Soulive Takes Jazz To The Next Level

I randomly read about Soulive in a music publication and made a mental note to pick up something by them at a later date. When I finally did stumble around to purchasing their records (still with NO idea they were jazz) and listened to it – I kept waiting for the vocals to drop. I’m thinking to myself the music is funky and cool but where are the vocals? Finally wising up and looking into the liner notes I found out that they were indeed a jazz ensemble and that the lyrics would be few and far between.

One of the main reasons that I think younger people don’t listen to jazz is because on a whole they find it to be unapproachable. Even though I consider myself to be open-minded I sometimes stereotype jazz as being stuffy or melancholic and generally avoid it. Fortunately jazz is getting somewhat of a face-lift with artists that younger people can relate to people like Diana Krall, Norah Jones and Soulive.


- Track Listing -

01. Tuesday’s Night Squad
02. Flurries
03. Liquid
04. Joyful Girl featuring Dave Matthews
05. Kalen
06. Clap! Featuring Black Thought of The Roots
07. Interlude
08. Ne-Ne
09. I Don’t Know featuring Amel Larrieux
10. Whatever It Is
11. Alkime
12. E.D. Hambone
13. Bridge To ‘Bama: Hi Tek Remix featuring Talib Kweli*
*bonus track


- Who’s In The Band? -

Neal Evans (Keys & B3 Organ)
Eric Krasno (Guitar & Mixing)
Alan Evans (Drums)
Sam Kininger (Alto Sax)

In the liner notes to “Next” site influences from Earth, Wind & Fire to Ani Difranco. “Next” they (the band) say, is an album of those influences and as a listener it does convey that way. There is a palate of beautiful sounds to choose from and the album goes from smooth to thunderous just like that. Although I am partial to vocal jazz I can find joy in ”Tuesday Night’s Club” which sounds like an invigorating jam session and that has a break so nasty at the end you might want to call you mom up and share it with her. ”Liquid” is smooth as it’s name hints – the saxophone here is the key player to making this song as “liquid” as it is and yet it manages to be a bit gritty.

Fans of folk-goddess Ani Difranco may rejoice that ”Joyful Girl” has been remade and every morsel of the song is delectable. Featuring the vocals of Dave Matthews - “Joyful Girl” is just as enticing as the original. It’s hard not to be appreciative of the talent that a group like Soulive possesses.

They know how to give each instrument its on time to shine and have fame yet when they introduce vocals into the equation they keep the focus on the music while you still are able to enjoy what’s going on. ”Clap!” features Black Thought of The Roots - while this isn’t one of my favorite songs on the album – I wanted to mention to show the depth of Soulive and the fact they have the sheer ability to use extremes to their benefit. Dave Matthews and Black Though to Amel Larrieux and Talib Kweli – there guests are so well chosen and well utilized that they don’t distract from the fact that you are indeed listening to a jazz album.

”Ne-Ne” is like honey in its sweet and seducing music. The longest of the albums tracks at 8:06 – you can envision this being played at a club to wind the night down. Another of the elements that really appeals to me about Soulive is that each of their songs, although arranged flawlessly – the allure for me lies in the fact that they could have just as easily made them up on the spot. ”I Don’t Know Why” follows “Joyful Girl” very closely in being one of my album favorites. If you’re not acquainted with the vocals of Amel Larrieux run right out and get her album ”Infinite Possibilities”. She has an earthy and fresh sounding voice that compliments the music of Soulive most excellently.

”Bridge To ‘Bama: Hi-Tek Remix” although again unconventional in featuring a rapper – is really a brilliant coupling and putting Hi-Tek on a song is basically guaranteed to make you nod your head. The sound is funky and mellow all at once and Kweli adds another dimension to the music of Soulive.

- Final Thoughts -

“Next” really covers a lot of musical sounds and really pushes the limits of jazz. It’s obvious that it really is an album of influences as they (the influences) are visible every corner you turn. The album is progressive if for no other reason than including rappers but it doesn’t stray so far away from the basics that you feel like you’re not listening to jazz. I would recommend this album to someone who is hesitant about listening to jazz but likes a hard groove and funky beats.