Live
Soulive: Ronnie Scotts 28/11/09
When experiencing funk music for the first time as a child, I just remember the raw energy and exuberance that it planted directly into my soul. It made me smile and dance, almost voodoo-like. It was so full and lively I felt like I could burst.
After 20-something years of listening to this genre I take this magic somewhat for granted, the music not always affecting me the same way that it used to. On Saturday night I saw Soulive. During their first song that childlike feeling returned and hit me: right in my gut.
Soulive is a trio from New York and has been around for some 10 years. They started as soul-jazz group, a breakbeat update on Grant Green, and progressed to dabble in straight vocal-based soul and hip-hop. They tour together with any number of other musicians often including a full horn section and vocalists
For their three sold-out nights at Ronnie Scott's they came in their core trio form but this did not detract. The lead voice is guitarist Eric Krazno, who sits center stage singing, screaming and pleading through his golden Ibanez. Kraz is a great rhythmic player, a necessity for the genre, and can hold down a lick or funky pattern almost unnoticed, driving the groove along like a deep current in a river. But when called upon, his soloing is full of lyricism and feeling. They are often jazzy but never not tasty.
To the left is Alan Evans on the drums who has the paradoxical ability to play around the beat but is still always on dead on it, often stopping on a dime. He seems to be in state of constant bliss, sometimes singing along soundlessly, sometimes eyes closed almost somnambulic or other times, as the band is getting into something, he'll bang his head to a monster groove while his giant teased afro waves like a palm tree in a hurricane.
Alan Evan's brother, Neal plays Hammond and keyboard bass. The fluidity and virtuousity of his bass lines would make any four-string player envious. The syrupy thickness of the sound makes you want to say "HA!" (in the words of Maceo Parker). Neal also is superb Hammond player and frequently camps up in the high register to really push the climax of a song (maybe a cheap trick, but certainly effective). Judging by footage of recent Stateside gigs Neal did not have his usual setup of instruments (Clav, Piano) and accordingly Soulive seemed limited in their song choices. They played a set comprised of mainly older tunes including the off-beat 'One in Seven', the beautiful 'Lenny' and 'Turn It Out'. Kraz appropriately switched to a Fender Stratocaster to play a straight and heart-wrenchingly funky version of Hendrix's 'Manic Depression' and as the encore The Beatles 'Eleanor Rigby'.
All three constantly take cues from each other, when Kraz or Neal solo the other two will contribute a hit, stop or some inflection in support, as if telepathically. They are obviously having a great time and love playing with each other. This interplay along with the great music makes it entertaining on many levels. A fantastic set from one of the best funk bands on the planet.
Words ROBBIE GRUNDEL
