Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Jon Lundbom & Big Five Chord Swing the Witches

Jon Lundbom & Big Five Chord recorded a live album at Brooklyn Fireproof in Bushwick last night. It’s going to be a good one. It’s surprising that more artists, even in jazz, don’t record more concert albums, considering how much more energy there almost inevitably is performing in front of an audience. Much as the band seemed well-rehearsed, as it turns out, they weren’t: their confidence and lively, electric interplay stem from years of playing together. That, and a shared esthetic. Lundbom is an eclectic guitarist and composer who can play perfectly straightforward postbop but more often than not brings sardonic humor or downright viciousness to the music. This time out, Lundbom alternated between restless unease and a more relaxed, legato attack, setting the tone for a night of goodnatured jousting and moments of pure ecstatic bliss. Joining him were  Bryan Murray on the small and unexpectedly low-register “balto” and tenor sax, intertwining and conversing with Jon Irabagon‘s alto sax, Matt Kanelos’ electric piano, Moppa Elliott’s bass and Dan Monaghan’s drums.

The first set was swing shuffles. It was practically comedic to watch Elliott (ringleader of Mostly Other People Do the Killing, arguably New York’s most entertaining live band) walking the bass tirelessly: it was obvious that he couldn’t wait to leave the rails. When he did, it was usually to run permutations on clenched-teeth, percussively circular riffage. While there ws a sextet onstage, the moments when the whole unit was playing were mostly limited to intros and outros, much of the soloing supported simply by bass and drums, Kanelos holding back to a spare, spacious, sostenuto suspense. As Murray swayed and built from a sputter of sparks to a fullscale wail, Elliott’s fingers became a blur of roaring, tremoloing chords, enhanced by the room’s natural reverb. When the song came back to Lundbom – playing a Telecaster through a Fender amp – he took his time, letting the sonics echo for all they were worth.

Kanelos shadowed Lundbom’s murky, enigmatically insistent single-note runs over swirling snowstorm cymbals as the opening number went on, Irabagon taking over the center, nonchalantly holding it together as the rhythm loosened. Lundbom has a kinetic, spring-loaded stage presence, opening the second number with a long solo, working tensely against a central tone, Kanelos echoing that device a little later on with an aching intensity before leaping into unexpectedly purist blues, the band joining him in a split second. Good jokes abounded: Irabagon falling into a deadpan bup-bup-bup until Lundbom finally stepped all over it and wiped the slate clean; Murray and Irabagon playing good cop vs. bad cop on the second of three Lundbom arrangements of old wiccan songs until both horns decided to make a mockery of the blues. The last of the wiccan songs was the only one that the band allowed to go on long enough to reveal its origins as a sad folk tune in waltz time. Ultimately, they made their own sorcery out of it. If the second set was anything like the first, it’s a good thing they got this whole thing in the can.

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April 16, 2013 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , | Leave a comment

Snide, Smart, Amusing Stuff from Jon Lundbom & Big Five Chord

Guitarist Jon Lundbom & Big Five Chord come out of the irreverent Hot Cup Records camp. In their world, nothing is off limits. Humor is always either front and center or lurking around the corner; anger is wholeheartedly embraced; tradition calls for mockery. Punk jazz? Esthetically yes, chopswise no: these guys – bassist Moppa Elliott, saxophonists Jon Irabagon and Bryan Murray and drummer Dan Monaghan – can flat-out play. Lundbom’s previous album Quavers! Quavers! Quavers! Quavers! mined a savagely satirical vein. His new one, sarcastically titled No New Tunes is considerably subtler. It’s not particularly easy listening. Nothing ends with any kind of resolution. Tonalities lean toward harsh veering on abrasive; structures fall apart on a moment’s notice, but more elegantly than you would expect in this band’s kind of music, considering that the group shares members with Mostly Other People Do the Killing and twisted Merle Haggard cover band Bryan & the Haggards.

A Steve Coleman sample and pummeling, assaultive drums kick off the opening track, The Bad! Thing, leading into a wandering, uneasy guitar solo in 6/4 time, working its way through jagged jousting, rumbling chaos and a sideways, walking swing that ends unresolved. Lundbom plays without effects through what sounds like a vintage Fender Twin amp with plenty of natural reverb and just a tinge of distortion that fits his sometimes offhandedly dismissive lines well. The album’s closing track, an almost shockingly straight-up bop swing tune, is a case in point, its centerpiece being a long, amusing interlude where Lundbom simply will not go off task, holding the center even though nobody else is, refusing to cave to peer pressure until he’s made his point.

Titles are giveaways here. Talent for Surrender is an example of how bandmates can keep just enough distance from each other without completely losing track, shifting through airy convergent harmonies to skronky bop, squiggling Sonny Rollins-influenced sax contrasting with unexpectedly terse rhythm. And Be Made Visible takes at stab at a ballad: not to spoil a good joke, but Murray’s faux romanticisms after an unfulfilled, searching Lundbom solo are…well, what you would expect from this band.

The Other Third One pulses briskly through agitated, spinning bop, sarcastic skronk and a tasty, shivery, casually assaultive Lundbom solo over a rather tongue-in-cheek, too-terse-to-be-true rhythm section. And Follow the Swallow plays unexpectedly low-key, offcenter variations on a bouncy swing ditty, Irabagon refusing to cede centerstage even when Lundbom makes it clear he’s no longer welcome there. That’s the kind of moment that defines this band, and there are lots more of those here: it’s cool to see how these guys have such confidence in what they’re doing that they refuse to take each other seriously. Like many of their scenemates, the band is making this album available on vinyl as well as a download: if you’re looking for a cd, you’ll have to burn one. Although the sound quality of the vinyl (not reviewed here) is bound to be superior to any digital format.

October 25, 2012 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment