Banyan’s Uncommercial Jam Feels Like a Backyard Party

Banyan, the brainchild of Porno for Pyros drummer Stephen Perkins and his partner and co-producer David Turin, assembled a clubland supergroup of “guest collaborators” for its self-titled debut album, a series of instrumental explorations that was recorded and mixed by the Dust Brothers.

“Banyan” features bassist Mike Watt (formerly of the Minutemen and Firehose), free-jazz guitarist Nels Cline (now with the Geraldine Fibbers) and keyboard wizard Money Mark (the Beastie Boys). All except Mark were on hand when Banyan played the Roxy on Wednesday, but the band overcame his absence with multitalented percussionist Gustavo, who infused Banyan’s fun but high-minded jam with bongos, congas, rattles, et al. He brought the world-beat rhythms of Africa, Latin America and American Indians to Banyan’s loose, free-flowing sound.

The show centered on the loose groove and a transcendent feeling, with Watt only occasionally erupting with some inspired, high-energy bass. Sometimes the jams wandered too long; sometimes the low-key vibe dropped into a low-energy abyss.

Uncommercial and even anti-commercial to the core, Banyan’s set felt like an impromptu backyard-party jam. And Banyan, whether drawing inspiration from Stravinsky and Miles Davis or capturing the sound of the wind rushing, proved that the group is not about merely giving the people what they want. But sometimes it managed to anyway.

A far wackier vibe of experimentation hung in the air during the opening set by the Pugs, a collection of artists and film directors from Japan who delivered a delirious, delicious, punkish cabaret at ear-splitting volume.