Back catalogue: Funk Soul & Jazz

Review: Soul Supreme is a master keyboardist best known for his covers of classic hip-hop songs by the likes of Mos Def, MF Doom and A Tribe Called Quest. Here side-steps his covers duties to handle remix productions for two of his contemporaries in the Netherlands neo-soul scene - Gallowstreet, LYMA, Shamis and Rebiere. The A side lends a wonky future house feel (a-la GoldLink, Crackazat) to '52 North', Gallowstreet's ode to the city of Amsterdam. The B tune strips it back to a lo-fi soul bapper, fleshing out its theme of loneliness in parenting.

Review: Street Corner's FliP Sessions is a great source of beats for hip-hop heads and this eighth volume is no different. It's limited to just 200 copies and features five more exquisite little sketches that are loveably rough around the edges and full of laidback and dusty soul. After the busted breaks of GREENMINDZ, Toby Glider zones you out with lo-fi loops and Beaulemaire brings heavier beats. Side 2 has a more jazz cut from Elusive and star gazing cosmic melody from Shri!. All five of these are delightful little pieces.

Review: The latest golden nugget from Hayes-based soul specialists Expansion sees Phil Asher, The Mighty Zaf and 2000 Black take it in turns to rework one of the highlights of modern jazz-man Robb Scott's recent album, Siren. Asher and Zaf kick things off with a deliciously glassy-eyed jazz-funk-meets-soulful house revision that not only boasts a seriously loved-up, beat-free intro, but also tons of subtle instrumental solos. A radio edit of that rework is also available on the flip. That's where you'll find 2000 Black's brilliantly jazzy broken beat revision, which is every bit as sumptuous and musically rich as the West London duo's own productions.

Review: Anton ScruScru Bogomolov is a mega hyped artist but for good reason. His slew of singles have all been noteworthy and now this new 12" overflows with more brilliant ideas. After a hugely prolific 2020 he shows no signs of slowing down here. Once again he fuses classic jazz-funk style with fresh London broken beat and wall that is good about the current jazz scene. Blurring boundaries as he goes this could be as good in a live setting as it could through a big sound system in a club. Big chords, bristling drumming, disco energy, it's all here and then some.

Review: Four artists with a taste for classic deep house infused with more than a touch of house line on the Silver Walker label's sixth release. Following releases on the likes of Local Talk, Balance, Traxx Underground, Mate, Quintessentials and upcoming projects on Nervous and NDATL, Shaka opens proceedings with a flurry of Hammond and plenty of exotic percussion, lie Alan Hawkshaw riffing with Underground Resistance. Glenn Davis (Wolf, Yore Records, Deeper Groove and Selections Records) delivers a deeper house workout on the A2 house track, the jazzy keyboard chords, fluttering flute and restless synths working real magic. One of the masterminds behind the Silver Walker label, Diego aka DFRA, comes on all perky with the saxes and soloing Rhodes, on the second side's opener, 'Nitewax'. Then we close with Damien aka Keymono (founder of several labels including Monocturne Records and Funkyshirts) laying on the handclaps of classic disco strings, the snippets of funk guitar and vibes the cherry on top.

Review: Emilia Sisco is a rising star on the revered Timmion Records and here graces us with another soulful ballad. Teaming up with in house greats Cold Diamond & Mink, she delivers 'Let Me In,' which is a deep soul gem that effortlessly drifts over a southern-influenced beat with melodic finesse. The spine-tingling chorus with its nuanced twists showcase Emilia's remarkable talent to evoke a timeless, bittersweet love that washes over the listener like the Mississippi River. On the flip side, her previous single 'Love Can Carry Me' comes as an instrumental titled 'Way Past Midnight' and featuring a jazzy Grant Green-style guitar.

