REVIEWS


"This Week's Best Albums": Rising Sun
February 16th, 2010
- Alarm Magazine, Chicago IL

"Track of the Week": Mamaya
February 1st, 2010
- National Geographic, Washington D.C.

"Top Remix of 2009": Watch We
- Musiques impures, France

"Most Intense Concert of 2009":
May 13th, La Bellevilloise
- VoxPopMag, Paris, France

"Top Album of 2008": Manifesto
- Kalcha, Vibrations Magazine, France/Switzerland

"Top 10 Albums of 2008": Manifesto
- SoundProof Magazine, Toronto

"Top 10 World Albums of 2008": Manifesto
- FFWD Entertainment Weekly, Calgary

"Top 10 Albums for December 2008": Manifesto
- !earshot Canadian Indy Radio Charts

"2007 Band of the Year"
- Voir Magazine, Gatineau/Ottawa

"Top 10 Albums of 2007": Freedom No Go Die
- DJ Scott C, Montreal Mirror

"Best Albums of 2007": Freedom No Go Die
- Highlife World Music, Vancouver

"Top 10 Tracks of 2006": Mista President
- Gilles Peterson Worldwide, BBC Radio 1, UK

Sonic Boomers
By Bill Bentley, February 22 2010
San Francisco, CA

The Souljazz Orchestra
Rising Sun
Strut Records

When groups work like crazy, playing live shows constantly, rehearsing because they love the joy of creating and camraderie combined, writing original songs that sometimes seem to come from the air itself, listening to music for the sheer love of sound: all these things merge into a sonic force field which will not be stopped. That field radiates out into the world in a way that ultimately builds to a wave that must be heard. And that is the world of the Souljazz Orchestra now. Their new album, Rising Sun, is a stunner of the first order. It begins in full burn and does not let up. The music this young aggregation creates has the gift of life inside it, like they have found a mojo key to unlock the power of the groove. There is simply no way to resist it. The band has been moving skyward for awhile. Now, though, it feels like all that inspired effort has kicked into a whole new realm, allowing all the members to float together while their instruments take on a life of their own. For sheer souldacity, it is going to be hard to beat this release for righteous inspiration in 2010. When the music of the spheres decides to make an Earthly visit, it doesn't have to knock. All it has to do is walk on in. The only thing we can say is amen.

Record Racks
By Eric Lueking, February 8th 2010
Indianapolis, IN

IN THE HOUSE OF THE RISING SUN

Now and again, you come across an album so good that you just can't get it off repeat. From the opening to closing notes, I was spellbound in between. The opening track, "Awakening," is peaceful and reminds me of the first time I heard Lonnie Liston Smith's Garden Of Peace. My mind and heart had been kidnapped - thrown into a trunk and I was going wherever this band steered me for the next hour or so.

"Awakening" is what you hear and feel in those groggy moments before your eyes pop open. It captures the sounds of wherever we go in Dreamland and is the reveille that beckons us back to reality. That last held note is like the morning stretch that says, "You're up and you're ready to go!" which leads you to...

The Souljazz Orchestra: Agbara
From Rising Sun (Strut, 2010)

this shot of musical caffeine. Skip the morning coffee and throw this into your music player of choice. If you aren't able to get through the drudgery of the morning with this playing in the background, then don't even bother with the rest or your day. Musically, it hearkens to the Latin classic "Tiger of San Pedro" as performed by Bill Watrous. It bounces with verve with its marimba-laden background, and those horns... MY GOD!

The rest of the album follows along the same lineage, closing out with a two-part cover of Pharoah Sanders' "Rejoice" suite with first part being more meditative and the second part being more rhytmic and lively.

You can check more out clips over at the official release page. With roots in Ethio-jazz, Afrobeat, Latin, and soul, the band shows they are capable of astounding range, which is no small task. More importantly, though, they accomplish it with a fortitude and semblance of musicality that allows them to be original while still honoring those who inspired them.

Ladies and gentlemen, this is the first must-have release of 2010, and it comes your way February 16th.

Dusty Groove
February 2010
Chicago, IL

Rising Sun
Souljazz Orchestra

An amazing set from this band that never fails to excite us - and a record that has them really living up to the spiritual promise of their name! Although still filled with the Afro Funky lines that first got the group some notice, there's also a deeper vibe running through this record too - one that has links to 70s righteous jazz, and a wider range of African expressions too -- including bits of Ethiopian and Egyptian elements as well! The instrumentation is great - really complex and interesting, with bits of vibes, reeds, and a range of percussion instruments that really keep things fresh - plus some beautiful piano lines that create an almost Build An Ark sense of peace and promise. Titles include "Negus Negast", "Lotus Flower", "Awakening", "Agbara", and "Rejoice (parts 1 & 2)".

The Hurst Reviews
By Josh Hurst, January 26th 2010, USA

Souljazz Orchestra: "Rising Sun"

Can wordless music ever be spiritual – not just in some vague, subjective sense, but actually, substantively conveying something of the transcendent or the sublime? It's a hard question, I know, but not because the answer is elusive – anyone who's heard A Love Supreme knows it to be a resounding yes, just as anyone who's heard Handel's Messiah knows that the music is just as important as the words in conveying the piece's profound beauty – but rather because, well, tying wordless music to a set of words is fundamentally vexing. I don't offer any new insight, and neither does the Souljazz Orchestra, but their new work Rising Sun is a thunderous affirmation – a work that stirs the soul, reaches to the heavens, and offers spirited celebration of the enduring power of beauty in the human experience.

I'm not sure if the Souljazz crew wrote this as their own personal offering to God, as Coltrane did his work, but it is nevertheless in that same lineage – though admittedly by way of wife Alice and a panglobal survey of music made to move both body and soul. No, there is no verbage – not even in the song titles – to suggest that these songs are dedicated to a particular deity, or meant to encapsulate a certain religious tradition, yet the way this music engages the sacred – or perhaps, the innate human thirst for the sacred – and conjures eternal things is unmistakable. This is music for prayer; this is music for rejoicing.

And indeed, it does unfold, quite organically, as a sort of spiritual journey, beginning, appropriately enough, with "Awakening," a wistful prelude that doesn't jolt the listener to alertness so much as it offers permission for serenity, solitude, contemplation. That said, Rising Sun isn't a quiet record to be played in the background, and the second song, "Agbara," begins, quite literally, with a shout; it kicks into a joyful, drum-circle beat borrowed from [West] African folk music, but it's adorned with horns that are pure funk. There's a primitive abandon to the song that suggests a total lack of propriety or self-awareness; the musicians are joined by wordless chanting that's zealous for an encounter with the sublime. If this song is a prayer, it's a fervent, perhaps even demanding one.

The Souljazz Orchestra understands that a capacity for curiosity, and a love of beauty, are prerequisites for making music as spiritually seeking as this. "Negus Negast" is a playful, and once again totally funky song that tips its hat to the Ethio-jazz of Mulatu Astatke and friends, right down to a magical use of vibes; there are also killer solos on piano and trumpet, but the beat is simply relentless, clearly made for the dancefloor. This is the place where sacred music turns to pure rejoicing, where the seeker can't help but be swept away in the joy of the search. The song is also a key lesson in understanding what gives this music so much heart: not only are the compositions informed by all manner of dance music from around the world, but, despite whatever formality the word "orchestra" might suggest, everything here is loose and vibrant; the funk-minded numbers swing hard, and the more reflective pieces are open and airy, not stuffy.

Indeed, as the album's journey into the soul continues, the fervor of the opening sequence slowly fades into more contemplative pieces, though that hardly makes them dull by comparison. "Lotus Flower" is a gorgeous, mid-tempo piece marked by a trumpet melody that Miles Davis might have played. "Serenity" is the album's most naked arrangement, but is nevertheless a thrilling song, marrying spiritual jazz to African rhythm and featuring superbly understated work from flute and clarinet; "Consecration," meanwhile, moves deep into the realm of mystery, an impossibly seductive and suggestive modal jazz piece, part Kind of Blue and part Indian folk music.

The record closes with an initially calm, but ultimately vigorous cover of Pharaoh Sanders' "Rejoice," a wild and unkempt jazz classic whose very title is a perfect summary of what Rising Sun is all about; this is music made for dancing, for singing (even though there aren't any words), for calling out to the Divine, and for remembering to see the world as a dark marvel, a thing of strange and – every once and again – beguiling beauty, something this fine recording has in spades. It's sophisticated in every way – the arrangements are complex without sacrificing their funkiness, and the influences drawn upon show an open-minded but nevertheless discerning appreciation for world culture and musical traditions – but what makes it such a deliriously celebratory affair is its spirit, which soars even in quiet moments and is never content to waste a moment even though it's clearly made with eternal things in mind. Rising Sun is a triumph for the Souljazz Orchestra, for the wonderful Strut label, and for music in general, for it proves just how exciting – and meaningful – this art form can be.

Ear Fuzz
By Still Life, February 23rd, 2010
San Diego, CA

It's been an exciting year or so for African music at Strut. In addition to releases from one of my musical heroes (Mulatu Astatke) and the Nigeria 70 series, there's the Jimi Tenor / Tony Allen Inspiration Information album, and this March will see a reissue of the seminal Duncan Brooker compilation Afro Rock Vol. 1 (I'll try to post a track from that one coming up as well). But this project holds a special place in my heart, because it's from a new band, and one that not a lot of people seem to be up on (at least in the States). The Souljazz Orchestra have quietly been making Afrobeat and jazz-inspired masterpieces for the better part of the last decade, earning them accolades from the likes of Afro enthusiasts Gilles Peterson and Rich Medina. I was ignorant of the group's efforts though until their awesome remix of Horace Andy & Ashley Beedle's "Watch We," from that duo's own Inspiration Information project. The way they flipped that one from a mellow dancehall loper into a slice of Afro heat really impressed me, and I was eager to hear what else the group had up its sleeve.

On Rising Sun the group maintains the same intensity (see the video above) while expanding a little bit into the realm of cosmic jazz, and Ethio style modes. It's nice to have the floor fillers book-ended by some spacier, introspective numbers. There's even a Pharaoh Sanders cover, to give you an idea of the kind of territory they're treading. Unfortunately, there aren't any US dates planned so far. I'd love to see these guys tear up a stage, but it's looking like I'll have to wait on that one. If I hear anything about upcoming dates, I'll be sure to get on the horn. For the Canadians though, you're all set.

Subba Cultcha
By Eddie Thomas, February 2010
London, UK

The Souljazz Orchestra they may be, but the word which most perfectly encapsulates the style of music promulgated by this collection of ladies and gentlemen is not incorporated into their name. What this Orchestra has made their specialisation is best described as big-band funk, or perhaps Funk with a capital F...

