Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Bryan and the Haggards Pull Some Laughs in Park Slope

Bryan and the Haggards’ debut album Pretend It’s the End of the World is a collection of twisted instrumental covers of Merle Haggard songs, and it’s as funny as anything Ween ever did. Because its satirical bite sometimes goes completely over the top, it wasn’t clear how the band – a bunch of free jazz types – would approach the songs live. At Bar 4 in Park Slope on Monday night, tenor saxophonist and bandleader Bryan Murray wore a faded red Hag baseball hat; Jon Irabagon, the “heavyweight of the alto sax,” as Murray sardonically called him, sported a rare Bryan and the Haggards t-shirt. From the first few bars of the first song, what was most obvious, and unexpected, was that they’re a genuinely good straight-up country band if they want to be – for a few bars, until they start messing with the songs. Country music isn’t everybody’s thing, but it’s a lot of fun to play, and that fun comes intuitively to this crew. Guitarist Jon Lundbom would go deep off the jazz end at times, but he’s got a bag of C&W licks; bassist Moppa Elliott looked like he was having more fun than anybody else in the band even though he was mostly playing the simplest lines possible, one-five, one-five, and drummer Danny Fischer, whose leaden pulse is responsible for a lot of the humor on the album, gave the songs a jaunty swing when he wasn’t acting out. Which he did, a lot, and cracked everybody up, especially his bandmates. He began his first solo by stopping cold, followed by a pregnant pause: Elliott tried easing him in, but Fischer wouldn’t budge, finally doing a neanderthal Fred Flintstone impression all the way around his kit.

On Lonesome Fugitive, Elliott joined him in disfiguring the time signature while Lundbom took a long, incisive jazz solo, holding steady to the 4/4 even as he ran long, snaky passages, deadpan and seemingly oblivious to the joke. A slow, swaying 6/8 number with countrypolitan tinges – Miss the Mississippi and You, maybe? – featured a warmly melodic solo excursion from Murray that finally took on an insistent postbop intensity as he went for the upper registers. Likewise, it was nothing short of exhilarating to watch Irabagon – whose new album Foxy is due out this month – make short work of an endless series of razorwire glissandos. And maybe predictably, it was one of his solos, a mealymouthed, weepily retarded, off-key stumble during their opening number, that was the funniest moment in a night full of many.

Fischer had assembled some pint glasses behind his drums, a primitive marimba that he’d plink on or even use to add a little melody. When he took another lengthy pause during a solo, Lundbom asked him if he wanted another beer. The answer was no: for whatever reason, he didn’t need it. A crowd trickled in as the band played: patrons looked around quizzically, then smiled when they realized what was happening. There would have been a lot more of those looks, and a lot more audible laughter, had it been later in the evening. But that was just the first set.

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September 1, 2010 Posted by | concert, country music, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments

CD Review: Bryan and the Haggards – Pretend It’s the End of the World

Bryan and the Haggards play twisted, jazz-tinged instrumental covers of Merle Haggard songs. Which if you know something about either style of music shouldn’t exactly come as a shock (Willie Nelson, anybody?). But this being New York, the indie stench wafts across the river from Williamsburg when there isn’t much of a breeze. Is this album yet another case of a bunch of spoiled brats thumbing their snotty noses at music they associate with the working classes? Happily, no. Bryan and the Haggards are actually a jazz group, Jon Lundbom & Big Five Chord, a take-no-prisoners combo equally adept at melody and squall. This album might have been jumpstarted when Big Five Chord recorded a satirical cover of the Louvin Bros.’ The Christian Life for their previous album Jon Lundbom & Big Five Chord Accomplish Jazz (very favorably reviewed here last year). Considering the name of this project, it would seem that tenor sax player Bryan Murray is the ringleader this time around, his accomplices being guitarist Lundbom, high-profile alto saxophonist Jon Irabagon, bassist Matthew “Moppa” Elliott and drummer Danny Fischer. What does it sound like? At its most coherent, like Uncle Tupelo on mushrooms. Occasionally, it takes on an exuberant New Orleans second line vibe. Beyond that, coherence ceases to be an issue. This may be jazz, but the underlying esthetic is pure punk rock. Which is nothing new for these players – this crew will basically rip anything to shreds, especially their own compositions, so the question of whether or not they have any affinity, or distaste, for Haggard, or for country music in general, is really beside the point. For their shenanigans, any source is sufficient. It’s how they do it that makes it so much fun.

Silver Wings sways stiff and heavyhanded, Fischer pulling away from anything approximating a groove. Eventually, the saxes fall apart and for literally a second so does the rhythm section, and everything is chaos but then they’re back together again like nothing ever happened. A spitball? Me? What spitball? So when they follow that with an actually quite pretty instrumental of Swinging Doors, it’s strictly a diversion: a minute into Workingman’s Blues and Murray is quoting liberally from his fakebook while Elliott runs scales and eventually settles into one of his typical confrontational low-register rumbles, Lundbom eventually lumberjacking his way through some spot-on Sister Ray-style chord-chopping.

The original version of Miss the Mississippi and You has a countrypolitan vibe, so it makes sense that this crew would be able to turn it into as lovely a ballad as they do until the saxes start making little faces at each other, followed by a very, very good joke about intra-band communication. Lonesome Fugitive is a launching pad for some loud, lazy and eventually very funny commentary from Lundbom; All of Me Belongs to You is just plain sick, in a Ween kind of way. The last cut, Trouble in Mind is ironically the most traditional of all the cuts here, a New Orleans style raveup anchored by distorted guitar, sax overtones whistling overhead with the glee of a mosquito who’s figured out how to evade the swatter.

Who is the audience for this album? Stoners, most definitely; also fans of the Ween country album, Uncle Leon & the Alibis, David Allan Coe and the like. Jazz fans ought to like this although most of them won’t. Country fans probably won’t like this much either on account of it being iconoclastic. So, could this maybe be a bunch of working-class musicians making fun of alt-country, a style they associate with the ruling classes? Hmmm…peep the cheesy-beyond-belief, perfectly retro 70s cd cover design and decide for yourself.

June 19, 2010 Posted by | country music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment