Back catalogue: Funk

Review: Some high-grade re-edit action here, as dusty-fingered Chicagoan crate diggers Sadar Bahar and Marc Davis join forces with pal (and credited mixer) Rahaan on two fine tweaks of suitably obscure tracks. A-side 'Disco' is a groovy, funky, horn-heavy affair; a sumptuously string-laden, orchestrated blend of righteous gospel-soul, Philadelphia International style proto-disco and grooves reminiscent of those frequently employed on Steely Dan's most up-beat moments. 'Beat Down' meanwhile is a jaunty, percussive and sun-soaked slab of dancefloor-ready Latin jazz that speeds up as it goes along. The jazz dancers will love it!

Review: 'Deixa Eu Dizer' is a timeless Brazilian classic that was famously sampled by Marcelo D2 on his iconic hip-hop track 'Desafabo' and maybe just as notary, it was also the debut release on Mr Bongo's now much loved Brazil 45's imprint. It originally featured on Cizinha's stunning album of the same name and until Mr Bongo stepped in it had never been available on a 7". 'Deixa Eu Dizer' has been a long-standing favourite with deep diggers despite its mysterious origins and this welcome reissue not only celebrates Cizinha's unforgettable contribution to Brazilian music but also brings this beloved track to a new generation.

Review: Following persistent requests, Mr Bongo has finally relented and dedicated an edition of their popular Brazil 45s series to Orlandivo Honorio de Souza, a composer, singer and percussionist whose 1977 album Oelandivo remains high on my collectors' wants-lists. Wisely, their A-side pick is 'Onde Anda O Meu Amore', a cosmic and spacey fusion of samba-soul and jazz-funk rich in ethereal flute lines and intergalactic keys. This time round it comes backed by the equally as impressive 'Gueri Gueri', an insatiable samba-rock number wrapped in heady accordion, jangly acoustic guitar and punchy horn sounds.

Review: Mr Bongo's Brazil 45s series continues with aplomb... On their eighth outing we find the hugely prolific 60s/70s troubadour Wilson Simonal paying homage to the legendary Jorge Ben with two exemplary cover versions. Whether it's on the soft big band emphasis and teasing fills on "Zazueira" or the upbeat, feel-good swinger "Silva Lenheira" there's a raw clarity to Wilson's vocals that instantly endure; the way he pushes his voice to the very edge of breaking on the high notes and a rich, clear delivery, he's the consummate soulful showman.

Review: Mr Bongo's Brazil 45s series continues its consistently rich vein of form with two more beautifully contrasting - and previously difficult to track down - Brazilian soul jazz fusions from the 70s. Side A is inhabited by one of the era's most interesting individuals. Infamously censored and eventually exiled, Taiguara's chaotic flute, guitar and piano arrangement is a tight weave of melodies, counter melodies and start dynamics. Flip for the classically soul-oriented "Deixa Eu Te Amar" will bright horns, brash drums and a bold vocal from Marisa Rossi. Pow.

Review: Mr Bongo offers up an incredible 86th volume in the Brazil45 series, and this time it's Black Rio funk from two mainstays of the sound, Toni Tornado & Zeca Do Trombone. A-side 'Sou Negro' is from Tornado's 1970 EP on Odeon Records. It's a sought after number that despite lasting only just over two minutes still makes an indelible impression. Zeca Do Trombone & Roberto Sax join forces on the flip for 'Coluna Do Meio,' which is a more smooth, easy going jazz laced tune compared with the raw and direct a-side. This one has an acrobatic vocal and sunny riffs bringing pool-side vibes under clear blue skies.

Review: It has been a full half a century since legendary Brazilian outfit Azymuth made their debut and their new album, Marca Passo, reaffirms their place as legends of jazz-funk. It was recorded in Rio and produced by Daniel Maunick and is the group's first album since drummer Ivan "Mamao" Conti's passing, with bassist Alex Malheiros now the sole founding member. He's joined by Kiko Continentino and new drummer Renato Massa to continue Azymuth's tradition of blending samba soul, funk and cosmic jazz. Highlights include a tribute to Conti, 'Samba Pro Mamao,' and a refreshed take on 'Last Summer In Rio.' The album is a vital, heartfelt continuation of Azymuth's enduring legacy.

Review: Tonal treasures and "three-man orchestra" Azymuth mark fifty years of service to the progosphere with Marca Passo, largely a conduit through which to reflect on the of loss of their founding drummer Ivan "Mamao" Conti in 2023. Now with only bassist Alex Malheiros as the last surviving original member, and joined by longtime keyboardist Kiko Continentino and new drummer Renato Massa, the new record deepens Azymuth's signature blend of samba, jazz-funk and 70s MPB studio textures. A rework of 'Last Summer In Rio' is an especial great, as it brings in Incognito's Bluey as a nod to Bertrami, while 'Samba Pro Mamao' honours Conti.

