Back catalogue: Funk

Review: Brazilian artist Lucas Arruda, is fast becoming a regarded figure in the Latin scene. 'Ominira' is his latest long player that once again, finds a home on the French label Favorite Recordings. An album full of rich sounding musical textures that cross boundaries and bridge many genres such as Latin, soul, house, jazz and pop. The vibrant summer jams 'The Bravest Heart' and 'Novos Planos' are A-side standouts that will surely excite veteran and new listeners alike, who are into World music. '4:28' and 'The Mountain' start the second side with some catchy instrumentals that give off memorable beachy 70s vibes. ' Projecoes' closes the album with one of the most soulful performances of the album. All and all, you have a wonderful sounding jazzy grooved piece that ups the expectation of what a Latin jazz album can be. Cafe Del Mar approved!

Review: Campania-based combo Asakaira has delivered a genuinely brilliant debut album here. Rooted in improvisation and the collective's combined love of jazz, Afrobeat, jazz-funk, hip-hop and the Afro-cosmic sounds that have long been a staple of Italy's underground music culture, the album's six original tracks (the seventh is an alternate 'Night' take on the jaunty, energetic and percussive 'Skijii') bristle with imagination and inventiveness. For proof, check the tropical disco delights of 'Night Tales', the head-nodding hip-hop-jazz of 'Chatting With You' and the dubby jazz-not-jazz shuffle of 'Moon Phases', a track that just intensifies and gets bigger as it progresses.

Review: Scottish funk legends Average White Band knew exactly how to present themselves to the world when they burst onto the scene in the early 70s. Funk was reaching a peak of global popularity, but after failing to make an impression with their debut album Show Your Hand, AWB were under pressure to deliver the goods for their follow up. Relocating to LA and breaking the US market was pivotal, and their so-called 'white album' exceeded expectations when all-time classic jam 'Pick Up The Pieces' became a worldwide hit. The track even received a tongue-in-cheek riposte from The JB's, high praise indeed. This half-speed remastered version marks 50 years since the album came out and it still sounds as fresh and funky as ever.

Review: The music of David Axelrod is a rite of passage for many record collectors. The great composer, arranger and multi-instrumentalists crafted several seminal albums that all take you deep into gorgeous worlds of jazz, funk and library music with narratives you'd expect in film scores and emotion in high supply. Heavy Axe might be one of his best and so this welcome reissue is a timely reminder of that. Its sweeping strings, grand horns and orchestral arrangements ebb and flow with great drama and absorbing artistry so stick it on loud and give yourself over to its rare pleasures.

Review: Musically it's cinematic rock funk with a bit of old testament too. One for the collection.

Review: The legendary Roy Ayers has a wealth of great material to his name but Virgin Ubiquity: Unreleased Recordings 1976-1981 might just be the cream of the crop. It's packed with gold that fuses soul and funk, jazz and disco into a load of killer cuts that never got their own release. There are husky vocal tracks featuring Merry Clayton on "Oh What A Lonely Feeling," "I Really Love You" and "What's the T?", sensual soul stirrers from Carla Vaughn such as "Mystic Voyage" and "Together Forever" and of course liquid synths and rhythm sections underpinning each of the tracks.

Review: This is the second part of Virgin Ubiquity: Unreleased Recordings 1976-1981and is again packed with tracks that are far more than unreleased findings from the cutting room floor. Each one serves as another feather in the bow of the virtuoso Ayers, who combined jazz, funk, soul and disco in magical and unique ways throughout his career. In doing so he laid down a precursor to acid jazz and hip hop. These are tracks that show off his dynamic, liquid rhythm sections and mellifluous keys, as well as the vocal talents of a range of collaborators who touch on soaring and sensuous highs as well as more gravel and earthy lows. Essential.

Review: Massive reissue incoming! BBE have answered many of our prayers with this long awaited repress of Roy's 1983 disco funk excursion "Silver Vibrations". A record that's currently fetching triple figures, this is the first time it's been repressed since it was released. Opening with the iconic whispered message of "Chicago", Roy takes us on a trip through his funkiest of quarters; the salubrious slap bass of "Lots Of Love", the Afrobeat staccato vocals and glock rocking vibrancy of "Silver Vibrations" and the dreamy cosmic jazz trip of "DC City" are just some of the highlights, all shared across the 12"s with no more than two tracks per side. Vibes that can't be slept on.

Review: Roy Ayers' 1968 jazz opus Stoned Soul Picnic might be less beloved or revered by fans of the vibraphonist, but it is nevertheless a deeply affecting slice of jazz mindfulness and fittingly contrasting mood, consisting entirely of covers of songs by the likes of Laura Nyro ('Stoned Soul Picnic', after which the album takes its namesake), Charles Tolliver ('Lil's Paradise') and Edwin Birdsong ('What The People Say'). We now hear a full-quality reissue via Nature Sounds.

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: 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: 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: 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: Before they found fame with their 1975 debut album, Azymuth divided their time between working as backing musicians (attending recording sessions with some of Brazil's top talent) and recording experimental home demos. Recently rediscovered, these demos are finally being given a release thanks to the efforts of Far Out chief Joe Davis. There's much to admire on this first batch (a second volume is also available) of previously unheard early recordings, from the high-octane Brazilian funk insanity of "Prefacio" and Jimmy Smith-esque "Melo De Cuica", to the spacey samba/jazz-funk fusion of "Xingo (Version One)" and the relaxed, slow-burn brilliance of seven minute B-side opener "Laranjeiras".

