Back catalogue: Funk

Review: Nestor Alvarez's Midnight in Havana on Original Gravity delivers an electrifying Afro-Cuban instrumental jam that transports listeners to the vibrant streets of Havana. With a mesmerising flute lead and dynamic jam sessions, the track exudes a captivating energy that feels like a theme song for the city's bustling nightlife. The infusion of Cuban soul adds depth and authenticity to the music, immersing listeners in its rich cultural heritage. On the B-side, Alvarez offers a creative cover version of the Happy Mondays' 'Kinky Afro,' reimagined with a Cuban twist. The fusion of Afro-Cuban rhythms and the iconic melody of the original song results in a fresh and exciting interpretation that showcases Alvarez's versatility as a musician. Fans of Latin and Cuban dance music are sure to eat this up.

Review: Madrid via Cuba musical gang El Combo Batanga have finally dropped this new double-sider 7". It was teased by the early reals sou the a-side which brings plenty of dance floor filing heat with 'El Que La Rompe La Paga'. It's packed with samba shuffle, expressive horn work and results, and relentless keys work designed to get the ass moving. On the flip is 'Toca La Campana' which is a little less dense but not less rhythmic in the way it sways to and fro with fiery Spanish vocals and funk riffs.

Review: Mr Bongo continue to churn out top-quality re-edits and here they enlist Danny Krivit aka. Mr. K, the New York producer who has longstandingly helped prop up the dance scene there since the early 1960s. Krivit is responsible for perhaps some of the earliest and most significant disco and funk edits on Earth, so we're more than happy to hear these new ones out, in which he lends his ear to two mambi from Latin extraordinaires Sabu Martinez and Nico Gomez. Percussive clanks and boxy slaps abound on this audiophiles' charm.

Review: F Spot kick off their year with a fresh new release from fresh new funk pushers, Mestizo Beat, emanative of the MagaNa Brothers's hillside studio in Topanga, CA.. Coming at the sound with a distinctive Afro-Cuban bent, this 7" flaunts the natural ends of their particular sound: 'She's A Rose' packs a beautiful brass section and charms the listener with it's extended pre-chorus section. 'Lotsapoppa', meanwhile, minimizes the sound with a simple kick, bass, and djembe groove to start with, before launching into a dynamic Afro-disco infection, the collaborative patients zero, one and two being Steve Haney of Jungle Fire on drums, Jason Cressey of the True Loves on trombone, and Jesse Audelo on arrangement.

Review: Ottawa's Afro-jazz-funk collective returns with a limited 7" showcasing two dynamic tracks that highlight their genre-blending prowess. Originally released in 2014 on Inner Fire, 'One Life To Live' kicks off Side-1 with an exhilarating fusion of funk, Latin and Afro rhythms. The track's lively horn arrangements and tight percussion create an infectious groove, balancing intricate musicianship with danceable energy. On Side-2, 'Kingdome Come' dives deeper into jazz territory, merging Afro-Cuban jazz with jazz-funk and Latin jazz elements. The result is a richly textured piece that moves fluidly between laid-back grooves and vibrant, rhythmic bursts. The percussion is sharp, and the brass shines with both restraint and exuberance, highlighting the band's ability to navigate complex arrangements while maintaining a relaxed, natural flow.

Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.

Review: The vibrant Cuban music scene of the 1970s thrived with creativity, and FA-5's self-titled 1976 album perfectly captures that energy. Part of Mr Bongo's Cuban Classics series, the record blends Latin rock, funk, soul, disco, and Afro-Cuban rhythms into an eclectic and captivating sound. The funk-heavy opener, 'Muevete Con Las Fuerzas Del Corazon' features an infectious bassline, lively horns and drum breaks, setting the tone for a genre-hopping journey. With standout tracks like the Latin disco-funk 'Casa De Ladrillo' and a cover of Commodores' 'Brick House' this hidden gem, which was produced by Tony TaNo, is a must-have for both fans and collectors.

Review: For the second instalment in their Cuban Classics series, Mr Bongo present this sought-after slice of sublime Afro-Cuban jazz from 1976. It comes courtesy of one of Cuba's most influential acts, Grupo Irakere. Founded in 1973 by Chucho Valdes (son of the Cuban pianist and bandleader Bebo Valdes) the group was home to many of Cuba's finest musicians over the years. With an electrifying style and sound, they mixed traditional Cuban music with jazz, funk, and rock. This self-titled album includes the much-loved, dancefloor heavy-hitter 'Chequere-Son', a Latin-jazz funk masterpiece with Cubanized bebop-flavoured horn lines, lush keys, and 70s hip swagger. Though 'Chequere-Son' is the keystone of the record, the album is laced with brilliance at every turn, from the Carlos Santana-esque channelling 'Iya' with its percussive Latin power, to the sultry, slick and passionate '38 1/2'.

Review: Heavenly Sweetness has always dealt in music for the soul that is drawn from the worlds of funk, soul and jazz. This new collection of such tunes is another testament to that with a heavily international and world bent. Oodles of Latin, hip hop and Afro vibes pervade the tunes by Guts aka Fabrice Franck Henri alongside a whole host of collaborators. He's a super prolific talent who has put out some ten albums in just over a decade and Estrellas is one of his best. It comes on six sides of delicious wax and takes you on a trip to sunny climates from Cuba to Brazil.

Review: Gilles Peterson's obsession with Cuba is long running and well documented over various compilations from across the years. His latest focusses on Experiments in Latin Music from 1975 to 85 and the title suggests it will be the first of an ongoing series on Soul Jazz, compiled in collaboration with Stuart Baker. Across three vibrant sides of vinyl all manner of grooves are offered up, some more traditional, some bravely out there, all drawing on the jazz, funk, Brazilian tropicalia and disco - mixed with classic Latin and salsa - which made it to the island in the 70s.

Review: There have been many concurrent sounds of 60s and 70s New York, but the Latin soul subsidiary of said multipli-city saw and heard its heyday in the sweet-spot of 1964-78, where the Latin American favourite label Fania Records reigned supreme in its niche. Bannering the likes of Willie Colon, Hector Lavoe, Ruben Blades, Johnny Pacheco and Celia Cruz, Fania was born of a desire to promote salsa music and adjacent styles in New York, after Dominican musician and label boss Johnny Pacheco underwent financial woes and sought respite in memories of a quaint Cuban luncheonette of the same name. The heady mix of sonic pimento collides several of the best salsa bands in a New York otherwise dominated by soul and funk, amounting to a charred, lively stew.