Clearly influenced by the Afro-beat movement to a considerable extent, such that the relentlessly-groovy beat which underpins the funk / jazz soloing has its roots firmly in traditional African tribal rhythms, the irresistible, hypnotic, funky tunes that result could have you dancing until you collapse with exhaustion, only to resume on awakening with renewed vigour.

Though vocals are part of what they do, lyrics are scarce (and mostly not in English) and the voices are more used in the fashion of another instrument. Remarkably, every note played by each part of the ensemble seems to somehow assist and invigorate the groove at the heart of each song. Anyone partial to a bit of top quality, '70s style funk should not miss this record.

Alarm Magazine
February 16th 2010
Chicago, IL

The Souljazz Orchestra: Rising Sun (Strut)

Ottawa's Souljazz Orchestra, now with a quartet of expertly delivered albums, is much more than just another Afro-jazz ensemble.

With just six core members, the group uses its newest full-length — its first all-acoustic effort — to twirl through funk, Latin, African, down-tempo jazz, and big-band bits.

After a stirring piano-led intro and the full-blown Afrobeat of "Agbara", "Negus Negast" vies for the title of album's best with a grooving marching-funk foundation that supports a dazzling Asian flavor.

Rising Sun is challenging but accessible, and it never loses sight of its inherent mission: to get listeners moving. When 2010 comes to a close, this should stand among the best jazz-crossover discs of the year.

CHARTattack
By Chris Burland, February 26th 2010
Toronto, ON

The Souljazz Orchestra
Rising Sun
Strut

4.5/5 stars

After creating one of the premier afrobeat records of the new century with 2009's Manifesto, Ottawa's The Souljazz Orchestra shift gears to create something reflecting early 1970s jazz-rock.

It's fitting that like its title, Rising Sun begins with a quiet slow introduction called "Awakening," which could be the soundtrack to a crisp, clear dawn with its tempered multi-sax melody and shimmering [marimba]/piano accompaniment.

Things quickly pick up with "Agbara." Although it hints at Manifesto's similar direction, it illustrates the group's fresh new approach to their African-inspired big band jazz sound. There's the incendiary multi-instrumented percussion laid across full-on trumpet leads backed by some subtle vocal scatting that provides a brilliant melodic counterpoint to the song's instruments.

"Negus Negast" has more of an Arabian vibe reminding the listener of Dizzy Gillespie's jazz classic "A Night In Tunisia" with the use of [vibraphone] and bongos.

As great as Rising Sun is through the first three compositions, Souljazz don't really capture the album's sentiment until "Lotus Flower." Here, the band unveil a intoxicating mid-tempoed melody, ranking with some of Wayne Shorter's most memorable mid-'60s compositions.

The band do revisit their Manifesto period with the sprawling "Mamaya," with its driving afrobeat rhythms and striking trumpet leads.

The album completes its "day" cycle with a two-part epilogue, "Rejoice." Part one features a piano flourish ideal for that period of day, which soon transforms the sky into twilight. The band quickly move to a dance frenzy with competing sax leads and dizzyingly and driven piano solos on part two.

In the end, Rising Sun continues The Souljazz Orchestra's brilliant musical output as one of the best bands not in this nation but around the world.


Exclaim! Magazine
By David Dacks, February 2010
Toronto, Canada

The Souljazz Orchestra
Rising Sun

This isn't a change in direction so much as a reaffirmation of their many influences. Having perfected an Africa 70-inspired party vibe with their last album, Ottawa, ON's Souljazz Orchestra dial up the spiritual jazz while retaining the sonic fullness they've developed over the years. Opener "Awakening" is a richly textured - never was a baritone sax more important to their sound - invocation to Pharoah Sanders-type songwriting. But their funk is still hard and stinging. "Agbara" is the most overt Afrobeat song on the set, and "Negus Negast" gets into Mulatu-like Ethiojazz. Lest you think the album's ideas are all derivative of other influences, the band have introduced a whole new layer of polyrhythmic activity with percussion and balafon [marimba] that simply wasn't present in previous incarnations. This proves they've not only absorbed all these deeply jazzy and soulful types of music, but have figured out how to rework such influences to show the band in their best light. The changing moods and grooves of this album are well executed and sequenced, making Rising Sun their best record yet. (Strut)

Mowno
21 février 2010
Montreuil, France

The Souljazz Orchestra – "Rising Sun"

