Andrew Bird – ‘Sunday Morning Put-On’ album review: a compelling love letter to the jazz legends of the past
THE SKINNY: Jazz is a fairly divisive genre within the music world; while it elicits deep appreciation – bordering on obsession – for some, others view it with confusion and indifference. To give jazz its due, though, it has perhaps the longest shelf-life of any popular music genre. Jazz has never really gone away, nor will it ever, and the latest endorsement of its timeless quality comes from the musical chameleon that is multi-instrumentalist Andrew Bird.
Over the course of his 30-year career in music, Bird has moved sporadically between genres, refusing to ever stay stuck in one place. Backed up by Alan Hampton on bass and Ted Poor on drums, Sunday Morning Put-On sees the shark-like musician continue this endless quest to move forward, bringing his own unique take to a vast range of jazz standards. Conveying these tracks into the modern era is no easy task, but the Illinois-born musician tackles it with his usual grace and seemingly effortless cool. The album is essentially a love letter from Bird to the jazz stars of the 1940s and 1950s. Sunday Morning Put-On celebrates the long and illustrated history of the genre without dwelling upon it or ever feeling particularly unoriginal or derivative.
Most artists would quiver at the thought of taking on tracks like ‘I Don’t Know What Time It Was’ or ‘I Cover The Waterfront’, given that they have both previously been recorded by some of the greatest musicians of all time, including the likes of Billie Holiday. However, Bird seems to tackle these presumably daunting moments without much fanfare. Across the entire record, he appears as understated and intimate, but with the backing of undeniable vocal excellence and an incredible musical ability. The backing of Hampton and Poor, alongside Bird’s own multi-instrumental talents, make this actual music of Sunday Morning Put-On absolutely captivating from start to finish.
This is an record that demands your full attention, and its effects are most felt when listening to the record in full. Upon initial listening, you may find Bird’s album an endearing accompaniment to a summer’s evening or a romantic date night, but the deeper you get into the tracklisting, the more you are drawn in by the velvety tones of Andrew Bird. Often evoking the performance style of figures like Chet Baker, his voice has always been commendable, but it is particularly compelling on this new album.
For fans of: Pretending not to hate the taste of whisky sours while sitting in an overpriced jazz club in a thrifted suit.
A concluding comment from Louis Balfour, host of The Fast Show’s Jazz Club: *through a cloud of tobacco smoke* – “Nice.”
Sunday Morning Put-On track by track
Release Date: May 24th | Producer: Andrew Bird | Label: Loma Vista Recordings
‘I Don’t Know What Time It Was’: Starting any album with a track that has previously been recorded by icons like Charlie Parker and Billie Holiday is a risky move, but one that has been pulled off with characteristic grace and vocal excellence from Bird. [4/5]
‘Caravan’: Duke Ellington’s old-school jazz standard is brought firmly into the modern era by the Bird Trio while still paying respectful homage to the rich musical history of the track. The viola is a particular highlight of the track, in addition to Bird’s Chet Baker-esque vocal delivery. [3.5/5]
‘I Fall In Love Too Easily’: This song is perhaps the best exemplar of the timeless quality of Andrew Bird’s vocals. This track could easily have been released at any point between 1945 and the present day and it would not seem out of place. [3.5/5]
‘You’d Be So Nice To Come Home To’: It is almost as though Cole Porter wrote this song with Bird already in mind, he is suited so well to the track and performs it with effortless charm. [4/5]
‘My Ideal’: A beautiful ballad delivered expertly. Do not be surprised if, upon listening to this track, you spontaneously find yourself in a trilby with a cigarette in hand. [4/5]
‘Django’: Again, the instrumentation of the Andrew Bird Trio is doing a lot of the heavy lifting here. His voice is magnificent, sure, but these songs would be far less captivating without the inclusion of his incredible backing band. [3.5/5]
‘I Cover The Waterfront’: Clearly, Billie Holiday’s version will remain the definitive version of this track, but that is not to say that Bird’s is poor by any means. [3/5]
‘Softly, As In A Morning Sunrise’: Recording Bird’s vocals as though he is standing behind a wall was a fairly odd choice. Perhaps there is a reason why all the best versions of this song are instrumentals. [2.5/5]
‘I’ve Grown Accustomed To Your Face’: With a stripped-back, low-key atmosphere, it almost feels as though Bird is talking directly to you, the listener. It is perhaps not the most notable effort from across the album, but it is enjoyable all the same. [2.5/5]
‘Ballon de Peut-Être’: The only original composition featured on this record, and it is undoubtedly the stand-out track. This nine-minute instrumental epic is a fantastic music journey, encapsulating the mood of the entire record. [4/5]
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