Review: For the latest in their series of "giant 45s" - loud 12" pressings of classic cuts from the Studio One vaults - Soul Jazz has decided to offer-up a fresh pressing of Brentford All Stars' 'Greedy G'. Based on James Brown classic 'Get On The Good Foot', the track was famously sampled by Boogie Down Productions on their iconic cut 'Jack of Spades'. It remains a bona fide party classic, adding a bass-heavy, Hammond-heavy reggae spin to Brown's insatiable funk groove. As it did the last time Soul Jazz issued it back in 1988, it comes backed with the deeper and more laidback 'Granny Scratch Scratch', another classic cut from Studio One's in-house backing band.
Review: American neo-soul pin-up D'Angelo has released a couple of the smoothest records of the last 30 years. He even made a welcome comeback in the mid 2010s and added some more magic to his cannon. Here Kero Uno remixes a couple of his tunes and ups their funky quotient to make them more suitable to dancefloors. First, he flips 'Spanish Joint' into a key-laced and funky workout with low-slung, hip-swinging grooves sure to seduce next to the zippy synth leads. On the flip is his hot take on 'Feel Like Makin' Love', another bona-fide gem full of heart and soul.
Review: Japanese electronic disco producer and performer Fujisawa Hideki aka. Dance Man coined the term "mirrorballism" as the philosophy behind his ultra-tight brand of disco. Four albums of mirror-ballistic albums, New Generation Dance Classics Volumes 1-4, appeared before his fifth album, Funkoverlic, surfaced in 2004, from which this ingenious pair of trax, 'Bomber' and 'Hey Hey Ookini Maidoari', came. Translating roughly to "there is a lot of everything" from Japanese, the latter track brims with posse-backed instrumental disco-hop steeze, worthy of bombastic emceeing should any rap collective fancy it. 'Bomber' is comparatively funky, save for its devilish wax scratches, giving way to one of Dance Man's more glamorous vocal lines.
Review: Impressive original funk largesse from Swiss supergroup Daschenka Project; 'Craving For Love' demonstrates just that, with impeccable recordings by one Luc Montini at One Drop Studios backing up an indelible ensemble cast of musicians, from Dascha Luscher (vocals), Jean-Pierre Von Dach (guitar), Michael Chylewski (bass) and a tripartite brass section comprising Charlotte Lang, Noah Eiermann and Moritz Renner. Where the A-side revels in an ultra-lively energy, 'Spinning Round' on the B plies the record with an equal measure of chillout soul food.
Review: Stefano De Santis echoes purple dubstep on this live-feeled new electronic jazz dazzler, all improvised synth fusion that works well both as a danceable cut and a timeout moment. Just two tunes, 'Santos 79' and 'Moon Over Rio' come across like the morning and evening sides of De Santis' lifeworld; the former is a warm, glitzing sonic waxing, full of tweezy approach notes and Simmons drum 'pows'; the latter is a crepuscular waning, contrasting to the other by way of twinkly chime cascades and deeper chromatic blues.
I Like (The Music That You Play) (club vocal) (7:30)
I Like (The Music That You Play) (club instrumental) (7:07)
Review: Parisian jazz-funk, disco and boogie band Chatobaron - an outfit helmed by multi-instrumentalist Frank Chatona - have previously worked in the studio with house and nu-disco mainstay Art of Tones, so it's no surprise to see them recruiting the mighty Dimitri From Paris to mix their latest single. His A-side 'Club Vocal' mix is a genuinely riotous and celebratory affair, with strong group vocals (singing about how much they love 'your' music) and heady horns rising a jolly and joyous, piano-sporting disco-funk groove rich in low-slung bass and Cerrone style percussion. It comes accompanied not by one of Dimitri's deconstructed dubs, but rather an equally excitable 'Club Instrumental' mix that boasts all the goodness of his A-side mix minus the vocals.
Chez Madame La Baronne (Idjut Boys Fazz Junk version)
Review: Earlier this year, French disco and jazz-funk combo Chatobaron joined forces with fellow Parisian Dimitri From Paris for the rather good 'I Like (The Music That You Play)'. While that was a wholehearted disco workout, this speedy sequel sees the band (and their high-profile collaborator) explore their West Coast jazz-funk influences via an inspired workout full to bursting with killer instrumental solos, dusty grooves, memorable motifs and a genuinely killer, cowbell-sporting percussion brerak. This time round, there are no Dimitri From Paris remixes; instead, dubbed-out disco favourites the Idjut Boys are on hand to smother the track in tape echo and dub delay. The result is a typically spaced-out, low-slung affair that naturally makes the most of the band's killer bassline and layered percussion sounds.
Make My 45 The P Funk (feat Abstract Rude - cuts By Deejay Toby Gee) (3:56)
Jazz Crimes (Deejay Katch 7" edit) (3:00)
Review: DJ Katch is a core part of the Resin Dogs and a mainstay of Australia's hip-hop scene. He pops up here to mint the new Members Only label with Abstract Rude. A-side jam 'Make My 45 The P Funk' is classic old school boom-bap with tight bars and cuts By Deejay Toby Gee. It's playful and booty-shaking and sure to get any floor full. On the flip, Katch gets deep on a more jazzy and late night number as he edits The Resin Dogs's 'Jazz Crimes', especially for this 7".
Review: The latest release from the TakeFingz label, DJ Katch's 7" single, dives into the blaxploitation soundscape with a fresh twist on a classic 80s hip-hop track. This installment, the fourth in Katch's series, reimagines Grandmaster Flash's iconic 'The Message,' splitting the track into two sidesiScene A and Scene B. Side-1 features an extended funky loop, evoking the feel of a hero driving into the sunset during the credits, while still retaining a vibrant dance floor groove. Side-2 offers a stripped-down, choppier version, perfect for DJs to mix or scratch. Katch's rework celebrates 50 years of hip-hop with his signature style, blending streetwise funk and jazz with distinctive samples and iconic verses. Played by notable DJs like The Allergies and Craig Charles, this release showcases Katch's talent for creating a "furtive" sound, blending classic hip-hop with a touch of cinematic flair.
Review: TakeFingz returns with its seventh release and offers up a double A-side 7" tailored for dancefloor devastation. On Side A, DJ Katch reworks classic funk breaks into a groove-heavy party igniter that betrays some seriously sharp turntable skills and crowd-moving instincts. It's a surefire weapon for any set in high-energy settings. On the flip, DJ Toby Gee drops a bass-driven boogie funk jam packed with vintage chants and break-heavy grooves. Both tracks are precision-crafted with nods to B-Boy culture among them perfect for bodypoppers and lockers alike.
Review: DJ Mitsu The Beats summons up a mellow, jazz-tinged spin on Norah Jones' early classic 'Sunrise', following a plucky piano-studio sesh shared with Takumi Kaneko of Cro-Magnon. After a cannonballing digital release, the "instrumental chill" track now takes shape as a 7" single, suturing Mitsu's laidback bop to Kaneko's smooth, sunspot piano lines. With cover photography by surf documentarian Atsushi Kumano, the single was in turn singled out for the surf music compilation Salt Meets Island Cafe: Sea of Love 2, curated by new lifestyle magazine Salt. Balancing beachside ease and unsurpassable musicianship, this track hankers at the title for next best surf-chill anthem.
Review: DJ Ryow aka Smooth Current is a Japanese DJ and producer known for his hip-hop and r&b remixes. 'Re:Strain Of Stairs', as the title suggests, reinterprets the song 'Strain Of Stairs' by Japanese rock band The Pillows on the A-side, bringing a loose-hipped drum workout to the ordeal. On the B, meanwhile, Ryow goes all out on a new original featuring Kim Hill, 'Ain't Even Like Me', a song which first debuted online a least four years ago - it's an impressively-made production in contemporary r&b, with exquisite harmonies from Hill.
Review: Toby Gee's Lowrider 7" delivers a fresh spin on two iconic tracks, turning them into fun party-fuelling artillery. On Side-1, the Racked Mix of 'Lowrider' reimagines Cypress Hill's classic into an underground groove, infusing it with a darker, more rhythmic vibe that keeps the original's essence while bringing something entirely new to the table. On Side-2, the Cracker Mix of 'Vanilla Bop' takes Vanilla Ice's 'Ice Ice Baby' and transforms it into a lively jam band groove. The crisp scratches and expertly crafted edits to the original vocals add a layer of excitement, making it a perfect floor filling track that's sure to get attention.
Review: Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.
