Back catalogue: Funk Soul & Jazz

Review: Captain Planet is a globe trotting DJ and producer who mixes up worldly roots music with his own fresh take on hip-hop and dancehall. For this one he joined up with Zuzuka Poderosa & Raphael Futura for a brilliant Brazilian disco and funk song that harks back to the 70s and 80s with influences like Tim Maia, Sandra Da Sa & Gilberto Gil. 'Moqueca' though also has some nice dance floor weight to it as well as the richly tropical percussion, steamy horns and seductive chords. On the flip is an instrumental and the good news is this is a taster of a full album to come.

Review: Pete Cunningham's hybrid electronic/acoustic jazz collective Ishmael Ensemble has been right at the forefront of innovation when it comes to those sounds. For his latest project he links up with lyricist and MC Rider Shafique. They first met some six years ago when Cunningham was struck by "his powerful way with words." As such they got in the studio, Cunningham embraced a more bass heavy sound to his style and drew on his love of the likes of dub kings King Tubby and Adrian Sherwood. Coupled with Rider's voice and you have a superb new record.

Review: A unique smashing of worlds between funk and hip-hop, this fantastic, vibrant, red-and-black splatter 7" brings together a host of collaborating greats, all of whom have contributed in major ways to both sounds over the years. With Dan Ubick on guitar (Breakestra, Big Daddy Kane), Julius Augustus on bass (The Sandollars), Dan Hastie on organ (Orgone, Alicia Keys), Steve McCormick on dobro and Professor Shorthair on the cuts and edits - and mastered by Dave Cooley (J Dilla, Madlib) - this is a mournful yet masterful example of live-recorded battle breaks.

Review: DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstitioun". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.

Review: First released way back in 1999, Raphael Saadiq's Q-Tip-sporting "Get Involved" is a warm and woozy, retro-futurist chunk of soul/hip-hop fusion that harked back to an earlier musical age. It remains an arguably underappreciated dancefloor bomb and here gets the reissue treatment courtesy of the freshly lauched 45 Jams imprint. It comes backed by another stone cold classic from Q-Tip, "Vivrant Thing" - a cut first featured on the flipside of the Tribe Called Quest member's much more celebrated "Breathe Don't Stop" single. It's a little more stripped back than the A-side, with Q-Tip delivering his distinctive flows over a crunchy and fuzzy, Jay Dee produced backing track crafted from samples from an old funk record.

Review: Rasco's The Unassisted was a pivotal release in 1997, helping to put independent rap on the map with its raw energy and standout production. Taken from his Time Waits for No Man LP, this 12" single, produced by Fanatic with cuts from D-Styles and Peanut Butter Wolf, quickly became an underground classic. Rasco's sharp delivery and gritty lyricism, paired with that unmistakable 90s sound, solidified his place in the scene. Over the years, Rasco has collaborated with hip-hop heavyweights like Phife Dawg, Evidence, Jake One and Roc Raida, releasing albums with Stones Throw and gaining international recognition.

Review: Reggie Ray's latest release, timed with the Paris '24 Olympics Breaking event, pays homage to street culture with a heartfelt record. With intricate production and a nod to New York '72, it's a fitting tribute to DJ Regal's innovative spirit. The artwork by Optic Intake adds visual depth, resonating with the energy of the FBV Crew and the late Paul Eve's enduring influence. Released by Lexington144 Records, this EP blends nostalgia with contemporary beats, showcasing Reggie Ray's mastery in crafting dynamic, street-inspired tracks. A poignant note honors Eve's legacy, promising future releases from Lexington 144 Records. This release not only celebrates breaking culture but also tells about the enduring impact of its creators.

Review: A jazz head with deep hip-hop roots, New York-based saxophonist Benny Reid returns with a brand-new 7" on Fat Beats, following his 2023 The Infamous Live reinterpretation. This is his latest standalone tribute, and it plays like a deliberate two-sided concept: '93 'Til Infinity' on the A, 'Day One' on the B i reworked with full reverence but plenty of vision. Reid's take on the former is all patience and atmosphere, stretching the groove into moody, modal territory without losing its swing. Flip it for a tighter, chunkier pass at the D.I.T.C. classic, where arrangements lean into low-end murk and sharper rhythmic interplay. Drawing on years of post-bop work for Concord, Reid reanimates sample culture as memory, process and momentum.

Review: Limited white vinyl repress.DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip-hop classic 'How High' atop a suitably funky, lolloping beat crafted from clavinet-heavy sections from Stevie's party-starting floor-heater 'Superstition'. It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the vocals, is a fine re-edit of the Wonder-ful jam.

Review: The Royal Organ Duo is an exceptional name for a project and the music they cook up is no less good either. It comes on Funk Night out of the Us in the form of this tidy 7" and opens up with a new take on a stone-cold hip-hop classic. 'White Lines' sounds the same but different here - the main melodies are intact but replayed on a Hammond organ while the dusty drums are live and jazzy with some extra flourishes added for good measure. The flipside is a deeper cut but one that will still work floors into a frenzy.

Review: Since 2019, Ryozo Band have attracted the attention of fans both in their native Japan and overseas, owing to their deft workings in the realm of jazz-funk and fusion, all tempered by a buzzing affective irreverence. In 2023, they released the 'Utopia' EP, and now follow up said award-winner with yet another, equally affecting EP-form homage to all things felicific and dopaminergic: 'Pleasure'. Kicking off with an impressive, minimalist keyboard exposition, the Ryozo formula soon unfurls as a counterpoint of uptempo wrist-flicked drumming and two horns in unison, overlaid further by sax, trumpet and synth saw. Heavily borrowing from rhythmic and vibeish trends in the current UK jazz scene, 'Pleasure' is a synaptic surge of various sonic serotonins and oxytocins, amounting to what is best describable both as a qualitative and quantitative hedonic calculation in jazz.

Review: Grammy award-winner Tyla broke the internet with her viral track 'Water', becoming the first South African artist in over 55 years to enter the Billboard Hot 100 - as well as the youngest South African of all time ever to do so. The 'Water' challenge swept the internet, earning her top ten placements in multiple countries and nominations for various awards - rightly so, her voice is sultry, the beat is smooth and the hook is infectious. On the other side of the 7" coin is Nigerian Afrobeat sensation Rema with his career-defining breakout hit 'Calm Down', his vocal talent shining through the minimal instrumentation. It's easy to see why the world was entranced, bolstered massively by a remix featuring Selena Gomez that has since led the track to be nominated for several Billboard and MTV awards, as well as holding a long list of world records: Most streamed Afrobeat song on Spotify, Longest charting African song on Billboard, most watched Nigerian music video... we could go on.

Review: Some 30 years have now passed since Warp Records decided to repackage and reissue Red Snapper's first three EPs on one handy collection, the efflortlessly excellent Reeled & Skinned. Effectively the duo's introduction to a wider audience, it did a great job in showcasing their trademark sound - an enticing blend of loose-limbed live drums, double bass, intoxicating electronics and snaking sax sounds. As this anniversary vinyl reissue proves, it's a musical blend that still sounds fresh all these years on. The plentiful highlights include moody theme 'Snapper' (featuring Beth Orton), lightly Latin-tinged punk-funk workout 'Swank', the riotous and aggressive 'Wesley Don't Surf' and Sabres of Paradise's incredible rework of 'Hot Flush' - a jazzy, breakbeat-driven slab of dancefloor deepness that ranks among Andrew Weatherall and company's finest remixes.

Review: A gold vinyl version of PeteStrumentals 2, the long-awaited sequel to his 2001 instrumental debut that was originally released in 2015. Known for his iconic 90s golden age contributions, Pete Rock's craft remains impeccable, even if his mainstream presence has waned slightly and whether working with lesser-known MCs or big names, his beats consistently shine. Great instrumental hip-hop albums often feel like immersive journeys, and PeteStrumentals 2 achieves this with its distinctive horn loops and lush keyboards. The drums, central to Pete's sound, still hit with precision. Tracks like 'Heaven & Earth' begin with experimental textures before settling into a solid groove, showcasing his blend of melodic finesse and rhythmic strength. Pete Rock's evolution as an elder statesman in hip-hop is evident, with tracks paying homage to influences like J Dilla while staking his own claim. The album's atmosphere mixes nostalgia with contemporary beatmaking techniques, featuring samples from David Axelrod, Isaac Hayes and Black Heat, generally reaffirming Pete Rock's status as an enduring hip-hop production great.