Andrew Bird’s latest release, Sunday Morning Put-On (2024), marks a significant yet unsurprising venture into the Great American Songbook. Known for his genre-hopping career spanning over 30 years, Bird demonstrates his reverence for jazz’s golden age by offering a collection of nine covers and one original composition. Backed by the adept Alan Hampton on bass and Ted Poor on drums, Bird crafts a straightforward jazz album that is both an homage and a unique interpretation of timeless classics.
Bird’s approach to these jazz standards is intimate and genuine, recorded live to tape in a vintage studio setting. This method successfully captures the nuances of the performances, with Hampton and Poor providing a subtle yet richly textured backdrop. Bird’s violin playing is particularly noteworthy, transcending traditional techniques to deliver a dark, smoky tone that perfectly complements his vocals. His singing, clearly influenced by jazz greats, brings a sweet sadness that is both evocative and deeply respectful of the originals.
The tracklist includes formidable standards such as “I Cover the Waterfront” and “You’d Be So Nice to Come Home To,” which Bird handles with understated elegance. Unlike many rock musicians who dabble in jazz, Bird’s deep understanding of the genre allows him to interpret these pieces authentically while infusing them with his own artistic sensibility. His rendition of “Caravan,” for instance, showcases his ability to balance reverence with innovation, making the old tunes feel fresh and relevant.
The album culminates with “Ballon de Peut-Etre,” a nine-minute instrumental that stands apart from the other tracks. This piece bridges the adventurous spirit of bebop with the cool jazz era of the 1950s, highlighting Bird’s improvisational prowess. It’s a bold and satisfying conclusion, underscoring his connection to the heart of post-war jazz and reinforcing his position as a versatile and quietly brilliant musician.
Sunday Morning Put-On is more than a mere collection of jazz covers; it’s a love letter to the jazz legends of the 1940s and 1950s. Bird’s seamless blending of his multi-instrumental talents with Hampton and Poor’s contributions makes this album captivating from start to finish. Demanding full attention, it reveals deeper layers with each listen, showcasing Bird’s vocal excellence and musical mastery. This album not only pays tribute to jazz history but also affirms Bird’s place within it, effortlessly merging past and present in a truly compelling way. – Jason Felton