Review: Medellin-based American Bosq - a renowned musical fusionist with a passion for all things tropical - has been working with Benin-based Nigerian guitarist/vocalist Kaleta on and off for 12 years, with the pair delivering a series of sensational singles. No Be Today is the duo's first collaborative full length, with previous singles being joined by previously unheard cuts across two slabs of wax. As you'd expect given their previous work, much of the music joins the dots between various Afro-Latin styles and similarly vintage Black American dance music genres such as disco, funk and soul. It's an effervescent and effortlessly brilliant set all told, with highlights including pitched-down Afro-funk number 'Ose', glorious Afro-disco number 'Sonayon', Afrobeat update 'Ipade' and scorching Latin dancefloor workout 'Miselou'.
Review: Rome label Maledetta Discoteca Records encouraged a bunch of talented local musicians to get together and play live, embrace spontaneity and do their improvised best. What results is this new record, which is funk at its core, but which is coloured by so much more around the edges. Recorded in the historic Auditorium 900 studios with sound engineer Fabrizio Piccolo, the record takes in everything from 70s instrumentals to progressive funk, Hispanic rock and more with all manner of wah wah guitars, synths and organ bringing each groove to life in tiles fashion.
Review: Mr. Bongo takes us back to the release of Waltel Blanco's jazz-funk masterwork, 'Meu Balanco', first released in 1995. Noted for its accumulation of Blanco's various skills picked up over the course of his years as a session musician in Brazil - for the likes of Marcos Valle and Elis Regina, to name a few - this LP is a rollicking instrumental ride, just as suitable for film soundtracking as it is for home listening. Many-an electric piano, bass lick and buzzing horn cement the vibe of the boom in Latin cinema at the time of its release.
Review: The jazz and broken beat revival continues apace as we race through 2019, so original pioneers of the sound are rightly coming back into focus. Enter the Brand New Heavies, one of the key acts of the mid-eighties who sound as good on this brand new album as ever. It's littered with funk-licked pop, crystalline acid jazz and singalong songs that range from tender ballads to soaring soul. Angie Stone, Beverley Knight and other vocalists lend their tones along the way, but importantly TBNH is not a revival or self-satisfied celebration. Instead, it feels like a forward-looking and accomplished album that takes the band in subtle new directions.
Review: Splash down to 1978-80: influential Philly funk troupe Breakwater gave the world two albums over two years.Full focus on slow jams and soulful fusion, the Breakwater melting pot is just as strong in jazz and Latin as it is soul and funk. Here we're treated to a selection of the best moments from Breakwater and Splashdown (minus the famous Daft Punk-sampled "Release The Beast") such as the unforgettable Floydian chorus of "That's Not What We Came Here For", the soaking wet bass and tight bright horns of the raunchy boogie jam "Do It Till The Fluid Gets Hot" and the sunshine soul of the sublime "Say You Love Me Girl". A sharp insight into a band that was criminally short-lived at the time..Rumour is there is a new album on the horizon and they still play live -there were two live uk dates in Jan 2017 already !
Review: Brian Auger's fusion of jazz, funk, and rock in this 1973 release feels as bold today as it must have sounded then, with his expressive Hammond organ weaving effortlessly through complex arrangements that balance technical mastery with emotional depth. The interplay between soulful grooves and intricate rhythms gives the music a timeless quality, particularly in standout tracks where vocal lines and instrumental passages collide in unexpectedly powerful ways. The reissue brings renewed clarity to a release that remains a touchstone for anyone exploring the boundary-pushing potential of jazz fusion.
Review: Parliament-Funkadelic offshoot project Brides Of Funkenstein was masterminded by George Clinton but fronted by Lynn Mabry and Dawn Silva, whom originally served as the two core backing singers for Sly & The Family Stone. Funk Or Walk was their cyber-augmented opening statement as a duo, combining archly histrionic vocals with truncated funk struttage, and crossing into wonky hi-NRG at points. The record’s wonky and experimental bent epitomises the P-funk sound whose name Clinton helped coin, and which is finessed in the myriad usages of ARP String and Hohner Clavinet, best heard on the light-handed claps of ‘Birdie’ or the polyvalent brass-off ‘Amorous’. The weird brides of Parliament did go on to record two further great records, but this is by far their chef-d'oeuvre.
