Preservation Hall Jazz Band to Appear At SNL50: The Homecoming Concert Streaming Live From Radio City Music Hall on Peacock February 14th

Preservation Hall Presents Preservation Brass For Fat Man, an album dedicated to the memory of longtime Preservation Hall Percussionist Kerry “Fat Man” Hunter. The album is available today, Friday January 31st worldwide from Sub Pop on all DSPs and on vinyl through megamart.subpop.com in North America, MM2 in UK and EU, Preservation Hall in New Orleans, and at your local record store. 

Kevin Louis Cornet of Preservation Hall offers this lovely tribute, “Fat Man was a beautiful, peaceful soul. If I wanted to know what was going on in the streets, where the second line was, or who was playing, I’m calling Fat. With him checking out the way he did and when he did, it’s only right we dedicate this album to him. I mean, his funeral literally had the whole brass band community there – every single brass band in New Orleans was represented! Fat Man forever!”

On Valentine’s Day, Friday, February 14th (at 8 pm ET / 5 pm PT), Preservation Hall Jazz Band will perform at SNL50: THE HOMECOMING CONCERT. Hosted by Jimmy Fallon and featuring a lineup of chart-topping musical guests from across the decades, SNL50: THE HOMECOMING CONCERT will celebrate 50 years of SNL musical and comedy performances. 

Streaming live on Peacock from Radio City Music Hall, the SNL homecoming celebration will bring together legendary Saturday Night Live hall-of-famers and surprise special guests including Arcade Fire, Backstreet Boys, Bad Bunny, Bonnie Raitt, Brandi Carlile, Brittany Howard, Chris Martin, David Byrne, DEVO, Eddie Vedder, Jack White, Jelly Roll, Lady Gaga, Miley Cyrus, Mumford & Sons, Post Malone, The B-52s, The Roots and more to be announced.  

The one-night-only event is executive produced by Emmy Award winner Lorne Michaels and Grammy and Oscar winner Mark Ronson.

SNL50: THE HOMECOMING CONCERT will stream live on Peacock on Feb. 14 at 8 p.m. ET / 5 p.m. PT. 

The special will also play at fan screening events in select IMAX theaters at Regal Cinemas across California (Regal Edwards Ontario Palace), Pennsylvania (Regal UA King of Prussia), Texas (Regal Lone Star), New York (Regal Deer Park), and Florida (Regal South Beach). Free tickets for fan screenings will be made available exclusively for current Fandango FanClub, Regal Crown Club members, and IMAX subscribers at a later date.

More on Preservation Brass For Fat Man:

BOOM.

It’s the first thing you hear, the first thing you notice. A bass drum strike so hard and heavy, its sound carries for blocks. In fact, you probably feel it before you actually hear it. 

BOOM BOOM.

A bottom-end so deep, it lets everyone know: the band is on its way.

BOOM BOOM BOOM

And before you can even see ‘em, you can hear ‘em, clearing the way: angel trumpets, devil trombones, rat-a-tat snares, pulsing tubas, and at the center of it all, the anchor, the rock, the gravity that keeps it all from spinning out and flying off into space, the bass drum. The steady beat that lays the foundation for every feat the brass band can accomplish. The beat that sets the slow and reverential pace for a walk of remembrance towards the cemetery. The beat that dictates the rhythm of the joyous dance on the corner. The beat that puts butts in motion. That bass drum beat is the heartbeat of New Orleans, the organ that pushes the blood through the arteries and veins of our city streets, and the biggest and strongest heart was Kerry “Fat Man” Hunter. When the bass drum was strapped over his shoulders and the mallets were in his hands, he let ‘em know–loud, proud and undeniable was his style, and it’s that style that’s at the heart of For Fat Man, the new recording by the Preservation Hall Brass.

The album was guided from inception to completion by Preservation Hall cornet player Kevin Louis, He wanted to capture what was going on at the Hall on Monday nights, and from the beginning, Fat Man was key to the recording. “Fat Man and Jap [Julius McKee] came to me and said, ‘We need to lay this down, nobody’s doing this,’” Louis explains. “I called on Mark to be my extra ear. It took a while to assemble the A team, ‘cause everyone’s in demand but when everybody had the time, I called Marigny Studios, brought the cats in and we laid down four or five songs, listened to that and said, ‘Yeah, we got something.’ And once we made it happen, it happened like a mf!”

The album kicks off with the sort of atmospheric percussion you might hear from a distance on a Mardi Gras or St. Joseph’s Day, or emanating from a neighborhood bar during the legendary practice sessions held by New Orleans’ Masking Indian tribes. It’s one of the unique sounds of our city. “Fat Man and my podna Gerald French came in and we made those interludes,” says Louis. Those sound pieces are interwoven with the songs on the album, and together, they create a stunning document of a group bound by tradition, anchored in the now, and looking towards what’s to come. This is the sound of the past, present and future getting down all at once.

