Back catalogue: Funk

Review: Mongo Santamaria's 'Green Onions' here (a cover of the iconic Booker T standard) is a classic cut that showcases the legendary Cuban percussionist's mastery on the drums. First released in 1969 alongside the nighttime swayer 'In The Midnight Hour' , the single hears a funking reissue here that once more shines a blinding light on Santamaria's deft ability to blend originally American compositions with Latin rhythms and soul-jazz structures.

Review: Two titans of African music come together for a collaboration that will sadly never be repeated after the passing of the late Hugh Masekela. Allen's instantly recognisable drumming and Masekela's iconic trumpet are a match made in heaven - after all their paths first crossed back in the 70s thanks to Fela Kuti's galvanizing energy. Forget the throwback stuff trying to capture the spirit of the originators, this IS the originators sounding cool and deadly in every way. Funk lovers, Afrobeat heads, curious ears and dancing souls take heed - this right here is an unmissable transmission from two grandmasters in their field.

Review: Johnny Hammond was a prolific organist, composer and multidisciplinary artist active throughout the USA for the majority of the 20th Century. By the time the lesser-known LP and meditation on devilish excess 'Gambler's Life' was released in 1974, Hammond's sound had grown unusually cacophonous and was noisy to a kind of perfection that could only be described as an acquired taste. That doesn't deter us, though: this reissue from Soul Brother carefully pays homage to the late great's 28th album, with the broken wonk of 'Rhodesian Thoroughfare', the voluptuous funk of 'Star Borne' and the melismatic virtuosity of 'Virgo Lady' all tempting us back towards the broad gate.

Review: Classic jazz funk album from the legendary Johnny 'Hammond' Smith with a special version with six previously unissued bonus out-takes. Released in 1975 and his 32nd long player, it heralded a fresh chapter in his career that saw him exploring more electronic instrumentation and deeper shades of funk in a similar way to Roy Ayers or Bob James. The result was a timeless document that carries motifs of many of today's artists; the harmonies of "Can't We Smile?", for instance, smack of Plantlife while the punctuated piano work and mirrored squiggling synths on "Song For The Family" echoes with Flying Lotus-style whim. Also a key source of breaks for many junglists, Gears is a historic document that's not only played a strong role in electronic music but still sounds incredible today.

Review: The Harlem Gospel Travelers' new album, Rhapsody, marks a dynamic return for the trio, composed of Ifedayo Gatling, Dennis Bailey, and George Marage. Following their well-received 2022 release Look Up!, Rhapsody dives into a rich, often overlooked era of gospel music, blending traditional elements with influences from soul and funk. The inspiration behind Rhapsody came when Eli "Paperboy Reed," the group's mentor and friend, suggested they explore and reinterpret tracks from the Numero Group's Good God! A Gospel Funk Hymnal. The result is a collection that spans from the spirited soul of 'God's Been Good to Me' to the hip-hop-tinged 'Get Involved,' showcasing the group's ability to transcend the conventional boundaries of gospel. Originally formed as a quartet, the group reconfigured as a trio, bringing Bailey into the fold before recording Look Up!. Their journey began when Gatling and Marage met while studying under Reed, leading to the release of their debut album, He's On Time, in 2019, which garnered praise and attention from the likes of Elton John.Rhapsody is a project that not only honors the gospel tradition but also pushes it forward, offering a sound that is both rooted in history and refreshingly contemporary.

Review: This 50th Anniversary Edition resurrects a forgotten gem of 1970s soul-jazz, showcasing the masterful arrangements and musicianship of The Harold Wheeler Consort. It's a thrilling colliision of jazz harmonies, funk grooves and soulful melodies, with Wheeler's piano leading the way through a series of vibrant and eclectic compositions. From the infectious energy of the title track to the smooth sophistication of 'Then Came You', the album is a testament to Wheeler's talent as a composer and arranger. The B-side continues the journey, with tracks like 'Color Me Soul' and 'Feel Like Makin' Love' showcasing the band's versatility and deep understanding of soul and jazz traditions.