Review: Brother Jack McDuff's Moon Rappin is one of those records which sets off a thousand sample-spots. The prolific jazz man made an incredibly catchy kind of jazz funk on this record, with the title track making for something of a peak of the genre in its cool and deadly groove. It's got soul for days and plenty of compositional chops to keep you locked in for the duration. Equally, if you're looking for hot breaks, they're smattered all over this record thanks to Joe Dukes holding it down on the skins and McDuff working his magic on the organ. A timeless classic, repressed by the good folk at Blue Note with their high quality standards present and correct.
Review: The godfather of soul found himself dipping into jazz on this classic but lesser-known album, Soul On Top (Verse By Request Series). Now getting a proper reissue treatment it is sure to convert many new fans to his abilities across the six sizzling tracks from this 1969 album, which includes the classic 'It's a Man's, Man's, Man's World' and a new version of 'Papa's Got A Brand New Bag'. Brown provides the vocals to a 18-piece big band set up that was led by drummer Louis Bellson and arranged by Impulse! star Oliver Nelson. Brown always said he was a jazzman at heart and this goes some way to proving that, with saxophonist Maceo Parker adding plenty of vital swing.
Review: Vintage funk fans rejoice because this classic mid-60s collection is now available to you once more. James Brown's appropriately entitled Night Train - Mighty Instrumentals album is a high-class assembly of plenty of potent, hard-hitting funk as well as more tender and slow-burning soul sounds. These timeless, loveably lo-fi joints have plenty of low end heft to cut through modern dance floras while also offering up some authentic and original funk allure. It comes on nice heavyweight wax so sounds brilliantly loud and clear.
Review: Athens of the North originally contracted obscure 80s boogie artist Billy Bruner about reissuing two of his rare, sought-after singles - "The Tulsa Song" and "The Dream" - but instead raided his tape archives and putting together what's effectively his debut album. Combining previously released tracks (including some made as part of similarly obscure outfit T'Spoon and the gospel-leaning band The Davis Family), unheard extended versions and previously unreleased songs, the album is warm, soulful, slick and summery. Highlights include the stuttering P-funk flex of "Cats Meow", the sizzling dancefloor heat of "School Dance" and the deliciously extended version of glassy-eyed '80s soul jam "Never". If sparkling, synth-heavy '80s soul is your thing, this is one surprise retrospective you won't want to miss.
Review: Brute Force was a unique jazz-funk group that released their only album in 1970 on Mann's Embryo label and had it produced by the legendary Herbie Mann. They bridged the gap between heavy rhythm and blues and the emerging jazz-rock revolution led by Miles Davis and their connection to Mann was strengthened by the inclusion of guitarist Sonny Sharrock, who played on the album's first half while also part of Mann's supergroup. Featuring Richard Daniel's distinctive electric piano and his trumpet-playing brother Ted, who went on later to become a key figure in New York's downtown jazz scene, this one has a captivating and timeless atmosphere to this day.
Review: Produced and sleeked out at Opal Studios in NYC, back in 1975, Buari's self-titled LP has been a cornerstone of international highlife music since it was first released. The original is now an arduous item to find at a decent price, so we thanks the Be With label for having repackaged an essential Afro LP that is a must have for anyone into anything outside a constant beat drum. "Karam Bani" opens with a forceful helping of funk, percussive to to the max, and this same hypnotic groove formula is present across the entirety of the A-side, making this a sampler's dream come true. On the flip, "Iro Le Pa" is the stand-out tune for us, a rhythm that makes Theo Parrish's Ugly Edits seems kinda tame! Recommended.