Depuis sa création en 2002, The Souljazz Orchestra ne nous a jamais déçus. Après avoir sorti ses deux premiers albums, prolongeant et renouvelant avec brio l'afrobeat kutien, sur le label torontois Do Right!, le combo revient aujourd'hui avec un troisième "Rising Sun", cette fois signé sur Strut Records. Quoi de plus naturel lorsque qu'on sait que ces musiciens originaires d'Ottawa partagent avec l'excellent label londonien une passion invétérée pour les rythmes afro venus tout droit des sixties et des seventies. "Rising Sun" se présente ainsi comme une savante restitution de ce riche héritage, couplée à l'inventivité et au talent du jeune orchestre. L'album s'ouvre sur un splendide "Awakening" porté par un piano et des cuivres étonnants de douceur, plantant un décor patiné et chaleureux, presque romantique, parfait pour mettre en condition avant d'attaquer le frénétique "Agbara", ode à la danse et à l'afrobeat comme The Souljazz Orchestra sait si bien le faire. Mais quand "Freedom No Go Die" et "Manifesto" surfaient essentiellement sur ce genre de titres sur-vitaminés, la vraie richesse de ce troisième album réside dans une alternance parfaitement dosée entre un funk nigérian puissant ("Negus Negast" et son clin d'œil à la musique éthiopienne de Mulatu Astatke, "Mamaya"), et un afro-jazz plus langoureux dans lequel cuivres et percussions s'autorisent un brin de détente et de nonchalance (le soulful "Lotus Flower", "Serenity"). Le sextet manie tellement bien ce subtil glissement d'un genre à l'autre qu'il parvient même à créer des ambiances hautement cinématographiques, dans lesquelles on s'abandonne volontiers, comme dans le sublime "Consecration" aux accents improvisés, ou dans les deux parties finales de la reprise de "Rejoice" de Pharoah Sanders, qui offrent une très belle relecture de l'œuvre emblématique du maître de l'ethno-jazz. "Rising Sun" marque donc une étape supplémentaire dans la carrière déjà brillante des canadiens. Lorgnant davantage vers le jazz, ce nouvel opus étonne par sa variété, son harmonie et son assimilation impeccable des influences africaines qui s'y nichent, dégageant une maturité exemplaire. Si bien que nous nous joignons volontiers à Gilles Peterson pour affirmer que "Rising Sun" constitue sûrement le meilleur album du groupe à ce jour. Un bilan qui n'est évidemment que provisoire, tant il ne fait pas l'ombre d'un doute que The Souljazz Orchestra a encore de merveilleuses surprises sonores à nous offrir.

90BPM
29 janvier 2010
Paris, France

Souljazz Orchestra: afro-jazz millénaire

Les six canadiens du Souljazz Orchestra nous avaient ému en deux ans avec leur carte-postale afro-beat Manifesto et des shows du tonerre. Pas une surprise donc de les savoir ultra productifs et toujours on top à l'écoute de ce tout nouvel LP, Rising Sun, à paraître via nos amis de chez Strut ce 22 février.

Pêtris d'influences (jazz bop, classique, afro-jazz, funk, afro-beat, pop), le combo SJO confirme sur 9 titres à la fois ravageurs et émouvant. Toujours dancefloor et groovy les compos de Rising Sun laissent se faufiler une vrille jazz, parfois ethio, parfois ethno, parfois US, parfois funk, mais majoritairement influencée par l'écriture orchestrale. On sent le groupe plein d'assurance, plus que jamais. Pas étonnant que Gilles Peterson en ait déjà fait un album de chevet. A redécouvir sur les scènes françaises cet été.

Jazz, Blues et Co
par Thierry, 14 février 2010, France

The Souljazz Orchestra: Rising Sun (2010)

Retour aux affaires donc, avec l'un des albums les plus enthousiasmants de ce mois de février 2010 (ils ne sont pas foison!), Rising Sun, de The Souljazz Orchestra.

Tout est dit dans le nom du groupe, ou presque...

Pas vraiment (que) soul, pas vraiment (que) jazz, le collectif d'Ottawa nous revient avec leur musique fusion, mélange toujours aussi agréable et remis au goût du jour, tout en leur restant fidèle, des rythmes soul, jazz, funk et afro chers à des artistes aussi importants que Fela Kuti ou le Fania All-Stars.

Rising Sun n'a aucunement à rougir face aux deux premières réalisations du groupe, Freedom No Go Die (2006) et Manifesto (2008).

Bien au contraire, il me semble encore plus cohérent, plus coloré, plus riche, plus abouti, tout simplement et s'offrant même le luxe, en toute fin d'album, d'une magistrale relecture de Rejoice, l'une des plus grandes réussites de Pharoah Sanders.

Bref, un fort bel et chaleureux album à écouter les yeux fermés!

SentireAscoltare Music Magazine
da Gianni Avella, 9 Febbraio 2010, Italia

Rising Sun
Souljazz Orchestra (The)
Strut Records

I precedenti lavori per Do Right!, Freedom No Go Die (2006) e Manifesto (2008), hanno imposto la Souljazz orchestra come fervida realtà dell'odierno panorama neo-funk-afro-jazz. Il passaggio nella casa del rinato Mulatu Astatke, ne consolida la posizione. Presentato come il loro album afro-jazz acustico, The Rising Sun combina la febbrile verve di Fela Kuti con certo jazz trascendente, in primis Pharaoh Sanders ma anche Marcus Belgrave.

Dopo l'inizio di velluto (Awakening), le danze partono con l'afro-beat di Agbara a cui seguono gli arabeschi Ethio-jazz di Negus Negast. Più spirituale di Nomo e Budos Band (ma meno in your face degli Antibalas), il combo canadese sa farsi easy listening senza cadere nel kitsch (Lotus Flower e Serenity sembrano farina del miglior Belgrave) vestendo panni post-bop come si usava alla Blue Note (Consecration). A chiudere, nonché a confermare, la ripresa di un classico minore dello stesso Pharoah Sanders, Rejoice (dall'omonimo lavoro del 1981), diviso in due parti e fastoso come in origine.

Il fan Gilles Peterson dalle frequenze della BBC di sicuro apprezzerà. Nondimeno noi.

CHARTattack Magazine
By Chris Burland, January 22, 2009
Toronto, Canada
4.5/5

Manifesto is the highly anticipated follow-up to 2006's Freedom No Go Die. From the first note, it continues to expose the Ottawa multicultural collective's musical and thematic intricacies. Like their American counterparts Antibalas, Souljazz mix driving funk rhythms with searing politically charged lyrics. Manifesto opens with [...] cultural ode "Parasite," which questions the supposed equality in a democratic society. Then the band gets super-charged for their condemnation of the capitalist system on "Kapital," which is particularly appropriate in lieu of the recent stock market crash. The album becomes less vocal-dominated as the band get their funk on with "State Terrorism." Here, the spirit of James Brown's backing band is reflected in the collective's performance, especially Pierre Chrétien's vintage '70s organ sounds. In channelling the spirit of Fela Kuti and Afrobeat, The Souljazz Orchestra outshine Kuti's son Femi with "Interested Benevolence," which brilliantly recaptures the band's live sound and energy. The laid-back "Grasshopper & Toad" shows the collective can also handle the subtleties of a purer form of West African soul-folk music. Manifesto is definitely a marquee album.

Dusty Groove America
2008, Chicago IL

A searing second set from Souljazz Orchestra -- easily one of the funkiest groups in the contemporary Afro Funk underground! The set's even sharper than their first -- really tight on the rhythms, which are filled with skittish guitars that cut a groove strongly -- vamping and quick-stepping with a wicked sort of feel that brings back plenty of James Brown influence to a 70s African sound! There's lots of great horns and keyboards too -- again played with a sharpness that's wonderful -- a meaningful approach to solos that's not as extended as on other records, but often much more powerful. Vocals are often shouted or called -- second stage, next to the instrumentation -- and titles include "State Terrorism", "Kapital", "Parasite", "Interested Benevolence", "Amen", and "Grasshopper & Toad".

Webzine M-La-Music
par Stephane Andrieu, 14 décembre 2008, France

Pleinement dans la tradition. Celle d'un orgue fou et de guitares qui composent des rythmiques de feux de brousse. Voilà ce qu'on ressent aux premières écoutes, et encore bien plus celles qui suivront. L'afrobeat était une chapelle, avec cet orchestre, elle se pare de contreforts et s'érige en cathédrale.

Etonnamment, on ne se situe pas au Nigéria, berceau fondateur, ni même en Afrique, mais ce Manifesto est le fruit d'un sextet canadien, ouvert à d'autres musiciens mais surtout aux sirènes de l'afrobeat le plus pur d'un côté et des gardiens du grand tremblement de l'autre, Dap Kings et autres Budos Band en tête. S'il n'y avait une descendance légitime à la musique de Fela, on pourrait aisément lui confier l'héritage encombrant mais convoité. A l'heure de la canonisation du maître et de son biopic made in Broadway, force est de constater que le groove africain est passé dans tous les circuits des agitateurs de gambettes. Car le Souljazz Orchestra, non content de marcher sur les plates-bandes de la famille Kuti y boute le feu et le laisse se propager bien autour, notamment parce qu'il autorise sa musique à sortir ici et là des canons habituels de la bienséance et de la retenue musicale, en laissant le sax s'enrichir d'un grain et d'un souffle plus dense que celui que la raison voudrait retenir.

Après le carton de leur single "Mista President" tiré de leur précédent album, et qui figurait dans bon nombre de playlists et de compilations, le Souljazz Orchestra se devait faire fort. Amateur de jazz et de grandes secousses, le collectif parvient à brasser toutes ses influences, de Mulatu Astatqé à Manu Dibango dans le même chaudron sans que le résultat ne paraisse ni forcé ni insipide, s'affranchissant ainsi de son modèle tout en lui restant terriblement fidèle.

Magazine Fonkadelica
par Boogie Bass, 28 octobre 2008
France

Il y a deux ans, notre doctor es-afrobeat, toujours à l'affût des nouveautés j'ai nommé Martin Smith (de Café Crème et les Frères Smith) nous met la puce à l'oreille en nous parlant d'un groupe nommé The Souljazz Orchestra venu tout droit d'Ottawa, comme distillant un "Afro-funk so groovy! Enorme!". Après nous être informé auprès du groupe et avoir reçu le fameux graal, notre conclusion est la même : tout simplement fabuleux! Le deuxième opus du combo est en effet un florilège de saveurs qui assument les racines de Fela tout en s'inspirant d'autres sources : jazz, sons latins, soukouss. Notre chronique de l'époque élogieuse, nous fait dire que le groupe a un énorme potentiel qui va exploser à la face du monde! D'ailleurs peu de temps après notre confrère de Bokson, Kalcha, confirme nos dires et tout ceux qui écoutent cet album en viennent presque tous à des critiques dithyrambiques. Tout va très vite ensuite, le groupe trouve un distributeur français (La Baleine), est largement diffusé sur Nova et fait même une tournée française et européenne qui confirme le talent du groupe sur scène.

Dire que ce troisième album était attendu est donc un doux euphémisme. Rassurons tout de suite les impatients, celui-ci sorti chez Do Right! Music, est le digne successeur du précédent. Sans pour autant garder ce côté éclectique, le groupe s'est concentré sur des compositions purement afro-beat / afro funk avec également des variantes funk sur deux morceaux. Le premier 45t de cet album ("Parasite / State Terrorism") sorti au début de l'été laissait déjà présagé du meilleur. En sept titres The Souljazz Orchestra renouvelle son hold up musical par son afro-beat conscient certes, mais efficace, dansant et accessible comme sur "Parasite" ou "Interested Benevolence" ou plus subtil et introspectif comme sur "Kapital" ou "Amen". Quand au titre "People, People" il est presque la fusion parfaite entre Fela et James Brown c'est-à-dire un afro funky qui vous rentre directement dans la tête avec sa rythmique qui martèle, ses cuivres qui vous entêtent et son gimmick fédérateur. Tout simplement jouissif! Et côté funk le groupe se la joue quasiment blaxploitation avec un orgue omniprésent et des cuivres qui donnent le change sur "State Terrorrism". Là encore le résultat est bluffant!

Vous l'aurez compris, pas besoin d'en dire plus, "Manifesto" risque de rester mon disque de chevet pour un sacré bout de temps! Et sans en rajouter dans la surenchère et les superlatifs, je dirais que Souljazz Orchestra est le meilleur groupe d'afro-beat du moment! Cet album confirme le talent du groupe déjà révélé sur le précédent opus. Il va falloir désormais compter avec The Souljazz Orchestra dans notre paysage musical. Vivement leur nouvelle tournée française que l'on se régale en live de ces nouvelles compositions!

Voir Montréal
par Stanley Péan, 20 novembre 2008
Montréal, Canada

Quel enthousiasmant amalgame de soul obsédant, de jazz tropical, de funk torride et d'afrobeat! Après un deuxième album mémorable, porté par la présence du Rwandais Mighty Popo (Freedom No Go Die en 2006), le collectif multiethnique basé à Ottawa remet ça et se surpasse littéralement avec cette musique endiablée, faite de grooves irrésistibles empruntés tantôt à James Brown, tantôt à Fela Kuti, d'envolées cuivrées vertigineuses, de dérapages contrôlés aux claviers et de délires percussifs propres à la transe. En bref, ces sept plages, dont on retient notamment "People, People" et "State Terrorism", constituent la trame sonore idéale de vos prochaines bamboulas et l'antidote tout indiqué au spleen de fin d'automne!

Openmag
par MJ, 2008, France

Ça groove sévère du côté du [sextet] d'Ottawa. Avec ce deuxième album sur le label Do Right!, The Souljazz Orchestra publie ce "manifeste" dansant qui ravira les amateurs d'afrobeat. Morceaux brefs - entre cinq et six minutes - pour ritournelles entêtantes à base de cuivres, d'orgue, de percussions, de guitares et de chants aux rythmes entraînants. Leur son s'est enrichi de nouvelles influences au cours de leur dernière tournée mondiale, où ils ont pu partager la scène avec Femi Kuti, Etta James et Sharon Jones & the Dap-Kings.
VoxPopMag
par Mathias Kusnierz, le 14 mai 2009
Paris, France

"The Souljazz Orchestra à la Bellevilloise : l'Internationale Afro-Beat dans toute sa splendeur"

C'est peu dire que The Souljazz Orchestra était attendu à la Bellevilloise ce mercredi 13 mai. Verdict : un live absolument explosif.

De manière tout à fait personnelle, et parce qu'une année de concerts est forcément le reflet de choix arbitraires, ce live du Souljazz Orchestra sera l'un des tous meilleurs de cette année 2009, et pour l'instant, il remporte haut la main la médaille du concert le plus intense. Il faut dire que le public est exceptionnellement réceptif ce soir : est-ce dû aux sélections de Betino, le DJ qui se charge de chauffer la salle, au climat orageux et électrique de ce mercredi ou à l'intervention explosive de Café Crème et les Frères Smith en première partie ? Je penche pour les trois solutions, et particulièrement pour la dernière. Le groupe parisien (trois saxophones, alto, ténor et baryton, une trompette, une percussionniste, un bassiste, deux guitaristes, un clavier, un batteur) maîtrise sur le bout des doigts son bréviaire de l'afro-beat. A défaut d'une approche qui renouvellerait le genre, leur maîtrise et leur énergie en font un excellent groupe de scène, doté d'une belle maîtrise du répertoire, de Fela à Mulatu. A quoi s'ajoutent des compositions originales de très bonne facture. On est conquis par tant de qualités !

Et puis, arrive sur scène The Souljazz Orchestra, plus qu'attendu par une foule nombreuse. Par rapport à Café Crème et les Frères Smith, le line-up est plus restreint : trois saxophones (un alto, un ténor, un baryton), une chanteuse qui manie le shekere, un batteur et un clavier qui chantent également. Pas de basse, ni de guitare. Le set que va administrer le groupe, tout en puissance et énergie, sans temps mort, sera littéralement dévastateur, et le mot n'est pas exagéré. Les choses commencent pourtant assez doucement, avec « Kapital », tiré de Manifesto. Suivent d'autres titres de Manifesto : « Parasite », « Amen ». Le groupe joue longtemps, pas loin de deux heures. Il a donc tout l'espace dont il a besoin pour donner aux titres interprétés ce soir le temps de digressions efficaces et bienvenues. Parfois, il fusionne ensemble deux titres, qui ne forment alors qu'une seule et même longue coulée sonore hypnotique, incantatoire.

Les meilleurs titres du répertoire du Souljazz Orchestra se révèlent incendiaires sur scène, et le public ne s'y trompe pas, qui participe avec enthousiasme et se déhanche à n'en plus finir : entre l'anonyme à chapeau de cowboy complètement fait qui insiste pour monter sur scène et l'un de mes voisins qui ponctue tout le set de « Ohlala ! » extasiés, il s'est passé un certain nombre de choses fortes ce 13 mai. Ainsi, « Mista President », ponctué et relancé périodiquement par un « woh ! » de l'ensemble du groupe, ou « Freedom No Go Die », semblent ne jamais finir et sont un pur bonheur à l'écoute. On est vite à court de superlatifs devant l'excellence d'un pareil set. Après « Money », un titre inédit, et deux rappels dont un [« All These Things Shall Pass »] très reggae, le concert se clôt et laisse le public pantelant, abasourdi par tant de puissance. The Souljazz Orchestra est en passe de devenir un groupe de scène de tout premier plan et c'est une excellente nouvelle !

Stourbridge News
By Bev Holder, May 6th, 2009
Birmingham, UK

"Souljazz Orchestra get music fans into the groove"

Canada's Souljazz Orchestra got music lovers into the groove when they stopped off at the Hare & Hounds in Kings Heath at the weekend.

The sensational six-piece from Ottawa packed out the dancefloor and simply bewitched the audience with their vibrant and catchy blend of Afro beats when they took to the stage at the Birmingham pub on Saturday May 2 - on the final date of their UK tour.

The multi-talented ensemble soon had music fans singing and dancing along to their soulful, almost hypnotic dirty funk/tropical jazz numbers, many of which were taken from their latest album Manifesto.

Tambourinist Marielle Rivard, drummer Philippe Lafrenière and electric pianist, organ and clavinet player Pierre Chrétien took turns on treating the crowd to their compelling vocals.

While super smooth saxophone players Steve Patterson (tenor sax, percussion and vocals), Ray Murray (baritone sax, percussion, vocals) and Zakari Frantz (alto sax, flute, percussion, vocals) mesmerised partygoers with their spell-binding style and skill.

Formed back in 2002, the band have already enjoyed success with their 2006 album Freedom No Go Die and have toured Europe, Canada and the States extensively.

And with rave reviews in the bag, and more and more international dates flooding in - they look set for even bigger things.

Definitely one to catch when they come back around.

SoundProof Magazine
By Rachel Weldon, January 22, 2009
Toronto, Canada

"The Souljazz Orchestra at Le petit Chicago"

Very few bands can transcend world music genres – funk, jazz, Afrobeat and soul among countless others – and still remain as appealing to the masses as The Souljazz Orchestra.

Squeezed into the corner of Le petit Chicago's modest stage setup in Hull, the six band members seemed in their element in front of a crowd of cosmopolitan hipsters shaking their layered manes and raising their glasses with each saxophone wail or hearty grunt heard. Having provided a benevolent surplus, the band had no problem coaxing their elated crowd into hip-shaking submission.

Female vocalist Marielle Rivard charmed listeners with her soulful croon, accompanied at the front of the stage by a panel of soulfully inclined saxophonists: Zakari Frantz on alto, Steve Patterson on tenor and Ray Murray on baritone. Their collective onstage presence enlivened audience members with not only an aurally seductive sound but also a heart-beating electricity reverberated by the band's unceasing energy.

"People People", the politically charged funk anthem sung by drummer Philippe Lafrenière, particularly stood out that evening. The track, a single from the band's latest release Manifesto, embodied all aspects that The Souljazz Orchestra regularly demonstrate – a collective yearning to broadcast their strong political leanings coupled with the talent and gusto to breathe soul into a wobbly audience with an intoxicating funk song.

The band concluded the evening with an encore of "Mista President", a favourite from their second album Freedom No Go Die, giving the audience one last taste of that soul jazz sensation before saying goodnight.

Dusty Groove America
2007, Chicago IL

More Afro Funk than the soul jazz you might guess from the group's name -- but that's OK with us, because the record's plenty darn great! Souljazz Orchestra are one of the best of the current wave of Afro combos to hail from Canada -- and they manage to get an incredible full sound from a surprisingly small range of instruments -- usually just 3 saxes, a trumpet, keyboards, and percussion -- but played with a sense of power to earn them the "orchestra" in their name! There's a definite Fela influence going on here -- grooves that move fast with very skittish rhythms -- snaking out with great horn bits and keyboard lines. But the overall approach is a bit tighter too -- much more focused at times, on slightly shorter tunes, about half of which are vocal numbers. Two tracks have the group breaking format a bit -- a great cover of "The Creator Has A Master Plan" and the Latin-inflected "Little Habana" -- and other tunes include "Mista President", "The Blind Leading The Blind", "Insurrection", and "Mojuba".

Straight No Chaser magazine
Issue 43, November 2006, London UK

The Souljazz Orchestra's 'Freedom No Go Die' pays homage to the Afro Beat sound of Fela Kuti, while including soukous, salsa, free jazz and the sound of seventies funk in the mix to make an impressive second album. Since 2002, the Ottawa based band have combined this amalgamation of firing horns, funky keyboards and polyrhythmic beats to rock dance floors across Canada. The album features fiery performances by the Rwandan/Burundian artist Mighty Popo, as well as by two of Ottawa's top soul singers, Alanna Stuart and Marielle Rivard. If Fela, James Brown, Tito Puente and Herbie Hancock are your thing track this down now. Worth the admission price alone for their brilliant version of 'The Creator has a Master Plan'.

