Back catalogue: Funk

Review: Bowie is a new label that says it intends to "dig deep into the unreleased sides of pop superstars material from the past." The opening gambit is a strong one that should hook you in for more as it comes in the form of a 7" with two fine funk instrumentals, neither of which have been put out before. 'Golden Years' has lovely live drums and meandering guitar licks for some carefree listening, while 'Fame' has a deep cut groove that rises and falls in dramatic fashion with more neat and tidy riffs adding the detail next to the big licks.

Review: This newly formed and already brilliant label is back with more previously unreleased instrumentals that bring a different twist and dancefloor edge to classic sounds from the rock and indie world. First up we get a subtle edit of 'Sound and Vision' which has a nice fat and funky bassline bouncing beneath the splashy drums as nice acoustic guitar melodies ring out next to glistening retro-future pads. It's a cosmic trip that oozes soul then things slow down on the flip with 'Young Americans'. This one is a nice go-slow instrumental with funky and expressive horn work taking the lead over the fat-bottomed drums and bass. Essential.

Review: P-Vine Japan does great work once more here by bringing back into print some hugely sought-after sounds from the blues and r&b world. The first release in their new series revives Larry Davis' 1969 Kent Records single, which was originally written by Sherwood Fleming. The A-side, 'For 5 Long Years' delivers a gritty mid-tempo funk-blues groove while the B-side, 'I've Been Hurt So Many Times' (a classic subject for a blues tune) channels Willie Cobbs' signature sound. These will be familiar to anyone who has danced at a Northern Soul event and cannot be slept on.

Review: The emerging Disco label sure does love disco - specifically a sound infused with funk, soul and in the case of the opera, lovestruck vocals that melt thereat. They come with a nice languid bassline and some sophisticated strings while 'Song' has a super cool and breezy groove and vocal that is airy, light, and uplifting in quietly devastating fashion. 'Fear' is more of a party starter with glossy vocals and strident claps and drums then 'Do You' shuts down with more jazzy flute motifs and a lo-fi rhythm with vocals that speak of late night love and lust.

Review: Over the course of two fine, full-length excursions, Don Glori (real name Gordon Li) has perfected a warm, breezy and frequently life-affirming trademark sound that cannily joins the dots between jazz, samba, MPB, jazz-funk and soul. He leans into the latter elements more on summery third set Paper Can't Wrap Fire, drawing on the talents of a wealth of Melbourne music friends across nine sublime tracks. There's much to admire throughout, from the sun-soaked jazz-funk/soul fusion of 'Brown Eyes' and summery head-nodder 'Janet', to the spiritual jazz joy of 'Song For Ants', the Brazilian brilliance of 'Precious' and the oceans-deep nu-jazz shuffle of 'Saturn's Return'.

Review: The third album from Melbourne/Naarm multi-instrumentalist Don Glori merges jazz, soul, funk and r&b and marks a confident leap forward in his songwriting journey. Anchored by a Chinese proverb about truth, Paper Can't Wrap Fire explores themes of honesty and introspection across standout tracks like the silky 'Brown Eyes,' the sharp-witted 'Disaster' and the meditative 'Flicker.' It was recorded with close friends and longtime collaborators and radiates warmth, spontaneity and rich musical chemistry. While nodding to influences like Azymuth, SAULT, and Jordan Rakei, Don Glori delivers a sound entirely his own and it is wonderfully intimate.

Review: Paper Can't Wrap Fire is the third album from Melbourne/Naarm multi-instrumentalist Don Glori, and it is a rich mix of jazz, soul, funk and R&B, but also marks a bold evolution in the artist's own songwriting. The title is based on a Chinese proverb about truth and underpins reflective tracks like the soulful 'Brown Eyes,' satirical 'Disaster,' and introspective 'Flicker' Recorded in Naarm with friends and past bandmates, these sparkling sounds are brimful of the sort of life-affirming harmonies and dynamic musical interplay that makes you smile broadly, while the heartfelt lyrics make this town mark. Influences from the likes Azymuth, SAULT, and Jordan Rakei are all clear, but Don Glori crafts his own take on those sounds that speaks to both emotion and intellect.

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: Originally released in 1972, Dr John's fifth album is an upfront tribute to his inimitable hometown of New Orleans. A collection of covers, tracks chosen from the almost-endless archives of classic blues, jazz and creole tracks that have come out of the Big Easy over the preceding century or so. It also marked something of a character and stylistic sidestep for the legendary Louisiana player. Building a cult following and rather unique reputation for his eccentric stage performances and often pretty left-of-the-middle songwriting and arrangements, by comparison Dr John's Gumbo plays it much straighter, making this an authentic and respectful tribute to rhythm and blues as it has long been played. That's no criticism - the same masterful musicianship remains very much intact, while the personality still shines through. Simply put, the songs have been done again and again, but this album could only be Dr John.