Review: New York outfit The Budos Band return with their first full-length release on Diamond West, the new label founded by band members Tom Brenneck and Jared Tankel. VII was produced by Brenneck and engineered by Simon Guzman and has plenty of their signature taut, groove-driven tracks that blend Afro-soul, doom rock and 70s psychedelia. They were all recorded in California and feature the percussionist Rich Tarrana, who adds his own fresh texture without detracting from the raw, hypnotic MO of the band. As usual, this is music that is equal parts cinematic and visceral and is perfect for nocturnal drives and deep immersion. Now more than two decades in, The Budos Band are still able to surprise and compel.
Review: The Budos Band are the quintessence of Staten Island Soul. Since the release of the 2005 debut, their exciting new afro-influenced take on the instrumental music has been captivating listeners across the globe. "The Budos Band II" is an amazing release on Daptone.
Review: .They don't come much tighter than the legendary New York City outfit, Budos Band. The acclaimed funk outfit has long been associated with Daptone Records - for over two decades, in fact - but here they land on new label Diamond West with latest EP Frontier's Edge. Across five cuts it has their famously tight grooves under pining each track and the whole thing is said to have been written in just a few days. The lead single and title track is a menacing head banger with bone rattling guitar and tejano-flavored horns.This one comes on lovely opaque lime vinyl.
Review: Blue Note are on a reissuing roll, not shying from revisiting the work of their most treasured jazz acts this year. The latest in their Classic Editions comes by way of Donald Byrd, whose timeless 1975 album Places And Spaces documents the trumpeter's fearless jazz-funk fusion era. This being Blue Note, you can expect only the best rendition of this orchestral jazz-funk suite that a vinyl pressing has to offer. This version is an all-analog remaster, by legendary cutting engineer Kevin Gray, from the original tapes. Expect a thorough justice-doing of the hits, 'Dominoes' and 'Wind Parade', which boast production credits from the infamous Larry Mizell.
Review: Byron Lee was an important part of Jamaican music from his first appearance in the 60s and onwards. Amongst his bustling back catalogue is this cheery classic from 1980, which keeps the heart and soul of ska alive, with an emphasis on the soul. The rhythms are reliably skanking throughout, whether stopping by the melancholic 'Shoobe Doobe Doo' or the chirpy 'Bend Down Low'. This is ska in its truest sense, with an infectious energy which speaks universally to young and old, hip and square. You can also hear the strong US RnB roots of the music in Lee's songwriting, and it tugs at the heart strings in just the same way. Grab an immaculate album of honest, earnest songwriting magic with all the irrepressible joy of Jamaica coursing through its veins.
Review: A deep dive into the Fania vaults has uncovered Cafe, a Latin funk and soul classic that was recorded half a century ago. To mark the 50th anniversary of this great album, which was produced by the legendary conguero Ray Barretto and originally released on Vaya Records, it gets this nice heavyweight reissue on Craft. The standout track 'Si Dame Tu Amor' delivers infectious funk grooves reminiscent of Barretto's own work, while 'Identify Yourself' is another one to light up any party. All the tunes have been cut from the original master tapes by Kevin Gray at Cohearent Audio so sounds superb.
Review: Caixa Cubo's latest release highlights the trio's effortless blend of samba-jazz, funk and MPB. Rooted in Brazilian traditions, the tracks carry grooves reminiscent of 1970s legends, yet feel distinctly modern. With rich keyboard harmonies, vibrant percussion, and basslines that lock into irresistible rhythms, the group bridges nostalgic warmth with contemporary flair. Each composition reflects a deep understanding of their heritage, drawing from carnaval marches and baiao while infusing experimental touches that keep things fresh.
Review: Calibro 35 recalibrate with Exploration, a fresh dive into cinematic jazz-funk marking their first full-length LP on the independent since 2023's Nouvelle Aventures, continuing the path set by last year's 'Jazzploitation' EP. Yarning vintage soundtrack stylings with contemporary groove, the Milan group balance reverent covers - like Roy Ayers' 'Coffy' and Bob James' 'Nautilus' with bold, golden originals. Lead tune 'Reptile Strut', not to mention 'The Twang' and 'Pied De Poule', twine round taut rhythms, lush horn lines, and evocative cinematic textures. The band tips its hat to touchstones like Herbie Hancock, Lalo Schifrin, and Italian great Piero Umiliani, whose 'Discomania' appears on the accompanying limited clear blue 7" single, backed with 'Jazz Carnival'.