Julie Driscoll, Brian Auger & The Trinity - "Indian Rope Man" (3:22)
Brian Auger & The Trinity - "Black Cat" (3:23)
Review: Heavy Jazz Records has licensed this very welcome reissue of one of the most iconic Hammond Mod dancefloor bangers of all time. This limited edition new 45 rpm features Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side, a track packed with driving chord work, vibrant guitar licks, and passionate, intense vocals. On the flip side, Mod enthusiasts will find another gem in the form of 'Black Cat.' This track races forward with raw brass, hard-edged vocals, scintillating drums and epic chord progressions. A true pair of heavy-hitting tracks from the vault, sure to thrill collectors and dancers enthusiasts alike.
Review: These artists got together back in 1969 to record Let The Sunshine In, a landmark album that blended jazz, rock and soul into a vibrant sound that captured the spirit of its era with its experimental soundscapes and electrifying performances. These two tunes are taken from the album and come on 7" for useful DJ deployment. Driscoll's emotive, soulful vocals pair beautifully with Auger's masterful Hammond organ and the Trinity's dynamic instrumentation. The title track in particular is a real anthem of its day and is sure to make just a s much of a mark all these years on.
Julie Driscoll, Brian Auger & The Trinity - "Jeannine" (2:12)
Brian Auger & The Trinity - "In & Out" (2:59)
Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.
Review: This limited edition double 7" vinyl offers up Rob Hardt's hit track 'Weekend,' which you might consider to be the ultimate family barbecue anthem, as well as being the title song of the inaugural 45 Weekender Hamburg festival. The single comes with some on-point remixes by renowned DJs and producers like Rob Hardt, DJ Friction, and EFBNMXMIX who work it into different realms but all of them are still suited to summer gatherings, block parties, and smooth DJ sets. It comes pressed on coloured vinyl after originally being released for the festival's opening party on July 12th 2024 when it was handed out to 30 international 45Soulciety DJs who helped quickly make it a classic.
Review: Rhythm Rhyme Revolution, alongside DJ Tabu, delivers a fantastic EP with Summertime / Sunshine Girl. 'Summertime (nuacidfunk)' gradually escalates into a disco crescendo, enriched by Dan Lipman's jazz flute/sax and Gareth Tasker's steaming sitar riff. On the flipside, 'Sunshine Girl' boasts a slinky Afro percussive groove, with DJ Tabu's vocals celebrating love in the sunshine, complemented by Barrie Sharpe's infectious hooks. The ensemble work, featuring Kenny Wellington's jazzy trumpet and vibrant guitar, creates a dynamic sonic landscape. The EP also includes the original version of 'Summertime,' reminiscent of Motown classics. Sharpe's masterful tease and impeccable mood-building make this record a touch of class, leaving listeners thoroughly enchanted.
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: Cruising the slipstream of Black Messiah, D'Angelo's debut album gets a timely reissue 20 years after its release. The neo-soul foundations dig deep with every nuance and subtlety D'Angelo has become known for; the Gaye-level harmonies of "Crusin'", the jazz meanders of "Sh*t Damn Motherf*ker" and the unstoppably sexual drive of "Lady"... If this isn't in your collection already, now is most definitely the time.
Review: YES! Any self respecting music fan will no doubt already have fully acquainted themselves with Black Messiah, the long promised new album from soul artist D'Angelo and know that it already stands as one of the long players of the year if not the decade! The real fans have probably been waiting for the vinyl release and it's great to see the correct decision has been made to grant Black Messiah a double LP pressing. Everyone no doubt has their favourites on Black Messiah but it's great to have cuts like "Sugah Daddy" on wax, that one is perfect for the house party situations.
Review: The Tele Music catalogue follows a long tradition of library music mores; stock patterned album art and themed series included. Originally from 1973, Rhythmiques functions as one of the label's most iconic releases. Written entirely in collaboration between French composer and percussionist Pierre Dahan and synthesist Mat Camison, it features tense funk, blunted jazz and heavy breaks all the way. It is considered the rightful sequel to Continental Pop Sound, and despite the origin as library music intended for TV and film, has endured as a vital album for producers and DJs.
Review: The reissue of James Dallas' 'Life Forms' by Tidal Waves Music brings back to life a hidden gem in the realm of jazz, funk and soul. Originally released in 1982 and completely self-funded with the help and encouragement of his peers and family, the album captures Dallas' innovative ability to sculpt sonic landscapes that were way ahead of his time and still remain fresh now. Each track on the long player is a mesmerising blend of ethereal textures with rhythmic pulses that result in immersive sounds and come with assistance from Earl Thompson on percussion, Myron McClain and Noland Clark on drums, Rick Lacey and Robert Walls Jr. on guitar, Jake Simmons and Kevin Whitehead on bass.