Review: The JalapeNo label sure does like it hot and this one is no different. It sees the return of label regulars Skeewiff for a new series of outings that take the form of reworked covers of some of their favourite library tracks, inspired by greats of the genre such as Keith Mansfield, Brian Bennett, and Alan Hawkshaw. First up is 'Exclusive Blend,' a rather classic instrumental composition by Mansfield. 'Spanish Flea' is on the flip and is a version of a very famous work by Herb Alpert and his Tijuana Brass Band. It's a funky take with lots of percussive energy and big strings.

Review: Second time around for Sneaker Pimps' Six Underground, the lesser-celebrated follow-up to the duo's renowned 'Spin Spin Sugar' single (famous, of course, because of Armand Van Helden's influential 'Dark Garage' remix). While the revisions included here - all initially released in 1996 - did not make as big an impression, all four have stood the test of time impressively. The headline attraction is a pair of Two Lone Swordsmen rubs, which are amongst the earliest reworks Weatherall and Tenniswood laid down under the alias. The vocal and instrumental takes are low slung trip-hop tracks overlaid with heady electronic elements. Elsewhere, Nellee Hooper channels the spirit (and sound) of his work with Massive Attack, and Hull boys Fila Brazillia lay down a typically deep, dubby and slowly evolving downtempo workout.

Review: Brooklyn, New York artist Snips follows up big release on Classic/Defected with a new album on his own label Barbershop Records. This one has a concept that finds the beatmaker drawing solely on gospel samples from his own personal record collection. As such, the record reworks the past into the future and serves as a reminder of the power of gospel to swell your heart and soul. The artist works those samples into all manner of lush frameworks from hip hop to soul, funk to house and there are some club friendly anthems amongst the results such as 'Feed The People' and 'Feel The Spirit.'

Review: Random Rap Records offshoot Dinked 45 has hit gold with 'Happy (Hammond)', the first single in seven years from Chris Read and keyboardist Rob Barron's occasional So Much Soul Players project. As the title suggests, it's a cheeky and cheery Hammond funk reinvention of Pharrell Williams' classic which features Barron playing the famous melody - alongside a few wild solos - atop a sweaty, bass-heavy, breakbeat-driven dancefloor groove. It's a simple idea brilliantly executed all told and a guaranteed party-starter to boot. Over on the flip you'll find a slightly tougher, shorter 'Instrimental Mix' that cuts down the use of the melody in favour of elongated Hammond chords and more prominent beats, as well as a short 'Bonus Beats' drum track for DJs who like to get busy in the mix.

Review: As far as contemporary drummers go, Richard Spaven is one of the most sought-after. He is master of progressive and contemporary sounds who has played with all the greats such as Jose James, Gregory Porter, Flying Lotus and The Cinematic Orchestra. He got sit alone here on this new 7" for Fine Line. Opener 'Hoodie Beats' shows off his considerable skills with an airy, floaty grove that is like live and deep drum & bass, then neo-soul vocalists Jordan Rakei joins for the superb 'Nova.'
Barney Artist drops some verses on 'Icarus '88' to bring a real edge and the title track closes in seductive fashion with lingering chords melting your heart.

Review: Emerging from Liverpool, Sticky Dub brings fresh underground vibes with his unique blend of broken beat, UKG, dub, and hip hop. Rooted in Northern energy, his music fuses electronic and urban influences, delivering dynamic club cuts that resonate beyond Mersey shores and with nods to his herbalist lifestyle. Melodic dub basslines meet lively dancefloor beats here, all infused with Sticky's distinct Scouse vocals and insightful lyrics exploring nature and rhythm. His mantra, "never give weapons to a man who can't dance," underscores his ethos of maintaining spiritual balance through music. Sticky Dub's sound is a testament to creativity and cultural fusion which is why he is making waves with every track he releases.

