★★★★
“They [the new young lions] intend to grab jazz by the lapel and shake it with extreme prejudice. A prime example of the new young lions is the band Big Five Chord, the creation of guitarist Jon Lundbom…Lundbom creates music that is neither fusion, jazz core, nor rock. It is pure jazz with rock attitude…Lundbom’s writing presents a skewed perspective and a dissonant swing that pieces together Ornette Coleman’s harmolodics and an incessant pulse…Yes, Big Five Chord do accomplish jazz; a very new jazz.”
Jakob Baekgaard, ‘All About Jazz’ 12/20/09
★★★★
“Lundbom doesn’t fit the boxes that music is so conveniently placed in. His music is just as free as it’s funky. It’s both old-fashioned and ultramodern, avant-garde and mainstream. Simply put, it’s good music, which invites active participation. Accomplished jazz indeed.”
Hank Shteamer, ‘Time Out New York’ 11/30/09
“Lundbom’s muscular jazz-rock outfit Big Five Chord shows off its supple side on a new release, ‘Accomplish Jazz.’ But don’t be surprised to hear the band’s loping, funky grooves give way to noisy catharsis from the leader and sax firebrand Jon Irabagon.”
Eric Snider, ‘Creative Loafing’ 12/29/09
“Big Five Chord play the kind of forward-thinking, boundary-stretching jazz that still manages to sit well on more mainstream ears…an expansive yet succinct statement that remains consistently exhilarating from first note to last.”
Chris Spector, ‘Midwest Record’ 12/01/09
“Like when the Brits overtook civil rights jazz in the late 60s, Lundbom and his crew delight in the asymmetrical and off beat making a fine stew for those who like their jazz sitting down. Clearly a wild ride.”
Bruce Lee G, ‘Downtown Music Gallery’ 12/17/09
“I dig the way Jon’s guitar solo [on ‘Truncheon’] is in between styles and crafty without showing off…The guitar solo [on ‘Phoenetics’] is slow, mysterious and often mesmerizing…Lundbom writes quirky yet memorable songs that are refreshing with unexpected twists that occur before you notice them…songs that unfold in unexpected ways…There is something charming, creative and cool about this music that is not so easy to explain but it does make me smile…”
Hank Shteamer, ‘Time Out New York’
“Big! Five Chord has more muscle than your average jazz-rock project: Guitarist Jon Lundbom’s spiky riffs skronk alongside keening sax lines from Jon Irabagon – one of the city’s most deadly hornmen…”
Dave Madden, ‘SLUG Magazine’
“Somewhere down the road from the Knitting Factory, on the outskirts of 70s stadium rock, you’ll find Jon Lundbom & Big Five Chord, a crew once again proving that jazz isn’t dead – it’s just getting started! This live recording finds the band letting loose in the city (New York), completely unrestrained and bouncing between free jazz and 60s bop masters. …the crew walks a line of structural retention and freedom from the original works that fuses a healthy dose of virtuosic improvisation with an uncanny ability to come back to center before wandering too far into the cosmos.”
Glenn Astarita, ‘All About Jazz’
“Chicago-reared and now an active participant in New York City’s improvising scene, guitarist Jon Lundbom fuses avant-garde, jazz-rock scenarios with odd-metered rhythms and more. The quintet is augmented by the twin sax attack of Bryan Murray and Jon Irabagon, whereas Lundbom occasionally puts the pedal to the metal. But there’s quite a bit of improvisational forays based upon the soloists’ interweaving lines and soaring momentum along with a cavalcade of variables. At times, the band tosses in notions of angst and shock-therapy to coincide with its semi-loud modus operandi. Fans of New York City’s wily downtown scene should welcome this outing with open arms!”
Phillip McNally, ‘Cadence’
“On the much heavier side of fusion, Jon Lundbom & Big Five Chord crank out what I have to call heavy metal Jazz on All the Pretty Ponies. This is a power 5tet with the Blues influence of Ulmer on its mind, but even when the two saxes blow fiercely out, the emphasis is on Lundbom’s scorching guitar…and at their best moments, the 5tet achieves something like a harmolodic looseness.”