I'm Just Tryna Survive (In The Big City) (feat Q-Tip - bonus track) (4:40)
Kaint Let 'Em Change Me (bonus track) (3:56)
The Acceptance (bonus track) (9:20)
Review: Dam-Funk recently took to Twitter to bemoan the disparity between the positive feedback he gets from listeners, and the largely disappointing reviews from music critics. It's certainly odd that critics have been sniffy about Invite The Light, his fourth solo full-length for Stones Throw, because it's arguably his most varied, accessible and attractive album to date. Packed full of proper songs, cheeky dancefloor workouts, and high profile collaborations - pals Q-Tip, Snoop Dogg, Computer Jay, Jody Whatley and Nite Jewel all lend a hand - it's an album that still sounds hugely futuristic, despite Dam-Funk's reliance on vintage synthesizers, drum machines, and '80s soul, funk and boogie influences.
Take Three - "Tonite's The Night (All Right)" (7:22)
Brandon - "Suzy Hijack" (6:37)
Henning - "Arrival/Departure" (4:22)
Dam Funk - "Believer" (7:51)
Moon Moon B - "Oof"
Nicci Gable - "Close To Who?"
Randell & Schippers - "Love Jam"
Verticle Lines - "Theme From Beach Boy"
Brandon - "Suzy Hijack"
Take Three - "Tonite’s The Night (All Right)"
Index - "Starlight"
Uncle Jams Army - "Dial-A-Freak"
Gemini - "Log In"
Nexus - "Stand Up" (instrumental)
Reggie B - "Poison Candy"
L33 - "Keepin It Tight"
Gaussian Curve - "Broken Clouds"
Tony Palkovic - "True To Yourself"
Henning - "Arrival/Departure"
Nite-Funk - "Can U Read Me?"
Dam Funk - "Believer"
True Design - "I Wanna Break"
Crystal Winds - "Funk Ain’t Easy"
Review: Dam Funk has been foundational in crystallising Stones Throw's undisputed leadership in the nu-school funk and boogie scene, and he's up there with the great J Dilla in our books. Naturally, he's been asked to mix up the latest series of DJ Kicks and, ladies and gentlemen, it's a real masterclass - one of those comps you can safely leave on and let it do its thing on you. The mood is personified by a fine blend of electronics and tougher, funkier rhythms by artists such as Index, Moon B, and Dam himself. There are also a few rare cuts by Chicago house legend Gemini that fit in perfectly, and a whole heap of wavy, Cali-inspired electronic funk. Badass.
Review: Earl "Damu the Fudgemunk" Davis returns with Peace of Action, the latest addition to Def Presse's KPM partnership series. Known for his standout Conversation Peace in 2021, Damu builds on the momentum, delivering nine fresh, fully instrumental tracksihis first purely instrumental project in over seven years. With no vocals and an absence of guests, Damu dives deep into KPM's archive, unearthing new sounds while breaking his own creative boundaries. Peace of Action blends jazz sensibilities with hip-hop techniques, crafting a dynamic, story-driven album where each track stands alone yet ties into a broader, transformative theme. From the meticulous crate digging to the rich textures, it's an intricate exploration of rhythm and sound, reflecting the accelerated changes of the past few years. A masterclass in storytelling without words, Damu reimagines jazz through a contemporary lens, rooted in the tradition of classic samples but with a fresh, forward-thinking approach.
Review: The debut album from Bahraini-born, British-based musical duo Dar Disku is a celebration of their Arabic heritage and multicultural influences that melds golden age West Asian and North African sounds with a contemporary dancefloor focus. The eight-track record hears the duo traverse their West Asian and North African origins and bring them back to their current place of residence, crossing from disco to Rai, from piano house to Turkish psychedelia, and all manner of other cross-Med import-exports. From the degage Turkish psych prog-house builder 'Sabir' with Billur Battal, to the penultimate piano-breaks rattler 'Galbi', this is a chilled and wavering dance release primed for bridging international gaps.
Review: The folks at Burning Sol sure have been busy with a clutch of great new music all seemingly dropping from their Swiss base this month. This is a rare album release limited to just 150 copies from Daschenka Project. It's a mix of golden era vocal sounds and feel good grooves with great musicianship making each one special. Some of them, such as the jazzed up 'Craving For Love', are more lively and drum lead grooves for full dance floor action while others are late night comforters like the intimate vocals and guitar riffs of 'Don't You' which is a cover of a well-known classic.
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