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Regarded as a "jam band", Soulive would like "Breakout" to be marketed to a soul audience. I'm not quite sure what made them a "jam band" anyway. Certainly, Medeski, Martin and Wood are placed into the same category too. I'm not sure what makes them like Phish and The String Cheese Incident. Maybe "jam band" fans just have a broad definition of what they like. Anyway, this album took a little while to grow on me. The funky jams are there but they have more of a seventies soul sound than ever before. Which is a little more subtle than the "acid jazz" category I placed them in. We have labels for everything, don't we? This is another one of those "and friends" efforts with standout efforts by soul royalty Chaka Khan and Ivan Neville, Reggie Watts and steel guitar virtuoso Robert Randolph. Give it a chance, they're still your Soulive and one of the tightest bands out there.
I have not made my way through all of the Soulive albums yet. I can say that to date, this is my favorite studio album [it may include a few live cuts]. Best overall album would have to be Live In Tokyo though.
Reviewed in the United States on September 15, 2005
just to give uneducated listeners a taste of how talented this band is, i will inform my esteemed previous reviewer, who said that soulive's bass player was the best he'd heard in a while: this band HAS NO BASS PLAYER. they're organist is that good - playing in the style of jimmy smith, but bringing it to the more spare, funked-out, bottom heavy minimalism of the hip-hop era. yup, they're all that good.
i thought "next" was a step back for this incredibly talented, tasteful, and hip band. thank god they worked out the kinks. the sax player they recruited for that album nudged them into some smooth jazz territory that was like watching miles davis take the stage with kenny g. there were some good directions on that album, e.g. the cameo by black thought of the roots, but the sax just pushed the album into "hey man can i burn that cd from you 'cuz it's really not worth the money to buy it" territory. ivan neville proves that it ain't the horn that's the problem, it's the blower. hence the difference between maceo parker and dave koz.
highly recommended album, because at their best (which they are close to here), this band is one of the most exciting things in contemporary jazz. you must peep them live if you have a chance. you'll come away feeling refueled with hipsterdom, as well as with a rock hard ass from shaking it so much.
Reviewed in the United States on September 21, 2005
Whether you are new to Soulive or old fan (can't be that old since they been around <10 yrs) this CD is not a Live performance. I am certain based on the number of LIVE shows I have seen. Contrary to other comments, I like the self production. However, someday it might be fun to see what another "big-time" producer might do with their sound for a commercial release.
I had the time to sit down and listen to the whole CD at one sitting. Overall a great listen. There are some real jam tracks (again not a live set) and a few occasional softies. Sincerely appreciated Chaka Khan's vocal talents as well as Ivan Neville. Still remember hearing it LIVE at the Chicago House of Blues and have been awaiting a commercial release of that for 2+ years. Thanks for entire project. See you in Madison and Chicago when you tour in support of this CD.
Reviewed in the United States on September 17, 2005
This album's over-produced, licked-clean sound is a disappointing surprise as it hides the copious individual talent of each musician. Most puzzlingly, the band itself is credited with most of the production. Note to Soulive: Gents, you need to hire someone for the next album, because you've shortchanged yourselves this time around.
This is the first Soulive album to feature prominent programming ("Turn It Out Remixed" excepted). With its hip hop and acid jazzy chops, this band should be able to digest the programming and create a brilliant product. Unfortunately, heavy loops of sound rise to the top of several compositions, and the brilliant musicians' sound lies sadly buried.
"Cachaca" and "Vapor" stand out, presenting what Soulive simply does so well. "Vapor," a great composition on its own, pushes the tempo here to great effect, and Eric Krasno on guitar and Neal Evans on keys positively shine. "Cachaca" is the only track on the album that actually uses the programming as a proper instrument instead of a sound emulsifier. It bends the tempos, and intermingles with Krasno's brilliant Spanish guitars and Ross and Zoidis's sharp horns.
On the song "Break Out" (and elsewhere) the production reduces the horns to mere flat synthesizer sounds, and their interplay with Krasno's guitar gets muddied by the thudding programmed rhythm. "Break Out" is not Soulive's most inventive composition, and the pleasure of listening to it live (and to a lesser extent, on the CD) comes from hearing the musical conversations between Krasno and the horn section (master soloist Rashawn Ross on trumpet and the mind-blowingly talented Ryan Zoidis on sax). On this album, though, we get one of those heavy loops of sound from which Soulive struggles to escape. Fortunately, the last few seconds of the track feature Ross's soloing in a burst spontaneity that is scarce on this CD-but abundant in the band's other albums and all their live performances.
"She's Hooked," a Prince-esque tune, will definitely set your head a-bobbing, but again the jazz recedes into the background (but listen closely and you can hear Neal and Krasno under there). Reggie Watts's excellent vocals are mixed with too much volume, leaving Soulive to sound like the New Power Generation, a prop and not the star of the show.
Most of the album's vocal tracks follow a similar production formula that reduces my beloved Soulive to a backing band. "Take It Easy," one of two tracks to feature Ivan Neville, presents itself unremarkably here, though it promises an awesome foundation for live performances. "Freedom" with Corey Glover and "Got Soul" are the most unremarkable tracks on the album. Alas, it is hard to believe that it is Soulive playing so forgettably, deep under the vocal tracks.
The striking and blessed contrast to the mediocre vocal tracks is "Back Again," which dishes out emotion that seems copious amidst a more sterile bunch of tracks. Chaka Khan's voice sounds fabulous, and the production presents the rough, expressive edges beautifully. The tune swings, set into motion by Neal's bass keys.
"Crosstown Traffic," excellent as it is, just cannot muster the tension and energy of Soulive's live performance of this cover, dominated by a dirty, downright raunchy, horn sound. Production has scrubbed it clean, leaving only Robert Randolph's pedal steel as the track's locomotion; fortunately, he does not disappoint.
Alan's drums are perhaps the greatest casualty of the programming, and I struggled in frustration to hear him on most of these tracks. Ultimately, this album suffers not because it is bad but because it misses a chance to present the band members' dynamic musical interaction and the band's blazing energy.
Split roughly in half b/n instrumentals and vocal tracks, Breakout is a nice addition to a funk collection. Similar bands would be The Meters and Clinton Administration. Guest vocalists include Reggie Watts, Ivan Neville, Corey Glover and Chaka Khan; guest instrumentalists: Robert Randolph, Cochemea Gastelum. On first listen, some of the drum work sounded simplistic/repetitive, but on the second run-through (with headphones) the songs really came alive. There's not a lot of bombast (except for R. Randolph), just good head-boppin' music. One thing I found curious was the "Interludes" peppered throughout, especially the ones that begin and end the disc; why start and finish the album with one minute, fade-in/fade-out snippets?
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