This album is not all covers however, it is more an inspiration on Jazz themes especially since SoulJazz does not follow the expected instrumental line up, they are too spontaneous and funky for that. Then brace yourselves with the explosive ‘Agbara’ which is so catching that even the strictly instrumental rendering is broken by an irresistible onomatopoeic ‘booboobeeda’ leaping from the vocalists.īowing notes to legends Fela Kuti with track ‘Mamaya’ and to Pharoah Sanders (his 1981 album and track titled ‘Rejoice’) with their closing tracks ‘Rejoice Part 1’ and ‘Rejoice Part 2’, the SoulJazz Orchestra stretches the musical canvas all the way East in Africa to Ethiopia with covers of Mulatu Astatke on ‘Negus’ (meaning ‘king’)… Mulatu, indeed King you were and still are. Nine-track Rising Sun opens with ‘Awakening’, a flow of keyboard playing so gentle it sounds like translucent liquid hugging glittering sax. Transposing renowned melodies into colourful fresh jams is a creative process that seems rooted to the marrow of SoulJazz Orchestra’s instruments, they make re-interpretations sound innate and vibrant: for cover songs that run on guitar and organ lines, SoulJazz uses instead the marimba, the flute, clarinet, harps and vibraphones.
Instead this Ottawa band gives full stage to vocals and a genial saxophone range – with three saxophonists on tenor, baritone and alto – plus three acolites on vintage keyboard, percussion and drums.
SoulJazz is a surprising sextet in that it features no strings: no guitar and no bass. Concentrating on jazz this album round, SoulJazz carry their militant lyrics only in black and white notes as this album is all instrumental. The Souljazz Orchestra is already onto their fourth album release with LP Rising Sun, on Strut Records, carving onto their famous love for Afro, jazz and Latin beats a new bright cast.
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