Back catalogue: Funk

Review: A really cool concept from Expansion here; one side is a reissued seminal classic, the other is a contemporary version. And what a way to start the start the series; hard bop hero Johnny Hammond influenced pretty much every soul, jazz, rare groove and funk artist who've followed in his path, and the joyously unpredictable "Los Conquistadores Chocolates" is one of his best. Naturally Japanese jazz outfit Quasimode are an ideal remix choice. Known for their wildstyle riffage and signature switches, they've paid the utmost respect to Hammond.

Review: Following the success of their first collaborative album, 2017's Curao, Will 'Quantic' Holland and Colombian "folkloric" singer-songwriter India Gongora have once more joined forces for a second joint full-length. Designed as a musical exploration of "the nostalgia of impossible love", the set's uniquely eclectic, widescreen sound joins the dots between the traditional styles of Colombia's pacific coast, cumbia, rock, string-drenched South American ballads and the kind of hard-to-pigeonhole, musically intricate productions that were once the preserve of Rotary Connection's Charles Stepney. It's a terrific album all told, with Holland conjuring up genuine musical magic and Gongora delivering some of the most stunning sounding vocals of her career.

Review: Adrian Quesada is a multi-instrumentalist and producer who featured in the Grammy-winning Grupo Fantasma as well a plethora of other ventures like Black Puma and The Echocentrics. Now he's back with a new solo album which celebrates the funky, psych-licked sound that washed through Latin America in the 60s and 70s. It almost comes on like a library record, so silky is the sound, but there's enough nuance and expression edged into the playing to take it into a more personal sphere. If you dig groove-minded crafters like Quantic, you're going to love the sound of Adrian Quesada.

Review: Released in 1977, this Nigerian rock album remains a hidden gem, rediscovered by a new generation thanks to recent reissues. Produced by Odion Iruoje, the album features a group of college students whose music captures the vibrant, post-civil war Nigerian rock scene. With a sound that blends Western rock influences like The Beatles, Buffalo Springfield and early Genesis with a distinct African touch, the album is a joyful yet melancholic exploration of love and harmony. Tracks like 'Love', 'Be Nice to the People' and 'Mary Enne' showcase the band's signature blend of fuzz guitar and heartfelt vocals. The music resonates with the exuberance of other African bands like Blo and Witch, yet it stands out with its heavy fuzz guitar and English vocals, steering clear of political or social activism in favor of pure, emotional expression. This album, recorded in Kenya, captures a moment in history when African rock was evolving, bridging cultures and sounds. It's a timeless piece, equally nostalgic, fresh and perfect entry point into African psychedelia for new listeners and a rewarding revisit for those already familiar with the genre.

Review: Mad About Records officially reissues super rare private press Quintessence's 1981 LP. Surprisingly for the level of talent and production / recording wit that it flaunts, Quintessence was one of many original jazz LPs to remain in private circulation and thus completely wanting of the public ear. Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse, the band nonetheless recorded an exceptional slice of artistic pie here, bringing Rhodesy, tritoning sundowners to the then already well-fleshed milieu of 80s jazz, an unmistakably bulbous and gaudy sound to which Quintessence do much justice; our favourite here by far is 'In My Apartment', a tssking blue-jazz suite for boughed double bass and noir piano.

Review: Recorded at Fish Factory Studios in London in April 2021, Abbreviations by Qwalia reflects meticulous editing and post-production that condenses raw recordings into seven intricate tracks. Featuring collaborators Ernesto Marichales (percussion), Miryam Solomon (vocals), and Valeria Pozzo (violin, viola), the album expands on the success of "Sound & Reason," which was championed by Gilles Peterson and Mary Anne Hobbs. Tracks like 'Elevator Company' transform jam sessions around Tal Janes' guitar into lounge grooves with Solomon's ethereal vocals blurring ambient and improvised music. Meanwhile, 'The Spin' dives into trance-like intensity, capturing the band's energy after exhaustive recording sessions.