Review: R&b and funk singer, rhythm guitar musician and songwriter Rickey Calloway hailed from Jacksonville, Florida but earned himself a global reputation. His style borrowed from James Brown but brought something new, inspired by his time playing in clubs from a relatively young age. He was active in the 70s and much of his music has been reissue do newer audiences since and now comes his King Of Funk album on Funk Night which, from the title down, pays homage to the aforementioned Brown. It features his most well known tune - the wonderful 'Tell Me' - as well as plenty of other big hitters like there particularly hard hitting 'Shake It Up, Shake It Down.'
Review: In the forty-two years since the release of Ege Bamyasi, no-one has done as much to blend the spheres of experimental rock music and the avant-garde than Can, whilst also maintaining a hip-shaking primal pulse and delivering a radiant wash of kaleidoscopic sound that defies classification. Ege Bamyasi still stands as one of their crowning achievements, and one whose spooky reverberations have made their presence felt throughout a mighty chunk of the rock and dance music of the decades that have followed. An otherworldly masterclass for the ages.
Review: Candido Y Su Movimiento's cult favourite album Palos De Fuego album is a rhythmic journey through the vibrant landscapes of Afro-Cuban jazz and Latin music that was first released in the 1970s. It superbly showcases the virtuosity of Candido Camero, a percussion maestro often hailed as the "Father of Modern Conga Drumming" as the album pulsates with infectious beats, intricate rhythms, and soulful melodies, all of which embody the essence of Afro-Cuban traditions while embracing contemporary influences. As a testament to Candido's enduring impact on the genre, Palos De Fuego stands tall and is a timeless exploration of percussive brilliance that continues to captivate and inspire Latin jazz lovers worldwide.
Beggar & Co - "Somebody Help Me Out" (Boogie Back radio mix) (4:55)
Sai Galaxy - "Rendezvous" (feat Vanessa Baker) (5:55)
Dave Lee & Omar - "Starlight" (radio edit) (3:50)
Kylie Auldist - "LYB (Love You Better)" (The Waz Exclusive Trunk Of Funk remix) (4:26)
Lexsoul Dancemachine - "I Don't Mind" (Mr Lex Trunk Of Funk remix) (5:13)
Sunlightsquare - "I Thought It Was You" (live) (4:11)
The New Mastersounds - "Watchu Want" (Exclusive Trunk Of Funk vocal version) (2:41)
The Harlem Gospel Travelers - "God's In Control" (2:38)
Sister Cookie - "Ain't No Good (But Its Good Enough For Me)" (Feat.Spencer Evoy) (2:53)
Sugaray Rayford - "Gonna Lift You Up" (3:29)
Kaz Hawkins - "Shake" (4:40)
The Nextmen - "Big Time" (feat Kiko Bun) (3:17)
La Rochelle Band - "Prophet" (3:36)
The Niceguys - "Power" (feat Bobby Saint - A Skillz remix) (3:22)
Sly Johnson - "Trust Me" (3:08)
Cotonete - "Day In Day Out" (feat Leron Thomas) (4:24)
Roy Ayers - "Tarzan" (4:14)
Review: Craig Charles, renowned for his soulful groove, presents The Craig Charles Trunk Of Funk Volume 3, a collection of 19 tracks that epitomize his passion for soul, blues, disco, and funk. This compilation, curated with long-time collaborator Greg Boraman, showcases Charles' lifelong dedication to soul music. With a career spanning poetry, acting, and television hosting, Charles' love for soul and funk has remained constant. His BBC 6 Music shows and global DJ sets have solidified his reputation as a premier ambassador for these genres. Volume 3 is a blend of club classics, contemporary hits, and timeless soul tunes. The collection, available in double LP gatefold sleeve and CD, is a testament to Charles' ability to seamlessly blend old-school classics with modern beats, creating a dynamic and infectious musical experience. Whether you're a long-time listener or a newcomer to his trunk of funk, this album will make you a fan.
