Andrew Bird’s long solo career has established him as a dependable singer-songwriter who consistently releases high-quality, idiosyncratic chamber-pop and indie folk-rock. It can be easy to forget, though, that he got his start in the mid-90s as a member of swing-revival act Squirrel Nut Zippers, and his early albums with solo project Bowl of Fire also had swing and jazz elements. With Sunday Morning Put-On, Bird revisits those jazz roots from a new angle, putting together a small trio with drummer Ted Poor and bassist Alan Hampton to tackle jazz standards from the mid-20th century.
Because Bird decided to work within the trio format, the arrangements are straightforward and spacious, usually consisting of just Bird’s vocals and violin accompanied by upright bass and drums from Hampton and Poor. There are occasional variations on that formula, with Hampton sometimes switching to electric bass or Poor adding some color on the vibraphone. There are also a couple of guest appearances from pianist Larry Goldings and Tortoise guitarist Jeff Parker, who add additional layers to about half of the album’s tracks. For the most part, though, the band keeps things simple and lets Bird’s expressive vocals take center stage.
The overall vibe is laid-back and contemplative, perfect for a lazy Sunday morning (as the title suggests). There’s little of the intense atmosphere that Bird can sometimes conjure on his regular solo albums, but the quieter mood suits Bird’s song choices well. The sound won’t be totally unfamiliar to fans of Bird’s previous work, since his material has always incorporated elements of jazz along with many other genres—but it is a little surprising to hear him so intently focus on a single genre.
Anyone who likes Andrew Bird’s previous work will likely enjoy Sunday Morning Put-On too, but the album does lean pretty heavily into a single sound. The closest points of comparison are some of the classic vocal jazz albums of the 1950s, like Frank Sinatra’s In The Wee Small Hours, Billie Holiday’s Lady Sings The Blues, and especially Chet Baker Sings.
The album’s first half is the strongest, with the first four songs in particular standing out as some of the album’s best performances: opener “I Didn’t Know What Time It Was” sets things in motion with a ticking-clock rhythm and some subtle vibraphone, while “Caravan” kicks things up a few notches with some almost funky drumming. “I Fall In Love Too Easily” channels Chet Baker’s version of the same tune but shows off Bird’s virtuosity on the violin, while “You’d Be So Nice To Come Home To” gives Hampton a chance to drive the track with some playful bass. There are some highlights on the second half too, particularly the instrumental “Django” and “I’ve Grown Accustomed To Her Face,” the latter featuring some excellent jazz guitar from Parker.
The songs on Sunday Morning Put-On tend towards the romantic, most featuring first-person narrators expressing their feelings directly to the object of their affection. It’s not a concept album, but the song selection gives the record a consistent set of themes that works well with the relaxed, slightly melancholy atmosphere.
Simon Workman
For more of Simon Workman’s music reviews, check out The Fire Note
Other reviews you might enjoy:
- My Finest Work Yet (Andrew Bird) – music review
- Inside Problems (Andrew Bird) – music review
- Crane Like the Bird (self-titled) – music review
The Fire Note started to create a simple place that could showcase records that we liked. Nothing more, nothing less. The focus has always been about the album and the experience that a great record creates. The Fire Note Webzine builds on this idea by offering an array of content that is all about the enjoyment of music, its pulse and energizing attitude.
