My parents make their own sauerkraut. Every year they grow a special patch of cabbage, and each fall about a hundred pounds of that hearty Ohio goodness gets loaded into a crock my grandparents brought over from Germany, salted, and weighted with boards. For a few weeks the basement is a difficult place to be without goggles and a rebreather, but once put in jars for long term storage, the final result is breathtaking. My parents sauerkraut is a monument to the incomprehensible miracle of friendly bacteria; sweet, pungent, salty, and subtle in equal measure and as different from the metallic harshness of the canned or bagged supermarket versions as the finest homebrew ale is from 40 ounces of Lazer Malt Liquor (Kestrel, for our UK friends). It might not be for everybody, but many a nonbeliever has come away from the table with a new understanding for what good kraut really is.
Jazz-funk is kind of like that.
Jazz purists scorn the genre for being too one-dimensional, for being crassly devoted to the simple pleasures of one key and an endless groove, and there is certainly something to that. More sins have been committed with a Fender Rhodes piano and a drum machine than were ever dreamed of by medieval catalogers of the myriad varieties of human perfidy. But to dismiss jazz-funk as more noodling over a repetitive beat is to deny the undeniable allure of solid grooves and burning solos. Yes, when its bad its bad like sauerkraut from a can. But when its good-- when the band is on and taking you higher-- it can make a believer out of the squarest soul.
However, there is a catch. Have you ever eaten too much sauerkraut?
Soulive are a soul-jazz-funk-fusion trio who for nearly ten years have been building a reputation for themselves on the strength of their muscular, grooving live shows (their albums have been pretty good too). Composed of Eric Krasnow (guitar) and brothers Neil (organ) and Alan Evans (drums), the New England group have split their time between jazzhead and deadhead audiences, balancing much like Medeski Martin & Wood between pure jazz excursions and dirty groovefests. But where MM&W never fully embraced their inner hippie and have been turning out increasingly cerebral music, Soulive seem determined to go where only Maceo Parker and Fred Wesley have gone before in making a career out of chasing the Great White Groove.
This one-groove strategy is both their greatest weapon and greatest weakness. To enjoy their live shows, you have to be totally on board for 75 minutes of uptempo funk blowing or youre just not going to get it. On any given night Soulive can either blow your mind or bore you to tears. Even so, their sometimes outstanding live shows are a better setting than their solid but somewhat insubstantial studio recordings to get what they mean by So Live. The only question is, how much is enough?
The band recently teamed with Pirate Entertainment and DiscLive to produce a series of live insta-albums recorded over three nights at Tribeca Rock Club in New York. Each show was recorded live and made available for download immediately, and preorders were cut, packaged and shipped in one week. For a band like Soulive whose entire reason for being is to play transcendent live shows, this seems, on paper at least, to be a brilliant move. I recently obtained the double-disc sets of the first and third nights (July 29 and July 31), and in general they confirm what I already know: sauerkraut is delicious until its time to be ill.
Soulive owe a great debt to the giants of what is now called soul jazz. Their sound invokes Jimmy Smith, Grant Green, Herbie Hancock and John Scofield, as well as funk icons like the Family Stone, Maceo Parker, and the JBs. Krasnow in particular is a sometimes brilliant player, weaving driving single-note lines that recall Green and Sco in and around the deep rhythms held down by the brothers Evans. Over the course of ten years their sound hasnt changed very much, mainly involving subtle variations on a groove that recalls early-JBs James Brown smoothed with a little Wes Montgomery.
The July 29 show stars with a steaming version of El Ron featuring a slippery solo from Krasnow but derails quickly into a sub- Maceo fatback version of Hurry Up
And Wait that recalls the tepid album version from 2001s Doin Somethin. However, the rest of disc one is solid, featuring the band doing what they do bestburning between 120 and 140 BPM. Each track burns intensely, taking the tightly-packed crowd higher, and disc 2 continues the ride with six tight, long grooves. Unfortunately, the energy ebbs about ten minutes before the finale, Do It Again ends, leaving the show to peter out rather than end with a bang.
Since this is a single live show beginning to end, it comes complete with high points, stage patter, and watch-checking moments. In general, Live in NYC July 29 2004 is good but too uneven to recommend for the casual fan. The band are still chasing the groove, but sometimes it just wont be found.
Live
. July 31st is a different story. On this third night of the bands stand at Tribeca, the grooves are tighter, the sound is more consistent, the solos are generally more fluid, and what some tracks lack in meltdown-grade groove explosions is made up in general quality and interest, including an encore rundown of Herbie Hancocks chestnut Chameleon. The original recording of this song is so iconic and powerful that most bands struggle to find a way to play it without merely rehashing and paying tribute to the power of the HeadHunters. Soulive succeed in making the song theirs, in their sound, without losing the furious swing and grit everyone remembers.
Although I dont have night two, Live
July 30th, it looks interesting too, featuring covers of Jesus Children of America and Crosstown Traffic along with band standards One in Seven and Uncle Junior.
One strange aspect of the live-to-legit-bootleg recording process is revealed in the pothead laxity brought to the setlists and liner notes. PirateBootlegs website claims that the second disc from July 31st starts with a cover of Stevie Ray Vaughns Lenny, but in reality is something I dont quite recognize as Solid from Doin Something. ("Lenny" actually appears on disc one, in a version that at points approaches the pathos and beauty of the original-- not an easy thing to do.) This kind of error, combined with the lack of liner notes in the albums (at least in the stickered full-art promo I received) is a real disappointment, especially for a band whose Phishlike following trade live shows and legendary setlists. I expect more for a full $20. I remain old-school enough to expect the full treatment, even though all signs point toward the assumption that these albums will be IPodified by most interested parties.
In any case, Soulives double live offerings prove it is hard to stay interested over the course of two discs of material by a band who are still learning how to deliver the goods every night. If you are looking for an introduction into Soulives music, you can do much, much worse than Live
July 31st, but Id still recommend picking up 2002s single-disc live album, Soulive or their 1999 studio Turn It Out. Since the band already have a live album under their belt, and since they are not yet prone to stretch out and transform their songs night to night, its hard to see why this trio of discs are strictly necessary. Like my parents, Soulive are chasing perfection. But that is how jazz-funk is like sauerkraut: its delicious, even amazing, but if you overdo it by too much youre probably not going to want any more for a long, long time.
More information Soulive's Live in NYC albums here:
Soulive: Live In NYC July 29 2004
Soulive: Live In NYC July 30 2004
Soulive: Live In NYC July 31 2004
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