Soulive has never made any bones about what they do best; it’s right there in their name. Since forming in 1999, the trio of guitarist Eric Krasno, drummer Alan Evans and keyboardist Neal Evans has carried the torch for the soul-jazz organ trio—that venerable, funky institution pioneered by the likes of Jimmy Smith, Brother Jack McDuff and Groove Holmes in the late ’60s. Rest assured, when the Evans brothers first brought Kraz by their Woodstock studio, there was plenty of old vinyl spread out on the floor.
In their 13 years together, Soulive has followed the muse in the direction of hip-hop, R&B, blues and rock, collaborating with the likes of Chaka Khan, Dave Matthews, Talib Kweli, John Scofield, Derek Trucks, Maceo Parker, Susan Tedeschi, Robert Randolph, Joshua Redman, Kenny Garrett, Fred Wesley, The Roots, Ivan Neville and so many others, even going so far as to record a full album of covers by The Beatles (Rubber Soulive). But, no matter how they push the limits of the organ trio, they always come back to their bread and butter: blistering solos and grooves that don’t quit.
Their latest, a four-track EP entitled, SPARK, deserves a place on your record shelf right between Booker T. and a bottle of some damn good single-malt. Recorded over a day and a half with saxophonist/flautist Karl Denson (The Greyboy Allstars, Karl Denson’s Tiny Universe), the record captures the smoky vibe of early-’70s-era CTI Records releases by the likes of Freddie Hubbard, Grover Washington Jr. and George Benson. It’s the stuff Denson grew up on. “I’m older than the Soulive guys,” he says. “When I heard those records being sampled back in the late 80s, early 90s, popping up in clubs when I was over in Europe touring with Lenny Kravitz, that’s what really prepared me for this whole thing we’ve been doing for the last 20 years. It was a natural progression for me to finally do something in the CTI vein.”
Each tune was ultimately just a vehicle for the musicians’ playing, so, sticking to this formula, the quartet used very few overdubs. “Back in that era,” Krasno explains, “you bought a piece of vinyl and it had two tracks on either side. The grooves were kind of dark but really open and each musician got a chance to breathe.” Denson continues: “SPARK is really about the playing, less about the tunes. It’s the four of us collectively getting back to more of a jazzier thing than we’d done in recent memory.”
The first side opens with Yusef Lateef’s sultry Nubian Lady, featuring Denson on flute. It was a mutual love for Lateef that brought the quartet together to begin with—Kraz having studied with the legend and Denson having idolized his records. The laid-back tempo lets the group simmer on the theme until Kraz decides to slice the whole thing open with some Middle Eastern fretwork, leaving Karl to pick up the pieces. Denson describes the sound as “Something a little more chilled out but funky at the same time.” Povo is a perfect evocation of the era, first recorded by Freddie Hubbard on CTI in 1972, featuring some of Kraz’s most sinewy lines and a caterwauling climax on tenor from Denson. When the two lay out, the Evans brothers remind the listener why an organ and a drum kit have always been plenty good for funky jazz. “We’ve always loved James Brown and music that’s going to make you groove,” says Krasno. “But there’s so much more vocabulary from jazz that you can put in it.” Art Farmer would have agreed. The band’s rendition of his 1972 tune Soulsides slips plenty of ideas into the deep pocket, putting Neal Evans out front on piano.
Spark, the only original song on the record, was written in homage to legendary soul-jazz guitarist Melvin Sparks, who passed away only days before Soulive entered the studio. Known for his fleet fingers and deft sense of the blues, Sparks made his name backing organists like McDuff and Dr. Lonnie Smith. Krasno grew up listening to Sparks play at a regular gig in New Canaan, CT, and credits the guitarist with inspiring many of his own sensibilities. When Denson asked Sparks to open for the Greyboy Allstars’ first East Coast tour in 1994, it revived his career. “We totally got along and had a great time over the years,” says Denson. Sparks joined Karl Denson’s Tiny Universe to record Dance Lesson No. 2 in 2001 and “just annihilated it. He was a great cat and a total musical mentor.” So, it was with sadness that the four musicians collectively penned the tune and with reverence that they perform the slinky strut, while dedicating the EP to his memory. Denson eulogizes on both flute and tenor while Krasno’s tone impeccably channels the musician he calls, “one of the great guitarists of our time and the coolest dude I knew.”
Sister Sparrow & The Dirty Birds
￼Sister Sparrow & The Dirty Birds is a nine-piece powerhouse that puts a modern spin on classic soul. The band is led by Arleigh Kincheloe (Sister Sparrow), whose astoundingly powerful voice and sly demeanor make for a spellbinding presence onstage. She is backed by the mighty force of The Dirty Birds, a flock of eight men who masterfully lay down thundering grooves and soaring melodies. While each of the Birds are capable of lighting up the stage with jaw-dropping displays of musicianship, it's clear they're focused on delivering the band's infectious music as a single entity. Simply put, the band's live show is explosive.
Dynamic singer and front-woman Sister Sparrow first began penning tunes in the alleyways and back roads between New York City and the Catskill Mountains as a teenager. Though already aided and abetted by her harmonica-shredding brother Jackson, it was clear that a large, powerful band was needed to do justice to the songs she was crafting. The brother and sister team called upon their cousin Bram, a California-bred drummer of considerable prowess, to help them assemble a super-band of epic proportions. Bram brought in childhood friends JJ Byars (alto saxophone) and Ryan Snow (trombone), and Ryan called upon baritone saxophonist and close friend Johnny Butler. Later, the addition of trumpeter Phil Rodriguez completed the unstoppable force of the virtuosic Dirty Birds' horns. The rhythm section was filled out by tapping guitarist Sasha Brown and bassist Aidan Carroll, a tandem that proved to be the perfect engineers of the hard-driving, bare-knuckle grooves that propel this ferocious group.
It was evident from the start that the deep friendships among its members translated directly to the music they made together. While Sister Sparrow is the principal songwriter and unifying voice of the band, the Dirty Birds work collaboratively on arrangements. The result is musical creativity and diversity seldom seen in groups of this size and character. By the middle of 2009, Sister Sparrow & The Dirty Birds had packed New York's legendary Rockwood Music Hall every Saturday night, holding down a five-month- long residency that built them a reputation for being one of the funkiest, tightest groups in the city. Fueled by the band's boundless energy, every show turned
into a wild dance party, and the Dirty Birds established a rabid following of fans eager to receive a potent dose of good times, delivered by the band night after night.
Within six months of their November 2010 debut release on Modern Vintage Recordings, Sister Sparrow & The Dirty Birds had opened for the Black Keys, the Neville Brothers, Dr. John, the Rebirth Brass Band, and the Soul Rebels Brass Band, among others. Through appearances at such festivals as moe.down, Strange Creek, Camp Jam, Sterling Stage, and late-night at New Orleans JazzFest, they continued to gain wider acclaim. In the spring of 2011, they embarked on an extensive national tour that continues through year‚Äôs end and includes performances at Gathering of the Vibes and Bear Creek.
Sister Sparrow's commanding stage presence alone is more than enough to dazzle audiences, but the magic doesn't end with her: the band's palpable camaraderie, undeniable talent and passion for music makes for a contagious combination that is taking the country by storm. Sister Sparrow & The Dirty Birds' blend of seductive soul and dirty blues-rock reminds audiences why they love live music.