Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Edgy Guitarist Jon Lundbom’s New Album – Sweet Home Y’all?

Guitarist Jon Lundbom is one of the Hot Cup Records crew, associated with notorious/uproarious jazz parodists Mostly Other People Do the Killing. As you might expect, his music shares that group’s corrosive sarcasm, but that’s only part of the picture. For Jeremiah, his seventh album with his long-running band Big Five Chord, he’s brought back  the usual suspects – Jon Irabagon on soprano sax, Bryan Murray on tenor and balto (hybrid baritone/alto) saxes, Moppa Elliott on bass and Dan Monaghan on drums along with Sam Kulik on trombone and Justin Wood on alto sax and flute. They’re playing the album release show next Wednesday, Feb 4 at 10 PM at Cornelia Street Café; cover is $10 plus a $10 minimum.

As the title implies, the album is an instrumental jeremiad, more or less. The bustling energy and keenly focused improvisation of Lundbom’s previous live album, Liverevil, take a backseat here to disquiet, anger and cynicism. In a city where the elite jazz players who still remain are often forced to take cheesy folk club gigs backing wannabe American Idol girls just to be able to make rent for another month, that anger shouldn’t come as any surprise.

And yet, the horn charts throughout the album have an unselfconscious, understated poignancy and bittersweet beauty. The opening track, The Bottle is not the Gil Scott-Heron classic but a Lundbom original named after a town in Alabama (he stole the concept from Elliott, whose repertoire is littered with Pennsylvania place names). And it’s full of sarcasm – although Alabama doesn’t seem to factor into it. It sways and shuffles, with snide, offcenter horns, a busily bubbling, more-or-less atonal solo from Lundbom and some neat contrasts between Murray’s squall and the rhythm section’s hypnotically waterfalling drive.

The next Alabama song (these compositions are about as Alabaman as Kurt Weill) is Frog Eye, with its lustrous, majestic if uneasy horn arrangement punctuated by chirpy pairings between Irabagon and Elliott, Lundbom lurking in the shadows before emerging with a smirk. The third one, Scratch Ankle opens somewhat the same before conversations between the horns go their separate ways.

Lick Skillet, which may or may not be a Tennnessee reference, pairs an irresistibly funny, Spike Jones-ish intro from Kulik with another astigmatically glistening horn chart and a spoof on latin flute funk. First Harvest, a wiccan song recorded on Lundbom’s previous album, gets a morosely terse new arrangement by Wood that Murray and Irabagon take up a notch. By contrast, W.P.S.M. takes a jauntily shuffling New Orleans-inspired strut outward, agitatedly..but then Elliott rescues it with some classic comic relief. The album winds up with Screamer, a loose, easygoing jam that seems tacked on for the hell of it. Who is the audience for this? People who like edgy sounds, and jazz with a vernacular that relies less on tunesmithing than creating and maintaining mood. This isn’t an album to lull you to sleep or dull your hangover but it sure as hell will make you feel something. It’s not officially out yet, although the first tune is up at Soundcloud.

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January 29, 2015 Posted by | jazz, Music, music, concert, 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

Jon Lundbom & Big Five Chord Do It Again

This album is hilarious. The thing to keep in mind about Jon Lundbom & Big Five Chord is that they have an alter ego, Bryan and the Haggards, who play twisted covers of Merle Haggard songs. That “other” band’s lone release (so far), Pretend It’s the End of the World was one of the funniest and best albums of the past year. This new album, credited to Jon Lundbom & Big Five Chord and titled Quavers! Quavers! Quavers! Quavers!, follows in the same vein. On one hand, it’s a surprisingly straight-up groove album, but all those grooves, and most of the surprisingly memorable tunes, are ultimately nothing more than fodder for satire and destruction. As you would expect from these guys, it’s cruel and funny and kind of punk although the band has pretty awesome chops for a punk jazz band: Lundbom on electric guitar, Jon Irabagon on alto sax, Bryan Murray on tenor and balto sax, Moppa Elliott on bass and Danny Fischer on drums along with guest Matt Kanelos (leader of plaintively tuneful Americana soul band the Smooth Maria) on electric piano.

The first track is the most straight-ahead, kicking off with an animated Irabagon/Lundbom conversation over Fischer’s deadpan leaden pulse. The guitar picks up a loop, saxes converge and diverge and then Lundbom plays an absolutely stunning chorus-box solo that finally goes off into skronk at the end. That’s for the adrenaline junkies. Kanelos’ astringent, hypnotic, Herbie Hancock-tinted riffage anchors the second track, The Bravest Little Pilot No. 2. As expected, Irabagon veers quickly from lyrical to satirical; Kanelos echoes that a bit later on, steady and increasingly unsteady as it winds down with unexpected grace. Ears Like a Fox is LOL funny, a R&B satire straight out of the Mostly Other People Do the Killing school of deconstruction. Everybody eventually picks up a cheesy riff and then shoots spitballs at it while Fischer finally hits a tongue-in-cheek groove with cluelessly blustery early Ringo style cymbal work.

Taking its name from a fish delivery service, Meat Without Feet has what sounds like a hip-hop beat chopped and backward masked, except that it’s live. It’s a great song – Elliott’s insistent bass chords join in lockstep with a trudging Fischer as Murray takes a long, completely over-the-top, kazoo-like solo on his “balto” sax, Lundbom coming in gingerly and then somewhat sternly working the edges of the melody, as if to say, c’mon guys, get it together. They segue into the fifth track, New Feats of Horsemanship, a brutal slow ballad satire – the savage joy of Murray’s completely unhinged mockery has to be heard to be appreciated. They close with Faith-Based Initiative – you know from the title that it has to be a joke, and it is, a silly go get ’em horn theme and cruel variations. As Elliott runs a deadpan, percussive staccato riff, Fischer lopes across the toms and eventually decides to start hitting on the “one,” one of the funniest moments here among many, matched by Lundbom’s alternate octaves and crazed tremolo-picking and then Irabagon’s constipated elephantine grunting as the rhythm section staggers away, aghast. On one level, it hurts a little to give away all these punchlines; on the other hand, no words could really do justice to them. The album is out now on Hot Cup Records – you’ll see this here at the end of the year on our best of 2011 list if we get that far. Lundbom and his merry band play the cd release show for this one tonight at nine at Zebulon.

April 8, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment