In the meantime, we can revel and romp in the bump and burn of Russell's mighty contributions to the canon of 21st century soul: 2004's Under the Munka Moon and 2005's My Favourite Letters, as well as the odds-and-ends collection Under the Munka Moon II (all Tru Thoughts). Add in countless singles and collaborations with kindred new-groove pioneers TM Juke, Nostalgia 77, and Quantic, and we're talking about a seriously fruitful career - and here's hoping the wait for proper album number three isn't much longer! (Russell's Tuesday night set included several sneak-previews of what she's been working on - all of 'em were stunners, particularly the forceful funk workout of the tentatively-titled "Get Ready." Yes yes yes! Ready we are, Alice - thanks for asking.)

While she might not enjoy the airplay-ubiquity of say, Joss Stone or Amy Winehouse, Russell's body of work remains far more vital, more inventive than either of her compatriots. Ultimately, comparing them might be an unfair proposition in the first place, as both Stone and Miss "Rehab" are all about the pop while Russell is more about the groove. (Which isn't to say that she hasn't written some brilliantly catchy, why-aren't-these-on-the radio pop songs - Russell flexes some rather impressive songwriting muscles, and based on last night's works-in-progress, she's getting even stronger). In fact, I only mention them all in the same breath because it's a damn shame that Russell doesn't share the same instant name-recognition as Stone and Winehouse. At least she has found herself a devoted following amongst the crate-diggers and soul junkies here in the states.

For newbies to Alice Russell looking for the short answer to the question, "What's she all about?" I have two words: Chaka Khan. Sweating yet? You should - the Brighton, UK, vocalist is blessed with the same octave-spiraling, belt-it-out abilities as Khan, and Russell's obvious love affair with old-school soul and funk has resulted in some deliciously Rufus-like grit-and-groove, as well as more than a few incandescent slow-burners reminiscent of Khan's early solo work.

Listen more closely, and some other reference points come up: Aretha Franklin's gospel tell-all, Minnie Riperton's baroque-soul sensitivities, Dusty Springfield's silky-smooth vulnerability. Rather than sticking to mere nostalgia, however, Russell has insisted on expanding the parameters of soul music - thus her willingness to collaborate and experiment with new sounds. Example? Last night's band - composed of long-time collaborator-producer-guitarist TM Juke and the bassist and drummer from local funk band the Park - also included alternately-seductive-and-riotous violin playing from another longtime co-conspirator, the endlessly talented multi-instrumentalist/sweet tenored backing vocalist Mike Simmonds. Rarely do the words "violin" and "funk" appear in the same sentence, and yet with Russell the combination is hot, sticky poetry - hats off to her for taking the chance.

Russell's first hello for most folks arrived in the form of the lead-off track on 2004's Under the Munka Moon, "Hurry on Now," a hot 'n' bothered symphonic-soul slow-shuffle co-written with TM Juke. Elegant horns, graceful strings, gently rolling rhythms - and on top of it all, Russell offers bliss-seeking testimony over a bed of spectral backing vocals. Saved for the Mojito encore, the track remains a fan fave, as witnessed by the whoops and hollers of appreciation at the song's introduction - little wonder why, as it is truly deserving of the label "timeless." Hear it once, and its effect will stay with you for a long, long time. If only there was a video I could link to! Instead, how about a clip of Russell raising a glorious ruckus with fellow floor-burner Quantic (here with the Quantic Soul Orchestra) on another Alice classic, "Pushin' On"? Seekers of the original should head directly to the 2005 Quantic Soul Orchestra album of the same name on Ubiquity Records and prepare to be awed:



Three years ago My Favourite Letters brought a furious slice of Afro-funk known as "Munkaroo," a propulsive let-it-all-out groover set a-wiggling by a hypnotizing Fela Kuti-worthy guitar line and intricate polyrhythms. The tune was a highlight of Russell's Mojito set, giving the already-expansive funk further room to spread out with a seemingly-impromptu trumpet solo from a member of the audience - additional proof of her willingness to take chances rather than playing it safe.

The give-and-take between Russell and the unnamed trumpeter was not only fascinating to watch, but also spoke volumes about her ability to go with the flow and see where the collaboration takes her. Much praise should also be given to bassist Josh Lippi and drummer Derek Taylor of local funkers the Park - these guys gelled with Russell in ways which left me convinced they'd been working with her all their lives, facts to the contrary be damned. Lippi brought a delirious bottom-end to "Munkaroo," and Taylor's ferocious drumming on the song had some splendid Tony Allen-worthy moments.

Russell vamped, strutted, and testified without a single lapse in energy for the entirety of both sets - trawling through her own catalog, showcasing new material, touching upon a few Quantic classics (including 2002's still-ravishing "Search the Heavens"), paying tribute to hero Donny Hathaway, and completely refashioning the White Stripes' "Seven Nation Army" into a thrillingly unhinged stab of dirty don't-mess-with-me funk. Originally released as a single with Nostalgia 77 (and also included on Under the Munka Moon II), her overhaul of the garage-thumper throbbed and throttled with the spirit of a woman possessed, bless her fed-up little heart! Head to Russell's MySpace to her gospel get-down, or for a live-performance rendition on par with what we lucky folks witnessed at Mojito, here you go: