D7004 - The Souljazz Orchestra: One Life to Live b/w Kingdom Come
WHEW, Laddie. This is a hot one… Two tracks from the incredible Souljazz Orchestra from their 2014 album Inner Fire. I’m not even sure which one I like more than the other.
If you’re not familiar with them, you really should be. Their multi-faceted catalogue from the past 22 years or so spans from afro-beat to high life to energetic Latin styles mixed with Carribean vibes at times, to moderately straightforward dance music with their own spin. With every turn, and with each iteration, their sound is filled with incredibly tight percussion and a powerful horn section that alternately keeps the groove groovy or pumps up the jam to sweltering heights with vibes that are nearly impossible to stand still to. And truth be told, I’m a sucker for a baritone sax… Speaking of vibes, the vibraphone solo on “Kingdom Come” is to die for.
It’s impossible, though- for me, anyway- to point out my favorite instrument solo (or which of these two tracks I like more, even). The whole ensemble oozes talent and on each of their albums gets time to shine, driving home the “jazz” part of the name of the group, with each instrumentalist skillfully crafting and presenting amazing solos that just feel RIGHT.
Their body of work sears with social and political commentary and revolutionary themes, which is right up my alley. I come from a family that has been active to some degree or another with social justice for generations, and sometimes I really trip on how the conversations we’re having surrounding justice, equity, and just basic humanity are the same ones that my grandparents protested for until they died in the mid 80’s. Perhaps right now, more than ever.
But I digress.
Let’s talk about this record.
One Life to Live is a HOT HOT HOT Afro-beat dancefloor banger which opens right away with a blazing horn section line that leads in to a tight groove, then a flute solo which takes the flute in a direction that I’d never even thought that instrument was capable of. The lyrics “One life to live, and nothing else. One life to live, so live it well” are both a celebration of enjoyment as a form of self-care, and making the most of what we have. Words that speak a truth that is so easy to lose sight of. As the track continues with the entire band keeping the irresistible groove just as hot as it came in, we’re treated to a sax solo that begins so low and snakey that it almost sounds like a baritone clarinet before rising to blazing heights.
Kingdom Come is… Unlike just about anything I’ve ever heard before. It’s triumphant and regal but not boastful. It’s somehow both clean and a bit dusty, but in the best way. Maybe more like in fantastic shape with a gorgeous patina and shimmery in all the right places. It’s sturdy, driving, slow, steady, and hard. It’s laid back and commanding. And it’s FUNKY. Just peep it, for crying out loud. It’s ILL.
Both of these tracks have been songs that I’ve listened to for days at a time with a tireless desire for another play. The album it comes from, Inner Fire, came out in 2014, and honestly, that’s still the case. These tracks are absolutely timeless.
Another one I’ve wanted to put out for years, and the story of how it came to be is pretty miraculous, but it’s also looooong and a bit meandering. If we ever meet, and you care to hear it, I’ll tell you about it. But I will say this much: thank you SO much to Quinton at Strut Records for working on this with me (and being just such an amazing cat in general), and to Pierre Chrétien, the immensely talented band leader of The Souljazz Orchestra (AND writer of these two tracks) for being open to me putting this record out. What a treat.
WHEW, Laddie. This is a hot one… Two tracks from the incredible Souljazz Orchestra from their 2014 album Inner Fire. I’m not even sure which one I like more than the other.
If you’re not familiar with them, you really should be. Their multi-faceted catalogue from the past 22 years or so spans from afro-beat to high life to energetic Latin styles mixed with Carribean vibes at times, to moderately straightforward dance music with their own spin. With every turn, and with each iteration, their sound is filled with incredibly tight percussion and a powerful horn section that alternately keeps the groove groovy or pumps up the jam to sweltering heights with vibes that are nearly impossible to stand still to. And truth be told, I’m a sucker for a baritone sax… Speaking of vibes, the vibraphone solo on “Kingdom Come” is to die for.
It’s impossible, though- for me, anyway- to point out my favorite instrument solo (or which of these two tracks I like more, even). The whole ensemble oozes talent and on each of their albums gets time to shine, driving home the “jazz” part of the name of the group, with each instrumentalist skillfully crafting and presenting amazing solos that just feel RIGHT.
Their body of work sears with social and political commentary and revolutionary themes, which is right up my alley. I come from a family that has been active to some degree or another with social justice for generations, and sometimes I really trip on how the conversations we’re having surrounding justice, equity, and just basic humanity are the same ones that my grandparents protested for until they died in the mid 80’s. Perhaps right now, more than ever.
But I digress.
Let’s talk about this record.
One Life to Live is a HOT HOT HOT Afro-beat dancefloor banger which opens right away with a blazing horn section line that leads in to a tight groove, then a flute solo which takes the flute in a direction that I’d never even thought that instrument was capable of. The lyrics “One life to live, and nothing else. One life to live, so live it well” are both a celebration of enjoyment as a form of self-care, and making the most of what we have. Words that speak a truth that is so easy to lose sight of. As the track continues with the entire band keeping the irresistible groove just as hot as it came in, we’re treated to a sax solo that begins so low and snakey that it almost sounds like a baritone clarinet before rising to blazing heights.
Kingdom Come is… Unlike just about anything I’ve ever heard before. It’s triumphant and regal but not boastful. It’s somehow both clean and a bit dusty, but in the best way. Maybe more like in fantastic shape with a gorgeous patina and shimmery in all the right places. It’s sturdy, driving, slow, steady, and hard. It’s laid back and commanding. And it’s FUNKY. Just peep it, for crying out loud. It’s ILL.
Both of these tracks have been songs that I’ve listened to for days at a time with a tireless desire for another play. The album it comes from, Inner Fire, came out in 2014, and honestly, that’s still the case. These tracks are absolutely timeless.
Another one I’ve wanted to put out for years, and the story of how it came to be is pretty miraculous, but it’s also looooong and a bit meandering. If we ever meet, and you care to hear it, I’ll tell you about it. But I will say this much: thank you SO much to Quinton at Strut Records for working on this with me (and being just such an amazing cat in general), and to Pierre Chrétien, the immensely talented band leader of The Souljazz Orchestra (AND writer of these two tracks) for being open to me putting this record out. What a treat.