Bokson
par Kalcha, 12 septembre 2006
Paris, France

Il paraît qu'on connaît l'hiver le plus doux depuis des décennies (moi perso, j'avais pas remarqué, mais bon, je suis pas météorologue non plus…). J'ai tout de même ma petite théorie sur les causes de ce réchauffement climatique inopiné. Ces dernières semaines, je n'ai pas arrêté d'écouter le second album de The Souljazz Orchestra (rien à voir avec le célèbre label londonien), et à coup sûr, ça a fini par avoir quelques répercussions sur la température ambiante!

Il faut dire que ce «Freedom No Go Die» ressemble à une cocotte-minute sur le point d'exploser: ça fume de partout, ça gronde en dessous, et ça fait trembler les alentours. A moins que ça ne soit moi en train de danser dans mon appartement?!

Quoiqu'il en soit, le quintette d'Ottawa a véritablement le groove dans le sang. La basse vous caresse les hanches, la batterie vous attrape les chevilles, et les cuivres vous montrent la chorégraphie. Un peu à l'instar des New Yorkais d'Antibalas, The Souljazz Orchestra emprunte au latin jazz, au funk, à la salsa et à la musique africaine (leur «Secousse Soukous» est même d'ailleurs un peu loin de nos bases musicales…) pour pimenter son afro beat chaud bouillant. Le résultat séduira donc autant les fans de Manu Dibango, de Ray Barretto, de Mulatu Astatke, des JB's, de Don Cherry ou de Phaorah Sanders, dont ils reprennent ici «The Creator Has A Masterplan».

Malgré cet éventail d'influences, le groupe a l'intelligence de ne pas s'éparpiller et vise l'efficacité avant tout (les morceaux durent 5 minutes en moyenne, quand les standards du genre dépassent souvent le quart d'heure). Une concision fort bien venue qui devrait aider le groupe à dépasser le simple cercle d'initiés. Ecoutez par exemple Gilles Peterson qui n'arrête pas de louer sur toutes les ondes les qualités de ces Canadiens. Le célèbre Dj anglais a d'ailleurs retenu sur son site le «Mista President» de The Souljazz Orchestra comme l'un des meilleurs morceaux de 2006. Difficile de le contredire en entendant ce jeu de question/réponse entre le chant lead de Mighty Popo et les chœurs qui feraient remarcher un hémiplégique! Et on pourrait quasiment retourner le compliment à la totalité du tracklisting (même si, bon, «Secousse Soukous»… Bref).

Vous vous souvenez du titre qu'a choisi Meï Teï Shô pour son récent dvd posthume: «Dance & Reflexion»? La formule pourrait servir de slogan à tout le mouvement afro beat, et assurément de fil conducteur à cet album puisque les titres des morceaux ne laissent pas beaucoup de doutes sur les revendications sociales et politiques du groupe («Mista President», «The Blind Leading The Blind», «Insurrection», «Freedom No Go Die», «Little Habana»…), ce qui les inscrit d'office dans la grande lignée des fils spirituels du juste Fela.

Exclaim! magazine
By Matt Bauer, November 10, 2006
Toronto, Canada

Fela Kuti is dead but his spirit is alive and well on the Souljazz Orchestra's Freedom No Go Die. On their sophomore disc the Ottawa quintet (joined by Rwandan/Burundian artist Mighty Popo on three tracks) craft a sound as tight as the power fists that adorn the cover. Songs of resistance, revolution and positivity in the best of the Afrobeat tradition are the matters of the day here with titles like: "Mista President" and "Blind Leading the Blind" bringing politics to the forefront. But it is searing instrumentals like the mid-tempo "Insurrection," with Pierre Chretien's percolating clavinet and bottom heavy bass as well as Philippe Lafreniere's congas and urgent percussion that drive the groove home. Other outstanding tracks include the slow burning "Mojuba" and a cover of Pharoah Sanders' "The Creator Has A Master Plan" (featuring fellow Ottawan Marielle Rivard on vocals) that steadily maintains a funky yet meditative pulse thanks to some tasteful flute and an intense sax solo. Freedom No Go Die? Not as long as outfits like the Souljazz Orchestra continue to make music like this.

Let's Motiv
"Le funk est d'or", par Baptiste, octobre 2007
Toulouse, France

Si Shaft devait renaître, il choisirait le Souljazz Orchestra pour illustrer ses aventures. Une bande son télescopant toutes les musiques afro-américaines du 20e siècle, orchestrant l’ambiance faite de débrouille et de misère banale des ghettos urbains, mais aussi exigence de l’existence dans ce qu’elle peut avoir de plus léger, urgence d’être tout simplement. Le discret martèlement des percussions sonne le rappel de racines ancestrales et nous délivre des forêts d’immeubles. Un son furieusement funky à la pulsion de vie salutaire, à l’image des poings levés ornant la pochette de l’album Freedom No Go Die (Do Right! Music). Une énergie en diable qui anime les corps dans une transe assoiffée de liberté et de délice.
Highlife World Music
Best of 2007, December 2007
Vancouver, Canada

The Ottawa group Soul Jazz Orchestra has come up with one of the most impressive Afrobeat CDs we've ever heard. Great horns, bass lines, singers and the ability to incorporate a variety of styles ensure a rewarding listen from beginning to end.

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