Review: Released 50 years after their self-titled debut, Azymuth's Marca Passo feels less like a comeback and more like a confident continuation, with the legendary Brazilian outfit carrying its past into the present with all the same vigour that marked their winding career. The formula remains intact: Brazilian jazz-funk, dreamy synths, and loose but locked-in rhythm. There's something moving in how naturally the trio i with Alex Malheiros still at the helm i navigates loss, memory and legacy without turning sentimental. 'Samba Pro Mamao' is a tender nod to Ivan Conti, but the record never lingers in nostalgia. Daniel Maunick's production keeps things warm and fluid, and there's joy in hearing Incognito's Bluey drop in on the rework of Last Summer in Rio. Not flashy or forced. Just a deep, grooving reminder that Azymuth's music still flows from somewhere timeless.

Review: Far Out takes a second deep dive into the previously unheard early demos of Brazilian jazz-funk greats Azymuth, offering up more unpolished gems recorded during the years as one of Brazil's most sought-after session bands. Interestingly, much of the material is closer in tone and style to their subsequent releases, though some of the rhythms, solos and basslines are arguably a little wilder and more experimental. Highlights include the fizzing opener "Duro De Roer", the sweaty and percussive brilliance of "Bateria Do Mamao", the Blaxploitation influenced spy-chase madness of "Quem Tem Medo" and the surprisingly smooth "Manha", the demo that eventually earned Azymuth a recording contract.

Review: By the time they released Saci Perere in 1980, carioca outfit Banda Black Rio were amongst Brazil's biggest dance music stars - an outfit whose blends of samba, jazz, disco, funk and MPB moved the heart and feet of the country's dancers. The set remains a timeless Brazilian classic - hence this much-deserved CD reissue. Highlights come thick and fast throughout, from the leisurely sundown headiness of 'Saci Perere', and horn-heavy jauntiness of 'Melissa', to the funky samba-jazz fusion of 'Subindo O Morro', synth-laden downtempo sunshine of 'Amor Natural' and the atmospheric Latin disco-funk of 'Broto Sexy'. An album that should be in every Brazilian music fan's collection.

Review: Quem E Quem is widely regarded as Joao Donato's finest work and a standout in the canon of Brazilian popular music, aka MPB. Blending American soul and jazz-funk influences with the gentle sway of samba and bossa nova, the album radiates warmth and subtle sophistication and Donato's tender vocals are framed by breezy flute passages, laid-back piano lines and guitar solos reminiscent of Pat Metheny. The result is a beautifully balanced collection of upbeat tracks and introspective moments with each evoking the tranquil pleasure of a sunset in a tropical paradise. Timeless and effortlessly charming, it remains a high point in Donato's enduring career.

Review: By the time he recorded "Brazilian Dorian Dream" in 1976, Brazilian composer, musician, producer and bandleader Manfedo Fest had already worked on countless bossa-nova, samba and jazz albums, both in the United States and his native Brazil. Yet the album, which Far Out has now reissued, is like nothing else he recorded before or after - and not just because it was based on "the principle of the modal diatonic scales of the Dorian mode". Musically, it's deliciously vibrant and colourful, combining elements of his native Brazilian samba and bossa-nova with Azymuth style jazz-funk, American jazz-fusion, and futuristic, then cutting edge synthesizer sounds. Above all, though, the album strikes a near perfect balance between funkiness and the sweet sunniness that defines some of the greatest Brazilian music.

Review: As part of a new glut of music from Mr. Bongo comes this new curator's compilation from Luke Una. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, Una collates these tracks under the umbrella of 'E-Soul Cultura' - a kind of nocturnal underground soul, disco and funk (both new and old) that the disenfranchised inheritors of the Earth prefer to play in their sleepy, tucked away home kitchens and lofts. A blend of Latinxfuturism, space-age jazz and all manner of folk exquisites appear - not to mention a slew of infectious house detours on the latter half.

Review: Dora Morelenbaum is a fast-rising star in Brazil's new music wave and a member of the Latin Grammy-winning band Bala Desejo and Pique is her stunning new debut solo album. It comes after the early success of her first EP, 'Vento de Beirada', and sees Dora soar to new heights as a bold and elegant artist. The album blends aspects of funk, MPB, disco, soul, and jazz with an indie pop flair and has been co-produced by Ana Frango Eletrico. The tracks feature plenty of classy and sophisticated arrangements as well as a number of groovy basslines and intricate production flourishes. Across them all, Pique bridges Brazil's musical past and present and also calls upon contributions from fellow musicians and family members to help make it a standout in the contemporary Brazilian music landscape.

