het oor. Je merkt ook dat de man van oorsprong gitarist is en weet hoe hij een nummer moet schrijven producen. Eén van de zovele getalenteerde songwriters die de stap zet om zelf in de spotlights te treden.
Best Be On My Way verschijnt op 11 november 2022.
Luister ook naar: Barbara Allen
September 21, 2022 - Nashville, TN - Americana newcomer Jack Schneider has a laundry list of eclectic descriptors fitting to precede his name—record producer, songwriter, tape machine enthusiast, Vince Gill’s rhythm guitarist, and NYU grad, to name a few—but on November 11th of this year, Schneider will be adding “recording artist” to that list with the release of his debut LP Best Be On My Way. Recorded live to tape in Nashville with some of the city’s biggest names—the aforementioned Gill, David Rawlings, Stuart Duncan, and Dennis Crouch—Schneider’s inaugural record is a testament to tradition, timelessness, and the modern relevance of old ways. As a whole, the record is a testament to the necessity of looking at the past in order to know just where you’re headed. Riddled with raw truths, compelling stories, and unforgettable sonic motifs, Best Be On My Way is necessary listening for life’s long road ahead.
Josephine finds Schneider strumming his beloved 1956 Martin D-28 guitar, “Big Jim,” in front of an all-star band of acoustic musicians. A delicate blend of love and longing, “Josephine” will be a shoo-in for fans of The Band, Bob Dylan, or James Taylor—and contemporary favorites like Gillian Welch, Watchhouse, or The Avett Brothers.
The world of Jack Schneider is one strewn with eccentricity and nostalgia, where a New York cowboy wanders the streets of East Nashville donning a Stetson Range, a purist philosophy, and his beloved 1956 Martin D28 guitar, Big Jim. He is, as some would say, a Nashville triple threat guitarist, songwriter, and singer, in addition to producer, guitar collector, and tape machine enthusiast. Born in New York and raised in Georgia, Schneider picked up the guitar at three years old and began making trips to Nashville when he was in high school. There he sought out the legendary Gruhn Guitars, hoping to quench his insatiable thirst for knowledge of fretted instruments. Despite attending university in New York City, Schneider spent most school breaks and long weekends in Music City, working summers at Gruhn’s; it was there that he met and befriended Vince Gill, among other musical heroes. With one foot in New York and one in Nashville, Jack expanded his network as a session player and an artist in both cities, gracing the stages of The Bitter End and The Bluebird Cafe with equal character and charm.
Upon graduating from NYU’s Clive Davis Institute of Recorded Music in 2019, Schneider added rapidly to his laundry list of accomplishments: touring with Vince Gill as both guitar tech and rhythm guitar player; producing records for multiple up and coming Nashville artists (recorded to tape, of course); releasing his first singles to critical acclaim; and playing the Grand Ole Opry. Throughout the long months of quarantine, Schneider began working intensively with former Gruhn Guitars colleague and frequent collaborator, Wes Langlois. Shut up in the studio together for weeks, the two wrote, recorded, and released what they referred to as “vanishing albums:” full length records accessible for a week at a time each during the pandemic, after which they were removed from streaming services and unavailable for physical purchase. It was from these ephemeral collections of songs that the seed for Schneider’s (permanent) debut record was born.