Back catalogue: Funk

Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.

Review: Mr Bongo present a staunch retro vision of Cuban-born violinist Alfredo De La Fe, one of whose sonographic creams was the debut salsa-and-more fusion album, Alfredo. Based between New York and Colombia, Alfredo worked with many of the greats in Latin music, including Eddie Palmieri, Willie Colon and Roberto Roena, as well as disco and soul icons Sylvester and Aquarian Dream. For a debut solo record, Alfredo is a real charm offensive, and a valiant experiment at that, mixing Latin dancefloor crunches with De La Fe's own, unusually additive violin, placed centre stage as he solos. The record - a favourite of legendary New York club The Paradise Garage - tonally shifts past the halfway mark, eschewing the A-side's chroma-jazzy clavier discombobulations for an early four-to-the-floor, daresay proto deep house excursion, 'Hot To Trot'.

Review: This long-lost 1973 album from Graham Dee is a fabled record from the man who was a key figure in the 60s London session scene and later a prolific songwriter and producer, and it is now released on vinyl for the first time. Dee was a renowned session guitarist who played with legends like Jimmy Page and Jeff Beck as well as artists such as John Lee Hooker and The Walker Brothers. After working with them, he became an in-house producer for Atlantic Records and honed a distinctive 'British Soul sound.' In the 70s, he moved to the U.S., writing songs and working at the legendary Muscle Shoals. Mr. Super Cool was only rediscovered in 2019 and it's clear to hear Dee's unique talent on a record that offers a fascinating glimpse into early 70s recording.

Review: Manu Dibango knew how to work a crowd. By the time he hit the stage at Marseille's Theatre La Criee in December 1982, he had long mastered the art of turning a gig into a full-blown celebration. This was the man who took makossa global, who made 'Soul Makossa' an international sensation a decade prior and who could pivot between jazz, funk and African rhythms like it was nothing. The recording, unearthed from the INA archives, captures him in peak form, leading an eight-piece band through a set that refuses to sit still. 'Africa Boogie' is all clipped guitars, tight horns and a bassline that struts like it owns the place. 'Ashiko Oumba' turns the groove alluringly, locking into intricate polyrhythms before erupting into pure brass-fuelled joy. Then there's 'Waka Juju', sprawling across three parts, moving from simmering tension to full-throttle release with the kind of control only Dibango could pull off. He's conducting, shaping the music in real-time, every solo a conversation, every break a setup for the next explosion of sound. Four decades later, the set still feels alive. It's there in the call-and-response with the crowd, the sweat-soaked momentum of a band that knows it's on fire. Dibango, effortlessly cool at the centre of it all, proves once again why his music never ages.

Review: Weldon Irvine was a pioneering musician whose innovative style and emotionally powerful melodies earned him admiration across generations and genres, from 1970s jazz and soul to 1990s club and rare groove scenes. Known for his versatility, Irvine left behind a legacy of timeless tracks and this best-of album, curated from his extensive catalogue, features eight standout songs that showcase his genius. The always-sensitive P-VINE presents this special collection in style and offers a comprehensive glimpse into the depth and breadth of Irvine's musical contributions, all of which highlight his lasting impact on the music world.

Review: DJ Notoya returns with another expertly curated selection of Japanese gems, this time delving into the funky, soulful, and city pop sounds of King Records. Spanning the years 1974 to 1988, this compilation is a treasure trove of forgotten classics and hidden gems, a sonic time capsule that transports listeners back to the neon-lit streets and vibrant nightlife of 1980s Japan. Buzz's 'Garasumado' kicks things off with an infectious groove and funky guitar riffs that could rival any Western funk classic. Mami Ayukawa's 'Sabita Gambler' adds a touch of soulful sophistication, her smooth vocals gliding over lush instrumentation. Keiko Toda's 'Fade In' is a city pop gem, its dreamy melodies and catchy hooks evoking a sense of carefree optimism and urban cool. Elsewhere, Johnny Yoshinaga's soulful ballad 'The Rain' provides a moment of introspection, while Kumiko Sawada's disco-infused 'Your Love's Away' will get you moving and grooving. The compilation closes with the feelgood sounds of Masatoshi Kanno's 'Day By Day', a perfect encapsulation of the city pop aesthetic.

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: 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: 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: This new album is Dowdelin's therapeutic best and one that delves into themes of depression, life's highs and lows and resilience. Along the way, it blends Caribbean rhythms with jazz, electronic music and percussive soul to make for an ever evolving and intriguing trip through moments of struggle and hope that mirror those in everyday life. Sung in Creole, French and English, each track weaves rich melodies with deep emotion and makes for a powerful exploration of mental well-being. Dowdelin's take on well crafted funk is where tradition meets modernity and the result is a sound that is both healing and invigorating.

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.

Review: Brian Auger's Streetnoise was originally recorded in 1969 with Julie Driscoll and The Trinity. It stands proud as a genre-blurring work of jazz, rock, folk and soul greatness that found the group moving beyond their r&b and jazz roots. Instead, Auger and Driscoll crafted a progressive, avant-garde yet deeply soulful record in which Driscoll's haunting vocals contrast beautifully with Auger's instrumentation. The gatefold sleeve was designed by Hunter S Thompson collaborator Ralph Steadman and was inspired by Hogarth's satirical etchings which in turn reflects the album's artistic ambition. Streetnoise features dynamic instrumentals like 'Ellis Island', great reinterpretations of 'All Blues' and 'Flesh Failures' and standout tracks such as 'Indian Rope Man' which highlight Auger's visionary fusion of styles.

Review: This third collaborative album between Scream & P. Rock takes inspiration from a trip to Brazil, where they collected samples in Rio. As such the sounds blend Brazilian grooves, bass synths, live percussion, funky drums, guitar solos and vintage breaks with raw, experimental touches into an album full of life. The duo's signature sound is a fusion of their own DJing and music production and is ever more refined, having been crafted over the course of a year. Cinematic arrangements and a fresh approach to sampling make this another great chapter in this duo's musical story.