Back catalogue: Funk Soul & Jazz

Review: There'll Never Be Another You, recorded live in Zagreb, Croatia, in 1985, features Chet Baker on trumpet, piano, and vocals, accompanied by guitarist Philip Catherine. This album captures the essence of Baker's intimate, melancholic style, showcasing his talent across four duos. The duo's chemistry shines through on tracks like 'Beatrice,' 'Leaving,' and the title track, 'There'll Never Be Another You.' Catherine's guitar complements Baker's performance beautifully, adding depth and texture to the music. Now available on vinyl for the first time!

Review: George Benson remains a towering figure in the American r&b and soul landscape. His many albums are firmly part of the canon of greats and White Rabbit is right up there. It now gets reissued on limited and numbered gatefold 180-gram audiophile white vinyl after being originally released in 1971. The album showcases Benson's exceptional guitar skills and distinctive vocal style with gems like 'White Rabbit' and 'The Greatest Love of All' effortlessly blending jazz, funk, and soul with Benson's signature smoothness. The high-quality pressing and crisp sound make it a standout on vinyl and remind that as well as the catchy and loved-up hist, Benson had some serious jazz chops.

Review: Don Blackman's 1982 self-titled debut is an underrated jazz-funk gem that fuses soul, funk and jazz-fusion into a sophisticated groove-laden journey that was produced by Dave Grusin and Larry Rosen for GRP Records. The album showcases Blackman's keyboard wizardry and soulful vocals across standout tracks like 'Heart's Desire' and 'Holding You Loving You.' With playful cuts like 'Yabba Dabba Doo,' it balances polish with joyful experimentation and though not a commercial hit, its influence has quietly grown and ir has been sampled by hip-hop greats and revered by collectors alike. This reissue reaffirms its status as a cult classic and a crucial slice of 80s funk.

Review: Don Blackman's self-titled debut album, released in 1982, stands as a testament to his versatility as a musician, blending jazz-fusion, funk, and r&b with a distinct creative vision. Though it may not have made waves on the charts, its legacy has only grown with time, cementing it as a cult classic in the 80s jazz-funk landscape. Blackman, a skilled keyboardist and vocalist, had already built a name through collaborations with heavyweights like Parliament-Funkadelic and Roy Ayers, but his debut marked a bold foray into the spotlight. The album itself feels like a rich, meticulously crafted groove machine, where Blackman's keyboard wizardry is matched by his soulful vocal delivery. Tracks like 'Heart's Desire' and 'Holding You, Loving You' highlight his knack for catchy melodies, while 'Yabba Dabba Doo' leans into playful funk, embodying the joyous experimentation that permeates the record. Each song brims with tight, polished arrangements, grounded by smooth basslines and Blackman's ability to switch between genres effortlessly. What makes this album so significant is its impact on future generations. While not an immediate commercial hit, it's become a goldmine for hip-hop producers, with many of its tracks being sampled by major artists, pulling it from obscurity into a cherished underground classic. In an era when funk and jazz were evolving, Blackman's debut was - and remains - an unsung yet influential piece of music history, offering a snapshot of an artist at the peak of his creative powers, melding diverse sounds with a rare sophistication.

Review: This 1981 jazz masterpiece showcases a remarkable ensemble performance, capturing the essence of both tradition and innovation. The album features a young, vibrant lineup, with standout contributions from trumpet, saxophone and piano, each player bringing a unique voice to the compositions. The interplay between the musicians is seamless, with the rhythm section providing a dynamic and supportive foundation, while the horns soar with bold, searing solos. The compositions are varied, with mid to up-tempo tracks that never feel repetitive, driven by intricate arrangements and vibrant melodies. The drumming is particularly exceptional, with complex rhythms that weave in offbeat syncopations and ghost notes, adding an extra layer of excitement to every track. The cohesion of the ensemble is palpable, as each player seems in tune with one another, creating a sense of unity that elevates the music. The solos are both lyrical and energetic, with moments of searching intensity that reflect the band's deep understanding of jazz language. While it's an updated take on the modern jazz sound, the album maintains the urgency and spontaneity of the genre's golden age.

Review: Dial up the doctor for a dose of P funk heat, and you won't need a spoonful of sugar to help this particular medicine go down. Bootsy Collins is one of the true fundamentals of the Parliament-Funkadelic phenomenon, and he delivered some equally essential entries into the canon as any of the George Clinton classics. This Boot Is Made For Fonk'n' beamed down to earth from the mothership in 1979, when the collective's talents were at their peak, as proven by the presence of Fred Wesley, Maceo Parker, Garry Shider and Bernie Worrell on the credits and Clinton on the mixing desk. From the slippery psychedelia of 'Under The Influence Of A Groove' to the low sung sleaze of 'Jam Fan (Hot)', this is P funk at its best.

Review: First released in 1972, this authentic and essential reggae album showcased the most popular tracks recorded by a young Dennis Brown under the guidance of renowned producer Derrick Harriott. The third album in Brown's career, Super Reggae and Soul Hits marked a significant turning point and helped to establish him as a versatile singer-songwriter capable of crafting deeply soulful music. It highlighted his ability to connect with an adult audience as he explored the interaction of reggae with soul influences, emotional depth and musical maturity. This album played a crucial role in solidifying Brown's reputation as one of reggae's most influential artists so remains an essential part of his story.

Review: Donald Byrd's Street Lady was released originally in 1973, and at that point the American great had already penned some 20 odd albums. But the 70s marked his move into the funkier side of things and to this day, this album remains one of his most widely loved and important. It's a rich source of samples for a wide range of artists and the opening tune was used smartly by Detroit great Theo Parrish, while tunes like 'Miss Kane' and 'Sister Love' are still huge. Street Lady is as iconic now as it was back first time around with the same going for the experimental sounds of 'Witch Hunt, while 'Woman Of The World' ends on a gentle, euphoric stride.