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139

Jon Lundbom and Big Five Chord - Quavers! Quavers! Quavers! Quavers! (Hot Cup, 2011)

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Jon Lundbom
Hot Cup Records can always be counted on to build a refreshingly post-modern view of jazz, whether it is the ironic beauty of Mostly Other People Do the Killing to the country/jazz experiment Pretend It's the End of the World. Irony and irreverence are the key to their aesthetic, but never at the expense of the music. Jon Lundbom's Quavers mixes a fascinating Sharrock/Sanders aesthetic to elements of funk and post-modern fusion. Joining Lundbom on guitar are some of the usual suspects of the Hot Cup stable: Jon Irabagon on alto and sopranino saxophones, Bryan Murray: saxophones, Moppa Elliott on bass, Danny Fischer on drums and Matt Kanelos and keyboards. A wide-open mindset and unique instrumentation of the band provides a lot of depth to the music. “Meat Without Feet" features the integration of fractured shards of guitar to the rhythm, section building a funk beat and swirling saxophone works to excellent effect. Lundbom's post—Sonny Sharrock guitar style and raunchy saxophone are welded to a killer backbeat, building music for the booty and the mind. Sort of like if Pharoah Sanders and Sonny Sharrock took a break from late 60's spiritual free-jazz to cut a massive funk record. Guitar and electric bass usher in “New Feats of Horsemanship" before fragmented and skittish saxophone imbue the medium tempo music was a palpable sense of danger. “Faith Based Initiative" brings it all together for a zestful finale building into an all out post-fusion rocker, led by scalding guitar and pounding drums. Saxophone builds and develops into an almost unbearable tension, developing to an outrageous full band collectively improvised conclusion. This was a tremendously fun album to listen to, Lundbom continually challenge the listener and each other and succeed to builds a piece of pan-genre experimentalism that defies pigeon-holing. Quavers! Quavers! Quavers! Quavers!—amazon.com

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This story appears courtesy of Music and More by Tim Niland.
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