Soulive: Soulive

SOULIVE
SOULIVE

Blue Note

On its eponymously titled live album, Soulive gets back to its organ trio basics, functioning as a trio again after previously adding a sax player and horn section along with various hip-hop guests. Guitarist Eric Krasno, along with brothers Alan (drums) and Neal Evans (keyboards) are probably the most popular instrumental trio since Medeski Martin & Wood, and they are popular with hip-hop fans, modern jazz fans, and Deadheads. While jazz purists and hard rockers tend to ignore them, they are able to command an audience that is a wide cross-section of adventurous music listeners.

This live outing (the group’s first) is, in fact, the first time that they have played exclusively as a trio throughout an entire album. That’s both good and bad, as there are times on this CD when the grooves begin to get a little too similar and the wah-wah pedal comes out just a bit too much. Overall, though, this disc provides a better idea of the musicians at the heart of Soulive than much of their previous work. Opening with the heavy “Alladin” the Krasno and Neal Evans together create a sound reminiscent of Jerry Garcia’s guitar sound on the Dead’s “Estimated Prophet.” “El Ron” sports more of a Roy Ayers groove, but there’s still plenty of wah-wah guitar in there. Around the halfway point it heats up mightily, with Krasno providing a nice guitar lesson a la George Benson by way of Wes Montgomery while Alan Evans works those drums in a manner reminiscent of the Meters’ Zigaboo Modeliste. Krasno is out front a lot on this CD and generally keeps the interest level high by varying between jazzy, funky, and outright rocking guitar work. Still, a few numbers that don’t rely so heavily on his guitar sound might be welcome.

“Solid” does offer some respite, with the Hammond B-3 sound coming to the fore and the entire track sounding very much like a late 60s soul jazz romp. There’s also some nifty clavinet work that can’t help but remind the listener of Herbie Hancock’s original Headhunters album. “First Street,” the single from the album, offers some smooth sounds that don’t descend into banal territory, largely due to the incredible drumming. The beat is a James Brown-turned-inside-out groove that will make it hard for anyone to sit still. Jazz was once considered dance music first and foremost, and Soulive is one group that makes you realize just how danceable a jazzy groove can still be.

What sets Soulive apart from the many Johnny-come-lately groups on the Hammond jam scene is that they are obviously well-versed, not only in the vernacular of soul/funk, but also of jazz. Unlike some bands that play a head followed by some variations, these guys really improvise and interact. Another distinguishing characteristic is the simple production—there’s nothing overblown here, it all sounds like a late night set at a smoky club. While the group has picked up and incorporated additional influences that have moved their sound away from the more traditional ‘60s/’70s organ trio sound, they have never lost sight of the groove, the soul, inherent in that sound.

Ultimately, Soulive does what the very best music has always done: push beyond its “home base” genre, combining sounds and beats that make the listener feel good. For those who can get beyond the “is it jazz/is it funk/is it rock” dilemma, there’s some damn good music waiting here.