Review: Pique is the remarkable debut solo album from Dora Morelenbaum, a key figure in Brazil's burgeoning music scene and a member of the talented band Bala Desejo. Following her initial EP Vento de Beirada, Pique marks Dora's ascent as a significant solo artist, blending boldness with grace, bridging Brazil's musical heritage with contemporary grooves, incorporating funk, MPB, disco, soul, r&b and jazz, all infused with an indie pop sensibility thanks to co-producer Ana Frango Eletrico. Opening with the sun-kissed 'Nao Vou Te Esquecer,' Pique transitions into the infectious funk of 'Venha Comigo' and 'Sim, Nao.' Tracks like 'A Melhor Saida' and 'Petricor' offer a more relaxed, introspective vibe, while 'VW Blue' showcases virtuosic jazz-funk, and the title track delivers radiant MPB. The drumming is crisp and swung, the horns and strings are meticulously arranged, and the basslines groove with a funky energy, complemented by strutting guitars and vibrant production flourishes. Dora's hands-on approach to the albumifrom songwriting to arranging and producingiensures a cohesive vision. Supported by a talented ensemble, including her Bala Desejo bandmates and her renowned parents, Paula and Jaques Morelenbaum, Pique merges tradition with modernity. An endlessly listenable album, poised to become a future Brazilian classic, blending the spirit of legends like Gal Costa with a fresh, innovative edge.

Review: A bona fide Brazilian rarity: Alucinolandia was the only full length from talented multi instrumentalist and bandleader Zito who really should have enjoyed more attention. Ranging from the R&B style stomp of "Primeira Conjugacao" to the Gershwin standard "Love Is Here To Stay" via the instant feel good sensations of "Bye Bye" where you feel like you're in the room, clicking, clapping and crying along with the band, this is a timeless document that really should have had more exposure than it did at the time of the original release back in 1969

Review: The crate-diggers behind the Mr Bongo label can usually be relied upon to showcase some seriously good tunes old and new. That's certainly the case on this third volume in their occasional "Record Club" series of compilations. Spanning sunshine soul, obscure samba, spacey jazz-funk experimentation, wide-eyed underground disco, fiery funk, weirdo rock, cheery South African bubblegum, synth-laden early '80s highlife, Ramsay Lewis style workouts and the psychedelic Middle Eastern disco-funk of Elias Rahbani, the compilation's 20 tracks are not only near faultless, but genuinely surprising and eye-opening. To quote a cliche, this collection genuinely is all killer and no filler.

Review: Mr Bongo's latest must-check compilation doesn't mine Brazil's musical heritage, but rather shines a light on what's happening in Rio de Janeiro right now. Hidden Waters was compiled and curated by two Brazilian music specialists - Joe Osborne (founder of the Brazilian Wax website) and Russ Slater (Editor at Large of Sounds and Colors) - and offers up a blend of scene stalwarts and exciting starlets. Musically it's varied, but largely rooted in samba, MPB and other classic Brazilian styles. So, while sun-soaked sounds (sorry) are the order of the day, Osborne and Slater also find room for the fuzzy psychedelia of Ava Rocha, the Stereolab-goes-samba flex of Exercito de Bebes, the low-slung, synth-sporting mutant funk of Thiago Nassif, the spiritual, pastoral-sounding afternoon warmth of Mari Romano and the lilting vocal jazz of Troa. An impeccable, eye-opening collection of quality cuts.'

Review: Mark GV Taylor and George Arthur are the deep diggers behind this new compilation on BBE and it takes its same from their own Reference Point events which pop up all over the place. They are known for travelling far and wide through various genres to explore lesser-known niches and that's what they do here with a broad and brilliant mix from across the ages. Across 15 cuts they serve up jazzy vocals numbers, 1970's Brazilian jazz and everything from soul, jazz, fusion, electronica, yacht rock and plenty more. Many of the tunes are hard to find in their original form, but some are much cheaper but totally less well-known - until now.

Review: Favorite Recordings returns with the second edition of its compilation series: Fusion Global Sounds. Comprising eight rare and hidden tracks produced between 1976 and 1984 in various parts of the world, this hot-off-the-plate comp delivers a mighty-fine array of dynamic, soul-feeding jazz, soul, disco, jazz and funk delicacies. As a fine collector of jazz-funk and fusion for many years, curator Charles Maurice can be credited for sourcing the ingredients for and cooking up this fine spread of forgotten entrees, this time brought together by a common Brazilian influence.