Review: Based out of Brooklyn, New York, The Still Brothers is a group made up of two childhood friends, Andrew LeCoche of Ula Ruth and Evan Heinze from The Shacks. They started their musical adventure way back in the 6th grade. In the decade since they have managed to record and tour with their own respective groups, as well as work on their own distinctive brand of indie together. Here they tap up Sloshy for a feature on a new 7" that comes via Lewis. 'It's Not Over' is a dreamy cut lush vocal harmonies and lo-fi drums making for a beautifully melancholic sound. 'Crazy' has slightly more primate drum breaks and the Shoshy is just as smooth.

Review: Galaxy Sound Company has become one of those cop-on-sight labels thanks to is cultured 45rpm edit series. This time, label staple, bedroom B-boy beatmaker and Michigan native Strictlybutters drops a sweet duo of beatstrumentals that skate, stomp and groove with great style. Side A's 'Espresso Con Panna' flips Salt of the Earth's 1984 gospel-funk banger 'Love Light II' into a bass-thumping, sax-smooth hip-hop gem that will enliven any party. The second offer is just as sweet: 'Pain Au Chocolat' is a Detroit-inspired and buttery groove dripping in jazzy Axelrod-esque flair. Pure head-nod gold.

Review: SAULT's body of work is almost untouchable. The mysterious collective has turned out plenty of it in the last couple of years with no fewer than four fantastic albums. This one is a complete left turn, though, which ditches the edgy alt-rock, sou land jazz for an altogether more subbed and symphonic sound. It is a soaring astral soundtrack with plenty of wide open spaces, grand arrangements and plenty of uplifting and celebratory sounds drawn from hugely spiritual choral music and contemporary classical.

Review: Chicago's mighty Specter stands firm as a pivotal figure among the chosen artists on Theo Parrish's esteemed Sound Signature label. His latest new long player Brutus presents another unique fusion of house sounds. In this cassette tape format, Specter expertly merges synthetic and organic elements that call to mind Parrish's own distinctive style. The album also embodies a seamless blend of timeworn, rustic tones and dynamic, futuristic visions within his singular house realm and impart some devastating feelings through the melodies, while the drums consistently mesmerize and keep you entranced within his rhythms.

Review: International Anthem continues to serve up inspired debuts from some of the more intriguing members of Chicago's jazz and experimental music communities. The latest comes from multi-instrumentalist, composer and improviser Macie Stewart, who has delivered what's being dubbed "a companion piece for moving through life". At the heart of the album is Stewart's use of both piano and 'prepared piano' (a technique where various items such as coins and pieces of felt are attached to the instrument's strings). These picturesque and occasionally melancholic musical motifs come wrapped in atmospheric field recordings and sensitive string quartet arrangements. The results are rarely less than memorable, mesmerising and magnificent.

Review: Brownswood Recordings have become something of a meme, cementing their very distinct jazz sound with every new release. Str4ta's 'Str4tasfear' is the latest LP from the project (which consists of Gilles Peterson and Jean Paul Maunick), painting a vague party-jazz homage to the dawn of the Brit-funk era, but they're not being too succinct about any overarching message beyond that. The songs here are danceable, and that's their main focus. 'Lazy Days' is the drawer-inner - with Emma-Jean Thackray's singing lulling us into a state of preferring not to go to work - while 'Night Flight' opens the bay doors into an instrumental space lounge. All sizzlers.

Review: In classic jazz style, this collaborative three-way debut album brings together three musicians at the top of their game: SML members Gregory Uhlman (guitar and effects) and Josh Johnson (saxophone and effects), and sometime Louis Cole, Sam Gendel and Chaka Khan collaborator Sam Wilkes (bass and effects). Musically, what the trio offers is undeniably unique, with International Anthem describing the album as "a jazz-informed take on progressive electro-acoustic chamber music". Certainly, there's much to enjoy, from the tracked bass, guitar and sax loops and subtle changes of 'Mavis' and the dreamlike ambient jazz of 'Arpy', to the bubbling cosmic jazz of 'Frica' and a stunning, off-kilter instrumental cover of Magical Mystery Tour-era Beatles number 'The Fool On The Hill'.