“We had just grown as a band so much, we had established such a great repertoire and camaraderie,” says trumpet player Mark Braud, describing the bond between the band that can be heard between the lines and the notes throughout For Fat Man. “Playing together every week for years and years, you develop a certain thing as a band. It’s not just a gig anymore.”

But that’s the bittersweet thing about life. The bonds of friendship and love we form lift us up, but those bonds will inevitably be broken, sometimes tragically. We all know how it’s going to end, and in New Orleans we choose to live with that knowledge and make it a part of our day to day. We figure, why not acknowledge the reality of the wheel of life and make its inherent sadness and inevitable happiness a part of how we face every day? There’s pain for the loss and that pain is no joke, but we can’t forget that there’s a life to be remembered, a journey to be celebrated with our tears of memory and our joyful noises, each in their time, and often at the same time. That’s just the way it is here, and we’re lucky to have our music to help us mark these milestones.

“Fat Man was the heartbeat of all of this,” says Ben Jaffe, the Creative Director of Preservation Hall. “He brought a sense of freedom whenever he played. He understood the ability and power of music to make people feel joy, happiness and be therapeutic. It was important to him. This record’s an incredible tribute to him and who he was. He was entirely a singular, unique human being. There’s not many that embodied second line culture in New Orleans like him. It’s a way of life, and such a beautiful thing to be a part of.”

Equal parts remembrance, document, and party, For Fat Man wasn’t meant to bear that title. Kerry’s untimely passing during Mardi Gras is sadly but irrevocably now a part of the story of this record, which began as a celebration of where the brass band tradition at Preservation Hall was at and where it’s going. And thank goodness, the story doesn’t end. Life, like any good brass band, keeps moving. This record is a joyous link in the chain that is the story of New Orleans and its music. It’s for the ancestors, for the culture, for the people in the street, for those that mourn and those that celebrate and everybody somewhere in between. This record is the sound of that chain, that heartbeat, that rhythm. That sweet and thunderous BOOM.

And it hits so hard that the Fatman can probably hear it up in Heaven.

Kevin Louis - long cornet

Mark Braud - trumpet

Wendell Brunious - trumpet

Ronell Johnson - trombone

Richard Anderson - trombone

Roderick Paulin - tenor saxophone

Bruce Brackman - clarinet

Julius McKee - sousaphone

Glen Finister Andrews - snare drum

Kerry “Fat Man” Hunter - bass drum

Gerald French - percussion

Preservation Hall Presents Preservation Brass

For Fat Man

Tracklisting

1. Indian Percussion Intro

2. Bagatelle

3. Lucky Dog

4. Hot Sausage Rag

5. That Dada Strain

6. Big Chief Coming (Interlude)

7. Slide Frog Slide

8. Climax Rag

9. Bill Bailey Won’t You Please

Come Home

10. Careless Love

11. Medley

12. Fiyaya

Today, Friday, January 31st, 2025, marks the release of the 2024 physical edition of The Gits’ Frenching the Bully on CD and vinyl worldwide from Sub Pop. The reissue of the ferocious Seattle punk band’s debut features new album cover art and packaging by Sub Pop’s VP of Creative Jeff Kleinsmith and has been remastered by legendary producer Jack Endino.
 
Also today, King County Supervisor Dow Constantine proclaimed that Saturday, February 1st, 2025 shall be known for now and eternity as The Gits Day in King County, Washington!
 
Band members Matt Dresdner, Andy Kessler, and Steve Moriarity had this to say of the acknowledgment:
“We’re beyond honored (and a little freaked out) by King County’s proclamation that January 31st is The Gits Day! And we’re delighted that all County employees are getting a much-deserved day off to acknowledge the rerelease of our debut album, Frenching the Bully.”

In further celebration of Frenching the Bully’s release on Saturday, February 1st, there will be two free album release events – Seattle’s The Vera Project (All Ages; 4-6 pm, Doors 3:30) and at KEXP Gathering Space (21+; 8-10 pm, Doors 7pm) at the Seattle Center.
 
Both The Vera Project and KEXP Gathering Space will screen the world premiere of the new short film documentary, “The Gits Live at RKCNDY,” featuring unreleased footage of The Gits’ February 1993 performance originally filmed for the movie HYPE! - a documentary film by Doug Pray. There will also be a merch signing with The Gits bands members at both the early and late events.
 
The Vera Project will also have a special exhibition of paintings by Mia Zapata. Attendees are also encouraged to bring their items for a special Bring It! Screen It! Gits Edition! Featuring three new designs. At the 21+ and over event at the KEXP Gathering Space there will also be an unveiling of SubPop’s Gits Art Exhibition!
 
Full information for both events, including RSVP links, is below.