Ferry Ultra - "Why Did You Do It" (feat Ashley Slater - The Reflex Revision - edit) (4:26)
The Traffic - "Beat It" (4:41)
Lettuce - "Checker Wrecker" (feat Big Tony & Jungle Boogie) (5:52)
Joel Culpepper - "WAR" (4:16)
Delvon Lamarr Organ Trio - "Hole In One" (4:37)
PM Warson - "(Don't) Hold Me Down" (3:11)
Review: Who knew an entertainment career spanning the likes of comic sci-fi series like Red Dwarf and kitsch game shows vis-a-vis Robot Wars could result in a side stint curating soul compilations? Well, it's exactly what happened to Craig Charles, who also happens to have been manning BBC6 Music's soul and funk corner for almost 20 years now, not to mention regularly touring the world as a DJ. This isn't his first 'Trunk of Funk'. The first was overwhelmingly well-received by a "funk hungry public", and now, our national treasure Craigy-boy has ensured said public doesn't starve a second time round. Backboned by Charles' introductory yells to imaginary screaming crowds - "are you ready!?" - we cycle through funk bits both old and new, exclusive and widely-available, from Cha Wa to Luther Ingram to Joel Culpepper. Craig says: "Give your ears and feet enough mellifluous musical fodder to last you until Volume 3 - Awooga!"
Review: Active since the late 80s, DJ Yoshizawa Dynamite is a celebrated DJ, remixer, compiler, and producer in Japan. An avid record collector and Wamono expert, he published the sold-out Wamono A to Z records guide in 2015, revealing rare Japanese groove records. DJ Chintam, a member of the Dayjam Crew and specialist in soul, funk, rare groove, and disco, opened Blow Up shop in Shibuya in 2018. Together, they created the Wamono A to Z guide. In this second volume of the Wamono series, Yoshizawa and Chintam showcase the best and rarest seventies' Japanese jazz, funk, soul, rare groove, and disco tunes.
Review: Citrus Sun - the eight-piece soul-jazz outfit helmed up by guitarist, bandleader and all-round personality Jean-Paul Maunick aka. Bluey - deliver their fourth album for Dome, the delightfully named Anaconga: a thoroughgoing homage to jazz and soul greats from back in the day. Made up of both covers and originals, the album opens with the gorgeous Maynard Ferguson tune 'Mister Mellow', with backing vocals from Tony Momrelle and Deborah Bond. Bluey and Richard Bull share production duties throughout; there's also 'Down For The Third Time', a deliciously funky remake of a classic Bobby Caldwell groove from 1978, with Natalie Duncan on vocals and Dominic Glover and Charlie Allen tearing it up on trumpet and guitar respectively; and 'Mystic Brew', originally written and recorded by keyboard legend Ronnie Foster, the inclsuion of which is a "thank you for his massive contribution to the music we love and are inspired by".
Review: Oltreoceano take a strident second step with Oltreoceano. Made between Italy, France and the US, we've eight tracks here cherrypicked from funk, 70s electronica and spiritual jazz, though the pregnancy of its influences contrast its core themes of absence, longing and invisible threads that bind. Tommaso Cappellato (drums), Nicolo Masetto (bass) and Alberto Lincetto (keys) enlist a further draw of collaborators like Dwight Trible, Mocky, Isaiah Collier and Maylee Todd, ensuring the nostalgic ensemble eidetics of 'Tempo Al Tempo' and 'Alberoni', both of which evoke smoky clubs and panoramic soundtracks, nodding to Azymuth and Umiliani without ever getting peated in reverence.
Review: Seminal funk album from Lyn Collins. Released in 1972 on James Brown's People Records, everything about this is immaculate and of its time. Not just home of one of the most important breakbeats of our time but home to entire collection of immaculately delivered soul and funk gems; from her cover of "Ain't No Sunshine" to the deep yearning reflection of "Never Gonna Give You Up", this is Lyn at her finest. If this album isn't in your collection yet, now is most definitely the time.
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