Review: Ernie Hawks is the occasional artistic alias of virtuoso flautist and trombonist Erno Haukkala, a Helsinki-based musician best known for his membership of long-serving Finnish funk combo the Soul Investigators. Fittingly, his debut solo album was produced in cahoots with the long-running band. Throughout, his band-mates provide brilliant backing for his languid trombone solos, jaunty flute lines and - on rare occasions - wild harmonica playing. It's a very enjoyable and impressive set, all told, with Haukkala's compositions variously drawing influence from classic soul, Cymande, Ennio Morricone's "Spaghetti Western" soundtracks and the higher quality end of the library music spectrum. Naturally, it's all brilliantly played and produced, with an emphasis on gentle mood enhancement.

Review: Roland Haynes Jr. and his band Phenix may have only released one 45 in 1983, but their legacy extends far beyond that solitary record. This new collection of live recordings from the Quarter Moon club in Orangeburg, South Carolina, reveals the brilliance of Haynes and his ensemble. The album features a vibrant mix of originals and covers, including renditions of tracks by Marvin Gaye, Santana, Hubert Laws and The Jeff Lorber Fusion. These recordings, drawn from Haynes' personal archive, showcase the band's exceptional talent and ability to reinterpret classics while adding their own unique flair. The collection allows Haynes to assert his place among the most innovative jazz and soul artists of his time, capturing the energy and creativity of Phenix in their prime.

Review: Chicago was a hotbed for talent in the 1970s (well, it always has been and always will be, to be honest) and one of the groups to emerge at that time was Heaven & Earth, a vital soul vocal collective. They released four high-quality albums and this one, 'I Can't Seem To Forget You', was the first on Clarence Johnson's G.E.C. Label. It is packed with super sweet vocals and Dwight Dukes' lush falsetto and has never before been reissued. This version from the good folks at P-VINE has an extra bonus cut 'Promises,' which has previously only been available as a single from 1975.

Review: Chicago-native Cecil Lyde's Home Boy And The C.O.L. album is often said to be his standout work. It dropped back in 1984 with his Home Boy group and was a swift follow up to 1982's self titled debut. Earlier works were defined by a lovely lo-fi aesthetic while this record goes big right for the off with an eight minute epic to kick off. 80s electro-funk then defines much of the rest of it with all sorts of big hits along the way. It makes for a luxurious listen with some self-reflective tunes like the ballad 'I Don't Want To Be A Movie Star,' and then some tension building and passionate vocal harmonies. This reissue comes a limited edition LP with obi-strip.

Review: New Orleans brass band fixture The Hot 8 Brass Band unveil their latest record, in memory of Bennie Pete aka. "Big Tuba", the late co-founder and sousaphone player of the band. Having passed away on September 6, 2021, Pete was described as a "constant galvanising force", and this galvanic power is heard on full display here, as the top brass of the band are heard to collierly collude with many a New Orleands folk and hip-hop legend. Chief among the Hot 8's best characteristics are their incorporation of New Orleans bounce music (a local variation of hip-hop) into their brass-driven tracks and live shows; the sense of bustle, bombast and crowd commotion is heard here, reflecting the extent of the lives touched by Pete.

Review: American Bobbi Humphrey is one of the most well loved jazz flautists. She turned out plenty of vibrant albums, none less so than this, Fancy Dancer, which was her fifth. It came on Blue Note in 1975 and is full of all killer no filler gold. It also saw her, along with producers the Mizell Brothers aka Larry and Fonce, come up with a fresh new largely instrumental funk sound. Weaving in everything from world music to soul-jazz to club music to pop, it's a widescreen sound that is packed with uplifting flute from Humphrey and lush production that reveals something new with each listen.

Review: Brazilian artist Hyldon's 1981 album 'Sabor De Amor' is a Latin classic that is well overdue this reissue by Jazzybelle Records. It was the fourth from the soul man, singer and instrumentalist who was, with equally celebrated peers Tim Maia and Cassiano, at the very heart of the Brazilian soul revolution of 70s. This may be his most consistent album with its more than accomplished backing by Azymuth musicians including Alexandre Malheiros on bass, drums from Ivan "Mamao" Conti and Hammond jams from Sergio Carvalho amongst others. The bass is funky, the arrangements are sophisticated and full of sun with noodling jazz melodies and Portuguese vocals all oozing summer magic. From mellow moments like the title cut to more dazzling and upbeat dancers like 'Amor Na Terra Do Berimbau' this isa joyous listen.