Review: Fela Kuti's Alagbon Close, released in 1974, stands as one of his most powerful Afrobeat statements, criticising police brutality in Nigeria. The title track was inspired by two raids on Fela's home, where police searched for marijuana. After swallowing a planted joint, Fela was detained at Alagbon Close, the headquarters of Nigeria's Criminal Investigation Department, for three days while police waited for evidence. His cellmates, in what became known as the Kalakuta Republic, helped Fela escape prosecution. Fela's lyrics denounce the arrogance of the police, declaring that wearing a uniform doesn't place one above the law. The album also marked the beginning of his collaboration with artist Ghariokwu Lemi, whose iconic cover art became synonymous with Afrobeat. Recorded at the A.R.C. Studios, the album is fueled by tight polyrhythms and fiery organ and horn sections, with Fela's sharp political commentary at the forefront. On Side-2, 'I No Get Eye For Back', offers a more groove-driven, mostly instrumental track, showing the collective talents of Africa 70. Together, these tracks solidify Alagbon Close as a timeless work of rebellion and musical innovation.

Review: Strut present an exclusive collaboration between two jazz greats, multireedist Bennie Maupin and percussionist Adam Rudolph, on Symphonic Tone Poem For Brother Yusef, originally commissioned by the 2020 Angel City Jazz festival in Claremont. This long yet impressive album weaves across a sonic landscape in five movements, blending electronics, sax and voice and binding them all together via the deft use of intervals and improv. A strong and moving debut from the clear clarinetist and the percussive polymath.

Review: Reel People Music expands the fizzing dynamic between highly accomplished label associates Opolopo (AKA Peter Major) and Angela Johnson with the release of their brand new album Best of Both Worlds. The nine-track record is an impressive merging of soulful souls, building on the pair's previous 'track-by-track' collaborative approach, and calling on influences from Quincy Jones to The Isley Brothers. From the twizzling decrescendos of Buffalo, which hears the pair summon the bruk maestro Kaidi Tatham on recording and co-prod duties, to the sparkly, sparky whetstone electro-disco track 'The Ones You Love', we really do get the best of both worlds here; we get nine worlds, in fact.

Review: The One by Will Sessions is a masterful blend of late 70s progressive funk, soul and boogie, brought to life with the help of Detroit legend Amp Fiddler and the dynamic vocal trio Dames Brown. The album tells a compelling story of love and its challenges in the heart of Detroit, with each track exuding authenticity and groove. The opening track, 'What It Is,' immediately sets the tone with its infectious rhythm, destined to become a dancefloor staple. Amp Fiddler's gritty vocals shine on 'Lost Without You,' perfectly matched by the growling bass and warm groove. 'Belle Isle Drive' offers a laid-back, Sly Stone-esque vibe, while 'Rendezvous' and 'Reminiscin' pure boogie, designed to get you moving. The expansive 'Seven Mile' brings a spacey, relaxed energy, and 'Who Am I' stands out as a soulful gem, with Dames Brown delivering impeccable harmonies. The album closes with the angular and uptempo 'Reconcile,' rounding off a flawless set. The One is an essential listen for fans of boogie and Roy Ayers, showcasing Will Sessions at their creative peak.

Review: At 88, Ghanaian highlife and afrobeat legend Ebo Taylor made his first-ever journey to the US, performing in the Jazz Is Dead concert series. These shows, which sold out across the country, led to an unexpected and electrifying collaboration between Taylor, Adrian Younge, and Ali Shaheed Muhammad. The result is a psychedelic afrobeat album, recorded at Younge's Linear Labs studio, that's bound to thrill fans of both classic West African funk and afrobeat purists. The album channels the raw energy of Ebo's 70s recordings, with swirling horns, fuzzed-out guitars, and the unmistakable polyrhythmic percussion that made Taylor a revolutionary figure in African music. "Collaborating with Ebo Taylor is a bucket-list accomplishment," says Younge, likening the experience to working with another afrobeat pioneer, Fela Kuti. The analog recording style, embracing the gritty textures of 70s Africa, gives this album an authenticity that's impossible to ignore. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' exemplify Taylor's profound lyricism. His reflections on love, spirituality, and gratitude echo his decades-long career, while the ensemble of Ghanaian vocalists adds a spiritual depth that transports listeners back to his prime. Ebo's son, Henry Taylor, also features, proving himself a formidable talent in his own right. This album is not just a nod to the past but a crowning achievement in Taylor's enduring legacy. For connoisseurs of afrobeat, it's a standout moment in both Ebo's catalogue and the growing canon of the Jazz Is Dead series.

Review: Ebo Taylor, a towering figure in highlife and afrobeat, recorded his latest album during his debut US touria milestone that came at the remarkable age of 88. Teaming up with Adrian Younge and Ali Shaheed Muhammad, Taylor crafted a psychedelic journey steeped in 70s-inspired rhythms. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' reflect his spiritual depth and lyrical wisdom, exploring themes of gratitude and divine guidance. Recorded at Linear Labs, the album pulses with fuzzed-out guitars, polyrhythmic percussion, and Taylor's signature vocal style, standing as both a testament to his enduring brilliance and a crown jewel in the Jazz Is Dead series.