One of the pianos I used was this old upright one that my piano tuner had nicknamed “firewood” because he thought it was an old piece of crap that I should just get rid of. But it was all just in my house in Denver. He was in New York state and I would FaceTime with him, moving mics to see how they were picking up sound and if they were good. He’s a composer who has helped us on some Lumineers stuff. I spent a lot of time working with this guy David Baron. It was the most atypical recording experience I have ever had.Įssentially, yeah. If you listen really, really closely there are probably moments when you can hear my son in the background or a plane flying overhead.
When my young son would take a nap-usually between like 1 and 2:30 p.m.-I would try to use every minute to record. It was pretty crazy there for about three months. And I was trying to record a quiet, dynamic album. We had the whole family cooped up together. We have a dog that for some reason likes to bark when I play the piano sometimes. There was a house being built next door to us here in Denver. I am sure recording in your house brought up all sorts of interesting challenges. With that said, if the pandemic wasn’t happening, I don’t think I would have recorded it in my house like I did. I don’t want this album to be branded as a “COVID record.” I definitely was planning on recording it at some point no matter what. But she was like, You know what this is a great opportunity to do this. At the time, I didn’t have much inspiration. Once the world kind of shut down my wife urged me to try and do it. Why did you decide that now was a good time to put the album together? I pulled a lot of the music on this album from that stuff, which means parts of it are more than 10 years old. Voice memos and all sorts of things I did while we traveled and stuff. We would write more music than we obviously use and a lot of that I just saved in a Dropbox folder over the years. I’ve written all sorts of piano music since we formed the Lumineers some 13 years ago. When I met Wesley that all changed quickly. I thought I was just going to make instrumental music. The words and lyrics, they just kind of went in one ear out the other, but I would always listen to the sound of a piano or the melodies or just the overall arc of the piece. Jeremiah Fraites: When I was younger, there was always something about specifically just the music that, for some reason, penetrated my brain. Why were you always so interested in that format? And why the piano of all instruments? Before it does, we caught up with Fraites to discuss his love of instrumental music, the challenges of recording during a pandemic, and what he learned about himself while working on his first solo project.ĥ280 : I read somewhere that it was a lifelong dream of yours to make an instrumental piano album. The product, Piano Piano, is set to come out on January 22. Once the pandemic forced all of us to shelter in place, he did just that. And much to the chagrin of Fraites’ 17-year-old self, all of the records include songs with lyrics.įraites never let go of the idea of creating his own instrumental album, though. Since that time, the pair, along with a rotating cast of other band members, has released three internationally acclaimed albums.
” He obviously changed his mind after he met Wesley Schultz, who Fraites co-founded the Lumineers with more than 10 years ago. “In my head I was like, Well, everything you can think of has already been said about love.
“Really complicated instrumental music is what spoke to me,” he says. When Jeremiah Fraites was in high school, he told himself that he never wanted to be in a band with a singer. The instrumental piano record, Piano Piano, includes songs that Fraites has been working on for more than a decade. Photo by Roberto Graziano Mora, courtesy of Missing Piece Group Music The Lumineers Co-Founder Jeremiah Fraites Talks About His First Solo Album
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